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Speaker 1: Listen up, wrap right off podcast. Man. You know, show

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Speaker 1: these accolades around, man, one of the best, the goat man,

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Speaker 1: funk out of you man, greatest DJ all time? Yes,

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Speaker 1: you gotta do it the right way. It's kick. Can

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Speaker 1: we get one? Can we get off? There? You go here?

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Speaker 1: You are undisputed man, grades all time? You're legend. Man.

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Speaker 1: How the funk are you on the top album of

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Speaker 1: rap in seventeen? Talking that talk? Man? You know what, man?

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Speaker 1: I think I get your micro get your records. You

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Speaker 1: know how many records this little mfu Kenny Kidd is

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Speaker 1: selling right now. It's ridiculous. It's ridiculous. I was just

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Speaker 1: talking to him a couple of days ago. You got

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Speaker 1: some of the things we're talking about. But he definitely, uh,

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Speaker 1: he's on his way. He's on his way. He's definitely

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Speaker 1: on his way. Is that phil to be part of

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Speaker 1: something like you know, because you you steady had your

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Speaker 1: hand in shaping culture. Yeah. I mean, it's a beautiful thing, man,

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Speaker 1: to know that you accepted so many people coming and

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Speaker 1: doing the business that we do. You know what I'm

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Speaker 1: saying for you know, the nation of music to still

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Speaker 1: recognize and understand understand you know, I never had no downtime.

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Speaker 1: You know, since ninety one, I've been going strong and

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Speaker 1: heavy and I'm never had no downtimes. But but to

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Speaker 1: see that the younger generation still knows what, you know,

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Speaker 1: what what I've done and everything that's been going on

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Speaker 1: with me is this is just a beautiful thing. And

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Speaker 1: Kendrick is definitely somebody that's sit in hip hop. He

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Speaker 1: really understands what it's about. And he wanted to go

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Speaker 1: and make his album authentic and so that's why he

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Speaker 1: k you guys had to face to face to talk about. Yeah,

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Speaker 1: well what what he had called me? And I went down,

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Speaker 1: came down as a matter fact, came down to Manhattan,

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Speaker 1: and we had recorded. I recorded a whole bunch of

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Speaker 1: stuff that we didn't use yet what I'm saying, So

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Speaker 1: we uh, we used what we used, but we he

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Speaker 1: sat down and he told me what he wanted to do,

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Speaker 1: and we just put put myself into mind frame of

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Speaker 1: what it was and and not after I got what

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Speaker 1: it was, then his album is basically about God, you

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Speaker 1: know what I'm saying. So it's a spiritual album pretty

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Speaker 1: much if you really listen to it. But um, you know,

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Speaker 1: he just told me that the focuses it was going

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Speaker 1: and you know it was doing this com food thing

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Speaker 1: and you know it was going on. That's how coming

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Speaker 1: came out the way it came out. But you know, um,

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Speaker 1: what I liked about is that he didn't I had

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Speaker 1: to a bunch of recording. He didn't oversaturated with it.

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Speaker 1: He did he did spices. So it made him that

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Speaker 1: much bigger lessons more of course. So that's what made

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Speaker 1: it real crazy for me, you know what I'm saying,

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Speaker 1: even though somebody else were probably been happy to be

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Speaker 1: in every song and I'm glad I was just on

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Speaker 1: five and you know, and to spread out is beautiful.

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Speaker 1: So how does that call happened? Like someone just reached out?

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Speaker 1: Or yeah, they called me calm calm what they called

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Speaker 1: Christy Clifford my manager and a long time to Christy

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Speaker 1: been with me for twenty five years. Jim been my

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Speaker 1: road manager for twenty five years. Oylty brings world to you. Man,

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Speaker 1: you can stick to the script, do what I do, man,

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Speaker 1: trying to compete with nobody and none of that. Man

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Speaker 1: to do what I'm doing. I'm just glad I was

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Speaker 1: able to innovate and open doors for people to do

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Speaker 1: what they're doing now, you know, for the years. So

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Speaker 1: it was it was in New York when you guys

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Speaker 1: recorded it, or yeah, we was downtown and the Manhattan

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Speaker 1: just coming to the secret world because what was it?

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Speaker 1: Did you feel like those levels of secrecy around it?

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Speaker 1: Like what was the whole vibe of it? It was

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Speaker 1: pretty much what the regular session would be a lot

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Speaker 1: of people sometimes sometimes people like a lot of people

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Speaker 1: in their sessions. It was just him his ain't all

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Speaker 1: ye me, and that was that we were just in

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Speaker 1: there doing nothing. So it was with lights down when

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Speaker 1: they're in booth just start going crazy. You were saying

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Speaker 1: some of the stuff you said, like even what happens

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Speaker 1: on the earth, stadn't know? Yeah, yeah, um he uh

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Speaker 1: some of the stuff that he told me. I didn't

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Speaker 1: know what it was that he was saying. They just

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Speaker 1: wanted to say. He just wanted me to say it,

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Speaker 1: I was saying. And then we're pretty pieces together. Later

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Speaker 1: on I found out whatever they mean. But yeah, he

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Speaker 1: did ever ever say what would inspired him to think

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Speaker 1: that this is I need to capre for this, Like

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Speaker 1: what what he wanted He wanted his album to sound

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Speaker 1: like I think in my in my opinion, I never

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Speaker 1: really asked him, but in my opinion, I think he

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Speaker 1: wanted his album to sound like an authentic mixtape, you know,

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Speaker 1: saying if you look at the album cover, album covered

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Speaker 1: like a mixtape cover. You know what I'm saying. And

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Speaker 1: then if you listen to them, to the to the album,

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Speaker 1: he don't really have He has them, he has them

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Speaker 1: big records, but I don't hear a pop record. I

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Speaker 1: hear records that will go pop, but I don't hear

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Speaker 1: the direction of him going for pop. I hear him

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Speaker 1: going for really authentic kid pop. Even with YouTube. He

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Speaker 1: didn't use you too that the way people would use

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Speaker 1: you too. He used them in the real hip hop

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Speaker 1: that list and they were like when they heard it there. Now,

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Speaker 1: I've done two records with Bono, I did one with

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Speaker 1: the on Quincy Jones album with Stevie One and Ray

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Speaker 1: Charles before. So was it is ivanic that I'm one

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Speaker 1: something that it's a lot going on. I was gonna

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Speaker 1: say what I love to the most is that, you know,

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Speaker 1: there's a lot of haters and critics that say I'm

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Speaker 1: tired of kicking pre on the record, but you quick

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Speaker 1: to clap back of those guys too. You know what, man,

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Speaker 1: those are people that really probably don't never experienced with

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Speaker 1: kicking pre Do you know what I'm saying. They probably

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Speaker 1: probably started with Chalette for them, or it's probably started

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Speaker 1: with Clue for them or somebody. They don't really know

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Speaker 1: the energy of what kid could do. Yeah, but when

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Speaker 1: they come to my shows to this day, you know

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Speaker 1: what I'm saying, Young kids that come to my show,

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Speaker 1: they see my show, they say, I've never seen nothing

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Speaker 1: like that. I never felt like that. I do two

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Speaker 1: on the shows of years. So at the end of

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Speaker 1: the day, if you ain't never seen my show, that

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Speaker 1: you probably much ain't really getting out the way you're

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Speaker 1: supposed to. If you don't really know who kick it

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Speaker 1: Pre is. You know what I'm saying, It's like, come,

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Speaker 1: I've been in everything and I did it all, So

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Speaker 1: how do you not know? Is you probably somebody that

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Speaker 1: just started hanging out and once you would hater. If

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Speaker 1: you're a hater, you are hate no matter who it

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Speaker 1: is that's coming on there, somebody successful. That's just the

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Speaker 1: way you are. That's just how you built you. You

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Speaker 1: coming that when you come with that, you walk the

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Speaker 1: earth like that. So it doesn't matter if it's me

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Speaker 1: or anybody else. At the end of the day, if

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Speaker 1: I'm there's the reason I'm there. So that's what you

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Speaker 1: gotta tell yourself. And when you say things that you

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Speaker 1: really don't know what you talk about, you look ignorant.

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Speaker 1: Do you think that you have to have a center

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Speaker 1: of positivity? Almost is to have longevidence been So it

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Speaker 1: just humble man. You gotta be hunt listen man. Any

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Speaker 1: day the lights can go out. They don't have to

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Speaker 1: call me for nothing. And see, I always say this.

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Speaker 1: I always tell people this. Every time somebody pays to

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Speaker 1: come to my show, it's not about them just coming

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Speaker 1: to see me. They gotta buy clothes to where, they

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Speaker 1: gotta get a ride there. If theyn't gotta ride, they

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Speaker 1: gotta pay to get and once they pay to get in,

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Speaker 1: they gotta buy drink. They buy drinks for somebody else.

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Speaker 1: And they're all doing that because right, but they're all

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Speaker 1: doing it. The point is is that they're all doing

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Speaker 1: it because I'm there or this preparation because I'm there.

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Speaker 1: So that's why you know, I'm humbled by that. Every

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Speaker 1: time I see one of my shows and its pack

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Speaker 1: ram pack, I'm sitting I'm standing on the stage like, Wow,

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Speaker 1: this is like the first time for me. Every day

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Speaker 1: every time I'm on the show, it's like it's the

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Speaker 1: first time because I'm amazed that they still come the

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Speaker 1: way that they come and they really appreciate what I do,

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Speaker 1: So it resonates for me a lot. Let's take your

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Speaker 1: way back. When was the first time you rock the

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Speaker 1: party and you felt that that rush that I'm killing it? Oh,

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Speaker 1: can you remember two of the shows? The show I think.

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Speaker 1: I'll tell you this, I'll tell you what my best

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Speaker 1: show was. I'll tell you that my best show I

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Speaker 1: ever did was at Masson Square Garden. When I went

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Speaker 1: out on tour with the liah I helped the Lee

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Speaker 1: out the rest of piece of lia Um I had

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Speaker 1: bought um she had, She had Mary J. Blige on.

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Speaker 1: The show was Bone Thugs and harmony was genuine Drew

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Speaker 1: Hill and Leah was more of a dancing show, so

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Speaker 1: she needed somebody aggressive to come in the middle of

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Speaker 1: her shoulder the high energy, right, So I was coming

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Speaker 1: in the middle of Remember, yeah, I was coming in

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Speaker 1: was featured pretty much exactly. Um, So I was coming

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Speaker 1: in the middle of the show. When we came to

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Speaker 1: the garden. You know, it was just I left a

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Speaker 1: scar in that place when the building shook in the

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Speaker 1: way that I mean it was. That was crazy, man,

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Speaker 1: it was. It was my best best show ever done.

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Speaker 1: So that was definitely one of the highlights I remember.

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Speaker 1: But to remember far back of which the first one,

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Speaker 1: it was that building. I gotta get you remember before

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Speaker 1: we're gonna be the I'm sorry. My wife, she remembers

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Speaker 1: she was at a boys two men uh party on

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Speaker 1: the boat. It was you remember this, She says that

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Speaker 1: she that night you made a movie and broke put

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Speaker 1: your hands where I could see by bust the rhymes. Yeah,

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Speaker 1: what happened back eight nine times? Yeah, and I think

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Speaker 1: that you would to me, you're the pioneer of that,

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Speaker 1: really extending the record, bringing the record back, making a movie.

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Speaker 1: I'm the pioneer. You could go else followed. It wasn't

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Speaker 1: put your hands kind of one of the first songs

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Speaker 1: that that got that. Yeah, what happened. The first time

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Speaker 1: that happened was when we was in the Roxy. We

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Speaker 1: was in Roxy and the day that it came out.

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Speaker 1: A matter of fact, let me rewind when I did

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Speaker 1: that the Leaves show at the garden, I bought bust

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Speaker 1: the rhymes with me. That's what put your Hands First

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Speaker 1: came out. But right before that, I did a party

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Speaker 1: at the Roxy, and at the Roxy Buster was walking in.

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Speaker 1: He didn't even know I was doing this. I played

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Speaker 1: this record fifteen times, back to back to back and back.

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Speaker 1: That's where the whole back to back things started, you know,

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Speaker 1: amongst other things, but that's one of the things. Um

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Speaker 1: and Buster walked in right when it was happening, and

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Speaker 1: he's seen this pandemonium this record the week after we

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Speaker 1: we did the lead thing, That's when he knew it

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Speaker 1: was gone. To this day. Buster says to me, your kid,

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Speaker 1: do you remember when we felt the wind and the

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Speaker 1: people screaming at us in the guard we felt the

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Speaker 1: win from people screaming from me in the garden. It

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Speaker 1: was crazy. And I'm glad that he was there to

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Speaker 1: the witness because if I had told somebody like a

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Speaker 1: kids shut up. But what was that just a natural

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Speaker 1: instinct to bring it. Do you think DJs had really

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Speaker 1: kind of pioneered that style? Like what was that that

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Speaker 1: was there? Just a natural instinct to extend that moment

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Speaker 1: and just tease the crowd and just keep bringing it back.

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Speaker 1: My thing is, man, my whole thing. Well, first of us,

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Speaker 1: let's go here, that fast playing music thing. They all

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Speaker 1: started from Death Comedy Jam. When I started doing the

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Speaker 1: concerts lets, I had a fifteen minutes set, so I

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Speaker 1: had to play the records quick. I seen the frenzy,

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Speaker 1: I put the crowd in, and I applied it to

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Speaker 1: the parties. The dj started seeing me do that, and

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Speaker 1: they started doing in their parties. So that that style

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Speaker 1: of getting as many records on as you can, that

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Speaker 1: comedy jack. But you would piss people off if you

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Speaker 1: play records and take them off and you know, and

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Speaker 1: your next recording it's good or better, you know, So

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Speaker 1: you have to make sense of doing it. Yeah, you

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Speaker 1: have to make sense of doing it. I watched a

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Speaker 1: lot of DJs lose the crowd doing that. You know,

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Speaker 1: you have to really make sense of what you're doing.

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Speaker 1: But those things when I seen when I did to

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Speaker 1: that day, it applied to that, and that was the

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Speaker 1: beginning of that movie. And then it all worked. And

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Speaker 1: Deaf Comedy Jam was the one that really that really

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Speaker 1: molded me on how to rock arenas and concerts. Even

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Speaker 1: though I was doing it before, I got a death

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Speaker 1: commy jam, but that was this was mine. Now. This

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Speaker 1: wasn't like I was helping somebody on to I was

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Speaker 1: behind somebody. This is the feature of me right the

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Speaker 1: crowd coming to see me. And when that Kurtin opened it,

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Speaker 1: it became it became a new life. So that's that's

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Speaker 1: why I began. It went so as for as long

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Speaker 1: as it has, do you think you can still break

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Speaker 1: records the same way how you used to me? I

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Speaker 1: do it every day in general, all the time. Um

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Speaker 1: right now, I didn't want to go to radio because

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Speaker 1: I didn't even know a program the record telling me

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Speaker 1: how to be kicking pretty, so I stayed away from

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Speaker 1: the radio, you know what I'm saying. And then the

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Speaker 1: internet thing came out, of course, you know, um Periscope

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Speaker 1: and I and all these different things came. So I

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Speaker 1: said them start a little show on there where people

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Speaker 1: could see me do what I do and I could

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Speaker 1: I could express to them the way I think it

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Speaker 1: should be done. I started a show called the Block

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Speaker 1: Party Live Mix Tape, and I'll sit there and play

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Speaker 1: different things that people never heard or forgot about, and

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Speaker 1: I make it sound like it's new. So that's why

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Speaker 1: I have a lot of young people as well as

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Speaker 1: the older people watching, And then I started realizing I

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Speaker 1: had a lot of women watching. So I said, you know,

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Speaker 1: I'm gonna start a show from the women. I'm gonna

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Speaker 1: call the No Panty Sundays and yeah, and ship went

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Speaker 1: through the roof, went through the roofs So um, women's

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Speaker 1: on every every week, every Sunday. So then serious seen

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Speaker 1: that and say, yo, kid, you got seriously, it was

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Speaker 1: like we got com previous Friday and Saturday. I'm on

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Speaker 1: from four to ten um pre take and eight o'clock

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Speaker 1: starts to make shows. So I'm doing radio. And I

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Speaker 1: called it the Kick Capries Block Party because I don't

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Speaker 1: feel that the reason why I felt the way I

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Speaker 1: felt about radio, I think the way you hear Drake,

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Speaker 1: the same way you hear Drake, and she had care

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Speaker 1: of us one after. If you hear if you hear

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Speaker 1: the future, you should hear marry after. It's like, I

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Speaker 1: just feel like it should be a balance in between

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Speaker 1: old and new. It shouldn't be just one thing. So

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Speaker 1: that's why I called the show the block party, because

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Speaker 1: at the block party, everybody all ages, don't matter where

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Speaker 1: you're from, how you look, you all invited. So that's

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Speaker 1: what it's about. How rugling that history, like, because I

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Speaker 1: know even make safe people sprise like you're up on

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Speaker 1: all the new ship, like how do you miss how

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Speaker 1: do you how do you stay abreast of the new generation.

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Speaker 1: And people may dismiss and say, oh this is mumble

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Speaker 1: wrap this kind of stuff, like how do you make

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Speaker 1: that work with the records? You already know you have

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Speaker 1: to you have to take the Russell Simmons approached, the

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Speaker 1: Russell Simmons approaches. You have to understand the youth and

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Speaker 1: you can't get stuck in the old school way of thinking.

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Speaker 1: We come from ever of where hip hop was created

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Speaker 1: and born and and concepted and went on. But that

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Speaker 1: doesn't mean top changes is not gonna happen. All things change,

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Speaker 1: So what you do. You're gonna be mad at the

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Speaker 1: little kid that's making music for the seventeen year old

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Speaker 1: that understand this music. If you as a grown up

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Speaker 1: like it, you like it. But when we were seventeen,

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Speaker 1: our parents was asking us what you're doing? Yes, so

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Speaker 1: now we're doing the same thing, Like come on, they're

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Speaker 1: making music for people that understand it. And as you

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Speaker 1: as a fifty year old. You want to dance the

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Speaker 1: trap music. If you like it, that's cool. But if

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Speaker 1: you don't, they don't care about that. Everybody getting that

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Speaker 1: little yahdi in on. Come on, this is a little kid.

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Speaker 1: He's doing what he wants to do. Be glad he's

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Speaker 1: not in the street shooting somebody or robbing somebody's doing

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Speaker 1: something to take care of his family in his life.

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Speaker 1: Why are you mad at that? And you don't have

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Speaker 1: to like it. When we did death Comedy jam, Bill

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Speaker 1: Cosby tried to get us off the air. He said

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Speaker 1: that he said that Comedians was the great in the

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Speaker 1: Comedians was the great in the comedy because of the

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Speaker 1: curses and on that, Bill, what you're gonna do be

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Speaker 1: mad at Richard pryor you're gonna be mad at Eddie

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Speaker 1: Murphy that you he was. This is comedy. Build nobody's

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Speaker 1: sucking on jello and stuff to get a da Chris

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Speaker 1: Rocket kept on HBO told Bill Bellamy, look, we're making

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Speaker 1: a lot of money. Bill Bellamy Bill Cosby were making

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Speaker 1: a lot of money with this show. But at the

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Speaker 1: same time, you feel like it's important to teach and educate,

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Speaker 1: you know, the youth, Like I remember when Chance the Rapper,

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Speaker 1: when the Grammy and you kind of tweeted out, you said, uh, Chance,

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Speaker 1: no disrespect, But I was the first to do this

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Speaker 1: and that and disrespect the drama. Chance didn't know. Chance

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Speaker 1: didn't know um. And that's what I said. He may

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Speaker 1: not be a fan of Kicker, for he may know

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Speaker 1: the name, he may know him a legend or whatever

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Speaker 1: he want to call it, but he may not experienced experience.

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Speaker 1: So for him, Drama was the first one. But but

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Speaker 1: what he did was see that's why it's really important

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Speaker 1: to watch what you say when you get on publication,

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Speaker 1: because when you say things, what you might have meant

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Speaker 1: and what people are gonna look at, they're gonna look

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Speaker 1: at what you said. So what he said was drama

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Speaker 1: was the first to do it. Shout the drama. But

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Speaker 1: he wasn't the first to do it. He was the

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Speaker 1: first to do it. For you. You know what I'm

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Speaker 1: saying for a Chance, And that's what he That's what

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Speaker 1: he meant. He just didn't word it that way. So

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Speaker 1: when he said it, my phone went, why crazy? What

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Speaker 1: is this you mean? He was the first, no, no,

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Speaker 1: and then he started going to that. So now I

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Speaker 1: gotta protect it and let him know, not so much

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Speaker 1: in the delagatory where just to let him know that

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Speaker 1: this is not where it started from. This is where

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Speaker 1: it is, and when you say it, just know that

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Speaker 1: this is where it is. You were like the first

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Speaker 1: big DJ though, like the first superstar DJ. What was

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Speaker 1: that like during that era? It was? It was crazy

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Speaker 1: great because my whole my career was I didn't want

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Speaker 1: to be looked at as somebody just playing records. I

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Speaker 1: wanted to be looking at as an artist, you know

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Speaker 1: what I'm saying. And so I had to go as

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Speaker 1: hard as that artist. And when I went on different

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Speaker 1: five different tours, if I go on tour with R Kelly,

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Speaker 1: you're all going tour with anybody that's a platinum artist.

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Speaker 1: You know you gotta go up against them. So, now,

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Speaker 1: what are you gonna do that's gonna match up or

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Speaker 1: be better than them? Well, if you're performing your hit

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Speaker 1: record for fifteen minutes, right, and everybody's going crazy for

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Speaker 1: your fifteen minutes or work of this one record, you

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Speaker 1: know what I mean, records I could play in fifteen

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Speaker 1: minutes to make people forget about that one record you're

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Speaker 1: doing that you're one hit So that's what it's about.

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Speaker 1: It's about putting people in the frenzy. So when you

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Speaker 1: came to my show, a lot of times the groups

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Speaker 1: didn't want to come on right after me. They would

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Speaker 1: wait forty minutes after, or put somebody that will bring

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Speaker 1: the crowd down and then they'll come out. You know,

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Speaker 1: which is I thought it was sucker, but you know

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Speaker 1: it's it's a it's a it's music man. We're all

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Speaker 1: having fun, man. But it's a true that you kind

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Speaker 1: of fell back from the mixtapes because of the money

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Speaker 1: you were making. There was so much of the fans

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Speaker 1: were like, on, you know, I fell back from the

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Speaker 1: mix tapes because first of all, the mixtape was just

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Speaker 1: a step of stone for me. It wasn't a career movie.

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Speaker 1: It was just something for people to get known and

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Speaker 1: get on for a second. And that's said. So what

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Speaker 1: happened was once I got on from it, I got

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Speaker 1: my first radio deal, my first album deal, on my

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Speaker 1: first tour, my first album deal. Coach Chilling, which Bismarck

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Speaker 1: had got for me, shot the biz Um. I was

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Speaker 1: in the in the office and in the public The

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Speaker 1: publicity lady brought these magazines to me and she said,

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Speaker 1: and the said, kick you pre first DJ in the

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Speaker 1: world to make millions of dollars off the street mixtapes,

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Speaker 1: which wasn't true. Now means a lot of money was

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Speaker 1: made because there was people copying them, buying houses and

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Speaker 1: cars off my offer my joints. But I wasn't seeing

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Speaker 1: that money, so I wasn't gonna take responsibility for it.

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Speaker 1: And I knew that it really was against the Lord

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Speaker 1: at the time. You know what I'm saying. At the time,

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Speaker 1: it was new. So if you right, you know what

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Speaker 1: I'm saying. If you were a dude in the street

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Speaker 1: and your records on my tape and you're not doing

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Speaker 1: really really good in life and you're looking at me

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Speaker 1: doing good, it takes nothing for you to say, I

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Speaker 1: want my bread, get my joiners on the join, want

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Speaker 1: my bread. If you don't give it to me, I

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Speaker 1: r s and all this craziness. So I just said,

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Speaker 1: you know what, it's time for me to go. And

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Speaker 1: right when I stopped, this kid walked up to me

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Speaker 1: with the tape and say, yoh, this kids doing about

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Speaker 1: this year and he played it for me and it

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Speaker 1: was do WoT I was coming at me? But he

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Speaker 1: never got a chance to put it out first. So

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Speaker 1: I made the do wap this to put it out

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Speaker 1: that day, that morning, next morning, it was out, you know,

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Speaker 1: before you got the chance to come out. And that

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Speaker 1: was my last joint and I made the next joint

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Speaker 1: in two thousands of ten. That was the next join day. Yeah,

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Speaker 1: but even going with the tape, was it your motivation

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Speaker 1: to rap? That's another thing. I wasn't a rapper. And

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Speaker 1: I used to say rhymes on the on the mixtape.

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Speaker 1: So Coach Chilling Want of Brothers said we want you

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Speaker 1: to make an album. I couldn't make an album DJ

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Speaker 1: and so right, so I had to write. They wanted

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Speaker 1: me to say the rhymes that sit on the tape,

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Speaker 1: and then I made the beats in the studio and

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Speaker 1: I would write the rhymes right there in the studio,

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Speaker 1: right there, and record it right there. But I I

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Speaker 1: wasn't trying to be a rapper. That's why my second album,

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Speaker 1: Soundtrack to the Streets, I don't even wrapped on it

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Speaker 1: twice and produced the whole album. That's what it was.

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Speaker 1: This album I just finished top tier. This is I

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Speaker 1: haven't used no, not one mainstream artist on the album.

427
00:18:09,920 --> 00:18:12,000
Speaker 1: I took all the badd rappers because I've been on

428
00:18:12,000 --> 00:18:14,280
Speaker 1: the battle rap culture for so long. Took all the

429
00:18:14,280 --> 00:18:16,600
Speaker 1: badd rappers. I got tired of hearing badd rappers can't

430
00:18:16,640 --> 00:18:19,040
Speaker 1: make good songs. So I saw him good to the

431
00:18:19,119 --> 00:18:20,919
Speaker 1: challenge and get all of them make album, and I

432
00:18:20,960 --> 00:18:23,000
Speaker 1: did it. It's hot. But the rap part used was

433
00:18:23,040 --> 00:18:24,840
Speaker 1: the intros of the mix tapes, right, that was the

434
00:18:24,880 --> 00:18:28,119
Speaker 1: style you pioneered, Like I rhymed on my record, but

435
00:18:28,160 --> 00:18:30,080
Speaker 1: I also did the intros and stuff like that. But

436
00:18:30,119 --> 00:18:33,000
Speaker 1: there's on my first album. I rhymed on the whole album. No,

437
00:18:33,240 --> 00:18:34,840
Speaker 1: there was no guests, no, not then when you first

438
00:18:34,840 --> 00:18:36,439
Speaker 1: started doing mix tapes, and then I think kind of

439
00:18:36,880 --> 00:18:38,600
Speaker 1: do I came after that the idea of the DJ

440
00:18:38,760 --> 00:18:41,120
Speaker 1: rapping over the intro of them, I was doing that way.

441
00:18:41,200 --> 00:18:42,840
Speaker 1: I was doing that when I was with Starts Out

442
00:18:43,040 --> 00:18:44,800
Speaker 1: It Starts, I was making tens. I was doing that

443
00:18:44,920 --> 00:18:47,280
Speaker 1: right there. That's how it all started. Rapping on the joint.

444
00:18:47,440 --> 00:18:48,760
Speaker 1: And then when I started going on my own and

445
00:18:48,840 --> 00:18:50,320
Speaker 1: doing my thing, I was doing on there, and that's

446
00:18:50,320 --> 00:18:52,760
Speaker 1: how the album deal came through. But I was really

447
00:18:52,800 --> 00:18:56,199
Speaker 1: the first to do that. Dead It lasted for a

448
00:18:56,240 --> 00:18:58,560
Speaker 1: long time and then ron Gy, Well Triple C came,

449
00:18:58,600 --> 00:19:01,359
Speaker 1: then ron G came, and the other ones came afterwards.

450
00:19:01,400 --> 00:19:03,800
Speaker 1: But I was really only me, you know what I'm saying,

451
00:19:03,800 --> 00:19:06,320
Speaker 1: And um, after that, I just went took my career

452
00:19:06,320 --> 00:19:10,320
Speaker 1: another way. I'm focused on the concert and the performance

453
00:19:10,400 --> 00:19:12,000
Speaker 1: level of it and how I want people to feel

454
00:19:12,000 --> 00:19:14,120
Speaker 1: when they pay that money to come see me, And

455
00:19:14,280 --> 00:19:17,199
Speaker 1: that's what the focus was in. Even with that, the

456
00:19:17,240 --> 00:19:19,280
Speaker 1: way I would take it back a little bit with

457
00:19:19,359 --> 00:19:22,240
Speaker 1: my mixtapes, I would do things like put Stephanie Mills

458
00:19:22,240 --> 00:19:25,399
Speaker 1: with in Peace the President, break beat, do that. So

459
00:19:25,440 --> 00:19:28,560
Speaker 1: that's how ron Gi started doing his Blend tapes and

460
00:19:28,560 --> 00:19:31,440
Speaker 1: stuff like that. But then the I did a puffy

461
00:19:31,920 --> 00:19:33,920
Speaker 1: was the same thing he would. He would be influenced

462
00:19:33,920 --> 00:19:35,280
Speaker 1: with what I did to take a break, be to

463
00:19:35,320 --> 00:19:37,159
Speaker 1: put Mary under it, you know what I'm saying. So

464
00:19:37,200 --> 00:19:38,680
Speaker 1: he made it a record for them. I didn't a

465
00:19:38,720 --> 00:19:42,280
Speaker 1: mixtape for him. I't you know, I didn't work. Did

466
00:19:42,280 --> 00:19:44,439
Speaker 1: you get married with? Ron kind of adopted that style

467
00:19:44,520 --> 00:19:46,520
Speaker 1: because I always credit him for the Blends more so

468
00:19:46,600 --> 00:19:49,720
Speaker 1: than you. Well you did that because um, he did it.

469
00:19:49,880 --> 00:19:52,320
Speaker 1: That was his tapes and do whole tapes like that.

470
00:19:52,440 --> 00:19:54,639
Speaker 1: I would do one joint like a part of it

471
00:19:54,640 --> 00:19:56,280
Speaker 1: would be a part of it wouldn't be something. If

472
00:19:56,280 --> 00:19:57,560
Speaker 1: I did it like that, it would be that. But

473
00:19:57,600 --> 00:19:59,639
Speaker 1: that wasn't it. My thing has a little bit more colors.

474
00:19:59,680 --> 00:20:02,159
Speaker 1: But his was really doing the blends and stuff like that.

475
00:20:02,240 --> 00:20:04,520
Speaker 1: He was doing good at doing it. Know what I'm saying, Um,

476
00:20:04,560 --> 00:20:06,560
Speaker 1: but that wasn't my focus. My focus was more of

477
00:20:06,600 --> 00:20:09,360
Speaker 1: a every day We always say about how rappers are

478
00:20:09,640 --> 00:20:12,240
Speaker 1: so competitive? How competitive in your your point is the DJ?

479
00:20:12,480 --> 00:20:15,800
Speaker 1: The DJs? I mean the way I see it, I

480
00:20:15,840 --> 00:20:17,800
Speaker 1: don't look at myself and then I don't get into

481
00:20:18,040 --> 00:20:20,840
Speaker 1: the competition thing with myself, you know. But the way

482
00:20:20,880 --> 00:20:24,679
Speaker 1: I see it, I see a lot of people. Um,

483
00:20:24,760 --> 00:20:26,880
Speaker 1: I see a lot of I say this that there's

484
00:20:26,880 --> 00:20:28,280
Speaker 1: a lot of people that's good, but also see a

485
00:20:28,320 --> 00:20:32,000
Speaker 1: lot of people under underhanding and doing some underhanding things

486
00:20:32,200 --> 00:20:34,439
Speaker 1: that's not. I don't think it's cool. And I also

487
00:20:34,520 --> 00:20:36,800
Speaker 1: think that, Um, if you're a good DJ, you should

488
00:20:36,920 --> 00:20:39,879
Speaker 1: know your value. You shouldn't go out and undersett yourself

489
00:20:39,920 --> 00:20:41,560
Speaker 1: just because you want to be a part of an event.

490
00:20:42,080 --> 00:20:43,960
Speaker 1: You know what I'm saying. There's a lot of shows

491
00:20:43,960 --> 00:20:46,120
Speaker 1: I'll turn down because they write for me, and there's

492
00:20:46,160 --> 00:20:48,120
Speaker 1: something I probably should be at, but it ain't gonna

493
00:20:48,119 --> 00:20:49,399
Speaker 1: make me a break me. At the end of the day,

494
00:20:49,440 --> 00:20:52,240
Speaker 1: you're gonna respect my value and if you don't, somebody

495
00:20:52,240 --> 00:20:54,040
Speaker 1: else will. I do two on the shows a year

496
00:20:54,320 --> 00:20:56,440
Speaker 1: and it has nothing to do with anything else. But

497
00:20:57,000 --> 00:21:00,160
Speaker 1: you have to treat the people that come in. And

498
00:21:00,240 --> 00:21:01,920
Speaker 1: these DJs a lot of time they take a DJ

499
00:21:02,000 --> 00:21:04,800
Speaker 1: throwing in the corner and that's it. All this money,

500
00:21:05,280 --> 00:21:08,000
Speaker 1: you know, and that you ain't gonna You're not gonna

501
00:21:08,040 --> 00:21:09,399
Speaker 1: do that to me. You're gonna treat me like you

502
00:21:09,480 --> 00:21:12,040
Speaker 1: treat that platinum martist because I'm bring that same amount

503
00:21:12,080 --> 00:21:15,679
Speaker 1: of people to that place and that artist that you

504
00:21:15,800 --> 00:21:18,800
Speaker 1: got this performative record, he's gonna be there fifteen twenty minutes,

505
00:21:18,840 --> 00:21:21,440
Speaker 1: half hour tops and he's out, and you're gonna pay

506
00:21:21,560 --> 00:21:23,119
Speaker 1: mo all this money. I'm gonna be there two hours,

507
00:21:23,160 --> 00:21:25,720
Speaker 1: going strong, heavy from beginning to end. You want to

508
00:21:25,760 --> 00:21:27,479
Speaker 1: pay me peanuts? Now, I ain't gonna go that way.

509
00:21:27,480 --> 00:21:29,560
Speaker 1: You're gonna take care of me like you took care

510
00:21:29,600 --> 00:21:31,080
Speaker 1: of him. But your talent got to be there in

511
00:21:31,200 --> 00:21:33,280
Speaker 1: order to call that. You know what I'm saying, And

512
00:21:33,119 --> 00:21:35,440
Speaker 1: and and a lot of times these dudes have these

513
00:21:35,480 --> 00:21:37,639
Speaker 1: big names. They they slap their name on stuff and

514
00:21:37,640 --> 00:21:40,320
Speaker 1: you go see them, and the feeling ain't dead. They

515
00:21:40,320 --> 00:21:42,399
Speaker 1: ain't gonna give you that feeling about how big their

516
00:21:42,480 --> 00:21:45,440
Speaker 1: name is, and that's very important. Sometimes they just get

517
00:21:45,440 --> 00:21:47,119
Speaker 1: that big bag and then they're supposed to DJ for

518
00:21:47,119 --> 00:21:48,639
Speaker 1: two hours. I'll try to sneak and do like an

519
00:21:48,640 --> 00:21:54,640
Speaker 1: hour or something and then bouncing whatever I I do.

520
00:21:55,040 --> 00:21:56,879
Speaker 1: My whole thing is man is always making sure that

521
00:21:56,920 --> 00:21:59,320
Speaker 1: my promoters is always happy. Man. You know, even I

522
00:21:59,359 --> 00:22:01,359
Speaker 1: made a point of about this on drink Chances that

523
00:22:02,000 --> 00:22:04,280
Speaker 1: even when somebody might have, you know, accorded to my

524
00:22:04,320 --> 00:22:06,560
Speaker 1: whole ride, they do everything accorded to my whole ride.

525
00:22:06,640 --> 00:22:09,400
Speaker 1: And something like rain happens and the crowd don't really

526
00:22:09,480 --> 00:22:11,480
Speaker 1: come the way they expected, but they did everything that's

527
00:22:11,480 --> 00:22:13,800
Speaker 1: supposed to. I'll tell the promoting the minute YO set

528
00:22:13,840 --> 00:22:15,439
Speaker 1: up another joint, I come do it for free, just

529
00:22:15,440 --> 00:22:17,320
Speaker 1: to get your money back. And it ain't got nothing

530
00:22:17,359 --> 00:22:19,119
Speaker 1: to do with me. I ain't do I'm never to

531
00:22:19,160 --> 00:22:22,119
Speaker 1: do my job but right. But what it is is

532
00:22:22,160 --> 00:22:24,520
Speaker 1: that you make that promoter feel like when when I'm

533
00:22:24,520 --> 00:22:26,679
Speaker 1: when I'm down, kid, ain't gonna kick me further. He

534
00:22:26,720 --> 00:22:28,680
Speaker 1: got my back, so you know what happens. He had

535
00:22:28,680 --> 00:22:30,800
Speaker 1: me come back four more times that year, he said,

536
00:22:30,920 --> 00:22:32,520
Speaker 1: saying wall he don't even want and then he sees

537
00:22:32,560 --> 00:22:35,000
Speaker 1: my performance. So that's enough for just to lock it down.

538
00:22:35,320 --> 00:22:37,000
Speaker 1: I don't mean nobody else. I'm good at that kid.

539
00:22:37,119 --> 00:22:39,680
Speaker 1: He's gonna make sure I'm good. He's gonna do the performance.

540
00:22:39,720 --> 00:22:41,320
Speaker 1: And he ain't got a bunch of people he's bringing in.

541
00:22:41,480 --> 00:22:43,840
Speaker 1: He got one person with him. Everything is easy. He

542
00:22:43,880 --> 00:22:49,800
Speaker 1: makes everything good. But by myself. But even to that extent,

543
00:22:49,840 --> 00:22:52,080
Speaker 1: I've seen in previous interviews you talk about like how

544
00:22:52,240 --> 00:22:54,320
Speaker 1: songs you don't even charge people for free, like earlier

545
00:22:54,280 --> 00:22:56,399
Speaker 1: in their careers, whether it's like fifty cent, you know,

546
00:22:56,440 --> 00:22:58,239
Speaker 1: you just did things off the humble. Why was that?

547
00:22:58,280 --> 00:23:01,119
Speaker 1: Why you've never been motivated by the money sometimes? You

548
00:23:01,160 --> 00:23:03,480
Speaker 1: know what, You've never seen me talk about money. You

549
00:23:03,560 --> 00:23:05,679
Speaker 1: never see me. I think people that take pictures with

550
00:23:05,720 --> 00:23:11,240
Speaker 1: money and stupid. It's just it's just stupid for me.

551
00:23:11,480 --> 00:23:13,520
Speaker 1: That's just me my opinion. But you never see me

552
00:23:13,560 --> 00:23:16,800
Speaker 1: talking about the reason why is because he believes in

553
00:23:16,840 --> 00:23:20,720
Speaker 1: the director positive and to think about is that you know,

554
00:23:20,760 --> 00:23:22,960
Speaker 1: we're in the businessman, Sometimes you gotta give to get

555
00:23:23,560 --> 00:23:25,680
Speaker 1: you know what I'm saying, You gotta give to to

556
00:23:25,680 --> 00:23:29,919
Speaker 1: to um to keep to keep the brand moving, to

557
00:23:30,000 --> 00:23:32,240
Speaker 1: keep things going. Ain't always about money all the time.

558
00:23:32,320 --> 00:23:35,440
Speaker 1: Sometimes you need to be in that certain thing. And

559
00:23:35,600 --> 00:23:37,919
Speaker 1: you man, I got Charlotte make you say, a lot

560
00:23:37,960 --> 00:23:40,000
Speaker 1: of new generations, it feels like there's not a opportunity

561
00:23:40,040 --> 00:23:43,840
Speaker 1: lesson checks attached. No, now that opportunity that you take.

562
00:23:44,920 --> 00:23:47,960
Speaker 1: Let's say, let's say let's say um, let's say, let's

563
00:23:48,000 --> 00:23:50,159
Speaker 1: just say me and Kendrick. Kendrick, you said your ca

564
00:23:50,280 --> 00:23:53,040
Speaker 1: I can't pay you to do whatever whateverever, Okay, an

565
00:23:55,000 --> 00:23:57,240
Speaker 1: me telling him to go do his thing. Put me

566
00:23:57,280 --> 00:24:01,200
Speaker 1: on the number one album in the country. So that's gone.

567
00:24:01,800 --> 00:24:04,800
Speaker 1: That's gone. Forward bread no matter what. I'm gonna get

568
00:24:04,840 --> 00:24:07,280
Speaker 1: that bread, no matter what. It's what I'm saying, but

569
00:24:07,359 --> 00:24:11,760
Speaker 1: me beefing about something, haggling with TV over a little

570
00:24:11,800 --> 00:24:14,879
Speaker 1: bit of money, come on, man, really like it becomes that.

571
00:24:15,040 --> 00:24:17,480
Speaker 1: So sometimes you just gotta understand. Now when it becomes

572
00:24:17,520 --> 00:24:19,840
Speaker 1: another thing, when you feel like you're being taking advantage of,

573
00:24:19,920 --> 00:24:22,280
Speaker 1: that's something that now it's something different. You know what

574
00:24:22,320 --> 00:24:24,320
Speaker 1: I'm saying, but if somebody coming to you humbly, okay,

575
00:24:24,359 --> 00:24:27,280
Speaker 1: I can't do this, but I need you, okayhead, my dude,

576
00:24:27,280 --> 00:24:29,280
Speaker 1: I got you. And after that many times, you know

577
00:24:29,280 --> 00:24:31,080
Speaker 1: what I'm saying. And that's not to say that everybody

578
00:24:31,080 --> 00:24:33,480
Speaker 1: should come and do that. But at the same time,

579
00:24:33,600 --> 00:24:36,199
Speaker 1: I know who's who, I know how you come to me.

580
00:24:36,240 --> 00:24:38,720
Speaker 1: I know what, what what I can contribute. Yeah, And

581
00:24:38,960 --> 00:24:41,000
Speaker 1: that's what it's about. You can't always expect to have

582
00:24:41,119 --> 00:24:43,119
Speaker 1: your hand out when you when people need help from you.

583
00:24:43,600 --> 00:24:45,240
Speaker 1: And that's it. It's not how it's like that came

584
00:24:45,280 --> 00:24:47,760
Speaker 1: about because that appeared on the Streets album and then

585
00:24:47,760 --> 00:24:50,359
Speaker 1: it paid on Hard Knock Life. Wait, wait, what do

586
00:24:50,400 --> 00:24:53,760
Speaker 1: you mean, jay z Oh? What happened was um Lets

587
00:24:53,760 --> 00:24:56,000
Speaker 1: started with Hard Knock No no, no No. What happened

588
00:24:56,080 --> 00:24:58,320
Speaker 1: was my album was supposed to come out first. I

589
00:24:58,359 --> 00:25:00,880
Speaker 1: told Columbia to hold off because a lot of promotion

590
00:25:00,960 --> 00:25:02,800
Speaker 1: wasn't going right. A lot of different things wasn't going

591
00:25:02,920 --> 00:25:05,199
Speaker 1: right within the label, and I was getting caught up

592
00:25:05,200 --> 00:25:07,200
Speaker 1: in something that wasn't my beef, that had nothing to

593
00:25:07,280 --> 00:25:09,960
Speaker 1: do with me. My project was getting caught up in it.

594
00:25:10,040 --> 00:25:11,919
Speaker 1: So I told him to hole off. Let's go and

595
00:25:12,000 --> 00:25:14,359
Speaker 1: wait for the year to turn. Do some new songs.

596
00:25:14,400 --> 00:25:16,360
Speaker 1: Put him on there and we'll do it like that.

597
00:25:16,640 --> 00:25:18,400
Speaker 1: They didn't want to do it. They did what they did.

598
00:25:18,680 --> 00:25:21,320
Speaker 1: So what happened was when I did Director with Jay,

599
00:25:21,640 --> 00:25:23,520
Speaker 1: it was supposed to come out of my album first,

600
00:25:24,320 --> 00:25:26,840
Speaker 1: but because of Columbia, what they were doing ended up

601
00:25:26,840 --> 00:25:29,199
Speaker 1: coming out November seventeen, so Jay's album came out. I

602
00:25:29,240 --> 00:25:31,919
Speaker 1: let him license a record on his album. But what

603
00:25:32,000 --> 00:25:33,960
Speaker 1: happened was, I want to grant me for doing that.

604
00:25:34,600 --> 00:25:37,320
Speaker 1: I gave him, Yeah, yeah, it was crazy. I gave

605
00:25:37,400 --> 00:25:39,720
Speaker 1: him hard Knock Life. Hard Knock Life was I was

606
00:25:39,760 --> 00:25:42,399
Speaker 1: taking that using that for my album. Forty King produced it.

607
00:25:43,080 --> 00:25:47,520
Speaker 1: But then when Jay heard it, damn and it became

608
00:25:47,560 --> 00:25:49,200
Speaker 1: what it became. Had I might to use the matter

609
00:25:49,200 --> 00:25:52,560
Speaker 1: ever became that big, but he did it five six million.

610
00:25:52,640 --> 00:25:54,560
Speaker 1: I want to grant me with it's like that on

611
00:25:54,560 --> 00:25:56,680
Speaker 1: the same album. So I won twice. You know what

612
00:25:56,720 --> 00:25:58,920
Speaker 1: I'm saying. It was the last time important that record

613
00:25:58,960 --> 00:26:01,679
Speaker 1: was to Jay's career. A younger fan. Yes, sir, yes, sir,

614
00:26:01,920 --> 00:26:04,080
Speaker 1: very big, and it's like that. The record I did

615
00:26:04,359 --> 00:26:06,920
Speaker 1: it wasn't a single, but it was It's like, that's

616
00:26:06,920 --> 00:26:10,640
Speaker 1: actually like my favorite one of those the B side classes.

617
00:26:11,160 --> 00:26:12,800
Speaker 1: And I wasn't supposed to been to beat Ei. There

618
00:26:12,800 --> 00:26:15,240
Speaker 1: was a different beat I did. How it happened was

619
00:26:15,640 --> 00:26:18,760
Speaker 1: I have bought that that that sample that record in

620
00:26:18,760 --> 00:26:21,240
Speaker 1: New Orleans five years probably before we made the record.

621
00:26:21,640 --> 00:26:23,840
Speaker 1: But I could never get the loop to loop to

622
00:26:23,960 --> 00:26:25,919
Speaker 1: lock in the in the machine for some reason. But

623
00:26:25,960 --> 00:26:28,879
Speaker 1: I hadn't on the tape just loop it. So I

624
00:26:28,920 --> 00:26:30,720
Speaker 1: was playing to beat that. I was playing to beat

625
00:26:30,720 --> 00:26:32,520
Speaker 1: in the studio when Jay was walking past the door.

626
00:26:32,560 --> 00:26:37,000
Speaker 1: He said, you know what's that? He said, you need

627
00:26:37,040 --> 00:26:39,600
Speaker 1: to do that. Yeah, you had that joint fixed in

628
00:26:39,800 --> 00:26:46,359
Speaker 1: three to five minutes five years. Sound like doing my

629
00:26:46,400 --> 00:26:49,520
Speaker 1: album right now, and we did it. So back to

630
00:26:49,560 --> 00:26:52,040
Speaker 1: hard night life. So just take us to that scene

631
00:26:52,119 --> 00:26:54,600
Speaker 1: because you know Jay was saying he wasn't happy with

632
00:26:54,640 --> 00:26:56,840
Speaker 1: that tour him and us. Youre with like the opening acts. Yeah,

633
00:26:56,840 --> 00:26:58,840
Speaker 1: what happened. You know what happened was we was on

634
00:26:58,880 --> 00:27:01,439
Speaker 1: the Puff tour and it was a bunch of us.

635
00:27:01,440 --> 00:27:04,960
Speaker 1: It was us, it was me Usher did he well

636
00:27:05,000 --> 00:27:08,160
Speaker 1: did he of course? But Usher bus the rhymes, Foxy Brown,

637
00:27:08,280 --> 00:27:11,040
Speaker 1: jay Z bore the opening acts for the boy tour.

638
00:27:11,200 --> 00:27:13,600
Speaker 1: Right now, Usher would come out before me, then I

639
00:27:13,600 --> 00:27:17,119
Speaker 1: would come out then after me with Jade, Foxy, you know,

640
00:27:17,160 --> 00:27:18,960
Speaker 1: and so on. I should open it up for your kid,

641
00:27:20,080 --> 00:27:23,520
Speaker 1: right so, um, so what you call it do? They

642
00:27:23,520 --> 00:27:27,080
Speaker 1: would take Jay. I remember remember Jay's dressing moons like

643
00:27:27,240 --> 00:27:29,760
Speaker 1: moving walls. They had him in the hallway with a

644
00:27:29,800 --> 00:27:34,280
Speaker 1: moving wall. It's like your mouth, especially after I gave

645
00:27:34,359 --> 00:27:38,000
Speaker 1: him her in my life after I'm going home and

646
00:27:38,040 --> 00:27:42,960
Speaker 1: record this. He didn't like being cheating on the tour.

647
00:27:43,200 --> 00:27:45,320
Speaker 1: He had this record, so he was out. So that's

648
00:27:45,359 --> 00:27:47,960
Speaker 1: how that happened. And then Foxy I got kicked off

649
00:27:47,960 --> 00:27:56,879
Speaker 1: the tour. You say, but shot the fox but what

650
00:27:57,000 --> 00:27:58,720
Speaker 1: But again, you just played it. You would play that

651
00:27:58,760 --> 00:28:01,399
Speaker 1: break through the intermissions, right and then somebody I was

652
00:28:01,480 --> 00:28:02,800
Speaker 1: I was in the middle of the arena, like I'm

653
00:28:02,800 --> 00:28:05,000
Speaker 1: gonna be the margin at the rough Riders Joint, in

654
00:28:05,040 --> 00:28:07,240
Speaker 1: the middle of the arena. Yeah, we're doing the ball

655
00:28:07,240 --> 00:28:09,600
Speaker 1: class tomorrow. But I was in the middle of the arena,

656
00:28:10,040 --> 00:28:13,440
Speaker 1: casually telling another arena down a little bit of fun

657
00:28:13,480 --> 00:28:16,240
Speaker 1: and the stunt. But I was in the middle of

658
00:28:16,240 --> 00:28:17,639
Speaker 1: the arena. And then what I would do is do

659
00:28:17,760 --> 00:28:20,000
Speaker 1: my own door set like a crazy set that to

660
00:28:20,080 --> 00:28:22,480
Speaker 1: have the arena right, and then when I come out

661
00:28:22,520 --> 00:28:25,280
Speaker 1: the second time, right after the when I come out

662
00:28:25,280 --> 00:28:28,000
Speaker 1: the second time, I would starting with this record that

663
00:28:28,040 --> 00:28:29,280
Speaker 1: was on the plate, the Hard Knock Life on the

664
00:28:29,280 --> 00:28:30,760
Speaker 1: plate forty five can give it to me on the

665
00:28:30,800 --> 00:28:32,560
Speaker 1: on the plate with just the beat, and I would

666
00:28:32,560 --> 00:28:35,359
Speaker 1: played at night. Different people walk up, kid, How do

667
00:28:35,400 --> 00:28:38,000
Speaker 1: you get any behind the drums? Like they were bugging

668
00:28:37,840 --> 00:28:42,520
Speaker 1: on this record? Right? That's from J Man, What the

669
00:28:43,680 --> 00:28:47,800
Speaker 1: so you want that? Yeah? The five now put on

670
00:28:47,800 --> 00:28:50,480
Speaker 1: the phone forty five? Two weeks later it was off.

671
00:28:51,520 --> 00:28:53,880
Speaker 1: But what made you like that record and get that from? It?

672
00:28:53,920 --> 00:28:56,400
Speaker 1: Was crazy? It's the hard Knock. As soon as I

673
00:28:56,440 --> 00:28:57,920
Speaker 1: heard that, I said, you, I gotta have that that.

674
00:28:58,160 --> 00:29:00,400
Speaker 1: As soon as I heard it, I was I've never

675
00:29:00,440 --> 00:29:02,719
Speaker 1: heard nothing like that neither. And I played in an

676
00:29:02,720 --> 00:29:04,480
Speaker 1: arena because I knew that this was something that I I

677
00:29:04,520 --> 00:29:07,720
Speaker 1: would get attention, and you did. After the third show,

678
00:29:07,800 --> 00:29:11,960
Speaker 1: J was like yo and blew up for him. It's

679
00:29:11,960 --> 00:29:14,920
Speaker 1: it's because it seems like all of the prominent production

680
00:29:14,960 --> 00:29:17,320
Speaker 1: always happens kind of spontaneous. Was it like that? With

681
00:29:17,440 --> 00:29:19,640
Speaker 1: like heavy deference? And me I made nothing but love. Yeah,

682
00:29:19,640 --> 00:29:22,240
Speaker 1: when we did. That's another thing. I had the same thing,

683
00:29:22,320 --> 00:29:24,800
Speaker 1: same story. I had something different for have rest of

684
00:29:24,840 --> 00:29:26,960
Speaker 1: peace to have and had something different for him. And

685
00:29:27,000 --> 00:29:28,520
Speaker 1: at the last second, so you know what they're saying,

686
00:29:28,560 --> 00:29:30,600
Speaker 1: this don't fit the same for him, and I changed

687
00:29:30,600 --> 00:29:33,040
Speaker 1: it and put the end games the bam bam bam

688
00:29:33,200 --> 00:29:35,960
Speaker 1: bam bamp put it together, through it out there. I

689
00:29:36,000 --> 00:29:38,560
Speaker 1: wrote half of it. I wrote, I wrote the second verse,

690
00:29:38,600 --> 00:29:40,840
Speaker 1: the half of the second half of the second verse,

691
00:29:41,320 --> 00:29:45,000
Speaker 1: and the last verse. I wrote, Wow, yeah, yeah, And

692
00:29:45,280 --> 00:29:47,200
Speaker 1: I was happy to do that, man. And I worked

693
00:29:47,200 --> 00:29:48,920
Speaker 1: with people say that's nothing that I worked with people

694
00:29:48,960 --> 00:29:51,200
Speaker 1: that's not here no more. And that's that's that's a

695
00:29:51,320 --> 00:29:53,479
Speaker 1: that's a notch on my belt for me, not for

696
00:29:53,520 --> 00:29:56,240
Speaker 1: anybody else. For me. The Leah Heavy d like just

697
00:29:56,320 --> 00:29:58,640
Speaker 1: different people that was here that I got a chance

698
00:29:58,680 --> 00:30:01,120
Speaker 1: to get. So was it like when Big shout at

699
00:30:01,160 --> 00:30:03,040
Speaker 1: you out with you know on Juicy? You know what

700
00:30:03,080 --> 00:30:05,400
Speaker 1: was that like? I guess at the time for for you?

701
00:30:05,440 --> 00:30:08,160
Speaker 1: And it was crazy because Big was the biggest dude,

702
00:30:08,280 --> 00:30:10,240
Speaker 1: Like you know what I'm saying, he was about to

703
00:30:10,240 --> 00:30:12,400
Speaker 1: be the biggest guy with a new guy coming in

704
00:30:12,760 --> 00:30:15,680
Speaker 1: and for him to shot me on his first That

705
00:30:15,760 --> 00:30:18,080
Speaker 1: wasn't his first record, but it's his first entrant single,

706
00:30:18,280 --> 00:30:20,120
Speaker 1: the first big single for me to be on. There.

707
00:30:20,200 --> 00:30:22,840
Speaker 1: He immortalized me forever with that. That's always gonna be

708
00:30:22,880 --> 00:30:25,840
Speaker 1: around the same thing with Twick, with Greg Nason Smooth.

709
00:30:25,880 --> 00:30:28,480
Speaker 1: I mean I mentioned on many many records, but there

710
00:30:28,520 --> 00:30:31,320
Speaker 1: was records that what hits that I'm mentioning, that's always

711
00:30:31,360 --> 00:30:33,720
Speaker 1: going to be around, and you know, so I'm always

712
00:30:33,760 --> 00:30:36,160
Speaker 1: gonna love him. Do it kid, I need a title playlist,

713
00:30:36,160 --> 00:30:41,400
Speaker 1: So I always talk about the Players Club, that's scene

714
00:30:41,480 --> 00:30:48,640
Speaker 1: with hit me and quick talk about that and the

715
00:30:48,920 --> 00:30:51,080
Speaker 1: same thing. Like you know, my whole career always been

716
00:30:51,200 --> 00:30:55,320
Speaker 1: um start back from the beginning, a right even let

717
00:30:55,400 --> 00:30:56,720
Speaker 1: me take it on a new journey of that. What

718
00:30:56,760 --> 00:30:58,720
Speaker 1: I mean is when I when I got on the

719
00:30:58,760 --> 00:31:01,000
Speaker 1: startup with mixtapes and sat on street corner. You know

720
00:31:01,000 --> 00:31:03,440
Speaker 1: what I'm saying, girls was driving by laughing like I

721
00:31:03,480 --> 00:31:04,800
Speaker 1: was doing bad. I just have to sit there with

722
00:31:04,840 --> 00:31:06,280
Speaker 1: a bunch of chains on my neck just to make

723
00:31:06,320 --> 00:31:08,320
Speaker 1: them do think I was doing good. But meanwhile I

724
00:31:08,360 --> 00:31:10,400
Speaker 1: was making two thousand hours in an hour while this

725
00:31:10,480 --> 00:31:13,040
Speaker 1: drug dealer was some cracks. I was something twenty out

726
00:31:13,040 --> 00:31:14,440
Speaker 1: of taste or something to get the same thing. They

727
00:31:14,560 --> 00:31:16,560
Speaker 1: got just a little slower. But I'm gonna still be here.

728
00:31:16,600 --> 00:31:18,640
Speaker 1: They're gonna be locked up, dead or whatever it's gonna be,

729
00:31:18,720 --> 00:31:22,640
Speaker 1: but I'm gonna be moving. And that's exactly how I exactly.

730
00:31:22,680 --> 00:31:25,240
Speaker 1: So what I mean is so I always start from

731
00:31:25,240 --> 00:31:27,560
Speaker 1: the ground up, even after getting the name. So the

732
00:31:27,600 --> 00:31:31,160
Speaker 1: mixtapes started there, then Deaf Comedy Jam, Unknown put comedians,

733
00:31:31,280 --> 00:31:34,160
Speaker 1: We did that ground up, blew up. Then I got

734
00:31:34,240 --> 00:31:38,080
Speaker 1: on Master of the Mix Unknown DJs started that show

735
00:31:38,520 --> 00:31:41,440
Speaker 1: that did good. Uh, same thing with the with the

736
00:31:41,480 --> 00:31:44,640
Speaker 1: with the album I'm doing all badder rappers, No mainstream

737
00:31:44,720 --> 00:31:47,719
Speaker 1: artists always take it back to the beginning, the Pteroscope

738
00:31:47,720 --> 00:31:49,760
Speaker 1: and the I Live and the Facebook show I'm doing.

739
00:31:50,320 --> 00:31:52,640
Speaker 1: I had thirty people on there when I started, and

740
00:31:52,680 --> 00:31:55,040
Speaker 1: I'm gonna I have a name, but I know that

741
00:31:55,080 --> 00:31:57,520
Speaker 1: people had to get used to it. So started from

742
00:31:57,520 --> 00:32:00,320
Speaker 1: the ground up making something, and that's what happened. Started

743
00:32:00,360 --> 00:32:02,120
Speaker 1: from the bottom all the way at the top. So

744
00:32:02,160 --> 00:32:03,960
Speaker 1: that's what it is. No matter what their name is.

745
00:32:04,000 --> 00:32:06,160
Speaker 1: I always went back to the beginning to do whatever

746
00:32:06,480 --> 00:32:08,880
Speaker 1: has to be done from the beginning and build that up,

747
00:32:08,960 --> 00:32:11,600
Speaker 1: and that's what keep you relevant, not keep going on

748
00:32:11,640 --> 00:32:13,320
Speaker 1: the same thing, the same thing. After while I was

749
00:32:13,360 --> 00:32:15,800
Speaker 1: gonna play, you got to start doing something new and

750
00:32:15,880 --> 00:32:19,240
Speaker 1: gets and and create opportunities for others to get on.

751
00:32:19,400 --> 00:32:21,800
Speaker 1: That's when you win. That's when you win. That's when

752
00:32:21,840 --> 00:32:25,560
Speaker 1: God takes care of you. When you create opportunities for

753
00:32:25,600 --> 00:32:28,760
Speaker 1: others to get on without even wanting anything back, without

754
00:32:28,840 --> 00:32:30,640
Speaker 1: giving to get You know what I'm saying that, that's

755
00:32:30,680 --> 00:32:32,600
Speaker 1: what has always been with me, even death, Like I

756
00:32:32,600 --> 00:32:35,760
Speaker 1: always wonder what just like yourself like the transition from

757
00:32:35,800 --> 00:32:39,040
Speaker 1: literally carrying records and vinyl to this MP three game

758
00:32:39,120 --> 00:32:43,160
Speaker 1: and jazz jazzy. Jeff was the one that said, your kid,

759
00:32:43,160 --> 00:32:45,080
Speaker 1: you need to on Survival. I was totally against it

760
00:32:45,120 --> 00:32:48,480
Speaker 1: because I like the way my shows look. I carry

761
00:32:48,520 --> 00:32:53,600
Speaker 1: fifteen creates and records. I'm the first doing I'm records.

762
00:32:54,120 --> 00:32:56,880
Speaker 1: I'm the first do the workout in hip hop to

763
00:32:57,040 --> 00:32:59,520
Speaker 1: own a tour bus two of them. You know what

764
00:32:59,520 --> 00:33:02,200
Speaker 1: I'm saying. Nobody owned a tour bus before me and

765
00:33:02,280 --> 00:33:05,040
Speaker 1: hip hop. You know what I'm saying, Kid, you pulled

766
00:33:05,040 --> 00:33:08,000
Speaker 1: it up. Yeah, I'm gonna show you the picture of

767
00:33:09,040 --> 00:33:11,200
Speaker 1: in the camera where you pointed that path put the game.

768
00:33:12,200 --> 00:33:17,120
Speaker 1: Let's show you this real quick. But had you're paying

769
00:33:17,160 --> 00:33:19,600
Speaker 1: for that all around, all around the country, everywhere you're

770
00:33:19,600 --> 00:33:22,320
Speaker 1: going doing six seven shows a week. I boxed that up.

771
00:33:22,600 --> 00:33:24,720
Speaker 1: My arms are tired just thinking about it. Yeah, so

772
00:33:25,480 --> 00:33:28,800
Speaker 1: when Jeff said, when Jeff said up, so Jeff was early.

773
00:33:28,800 --> 00:33:29,840
Speaker 1: He was one of the other ones. A lot of

774
00:33:29,840 --> 00:33:32,000
Speaker 1: people credit Jeff is one of the first ones to

775
00:33:32,040 --> 00:33:38,240
Speaker 1: embrace the switch. Said he invented serato. He said in

776
00:33:38,360 --> 00:33:40,000
Speaker 1: the interview one time, like a couple of years ago.

777
00:33:40,040 --> 00:33:42,760
Speaker 1: I just died. He did, said, I invented it. Insted

778
00:33:42,840 --> 00:33:49,520
Speaker 1: what serato like? What he invented it? Up? I heard

779
00:33:49,720 --> 00:33:51,720
Speaker 1: Premier was one of the last ones to embrace it.

780
00:33:51,760 --> 00:33:53,840
Speaker 1: I think too, Permier is one of the last ones.

781
00:33:53,920 --> 00:34:02,240
Speaker 1: Then praise embrace anything list Man Formiae. That's every show,

782
00:34:02,960 --> 00:34:10,400
Speaker 1: that's every show. Whoa that the cameras straight? Yeah, every

783
00:34:10,440 --> 00:34:15,960
Speaker 1: show Premiere. Premiere made beats with an MPC sixty in

784
00:34:16,040 --> 00:34:21,719
Speaker 1: a box it. When I came here and showed him

785
00:34:21,719 --> 00:34:24,879
Speaker 1: the new machine, he was still on what he does.

786
00:34:25,920 --> 00:34:28,080
Speaker 1: But see, that's what it means. That's what I'm saying.

787
00:34:28,080 --> 00:34:30,200
Speaker 1: Sometimes if they broke, don't fix it. If that's what

788
00:34:30,280 --> 00:34:32,960
Speaker 1: you used to. But sometimes you gotta change. With the change.

789
00:34:32,960 --> 00:34:34,919
Speaker 1: You gotta change because because you have a broader way

790
00:34:34,920 --> 00:34:37,040
Speaker 1: of thinking, there's so much more things you can incorporate

791
00:34:37,080 --> 00:34:38,799
Speaker 1: in what you're doing. When you when you show what

792
00:34:38,840 --> 00:34:41,120
Speaker 1: was that transition life for you? From crates to it

793
00:34:41,160 --> 00:34:43,040
Speaker 1: wasn't It wasn't bad. What happened was we were doing

794
00:34:43,080 --> 00:34:45,040
Speaker 1: Death Comedy Jam. We had came back for Death Comedy

795
00:34:45,120 --> 00:34:47,960
Speaker 1: Jam and had Mike Epps. I'm hosting it. So when

796
00:34:48,080 --> 00:34:50,080
Speaker 1: um I got to surround at what they when when

797
00:34:50,080 --> 00:34:52,080
Speaker 1: we did the Death Comedy they got tired of paying

798
00:34:52,160 --> 00:34:54,000
Speaker 1: for the claimants of the Deaf Jam record, so they

799
00:34:54,080 --> 00:34:56,520
Speaker 1: asked me to make beats and play my beats on

800
00:34:56,560 --> 00:34:58,920
Speaker 1: the show. So for them three years when we did

801
00:34:59,200 --> 00:35:01,319
Speaker 1: Mike Epps. In the next two years we did del

802
00:35:01,440 --> 00:35:03,520
Speaker 1: Hughley as the host. They were all my beats on

803
00:35:03,560 --> 00:35:05,719
Speaker 1: the show. So I would put my beats in the

804
00:35:05,719 --> 00:35:09,080
Speaker 1: serato and playing from the sorato. So I got a

805
00:35:09,080 --> 00:35:11,040
Speaker 1: little opener. I threw the brick beats, and then and

806
00:35:11,040 --> 00:35:12,600
Speaker 1: I threw the reggae records, and then I threw the

807
00:35:12,600 --> 00:35:14,440
Speaker 1: old school records, and the next you know, I had everything,

808
00:35:14,440 --> 00:35:16,440
Speaker 1: and then and we went from there, and it's much

809
00:35:16,480 --> 00:35:18,440
Speaker 1: easier to get around and do that. I see, I

810
00:35:18,480 --> 00:35:21,120
Speaker 1: could do three shows in the night instead of one show.

811
00:35:21,520 --> 00:35:23,799
Speaker 1: You know what I'm saying. I get to places easy.

812
00:35:23,840 --> 00:35:25,919
Speaker 1: I gotta spend this much. You get your collection together,

813
00:35:25,920 --> 00:35:27,640
Speaker 1: because I'm sure you have a lot tons of I

814
00:35:27,719 --> 00:35:29,520
Speaker 1: had a lot of stuff. I sat there and recorded.

815
00:35:30,360 --> 00:35:32,560
Speaker 1: I sat there and recorded a lot of things, and then, um,

816
00:35:32,600 --> 00:35:33,920
Speaker 1: there was a lot of stuff out off the neck

817
00:35:33,960 --> 00:35:35,440
Speaker 1: that I had. I ain't have to really sit down

818
00:35:35,440 --> 00:35:37,960
Speaker 1: and record. I just put it in. So now I

819
00:35:38,040 --> 00:35:40,640
Speaker 1: have a hundred and fifty thousand joints in there. It's

820
00:35:40,640 --> 00:35:44,080
Speaker 1: like it's crazy, you know what I'm saying. But you

821
00:35:44,160 --> 00:35:46,440
Speaker 1: got to stay on top everything, even to take it back,

822
00:35:46,480 --> 00:35:48,160
Speaker 1: even that we're down in the towns to down to

823
00:35:48,160 --> 00:35:50,839
Speaker 1: the trap music. I know everything. You know what I'm saying,

824
00:35:50,840 --> 00:35:53,560
Speaker 1: And that's what I'm saying. It doesn't really matter what's

825
00:35:53,560 --> 00:35:55,239
Speaker 1: your ages. If you would love with music, if you

826
00:35:55,239 --> 00:35:56,680
Speaker 1: were performing, this is what you have to know. What's

827
00:35:56,719 --> 00:35:58,759
Speaker 1: some new songs out there, like from that world that

828
00:35:58,880 --> 00:36:00,759
Speaker 1: you rock with you that you try to If you're

829
00:36:00,800 --> 00:36:02,120
Speaker 1: doing a party, we expect to see you in the

830
00:36:02,160 --> 00:36:04,000
Speaker 1: city next week, you may throw that in the mix.

831
00:36:05,040 --> 00:36:09,600
Speaker 1: A whole lot of them. Everything, everything, everything. The way

832
00:36:09,640 --> 00:36:12,080
Speaker 1: I do it, the first thing is I look in

833
00:36:12,120 --> 00:36:14,920
Speaker 1: the crowd when I'm backstage. I'm looking to see who's there.

834
00:36:15,000 --> 00:36:16,560
Speaker 1: It's an older crowd, and I know where I gotta

835
00:36:16,560 --> 00:36:17,920
Speaker 1: start it. As a younger crowd, I know where I

836
00:36:17,920 --> 00:36:20,000
Speaker 1: gotta start, not take it from there. If I start older,

837
00:36:21,000 --> 00:36:23,000
Speaker 1: then that's going. If it's an older crowd, if it's

838
00:36:23,040 --> 00:36:26,040
Speaker 1: a thirty and up or something like that. And and

839
00:36:26,080 --> 00:36:28,600
Speaker 1: I start with that, that frenzy of what they want

840
00:36:28,640 --> 00:36:31,680
Speaker 1: to hear. By the time the night come, they drunk,

841
00:36:31,880 --> 00:36:34,600
Speaker 1: they party, They ready the party. Party. So when I

842
00:36:34,600 --> 00:36:37,520
Speaker 1: play that trap music, it becomes a different color, you

843
00:36:37,560 --> 00:36:38,960
Speaker 1: know what I'm saying. But if I do a younger

844
00:36:39,000 --> 00:36:42,520
Speaker 1: party and I started the trap music a lot of times,

845
00:36:43,040 --> 00:36:44,480
Speaker 1: I'm gonna be real with you, A lot of times

846
00:36:44,520 --> 00:36:47,640
Speaker 1: I play it there, man be And if you continue

847
00:36:47,680 --> 00:36:49,160
Speaker 1: to play it back and back to back and back,

848
00:36:49,200 --> 00:36:52,040
Speaker 1: sometimes it brings the crowd down. You know what I'm saying.

849
00:36:52,200 --> 00:36:55,000
Speaker 1: They want you to switch it up a little bit

850
00:36:55,520 --> 00:36:57,200
Speaker 1: and then bring it back, you know what I'm saying.

851
00:36:57,840 --> 00:36:59,520
Speaker 1: Then there's other parties where they just don't want to

852
00:36:59,560 --> 00:37:01,680
Speaker 1: hear nothing but trap. You know what I'm saying. If

853
00:37:01,680 --> 00:37:04,200
Speaker 1: you're gonna do the younger seventeen eight nine, they don't

854
00:37:04,200 --> 00:37:07,239
Speaker 1: want to hear nothing but trapp, dip setting, biggis old

855
00:37:07,440 --> 00:37:09,760
Speaker 1: is old school, did them, you know what I'm saying.

856
00:37:09,840 --> 00:37:11,200
Speaker 1: So at the end of the day, that's what you

857
00:37:11,239 --> 00:37:13,640
Speaker 1: got to know these things. And and another thing is,

858
00:37:13,760 --> 00:37:16,600
Speaker 1: you know, I go around any did every state, every country.

859
00:37:17,160 --> 00:37:19,120
Speaker 1: I'm did a lot of places. So you gotta know

860
00:37:20,040 --> 00:37:22,719
Speaker 1: what's going on in that state that's underground, that that's

861
00:37:22,760 --> 00:37:24,840
Speaker 1: not on the radio, that they don't know, that's a

862
00:37:24,840 --> 00:37:27,719
Speaker 1: big record or a big situation. You have to know that.

863
00:37:27,760 --> 00:37:29,600
Speaker 1: So when I go in these cities, what I do

864
00:37:29,719 --> 00:37:31,640
Speaker 1: is I get it the main DJ that's in that city,

865
00:37:31,680 --> 00:37:34,160
Speaker 1: because again I also look at it as there's big

866
00:37:34,239 --> 00:37:36,279
Speaker 1: DJs in that city. Why did they come and get

867
00:37:36,360 --> 00:37:39,160
Speaker 1: kicked free to come to that city because I made

868
00:37:39,160 --> 00:37:42,080
Speaker 1: my lane. But me knowing that I still respected people

869
00:37:42,080 --> 00:37:44,279
Speaker 1: in that city. And I'll get the big DJ there

870
00:37:44,320 --> 00:37:46,680
Speaker 1: and ask them what's going on, invite him out, put

871
00:37:46,760 --> 00:37:48,799
Speaker 1: him on stage, blow them up, you know what I'm saying,

872
00:37:48,840 --> 00:37:50,480
Speaker 1: Make him feel like Damn. He didn't come to my

873
00:37:50,600 --> 00:37:52,759
Speaker 1: city and just shut me down here. He invited me

874
00:37:52,800 --> 00:37:55,360
Speaker 1: and involved. You know what I'm saying, and that means something.

875
00:37:55,680 --> 00:37:59,239
Speaker 1: That means something. It just shows that you're humble and

876
00:37:59,320 --> 00:38:00,799
Speaker 1: what you've got, you know what I'm saying. And you

877
00:38:00,840 --> 00:38:03,719
Speaker 1: want and you want to create opportunities for others. Why not,

878
00:38:04,239 --> 00:38:06,840
Speaker 1: you know what I'm saying. The ones that really deserved it,

879
00:38:06,880 --> 00:38:08,759
Speaker 1: really work, you know what I'm saying, not the ones

880
00:38:08,800 --> 00:38:10,080
Speaker 1: that just went the hand out. That's what I do

881
00:38:10,160 --> 00:38:11,439
Speaker 1: is I look at what we do when they see

882
00:38:11,440 --> 00:38:13,799
Speaker 1: this cute and that's what they're trying. Who do you

883
00:38:13,840 --> 00:38:15,360
Speaker 1: like out there? Like? Who you Who do you respect

884
00:38:15,360 --> 00:38:18,319
Speaker 1: out there? DJs? Th those type of relationships you have

885
00:38:18,400 --> 00:38:19,719
Speaker 1: with people that you wish your love. If you go

886
00:38:19,719 --> 00:38:23,879
Speaker 1: into that city, um well pretty much anybody. You don't

887
00:38:23,880 --> 00:38:25,480
Speaker 1: even have to have a name. You really don't have

888
00:38:25,520 --> 00:38:28,120
Speaker 1: to be you know, have no big accolades. You just

889
00:38:28,160 --> 00:38:29,600
Speaker 1: have to show me that you work. This is what

890
00:38:29,640 --> 00:38:32,000
Speaker 1: you do. Obviously you the man in that city. You

891
00:38:32,080 --> 00:38:34,239
Speaker 1: put in a lot of work. Sometimes people look at

892
00:38:34,360 --> 00:38:36,799
Speaker 1: you and they won't think about what you did. Say

893
00:38:37,040 --> 00:38:39,600
Speaker 1: save it instace, I did the Kildrick Lamarb. A person

894
00:38:39,680 --> 00:38:41,839
Speaker 1: may say why he's on the album, Well, you didn't

895
00:38:41,840 --> 00:38:43,879
Speaker 1: think about what I did to get there? How did

896
00:38:43,880 --> 00:38:46,200
Speaker 1: he get there? You did all these different things, but

897
00:38:46,280 --> 00:38:48,440
Speaker 1: your short minding, you ain't thinking that way. So the

898
00:38:48,480 --> 00:38:50,960
Speaker 1: same thing DJs that they might have done a lot

899
00:38:51,040 --> 00:38:53,960
Speaker 1: of things that you don't know about, but they got

900
00:38:53,960 --> 00:38:55,839
Speaker 1: there for a reason, know what I'm saying. So that's

901
00:38:55,840 --> 00:38:57,879
Speaker 1: how I handle them out. I'll take them. And even

902
00:38:57,880 --> 00:38:59,360
Speaker 1: with new DJs, there's a lot of times when I

903
00:38:59,360 --> 00:39:01,560
Speaker 1: got shows that can't I'm gonna have a double booking.

904
00:39:02,040 --> 00:39:04,759
Speaker 1: I'll call a known name DJ and give it to him.

905
00:39:05,080 --> 00:39:07,160
Speaker 1: There's many times where I might have set something to

906
00:39:07,200 --> 00:39:11,200
Speaker 1: flex or send something to Camillo or whoever whoever it is,

907
00:39:11,200 --> 00:39:12,719
Speaker 1: that you know what I'm saying and return the same

908
00:39:12,719 --> 00:39:15,160
Speaker 1: thing right versa. So it's you know, it's all something

909
00:39:15,160 --> 00:39:17,120
Speaker 1: I always wanted to know. For a prominent DJ like you,

910
00:39:17,160 --> 00:39:20,279
Speaker 1: who's always on the road, how do you avoid set redundancy? Like?

911
00:39:21,080 --> 00:39:23,120
Speaker 1: How do you? How does that work? For years, I

912
00:39:23,239 --> 00:39:27,720
Speaker 1: took uh opening DJ around the world with me. All Right,

913
00:39:27,920 --> 00:39:31,040
Speaker 1: I still do not as much, but I still do

914
00:39:32,080 --> 00:39:34,000
Speaker 1: and pay for them to be whatever, and they had

915
00:39:34,040 --> 00:39:36,879
Speaker 1: to do whatever, because my whole thing is I don't

916
00:39:36,920 --> 00:39:40,319
Speaker 1: like playing one record twice in my parties. That's why

917
00:39:40,320 --> 00:39:42,560
Speaker 1: a lot of parties be garbage because it be four

918
00:39:42,680 --> 00:39:45,320
Speaker 1: or five DJs or one party playing the same record

919
00:39:45,440 --> 00:39:49,600
Speaker 1: or not, and your party is standing around. The way

920
00:39:49,640 --> 00:39:51,520
Speaker 1: I do my shows is I don't depend on the

921
00:39:51,560 --> 00:39:54,760
Speaker 1: new record to make me hot. Anybody could play those records.

922
00:39:54,760 --> 00:39:58,360
Speaker 1: You're not exempt. It's about me and how It's about

923
00:39:58,400 --> 00:40:02,800
Speaker 1: what you do to make these people recognize you those records.

924
00:40:02,800 --> 00:40:04,400
Speaker 1: Like I said, anybody that could play what are you

925
00:40:04,440 --> 00:40:06,680
Speaker 1: gonna do that's gonna stand out and make this promoter

926
00:40:07,000 --> 00:40:09,560
Speaker 1: bring you back five, six more times? Or what's gonna

927
00:40:09,560 --> 00:40:11,239
Speaker 1: make these people want to pay money for them to

928
00:40:11,280 --> 00:40:13,839
Speaker 1: come in? When you put another DJ on before you,

929
00:40:14,040 --> 00:40:16,080
Speaker 1: if he's not a great DJ, he can't rock a

930
00:40:16,160 --> 00:40:18,040
Speaker 1: crowd with B and C records. He has to depend

931
00:40:18,160 --> 00:40:20,400
Speaker 1: on the records that's hot for him to be somebody.

932
00:40:20,760 --> 00:40:22,200
Speaker 1: And a lot of times I might have went out

933
00:40:22,200 --> 00:40:24,560
Speaker 1: of town and gave them a chance. So I need

934
00:40:24,560 --> 00:40:26,080
Speaker 1: you to do this. Tell them exactly what I need

935
00:40:26,160 --> 00:40:29,120
Speaker 1: him to do, and they yes me all day and

936
00:40:29,120 --> 00:40:31,480
Speaker 1: then I get there. When I get there, he's doing exactly.

937
00:40:33,719 --> 00:40:36,239
Speaker 1: So now you killed yourself. You can't hope it for

938
00:40:36,239 --> 00:40:38,200
Speaker 1: me no more. You can't because you can't do. But

939
00:40:38,239 --> 00:40:40,880
Speaker 1: now I'll get this other dude and tell him what

940
00:40:40,960 --> 00:40:42,480
Speaker 1: to do, and he does exactly what I want to

941
00:40:42,480 --> 00:40:45,239
Speaker 1: do and rocks the spot. That's the do that need

942
00:40:45,280 --> 00:40:47,120
Speaker 1: to be with me? You know what I'm saying, And

943
00:40:46,920 --> 00:40:48,919
Speaker 1: and and that's how that's how I'm moving. The guys

944
00:40:48,960 --> 00:40:51,560
Speaker 1: that I put in with me, from Kid New the Technician,

945
00:40:51,560 --> 00:40:54,799
Speaker 1: to DJ to Rico Anderson, they watched what I've done

946
00:40:55,200 --> 00:40:58,359
Speaker 1: many many times. So with them watching and with them

947
00:40:58,360 --> 00:41:03,680
Speaker 1: seeing how everything, they developed their own way of having

948
00:41:03,719 --> 00:41:06,640
Speaker 1: that type of aggression with them. You know what I'm saying,

949
00:41:06,640 --> 00:41:08,319
Speaker 1: because they see how I do it. They see that

950
00:41:09,160 --> 00:41:11,239
Speaker 1: with me, and you were here sitting there kicking and

951
00:41:11,239 --> 00:41:13,400
Speaker 1: we're talking. I get on that stage, I'm a totally

952
00:41:13,440 --> 00:41:15,200
Speaker 1: different person. It's like I just lose it, you know

953
00:41:15,239 --> 00:41:17,160
Speaker 1: what I'm saying. Then I get off it and I'm

954
00:41:17,360 --> 00:41:21,200
Speaker 1: back to the humble guy. Damn bit of the world.

955
00:41:21,800 --> 00:41:23,800
Speaker 1: But then I get off it's like, damn, what happened.

956
00:41:23,960 --> 00:41:25,840
Speaker 1: It becomes that it's like a different person. You have

957
00:41:25,920 --> 00:41:28,799
Speaker 1: to get into that zone. The crowd makes me do

958
00:41:28,840 --> 00:41:31,000
Speaker 1: that automatically. When I walk to the stage, it's an

959
00:41:31,040 --> 00:41:33,839
Speaker 1: automatic thing. It's like, all right, chill them, that's it.

960
00:41:33,920 --> 00:41:36,640
Speaker 1: That's it doesn't matter who's on the show. It doesn't matter.

961
00:41:37,040 --> 00:41:39,920
Speaker 1: If it doesn't matter, all that matters to me is

962
00:41:40,640 --> 00:41:43,600
Speaker 1: be the best thing they ever seen. That's that's what

963
00:41:43,760 --> 00:41:47,000
Speaker 1: my focus is. And after that, it's like it never happened.

964
00:41:47,239 --> 00:41:50,280
Speaker 1: I could be sick in pain, I'll get on stage,

965
00:41:50,360 --> 00:41:53,400
Speaker 1: won't feel no pain, won't feel sick, get on stage,

966
00:41:53,440 --> 00:41:55,200
Speaker 1: feel worse than I did before I got on it

967
00:41:55,280 --> 00:41:59,160
Speaker 1: because it's an adrenaline rush. It's like a medicine. It's

968
00:41:59,239 --> 00:42:02,879
Speaker 1: crazy how it feels, especially when you have all these

969
00:42:02,920 --> 00:42:05,440
Speaker 1: people here to see you, these people who could be

970
00:42:05,520 --> 00:42:08,120
Speaker 1: doing anything they want. They ain't gotta come to you,

971
00:42:08,640 --> 00:42:10,920
Speaker 1: they ain't gotta think about you. And for you to

972
00:42:11,040 --> 00:42:13,359
Speaker 1: be on that stage seeing that these people are there

973
00:42:13,400 --> 00:42:17,440
Speaker 1: for you, that's you. Gotta prove yourself. You gotta you

974
00:42:17,480 --> 00:42:22,440
Speaker 1: feel like if I don't do good, I'm shortened myself.

975
00:42:22,440 --> 00:42:24,600
Speaker 1: I gotta be great. I think this is still like

976
00:42:24,640 --> 00:42:26,799
Speaker 1: the art of that, the passion of that does no

977
00:42:26,800 --> 00:42:29,760
Speaker 1: matter how much how saturated things have gotten. And obviously

978
00:42:30,040 --> 00:42:32,400
Speaker 1: there's a lot of push button DJs and fake DJs

979
00:42:32,400 --> 00:42:35,319
Speaker 1: and celebrity DJs that there's still that art, there's still

980
00:42:35,320 --> 00:42:38,520
Speaker 1: that essence that that isn't should be inspiring to the

981
00:42:38,560 --> 00:42:40,520
Speaker 1: next generation to want to achieve that, to really what

982
00:42:40,560 --> 00:42:42,800
Speaker 1: it really means to be a DJ. That's why Kendrick

983
00:42:42,880 --> 00:42:45,279
Speaker 1: came and got the kid to pree, because I am

984
00:42:45,320 --> 00:42:49,960
Speaker 1: the embodiment of success as a DJ, the embodiment I

985
00:42:50,320 --> 00:42:52,720
Speaker 1: did it. Oh, I've been on number one television shows.

986
00:42:52,719 --> 00:42:55,080
Speaker 1: I've been around the world, still go around the world,

987
00:42:55,160 --> 00:42:57,839
Speaker 1: every state, everything, get it all. So you can't do

988
00:42:57,920 --> 00:43:00,160
Speaker 1: nothing but respect that. You can't look at it as

989
00:43:00,280 --> 00:43:02,239
Speaker 1: something that's a second nature. You have to look at

990
00:43:02,280 --> 00:43:05,799
Speaker 1: it as something that was able to provide opportunities for

991
00:43:05,840 --> 00:43:08,960
Speaker 1: other people to create stuff for their family. I do

992
00:43:09,160 --> 00:43:11,920
Speaker 1: walk up to me in the mall, you said, your kid.

993
00:43:11,960 --> 00:43:14,080
Speaker 1: You the reason why I'm not robbing somebody right now.

994
00:43:14,719 --> 00:43:16,680
Speaker 1: You're the reason why I'm not going on somebody's window.

995
00:43:16,760 --> 00:43:19,040
Speaker 1: I follow what you did and created my path and

996
00:43:19,040 --> 00:43:20,600
Speaker 1: now I'm taking care of my family and I ain't

997
00:43:20,600 --> 00:43:23,120
Speaker 1: gonna be locked up. You know what I'm saying. That's

998
00:43:23,160 --> 00:43:25,520
Speaker 1: more than money. When you know that you're influencing people

999
00:43:25,600 --> 00:43:27,719
Speaker 1: like that, so it means something, you know, I'm saying,

1000
00:43:27,719 --> 00:43:29,800
Speaker 1: how do you how do you not chefish that or

1001
00:43:30,040 --> 00:43:34,960
Speaker 1: how do you abuse that? As a guy that answer

1002
00:43:35,000 --> 00:43:36,920
Speaker 1: your question? Ask your question? Yeah, well yeah, just but

1003
00:43:37,000 --> 00:43:39,640
Speaker 1: also to the new generation, like they did, they see

1004
00:43:39,680 --> 00:43:41,879
Speaker 1: that they can be kid caprean. What does that really

1005
00:43:41,880 --> 00:43:44,719
Speaker 1: mean in this era? Absolutely? There's a kid named Prince

1006
00:43:45,200 --> 00:43:51,600
Speaker 1: Zamunda DJ. That little kid. The reason why y'all know

1007
00:43:51,760 --> 00:43:54,120
Speaker 1: him right now that you know who he is because

1008
00:43:54,840 --> 00:43:58,880
Speaker 1: five years ago I was doing Indiana right and I

1009
00:43:58,920 --> 00:44:02,080
Speaker 1: was walking through the Explorer Indiana, and he was with

1010
00:44:02,200 --> 00:44:05,880
Speaker 1: his father and he had a little DJ controller and

1011
00:44:05,880 --> 00:44:07,800
Speaker 1: he was trying to get the music on and it

1012
00:44:07,880 --> 00:44:10,800
Speaker 1: didn't work. I was walking past and I've seen him struggling,

1013
00:44:10,920 --> 00:44:12,400
Speaker 1: and I stopped him, went over there to him and

1014
00:44:12,440 --> 00:44:14,680
Speaker 1: his father, and I helped him get the stuff on.

1015
00:44:16,080 --> 00:44:18,240
Speaker 1: He was His father knew it who I was, of course,

1016
00:44:18,600 --> 00:44:20,640
Speaker 1: but he was telling his son, do you know who's

1017
00:44:20,640 --> 00:44:24,160
Speaker 1: helping you right now? Like he didn't understand, And then

1018
00:44:24,200 --> 00:44:27,560
Speaker 1: he went and googled everything I did ever since that

1019
00:44:27,640 --> 00:44:30,120
Speaker 1: day to this to today. I just got through liking

1020
00:44:30,120 --> 00:44:33,239
Speaker 1: all his pictures ever since that day to today. He

1021
00:44:33,320 --> 00:44:36,400
Speaker 1: stayed in touch with me, and I was showing them

1022
00:44:36,440 --> 00:44:38,839
Speaker 1: things in inviting my shows and when I do Cincinnati

1023
00:44:38,880 --> 00:44:41,319
Speaker 1: in order bring them out and stuff like that. So

1024
00:44:41,400 --> 00:44:46,120
Speaker 1: now he got on UM Empire. He beat around different

1025
00:44:46,320 --> 00:44:49,160
Speaker 1: celebrities and different people and they're showing him a lot

1026
00:44:49,200 --> 00:44:51,120
Speaker 1: of love and he always calls me uncle and stuff

1027
00:44:51,200 --> 00:44:53,200
Speaker 1: like that. But that was the first introduction to him

1028
00:44:53,200 --> 00:44:55,680
Speaker 1: and being in the industry, from being in an expot

1029
00:44:55,719 --> 00:44:58,680
Speaker 1: for me walking over them helping him with his equipment. Yeah,

1030
00:44:58,800 --> 00:45:00,800
Speaker 1: so I started, so, how do you what's your thoughts are? Like?

1031
00:45:00,840 --> 00:45:02,759
Speaker 1: These e d M DJs have taken the art of

1032
00:45:02,880 --> 00:45:04,759
Speaker 1: DJs to like a whole another levels. Go through these

1033
00:45:04,800 --> 00:45:07,759
Speaker 1: Klan howevers so dead Mouse or you know whoever it

1034
00:45:07,840 --> 00:45:09,920
Speaker 1: maybe like, what are your thoughts on the shout to

1035
00:45:10,000 --> 00:45:12,680
Speaker 1: Calvin having shout the dead Mouse shout to all the

1036
00:45:12,760 --> 00:45:14,680
Speaker 1: DJs out there is doing the a d M thing.

1037
00:45:15,280 --> 00:45:25,920
Speaker 1: Um For me, I say this, those DJs, they show time,

1038
00:45:26,000 --> 00:45:28,800
Speaker 1: they do what they do. But in my own personal opinion,

1039
00:45:28,840 --> 00:45:31,440
Speaker 1: and I hope nobody takes this in the wrong way,

1040
00:45:32,080 --> 00:45:36,520
Speaker 1: I feel like anybody could play those records. It's not

1041
00:45:36,719 --> 00:45:39,919
Speaker 1: very very hard to play e d M music. Turn

1042
00:45:40,000 --> 00:45:43,200
Speaker 1: the knob here, throw a light on, throw some bubbles,

1043
00:45:43,680 --> 00:45:49,040
Speaker 1: you know, bubbles. It's not it's not it's you jump

1044
00:45:49,160 --> 00:45:55,000
Speaker 1: up with dead Clare. It's not. It's not technical. You

1045
00:45:55,080 --> 00:45:58,560
Speaker 1: know what I'm saying. It's not I'm gonna Mike switching records,

1046
00:45:58,560 --> 00:46:01,160
Speaker 1: switching this talking to the crowd. It's not that, you

1047
00:46:01,160 --> 00:46:04,000
Speaker 1: know what I'm saying, But it is one of the

1048
00:46:04,040 --> 00:46:06,440
Speaker 1: biggest music. People come and gonna come and watch that,

1049
00:46:06,520 --> 00:46:08,759
Speaker 1: no matter who it is dj' you know what I'm saying,

1050
00:46:08,760 --> 00:46:10,719
Speaker 1: As long as there's that music, big, big crowd is

1051
00:46:10,760 --> 00:46:12,600
Speaker 1: gonna come. You don't have to have a name. You

1052
00:46:12,640 --> 00:46:16,319
Speaker 1: see what I'm saying. These dudes um perfected what they did.

1053
00:46:16,360 --> 00:46:18,239
Speaker 1: You gotta remember, these guys got big because they made

1054
00:46:18,280 --> 00:46:20,520
Speaker 1: their own records and they play their own records. You

1055
00:46:20,560 --> 00:46:22,960
Speaker 1: have to understand that any like they're big because they

1056
00:46:23,000 --> 00:46:26,480
Speaker 1: plays they made their own stuff, so they right so

1057
00:46:26,520 --> 00:46:28,759
Speaker 1: that they get killing two birds with one stone. So

1058
00:46:28,960 --> 00:46:31,359
Speaker 1: it's big. But the crowds that come and see them

1059
00:46:31,360 --> 00:46:33,600
Speaker 1: as massive and the money that they get paid as ridiculous,

1060
00:46:33,880 --> 00:46:36,000
Speaker 1: you know, and the white hip hoply just get to

1061
00:46:36,000 --> 00:46:41,160
Speaker 1: the level because it's not hip hop is the only

1062
00:46:41,200 --> 00:46:45,120
Speaker 1: generation where you don't have loyalty. You don't have loyalty,

1063
00:46:45,360 --> 00:46:48,759
Speaker 1: you become old school, you become you become if you

1064
00:46:48,800 --> 00:46:51,040
Speaker 1: ain't look in a certain way off, you don't make

1065
00:46:51,080 --> 00:46:52,839
Speaker 1: this certain type of record, if you ain't have if

1066
00:46:52,840 --> 00:46:55,160
Speaker 1: you don't have a diamond chain on your neck, or

1067
00:46:55,360 --> 00:46:57,879
Speaker 1: it's too many stipulations to be in hip hop where

1068
00:46:58,080 --> 00:47:00,640
Speaker 1: the white rock artists, they're gonna support the artists no

1069
00:47:00,719 --> 00:47:02,440
Speaker 1: matter if the album is gonna not. They just love

1070
00:47:02,520 --> 00:47:05,120
Speaker 1: the artists period. They're gonna the rock artists is gonna

1071
00:47:05,160 --> 00:47:08,319
Speaker 1: get on stage with his T shirt and faded jeans

1072
00:47:08,320 --> 00:47:10,719
Speaker 1: and his old sneakers and sell out an arena where

1073
00:47:10,719 --> 00:47:13,920
Speaker 1: we gotta worry about diamonds and you know and all that.

1074
00:47:14,000 --> 00:47:16,319
Speaker 1: And if you know, it's just a different thing. That's

1075
00:47:16,360 --> 00:47:20,320
Speaker 1: the only Genna, the only JOHNA that it's not loyal.

1076
00:47:20,400 --> 00:47:23,560
Speaker 1: They you have to really maneuver in a way to

1077
00:47:23,680 --> 00:47:28,960
Speaker 1: keep them. You gotta keeping stuff like that, right. But

1078
00:47:29,800 --> 00:47:31,839
Speaker 1: John's is not like that. They love you for who

1079
00:47:31,920 --> 00:47:34,359
Speaker 1: you are, near your fans forever. That's how they can

1080
00:47:34,440 --> 00:47:36,759
Speaker 1: that's how they carry you. They lift terms of you,

1081
00:47:36,880 --> 00:47:38,560
Speaker 1: be inslected with you. Do you ever kind of give

1082
00:47:38,680 --> 00:47:40,200
Speaker 1: up to that that you'll get it. They'll try to

1083
00:47:40,239 --> 00:47:42,480
Speaker 1: offer you something in Vegas, thinking you'll fit that kind

1084
00:47:42,520 --> 00:47:47,360
Speaker 1: of d M aesthetic. And I do all that, do anything.

1085
00:47:47,480 --> 00:47:50,880
Speaker 1: Like when I did Chimp Kardashians, I mean Chloe Kardashian's wedding,

1086
00:47:51,320 --> 00:47:53,480
Speaker 1: I knew her family was Armenian. I went there with

1087
00:47:53,600 --> 00:47:58,800
Speaker 1: Armenian music, shut the place down. So that's what I'm saying, Like,

1088
00:47:58,840 --> 00:48:02,480
Speaker 1: you gotta know, it doesn't matter when you put me

1089
00:48:02,520 --> 00:48:04,759
Speaker 1: at I'm gonna smash you down, but do my job.

1090
00:48:04,800 --> 00:48:08,440
Speaker 1: But I'm just saying, it's not a hard music to play.

1091
00:48:09,960 --> 00:48:12,319
Speaker 1: That's it. It's not to play, you know what I'm saying.

1092
00:48:12,320 --> 00:48:16,000
Speaker 1: So anybody could really do it. But um, what's my man,

1093
00:48:16,040 --> 00:48:20,759
Speaker 1: the Chinese looking dude, the cake Steve. I OK, I

1094
00:48:20,800 --> 00:48:22,399
Speaker 1: don't even know how I forgot his name, but he

1095
00:48:22,520 --> 00:48:25,919
Speaker 1: has his thing going where he got the bubbles and

1096
00:48:26,160 --> 00:48:27,840
Speaker 1: whatever you got going on. You know what I'm saying.

1097
00:48:28,239 --> 00:48:32,680
Speaker 1: That's his lane dope for me. I wouldn't use all that.

1098
00:48:32,719 --> 00:48:35,000
Speaker 1: I wouldn't. I'm not a prop dude, you know. Getting

1099
00:48:35,040 --> 00:48:37,359
Speaker 1: my mic two turns, ovens, a mixer and let's go.

1100
00:48:37,719 --> 00:48:39,640
Speaker 1: And that's me. You know what I'm saying, but for him,

1101
00:48:39,840 --> 00:48:42,480
Speaker 1: that's dope works for him. When I didn't ask what

1102
00:48:42,520 --> 00:48:44,319
Speaker 1: the mix the DJ show, there was a dude there

1103
00:48:44,320 --> 00:48:52,080
Speaker 1: with an iPad, DJ with the iPad, but that's what

1104
00:48:52,080 --> 00:48:59,560
Speaker 1: they want to do dancing also, kid, it feels like that,

1105
00:48:59,760 --> 00:49:02,680
Speaker 1: you know the pride you're taking your your music discovery.

1106
00:49:02,719 --> 00:49:05,160
Speaker 1: Like you said, you do your research, should the records

1107
00:49:05,160 --> 00:49:07,000
Speaker 1: that you love, like your goal to records and stuff

1108
00:49:07,000 --> 00:49:08,200
Speaker 1: like that, and how much you love the music and

1109
00:49:08,200 --> 00:49:10,080
Speaker 1: connect to the music that you're presenting to the public.

1110
00:49:10,320 --> 00:49:12,040
Speaker 1: What do you make of DJs that have to play

1111
00:49:12,120 --> 00:49:14,960
Speaker 1: music they don't like, but they're being paid these kind

1112
00:49:14,960 --> 00:49:16,799
Speaker 1: of gigs and it like that. Do you ever feel

1113
00:49:16,840 --> 00:49:18,560
Speaker 1: like that that you don't even feel like you're in

1114
00:49:18,560 --> 00:49:19,880
Speaker 1: that position right where you feel like you have to

1115
00:49:19,880 --> 00:49:21,480
Speaker 1: play a record that you don't like. Well, there's a

1116
00:49:21,520 --> 00:49:23,600
Speaker 1: lot of records I play I don't like, but I

1117
00:49:23,640 --> 00:49:26,640
Speaker 1: know my crowds like, it's not about me, you know

1118
00:49:26,640 --> 00:49:29,040
Speaker 1: what I'm saying. And more than you know that, excuse

1119
00:49:29,040 --> 00:49:30,799
Speaker 1: me is the better you off you are when they

1120
00:49:30,800 --> 00:49:33,640
Speaker 1: come they pay to see you. I hated Laughy Taffy.

1121
00:49:34,640 --> 00:49:38,920
Speaker 1: I hated that record because stand it. But the crowd

1122
00:49:38,960 --> 00:49:41,200
Speaker 1: loved it. I play it, they go crazy, makes you

1123
00:49:41,239 --> 00:49:42,840
Speaker 1: like it, you know what I'm saying, because of the

1124
00:49:42,880 --> 00:49:45,319
Speaker 1: fact that that's what works, that's what they want, and

1125
00:49:45,360 --> 00:49:49,280
Speaker 1: that separates the dude that's playing for itself or playing

1126
00:49:49,280 --> 00:49:51,840
Speaker 1: for the crowd, playing for you know what I'm saying.

1127
00:49:51,880 --> 00:49:56,040
Speaker 1: And again, what may work in Kentucky may not work

1128
00:49:56,080 --> 00:50:00,080
Speaker 1: in Alaska, may not work in Albuquerque, New Mexic Go,

1129
00:50:00,280 --> 00:50:02,400
Speaker 1: may not work in Pine Bluff, Foca, Saul, you know

1130
00:50:02,440 --> 00:50:04,200
Speaker 1: what I'm saying. So you have to know how to

1131
00:50:04,280 --> 00:50:07,040
Speaker 1: do these things in all these different places, and that's

1132
00:50:07,040 --> 00:50:09,719
Speaker 1: when it works for you. Interesting you're talking about like

1133
00:50:09,760 --> 00:50:12,239
Speaker 1: how Kendrick called you, you know, not necessarily have to blue,

1134
00:50:12,280 --> 00:50:15,239
Speaker 1: but like Madonna, you worked as well, Like how did

1135
00:50:15,280 --> 00:50:18,320
Speaker 1: that hole? I was doing The Master the Mix television

1136
00:50:18,360 --> 00:50:23,440
Speaker 1: show and smirring Off was the was the backers, and

1137
00:50:23,880 --> 00:50:28,800
Speaker 1: Madonna did her album and they backed the m DNA album.

1138
00:50:28,800 --> 00:50:30,279
Speaker 1: I think that's something they were doing with her, but

1139
00:50:30,360 --> 00:50:32,960
Speaker 1: they backed album or something, and she found out that

1140
00:50:33,000 --> 00:50:34,759
Speaker 1: they were back in my show. Found out I was

1141
00:50:34,760 --> 00:50:36,400
Speaker 1: on the show and said I want to kick I

1142
00:50:36,440 --> 00:50:38,680
Speaker 1: pree to produce my bacord And that's how I happened.

1143
00:50:38,880 --> 00:50:42,520
Speaker 1: I did masters Yeah, and then I also did I

1144
00:50:42,600 --> 00:50:45,960
Speaker 1: also did um. I remixed the joint with her Nicki Minaj.

1145
00:50:46,440 --> 00:50:49,160
Speaker 1: But she just paid me all this money just to

1146
00:50:49,200 --> 00:50:50,960
Speaker 1: see what I'll do with it. She already paid L.

1147
00:50:51,040 --> 00:50:52,759
Speaker 1: M F A Oh to remix it, so it was

1148
00:50:52,800 --> 00:50:54,400
Speaker 1: already coming out when I was doing for it was

1149
00:50:54,440 --> 00:50:56,239
Speaker 1: never coming out, no matter how good it was. She

1150
00:50:56,360 --> 00:50:57,680
Speaker 1: just wanted to see what I'll do with it. So

1151
00:50:57,719 --> 00:51:00,320
Speaker 1: she paid me a bunch of money for master Piece,

1152
00:51:00,920 --> 00:51:03,000
Speaker 1: but the same amount of money for something that she

1153
00:51:03,080 --> 00:51:04,799
Speaker 1: was never putting out or never. I didn't even gave

1154
00:51:04,880 --> 00:51:07,719
Speaker 1: or gave it the record want their kids, I never

1155
00:51:07,760 --> 00:51:15,520
Speaker 1: gave it talk. So she bade me. Just shot mcdown.

1156
00:51:15,600 --> 00:51:21,480
Speaker 1: I love your mama. Another call, absolutely absolutely, Is there

1157
00:51:21,520 --> 00:51:24,080
Speaker 1: a call that you're waiting to happen that hasn't happened yet?

1158
00:51:24,680 --> 00:51:28,400
Speaker 1: Those two calls that never happened. James and Michael, James

1159
00:51:28,440 --> 00:51:31,399
Speaker 1: and Michael. Damn. I met James. Me and James talk.

1160
00:51:31,880 --> 00:51:33,640
Speaker 1: That's my that's my number one of all time. Me

1161
00:51:33,719 --> 00:51:35,239
Speaker 1: and him talk for a while. I don't even know

1162
00:51:35,239 --> 00:51:36,399
Speaker 1: what the hell to say to the mom was standing

1163
00:51:36,480 --> 00:51:37,719
Speaker 1: right in front of I was just like he had

1164
00:51:37,719 --> 00:51:39,560
Speaker 1: the last dragon glow around him. I don't know what

1165
00:51:39,800 --> 00:51:41,120
Speaker 1: to say to him, but what was it? What was

1166
00:51:41,160 --> 00:51:43,880
Speaker 1: it that when we did BT Awards, we did a

1167
00:51:43,920 --> 00:51:46,040
Speaker 1: b T wards. When we did that, he was on

1168
00:51:46,080 --> 00:51:49,160
Speaker 1: that show with Michael and that's when we did the

1169
00:51:49,200 --> 00:51:52,520
Speaker 1: Jam Masson J Tribute and um I met him name.

1170
00:51:52,560 --> 00:51:54,080
Speaker 1: I didn't get a chance to me Michael. Michael came

1171
00:51:54,080 --> 00:51:56,480
Speaker 1: in and was out and I was an audience watching him.

1172
00:51:56,560 --> 00:51:58,120
Speaker 1: But me and James we talked for a while. I

1173
00:51:58,160 --> 00:52:00,920
Speaker 1: told James that Sylvia Robbins and has been Joey Robinson,

1174
00:52:00,920 --> 00:52:04,279
Speaker 1: their own sugar Hill died and he started crying because

1175
00:52:04,360 --> 00:52:06,080
Speaker 1: him and Joey was good friends and he didn't talk

1176
00:52:06,120 --> 00:52:07,759
Speaker 1: to joe in three years and didn't know that he

1177
00:52:07,800 --> 00:52:10,400
Speaker 1: passed away. Yes, I told him, started crying. I was

1178
00:52:10,520 --> 00:52:12,359
Speaker 1: bugged out to me to see James crying in front

1179
00:52:12,360 --> 00:52:14,839
Speaker 1: of me, I was tripping. And then when I hugged him, Yo,

1180
00:52:15,040 --> 00:52:20,160
Speaker 1: man to meet James Brown that I know everything about

1181
00:52:20,200 --> 00:52:22,279
Speaker 1: the man. I do shows on him. His daughter want me.

1182
00:52:22,280 --> 00:52:25,200
Speaker 1: I just did a new documentary for his daughter for him,

1183
00:52:25,400 --> 00:52:27,880
Speaker 1: like that's just been the one in my household for

1184
00:52:27,960 --> 00:52:29,799
Speaker 1: my dad and my dad was he was the one

1185
00:52:29,880 --> 00:52:32,560
Speaker 1: that he's the one that created hip hop. He's the one.

1186
00:52:33,320 --> 00:52:35,440
Speaker 1: For me to sit there and stand in front of

1187
00:52:35,520 --> 00:52:39,360
Speaker 1: him and talk to him, that was likesa man. It

1188
00:52:39,480 --> 00:52:41,960
Speaker 1: was a milestone for me. Man, it was a milestone

1189
00:52:42,000 --> 00:52:45,880
Speaker 1: for me because he came from nothing. He had nothing.

1190
00:52:45,920 --> 00:52:49,359
Speaker 1: He came from living in the whole house. Imagine that magic.

1191
00:52:49,400 --> 00:52:52,880
Speaker 1: We're living in a bottle, you know what I'm saying,

1192
00:52:53,040 --> 00:52:56,799
Speaker 1: and you're all you know is you gotta make it out.

1193
00:52:57,960 --> 00:52:59,680
Speaker 1: You gotta make it out. You gotta get out of here.

1194
00:52:59,680 --> 00:53:02,040
Speaker 1: You gotta knew got to do something, and he did

1195
00:53:02,080 --> 00:53:04,560
Speaker 1: something that rocked the world. So yeah, he's always gonna

1196
00:53:04,560 --> 00:53:07,560
Speaker 1: be a hero to MEE then Michael Michael too. But

1197
00:53:07,640 --> 00:53:09,800
Speaker 1: see what Michael. He had to support him his family.

1198
00:53:09,840 --> 00:53:12,399
Speaker 1: He had his family then even though he became, when

1199
00:53:12,440 --> 00:53:15,920
Speaker 1: he became, he had his friend. James had nobody, James

1200
00:53:15,960 --> 00:53:19,120
Speaker 1: by himself. His mom's left him, you see what I'm saying.

1201
00:53:19,160 --> 00:53:20,839
Speaker 1: So he had to be raised in the block through.

1202
00:53:20,880 --> 00:53:24,600
Speaker 1: He had to be raised around people that really he

1203
00:53:24,600 --> 00:53:26,360
Speaker 1: didn't know where his life is gonna go. He was

1204
00:53:26,520 --> 00:53:29,040
Speaker 1: he was in boxing. They used to have him boxing

1205
00:53:29,840 --> 00:53:33,320
Speaker 1: blindfolded with other kids fighting other kids. That was their sport.

1206
00:53:33,360 --> 00:53:35,839
Speaker 1: That's how the white people treated him back then. You said,

1207
00:53:35,880 --> 00:53:38,440
Speaker 1: I'm saying that the struggle he went through at that

1208
00:53:38,480 --> 00:53:40,680
Speaker 1: time was so crazy, and that's why later on in

1209
00:53:40,680 --> 00:53:44,880
Speaker 1: the years he became so strong minded to his band

1210
00:53:44,920 --> 00:53:46,840
Speaker 1: and to the people around him because he knew what

1211
00:53:46,880 --> 00:53:48,680
Speaker 1: it was to not have and didn't want him not

1212
00:53:48,719 --> 00:53:50,560
Speaker 1: go back to that again. He wanted to keep what

1213
00:53:50,600 --> 00:53:53,359
Speaker 1: he had, so he worked extra Hardy was very hard

1214
00:53:53,360 --> 00:53:56,160
Speaker 1: on his people. But you see it was the tightest

1215
00:53:56,160 --> 00:53:59,560
Speaker 1: people out, tight his band out, and he created something

1216
00:53:59,600 --> 00:54:03,160
Speaker 1: that that resonated TuS too. Now hip hop. Oh's a

1217
00:54:03,160 --> 00:54:05,400
Speaker 1: lot of gratitude to James Brown. Without him, he wouldn't

1218
00:54:05,400 --> 00:54:08,480
Speaker 1: even be having jobs right now. What was your child upbringing? Like,

1219
00:54:08,520 --> 00:54:10,200
Speaker 1: I know you're mixed race, like the kid right here.

1220
00:54:10,239 --> 00:54:12,480
Speaker 1: You know what I'm saying. You know what I'm saying.

1221
00:54:16,600 --> 00:54:19,400
Speaker 1: But your Italian too, right? Black and Italians singing My

1222
00:54:19,400 --> 00:54:22,720
Speaker 1: mom's Scilian um and you know half Sicicilians is half black.

1223
00:54:23,719 --> 00:54:29,759
Speaker 1: But um, my dad sold by the number one. Uh

1224
00:54:29,840 --> 00:54:32,440
Speaker 1: he was. He was a soul singer with the Latin lebron.

1225
00:54:32,440 --> 00:54:35,440
Speaker 1: But well, my grandfather, his father was a trumpet player

1226
00:54:35,520 --> 00:54:38,160
Speaker 1: that played with Dizzey, count Basie and Miles Davids. He

1227
00:54:38,200 --> 00:54:40,400
Speaker 1: was a feeling for all of them, the Alonius and

1228
00:54:40,480 --> 00:54:42,680
Speaker 1: like different big guardess back then he was playing for them.

1229
00:54:43,080 --> 00:54:45,319
Speaker 1: I have the trumpet that he brought nineteen forty in

1230
00:54:45,360 --> 00:54:48,160
Speaker 1: my house with the same case, the nineteen forty case

1231
00:54:48,200 --> 00:54:51,320
Speaker 1: I had. Um then my father his son. He became

1232
00:54:51,360 --> 00:54:53,400
Speaker 1: the first soul singer to sing with the Latin Man

1233
00:54:53,480 --> 00:54:55,680
Speaker 1: and Lebron Brothers. Lebron Brothers is a big band. It's

1234
00:54:55,680 --> 00:54:57,680
Speaker 1: out right now. As a matter of fact, their first

1235
00:54:57,719 --> 00:55:00,279
Speaker 1: albums came out of the sixties, and he did their

1236
00:55:00,320 --> 00:55:03,200
Speaker 1: first albums with him as the singer singing soul music

1237
00:55:03,239 --> 00:55:05,440
Speaker 1: over the Lebron music. Wasn't you know, you would think

1238
00:55:05,480 --> 00:55:07,840
Speaker 1: it would be Spanish singing. He had so he was

1239
00:55:07,880 --> 00:55:09,840
Speaker 1: the first dude to do this. So I got to

1240
00:55:09,880 --> 00:55:12,160
Speaker 1: have both of those albums. And he left in Um

1241
00:55:12,360 --> 00:55:14,520
Speaker 1: became building his own artists and started doing as his

1242
00:55:14,960 --> 00:55:17,720
Speaker 1: Ambi records, and he made a record called Baby Hard Times.

1243
00:55:17,920 --> 00:55:20,239
Speaker 1: He made one called Cocaline Baby and one called Baby

1244
00:55:20,239 --> 00:55:22,320
Speaker 1: Hard Times and seventy two and that blew up for

1245
00:55:22,480 --> 00:55:24,879
Speaker 1: we did it all right with that, and but all

1246
00:55:24,920 --> 00:55:28,680
Speaker 1: those years me growing up. Has been in my DNA

1247
00:55:28,800 --> 00:55:31,160
Speaker 1: since I was a baby, and I had a drum

1248
00:55:31,200 --> 00:55:34,640
Speaker 1: set at four years old, Like it's been around me

1249
00:55:35,400 --> 00:55:37,799
Speaker 1: music all day. My father was the type of father

1250
00:55:37,840 --> 00:55:39,200
Speaker 1: that had come in the house at four o'clock in

1251
00:55:39,239 --> 00:55:41,400
Speaker 1: the morning and open the window up to turn the

1252
00:55:41,480 --> 00:55:42,960
Speaker 1: music up past ten at four o'clock in the morning,

1253
00:55:43,000 --> 00:55:45,000
Speaker 1: Wake everybody up in the neighborhood, Wake up, everybody in

1254
00:55:45,040 --> 00:55:47,320
Speaker 1: the building. Didn't care about nothing. That was just the

1255
00:55:47,360 --> 00:55:50,279
Speaker 1: way he was. So that's why I was around that

1256
00:55:50,320 --> 00:55:52,040
Speaker 1: all my life. But you just kind of started out

1257
00:55:52,120 --> 00:55:54,680
Speaker 1: when New York City wasn't the New York City that

1258
00:55:54,719 --> 00:55:57,200
Speaker 1: we know now. You know all lit uptown eighties and

1259
00:55:57,239 --> 00:56:00,200
Speaker 1: early nineties. How did you avoid those trappings of those

1260
00:56:00,280 --> 00:56:03,960
Speaker 1: hustlers and those other guys. Well, everything is choices in life, man,

1261
00:56:04,320 --> 00:56:06,000
Speaker 1: you know what I'm saying. I could have sat there.

1262
00:56:06,000 --> 00:56:07,520
Speaker 1: There was dudes that wasn't when I was an S

1263
00:56:07,600 --> 00:56:09,520
Speaker 1: and S club and the Zodiac. This was the biggest

1264
00:56:09,560 --> 00:56:12,160
Speaker 1: drug dealers. You're gonna find the most deadliest one. You're

1265
00:56:12,160 --> 00:56:17,279
Speaker 1: gonna find seven nine. This is the deadliest dude. These

1266
00:56:17,400 --> 00:56:20,160
Speaker 1: dudes that left the rooftop or left the fever it

1267
00:56:20,280 --> 00:56:24,719
Speaker 1: came here, okay, right, um, every day choices. There was

1268
00:56:24,800 --> 00:56:26,279
Speaker 1: dudes that was coming to me, o, kid, you cool,

1269
00:56:26,360 --> 00:56:27,919
Speaker 1: was telling me give you this keylog because you're cool.

1270
00:56:29,600 --> 00:56:32,160
Speaker 1: Now I'm good. I'm straight. You're let me get this

1271
00:56:32,239 --> 00:56:34,359
Speaker 1: kyo because you're cool. Give it this when you got

1272
00:56:34,400 --> 00:56:37,359
Speaker 1: that one. Now I'm good. And I'm thinking the whole

1273
00:56:37,360 --> 00:56:39,640
Speaker 1: time something Tony tapes. That's what I gonna do. Y'all

1274
00:56:39,680 --> 00:56:41,359
Speaker 1: sell them toy on the fact. I'm something tory Onta.

1275
00:56:41,440 --> 00:56:43,400
Speaker 1: That's how I'm thinking the whole time. But to the

1276
00:56:43,440 --> 00:56:47,960
Speaker 1: normal person, that would have looked like food, Like why not?

1277
00:56:48,080 --> 00:56:49,400
Speaker 1: I could do it right now. I gotta work, I

1278
00:56:49,440 --> 00:56:51,239
Speaker 1: gotta go nowhere, I gotta do nothing. I canna make

1279
00:56:51,280 --> 00:56:54,360
Speaker 1: it happen. That wasn't my idea. Everything's choices. You do

1280
00:56:54,440 --> 00:56:56,280
Speaker 1: what you would to do. Had I've been raised in Harlem,

1281
00:56:56,760 --> 00:56:58,200
Speaker 1: I might not be kicked pre I might have been

1282
00:56:58,200 --> 00:56:59,839
Speaker 1: a drug dealer. You know what I'm saying. I might

1283
00:56:59,880 --> 00:57:01,720
Speaker 1: have in the street like that, and not saying anything

1284
00:57:01,760 --> 00:57:04,000
Speaker 1: wrong with Hallom, but that's what it was. Hollow was

1285
00:57:04,000 --> 00:57:06,040
Speaker 1: get money that said we're in there and we're gonna

1286
00:57:06,080 --> 00:57:07,360
Speaker 1: do what we gotta do, and We're gonna kill you

1287
00:57:07,360 --> 00:57:09,120
Speaker 1: if you get in the way. That's how it was.

1288
00:57:09,440 --> 00:57:11,600
Speaker 1: But that wasn't my choice. My choice was to do music.

1289
00:57:13,320 --> 00:57:17,760
Speaker 1: Obviously you've been doing it for a long time. Man

1290
00:57:18,280 --> 00:57:22,680
Speaker 1: still strong, go downstairs. Told me to security guard downstairs

1291
00:57:22,680 --> 00:57:24,720
Speaker 1: in the building. She said, you have the age the

1292
00:57:24,880 --> 00:57:38,280
Speaker 1: day you were coming. She's like, it's pretty nice like that. Uh,

1293
00:57:38,520 --> 00:57:41,560
Speaker 1: fanadulation the people. This wasn't even still bother trying to

1294
00:57:41,560 --> 00:57:46,080
Speaker 1: make requests, artist leaning on you, trying to get there. Um,

1295
00:57:46,200 --> 00:57:49,040
Speaker 1: I get more of new. Well, what I did was

1296
00:57:49,080 --> 00:57:52,440
Speaker 1: with my shows, I created this thing called block party

1297
00:57:52,480 --> 00:57:54,960
Speaker 1: Action at gmail dot com where I want people to

1298
00:57:55,000 --> 00:57:57,200
Speaker 1: send me their stuff and get on. You know, they

1299
00:57:57,200 --> 00:57:59,000
Speaker 1: don't have no outlets to get on. You know, you

1300
00:57:58,960 --> 00:58:00,880
Speaker 1: ain't got no money, you can't get to play, you

1301
00:58:00,880 --> 00:58:03,280
Speaker 1: don't know DJ, you can't get to play. So I

1302
00:58:03,320 --> 00:58:04,840
Speaker 1: have the more senate to me. And what I do

1303
00:58:04,920 --> 00:58:06,960
Speaker 1: is I take an hour from my show and I

1304
00:58:07,080 --> 00:58:10,280
Speaker 1: play as many songs i can in that our new

1305
00:58:10,320 --> 00:58:13,160
Speaker 1: people of people that's demos or whatever. I played for

1306
00:58:13,240 --> 00:58:15,320
Speaker 1: hour and it means so much these people that the

1307
00:58:16,040 --> 00:58:21,680
Speaker 1: aberration they give me for that, like it's just because

1308
00:58:21,720 --> 00:58:24,080
Speaker 1: they feel like you know you do sing. If you

1309
00:58:24,200 --> 00:58:27,160
Speaker 1: keep doing something nobody notices it, you feel like it's

1310
00:58:27,200 --> 00:58:29,000
Speaker 1: just like Dan, what am I doing this for? Like

1311
00:58:29,120 --> 00:58:31,160
Speaker 1: and but you really want to do it, you know

1312
00:58:31,160 --> 00:58:32,680
Speaker 1: what I'm saying. It is really what your passion is

1313
00:58:32,720 --> 00:58:34,960
Speaker 1: to do and nobody's noticing it, you know what I'm saying.

1314
00:58:35,040 --> 00:58:37,280
Speaker 1: So with me doing that, a couple of people got

1315
00:58:37,360 --> 00:58:40,360
Speaker 1: a couple of deals from that. Yeah, so they're getting

1316
00:58:40,400 --> 00:58:42,480
Speaker 1: noticed from just being playing on the on the line,

1317
00:58:42,560 --> 00:58:45,040
Speaker 1: you ever. I got people from Turkey watching me, people

1318
00:58:45,040 --> 00:58:49,440
Speaker 1: in Argentina watching people, people from Afghanistan on It's crazy

1319
00:58:49,760 --> 00:58:52,400
Speaker 1: the people that watches the show. And I'm in my house.

1320
00:58:52,440 --> 00:58:54,919
Speaker 1: I ain't gonna leave my crip, you know what I'm saying.

1321
00:58:54,960 --> 00:58:59,800
Speaker 1: It's like it's crazy man. You know, b I think

1322
00:59:00,040 --> 00:59:03,680
Speaker 1: you think that. I mean what woman could not say?

1323
00:59:03,720 --> 00:59:08,120
Speaker 1: I mean, I remember going to one of your parties

1324
00:59:08,120 --> 00:59:10,400
Speaker 1: a while back, man, and I was like, damn this guy,

1325
00:59:10,520 --> 00:59:12,440
Speaker 1: just the one you were cutting up, you were scratching.

1326
00:59:12,480 --> 00:59:15,040
Speaker 1: It was just like wow, Like I didn't It was

1327
00:59:15,040 --> 00:59:16,840
Speaker 1: like a movie, like a circus. What does it take

1328
00:59:16,920 --> 00:59:18,600
Speaker 1: to be a great dead? Because is it a mind

1329
00:59:18,600 --> 00:59:21,480
Speaker 1: state when you first come in, Like when i'm up there,

1330
00:59:21,520 --> 00:59:24,080
Speaker 1: I always think about me as a fan watching myself,

1331
00:59:24,080 --> 00:59:26,160
Speaker 1: and how I want to feel if I was watching myself,

1332
00:59:26,320 --> 00:59:28,960
Speaker 1: if I was a paid customer watching me, what would

1333
00:59:29,040 --> 00:59:31,240
Speaker 1: make me go crazy? What would make me dance? What

1334
00:59:31,280 --> 00:59:33,600
Speaker 1: would made me say he's the best ever? What would

1335
00:59:33,640 --> 00:59:35,960
Speaker 1: made me say these things? That's how I think when

1336
00:59:35,960 --> 00:59:37,800
Speaker 1: I'm up there. I always think like them. I don't

1337
00:59:37,800 --> 00:59:40,000
Speaker 1: think about what. I think about how they would want

1338
00:59:40,000 --> 00:59:42,720
Speaker 1: to feel about it. And I placed myself in that audience.

1339
00:59:42,760 --> 00:59:45,439
Speaker 1: It's crazy, it's bug out, were thinking about it's working,

1340
00:59:45,600 --> 00:59:48,480
Speaker 1: been working for me forever. Man, Should we check them out?

1341
00:59:48,480 --> 00:59:51,040
Speaker 1: The kid could on the Kendrick album and in the Barkley,

1342
00:59:51,080 --> 00:59:53,800
Speaker 1: So yeah, that's this coming out Friday morning. So that

1343
00:59:54,000 --> 00:59:58,080
Speaker 1: night shaking the bar Clays with the rough Riders. Yesterday

1344
00:59:58,120 --> 01:00:00,320
Speaker 1: I did a tribute to rough Ride Is on my

1345
01:00:00,400 --> 01:00:03,280
Speaker 1: show on the Black Party Live mixtape on Periscope. I

1346
01:00:03,400 --> 01:00:07,520
Speaker 1: g Live and Facebook and I played three hours or

1347
01:00:07,520 --> 01:00:09,720
Speaker 1: nothing but Rough Riders music and talk about what do

1348
01:00:09,800 --> 01:00:11,280
Speaker 1: you think their legacy isn't what they meant to the

1349
01:00:11,280 --> 01:00:14,520
Speaker 1: culture like that? Those artists and their music incredible. They

1350
01:00:14,880 --> 01:00:16,760
Speaker 1: remember it wasn't a lot of people from Mount verning

1351
01:00:17,480 --> 01:00:19,200
Speaker 1: you know what I'm saying. They put my running on

1352
01:00:19,440 --> 01:00:24,360
Speaker 1: heavy and for the Locks to be in the situation

1353
01:00:24,400 --> 01:00:27,040
Speaker 1: it was with puff and then leave puff and still

1354
01:00:27,080 --> 01:00:29,720
Speaker 1: be able to keep going. You know that was that.

1355
01:00:29,720 --> 01:00:32,800
Speaker 1: That's just showed what. Yeah, they still loved right now.

1356
01:00:32,920 --> 01:00:35,280
Speaker 1: Like my manager Christie Clifford, I put her with Styles.

1357
01:00:35,280 --> 01:00:39,120
Speaker 1: Pete managed styles P Now she manages the Locks, help

1358
01:00:39,160 --> 01:00:41,560
Speaker 1: with help with the rock Nation thing, with the rock Nation,

1359
01:00:42,080 --> 01:00:45,360
Speaker 1: rock Nation all that. So it's like they they they're

1360
01:00:45,360 --> 01:00:47,320
Speaker 1: one of them groups that's always gonna be around. But

1361
01:00:47,440 --> 01:00:50,480
Speaker 1: the Rough Riders alone, they just had something that was special.

1362
01:00:50,760 --> 01:00:53,200
Speaker 1: D M Max Eve you know what I'm saying, Locks,

1363
01:00:53,440 --> 01:00:56,439
Speaker 1: I was putting DMX on stage before he even had

1364
01:00:56,480 --> 01:01:02,560
Speaker 1: the dog voice, when he was had when he was battling,

1365
01:01:01,640 --> 01:01:06,040
Speaker 1: when he had a record called Born Loser, nobody was playing.

1366
01:01:06,040 --> 01:01:10,040
Speaker 1: I played first record. I just put him on stage

1367
01:01:10,040 --> 01:01:13,080
Speaker 1: at the Castle before that. He blew up ever since then.

1368
01:01:13,120 --> 01:01:17,040
Speaker 1: But these are all people that genuinely have relationships with

1369
01:01:17,200 --> 01:01:19,680
Speaker 1: because I was there before they got a name. I

1370
01:01:19,760 --> 01:01:21,920
Speaker 1: was there trying to help them get on. That's why

1371
01:01:21,920 --> 01:01:25,000
Speaker 1: I'm so respected in the battle rap culture because before

1372
01:01:25,000 --> 01:01:27,280
Speaker 1: all these artists now jumped on it. I was there

1373
01:01:27,320 --> 01:01:29,200
Speaker 1: trying to help him get on you know what I'm saying.

1374
01:01:29,200 --> 01:01:31,120
Speaker 1: Me and a load of luck shot something for HBO

1375
01:01:31,840 --> 01:01:34,520
Speaker 1: to bring the HBO because I've seen a vision of

1376
01:01:34,560 --> 01:01:36,640
Speaker 1: them should be on television. This was Enter tam By.

1377
01:01:36,640 --> 01:01:39,160
Speaker 1: Ain't nobody doing nothing with it, and we shot it

1378
01:01:39,360 --> 01:01:41,160
Speaker 1: and something happened when I'm not doing it that I

1379
01:01:41,400 --> 01:01:43,520
Speaker 1: m doing the album, but I've been helping them from

1380
01:01:43,520 --> 01:01:46,960
Speaker 1: the beginning. But you know what, we respect Friday night

1381
01:01:47,840 --> 01:01:52,000
Speaker 1: Friday and I'm gonna put a hole in the rerena.

1382
01:01:52,320 --> 01:01:54,560
Speaker 1: You gotta gotta fe you gotta fill that wind back.

1383
01:01:54,600 --> 01:01:56,920
Speaker 1: You gotta fill the wind right, absolutely need to feel it.

1384
01:01:56,960 --> 01:01:58,120
Speaker 1: And I'm gonna be in the middle of reading. So

1385
01:01:58,160 --> 01:02:02,800
Speaker 1: I went all, yeah, there a certain go to record

1386
01:02:02,840 --> 01:02:06,600
Speaker 1: that you have that always gets the crowd growing. Well,

1387
01:02:06,600 --> 01:02:09,600
Speaker 1: there's always gonna be that the challenges going give them

1388
01:02:09,600 --> 01:02:13,840
Speaker 1: the stuff that you the challenges is giving them something

1389
01:02:13,880 --> 01:02:16,720
Speaker 1: that they don't expect. That's the child when you come

1390
01:02:16,760 --> 01:02:19,720
Speaker 1: from left field. That's the job or suject. But this

1391
01:02:19,760 --> 01:02:23,160
Speaker 1: is the reason why ootcast lasted so long. Well, everybody

1392
01:02:23,240 --> 01:02:26,640
Speaker 1: was over here. It was over here, talk about how

1393
01:02:26,680 --> 01:02:29,400
Speaker 1: you look, how you dress, whatever, Okay, we're gonna sell

1394
01:02:29,480 --> 01:02:33,640
Speaker 1: this diamond album. It's the same thought process. Do with duty,

1395
01:02:33,720 --> 01:02:37,439
Speaker 1: do the unexpected, do what it's gonna cover from left field,

1396
01:02:37,440 --> 01:02:40,360
Speaker 1: but have the same impact of something that's familiar. And

1397
01:02:40,440 --> 01:02:42,680
Speaker 1: that's how it works. But I go up there tomorrow,

1398
01:02:43,440 --> 01:02:44,840
Speaker 1: I mean I ain't. I don't know what I'm gonna

1399
01:02:44,840 --> 01:02:48,280
Speaker 1: do right now. I may think of it five minutes

1400
01:02:48,320 --> 01:02:51,280
Speaker 1: before I go on and didn't do it. That's how

1401
01:02:51,280 --> 01:02:53,320
Speaker 1: it works. That's how it works. It works better that way.

1402
01:02:53,320 --> 01:02:55,320
Speaker 1: From man. So before we get out of here, the

1403
01:02:55,400 --> 01:02:57,360
Speaker 1: Kundrick album. Did you hear it the first time we

1404
01:02:57,440 --> 01:03:00,160
Speaker 1: all heard it? Or yeah, first of the or that

1405
01:03:00,160 --> 01:03:01,280
Speaker 1: I didn't want to hear it. I wanted to hear

1406
01:03:01,280 --> 01:03:05,520
Speaker 1: it when he was done. Wow, Yeah, And it was dope.

1407
01:03:05,600 --> 01:03:07,280
Speaker 1: I got one with you forget it. It's so dope

1408
01:03:07,320 --> 01:03:09,400
Speaker 1: that people are starting to say Kato's one of the

1409
01:03:09,440 --> 01:03:13,520
Speaker 1: five best of all times? What's kick Capri The Greatest

1410
01:03:13,560 --> 01:03:21,680
Speaker 1: DJ's Top five, Top Personal List, My personal list, Carross one,

1411
01:03:22,680 --> 01:03:36,320
Speaker 1: Jay z eminem NAS's that fifth rock Him List Number six, Kendrick,

1412
01:03:36,440 --> 01:03:40,240
Speaker 1: you got you got Chris at one? Reason why I

1413
01:03:40,280 --> 01:03:42,880
Speaker 1: got Chris at one, It's because he was ahead of

1414
01:03:42,880 --> 01:03:46,160
Speaker 1: his time before a lot of people was I've done

1415
01:03:46,680 --> 01:03:50,520
Speaker 1: monument who shows with this dude. We did Yankee Stadium.

1416
01:03:50,640 --> 01:03:54,080
Speaker 1: When Nelson Mandela got to jail, they threw a big

1417
01:03:54,160 --> 01:03:57,960
Speaker 1: celebration for him at Yankee Stadium. They had me carross One,

1418
01:03:58,040 --> 01:04:01,360
Speaker 1: Tracy Shapman, hay Belly Fied and elpra Winfrey as the

1419
01:04:01,520 --> 01:04:05,000
Speaker 1: as the as the guest, and they were supposed to

1420
01:04:05,040 --> 01:04:09,440
Speaker 1: put me and Chris on before Nelson Mandela went on stage.

1421
01:04:09,840 --> 01:04:13,920
Speaker 1: They put us on after him. What happened was the

1422
01:04:13,960 --> 01:04:17,520
Speaker 1: whole place was sold out, but when Nelson Mandela went on,

1423
01:04:17,760 --> 01:04:19,720
Speaker 1: some of the a little bit of the people I left,

1424
01:04:20,080 --> 01:04:23,160
Speaker 1: but it was still ramped. So we're on stage and

1425
01:04:23,200 --> 01:04:26,200
Speaker 1: they had these big, big screens, these big two screens.

1426
01:04:26,200 --> 01:04:30,920
Speaker 1: We want to on the field and Chris says if

1427
01:04:30,960 --> 01:04:35,040
Speaker 1: you want to see, saying look at George Bush, and

1428
01:04:35,080 --> 01:04:38,840
Speaker 1: the crowd stopped then all over her. All of a sudden,

1429
01:04:38,880 --> 01:04:45,600
Speaker 1: you heard then went to right. It was went crazy.

1430
01:04:46,600 --> 01:04:48,800
Speaker 1: So by the next song, we're on stage and he's

1431
01:04:48,840 --> 01:04:51,240
Speaker 1: before me, all on stage and something just said, kids,

1432
01:04:51,280 --> 01:04:54,240
Speaker 1: look up. I look up and I see secret servicemen

1433
01:04:54,920 --> 01:04:59,160
Speaker 1: on top of k Stadium was shot guns orders like this.

1434
01:05:00,240 --> 01:05:03,080
Speaker 1: He was trying to inside the riot for what he said.

1435
01:05:04,280 --> 01:05:07,240
Speaker 1: So Chris, he's doing what he's doing. I'm wining with

1436
01:05:07,280 --> 01:05:10,280
Speaker 1: on stage his wife. Yo, jesus, take a look at

1437
01:05:10,320 --> 01:05:13,640
Speaker 1: what's going all over the off stage and go back

1438
01:05:13,680 --> 01:05:15,560
Speaker 1: on there and getting on stage. By the time he

1439
01:05:15,720 --> 01:05:17,520
Speaker 1: seen we was off the stage and they fixed it.

1440
01:05:17,560 --> 01:05:19,880
Speaker 1: But I was there when he threw PM down off

1441
01:05:19,880 --> 01:05:24,520
Speaker 1: the stage. I was right standing right there. Listen the clarity,

1442
01:05:24,560 --> 01:05:30,000
Speaker 1: please clarity, what happened. I was standing right there in

1443
01:05:30,040 --> 01:05:34,720
Speaker 1: the sound factory. So what happened was Chris walked there

1444
01:05:34,720 --> 01:05:36,640
Speaker 1: with a bunch of people that I've never seen him

1445
01:05:36,640 --> 01:05:43,560
Speaker 1: with a different crew, you know he had, but he

1446
01:05:43,600 --> 01:05:46,360
Speaker 1: had this right dude that I do that new karate

1447
01:05:46,480 --> 01:05:50,520
Speaker 1: and all that keep with it. And it was this

1448
01:05:50,680 --> 01:05:53,439
Speaker 1: window right next to it was like a window sill

1449
01:05:53,560 --> 01:05:56,000
Speaker 1: right next to the stage. They sat on the window

1450
01:05:56,040 --> 01:05:58,760
Speaker 1: sill and I'm standing by the pole. So I'm looking

1451
01:05:58,800 --> 01:06:02,400
Speaker 1: at Chris and say, what are you? Was the p

1452
01:06:02,560 --> 01:06:05,440
Speaker 1: M D P M PM doing the supercant wait? Why

1453
01:06:05,440 --> 01:06:07,240
Speaker 1: were you that kid getting because I wanted to see

1454
01:06:07,320 --> 01:06:09,960
Speaker 1: I want to see Supercat. So what it was PM

1455
01:06:09,960 --> 01:06:14,800
Speaker 1: doing Supercat? Somebody else right. So I'm standing there and

1456
01:06:14,800 --> 01:06:17,080
Speaker 1: I see him walk in. I say, what are you

1457
01:06:17,080 --> 01:06:19,480
Speaker 1: gonna do? So I'll go over to Chris said, you

1458
01:06:19,520 --> 01:06:21,880
Speaker 1: know what you're doing here? Not not nothing? That's what

1459
01:06:21,920 --> 01:06:23,400
Speaker 1: you're doing? Chris, what are you doing? I said, not

1460
01:06:23,400 --> 01:06:25,520
Speaker 1: not nothing? So I'll go to Willie d Right. I said,

1461
01:06:25,520 --> 01:06:27,439
Speaker 1: what are you doing? He said, I'm about the mock

1462
01:06:27,560 --> 01:06:30,200
Speaker 1: this nigga? I said, Yo, no, I don't get Chris

1463
01:06:30,200 --> 01:06:32,400
Speaker 1: in trouble man children. No, No, I'm gonna do it.

1464
01:06:32,400 --> 01:06:34,720
Speaker 1: I'm gonna do it. I was like, all right, So

1465
01:06:34,760 --> 01:06:40,439
Speaker 1: I go back to the pole. Wait. So PM Dog

1466
01:06:40,520 --> 01:06:43,120
Speaker 1: rested piece of PM Dog to PM Dog gets on stage.

1467
01:06:44,000 --> 01:06:48,760
Speaker 1: Chris b from prins Byes. He comes on stage and

1468
01:06:48,800 --> 01:06:50,400
Speaker 1: he does his first so he had it was him,

1469
01:06:50,600 --> 01:06:53,280
Speaker 1: his DJ and the booth. It's three girls. He had

1470
01:06:53,320 --> 01:06:56,000
Speaker 1: three girl background singers and I think he had one

1471
01:06:56,000 --> 01:06:57,560
Speaker 1: other dudes on the stage room. He another during the

1472
01:06:57,560 --> 01:07:01,080
Speaker 1: stage room. So Per Down comes on stage. He does

1473
01:07:01,160 --> 01:07:03,600
Speaker 1: his first song and his first song when he came

1474
01:07:03,600 --> 01:07:10,200
Speaker 1: to do when he when the hit started, huh it

1475
01:07:10,320 --> 01:07:14,520
Speaker 1: was a bad man, yo. They rushed on the stage.

1476
01:07:14,560 --> 01:07:16,960
Speaker 1: The whole Chris and the whole crew rushed on the stage,

1477
01:07:17,640 --> 01:07:22,240
Speaker 1: Chris grabbed the mic from PM Dawn, Um, I see

1478
01:07:22,280 --> 01:07:24,680
Speaker 1: you grabbed. All the girls picked him up at the

1479
01:07:24,720 --> 01:07:26,440
Speaker 1: same time. All three of the hugged, all three of

1480
01:07:26,480 --> 01:07:31,160
Speaker 1: them came out them out. When Chris grabbed the mic,

1481
01:07:31,640 --> 01:07:35,840
Speaker 1: Will hit him boom threw him on the stage and

1482
01:07:35,920 --> 01:07:40,520
Speaker 1: then they do oh, Kenny went the booth, Kenny Win

1483
01:07:40,600 --> 01:07:42,720
Speaker 1: the booth, Kenny Parker Win the booth, through the DJ

1484
01:07:42,840 --> 01:07:45,800
Speaker 1: aut the booth. And when Chris hit the stage, when

1485
01:07:45,920 --> 01:07:49,360
Speaker 1: when when they got pmed off the stage doing uh

1486
01:07:49,680 --> 01:07:56,080
Speaker 1: number one No throwing South Box Wow do the record on.

1487
01:07:57,840 --> 01:08:00,600
Speaker 1: It felt like the floor was gonna kill even I'm

1488
01:08:00,680 --> 01:08:02,439
Speaker 1: in then I'm holding on the pole because it felt

1489
01:08:02,480 --> 01:08:05,200
Speaker 1: like the floors when he came in. The crazy What

1490
01:08:05,600 --> 01:08:09,480
Speaker 1: was crazy was when Chris left Super Caps Next supposed

1491
01:08:09,480 --> 01:08:13,200
Speaker 1: to go next. When Chris left the whole crowd walking

1492
01:08:13,280 --> 01:08:17,599
Speaker 1: down the street with him from the party, the whole crowd,

1493
01:08:17,800 --> 01:08:20,559
Speaker 1: it looked like a video. Yo. He was walking out

1494
01:08:20,600 --> 01:08:22,840
Speaker 1: the street with the whole party, super Cattle stage by

1495
01:08:22,920 --> 01:08:29,920
Speaker 1: something baby, Yo, it was mine, you meant to mine,

1496
01:08:30,000 --> 01:08:32,599
Speaker 1: you want. And there's been a lot of things we

1497
01:08:32,640 --> 01:08:35,120
Speaker 1: did together like that. When we did the Kwando show,

1498
01:08:35,120 --> 01:08:38,000
Speaker 1: down town. It was just so many things I did

1499
01:08:38,000 --> 01:08:41,280
Speaker 1: with Chris. He became became my daughter's godfather. He was

1500
01:08:41,320 --> 01:08:43,600
Speaker 1: there with when my daughter was born. I was on

1501
01:08:43,720 --> 01:08:46,439
Speaker 1: stage in Tampa. He was then with the video camera

1502
01:08:46,439 --> 01:08:48,760
Speaker 1: about the video camera for me, a videotaping for me,

1503
01:08:48,920 --> 01:08:50,840
Speaker 1: but he was there, he said, became my godfather. Him

1504
01:08:50,840 --> 01:08:54,760
Speaker 1: AND's wife. Yeah, she better not battle Chris because he

1505
01:08:54,800 --> 01:08:58,720
Speaker 1: has five battle rhymes for anybody. Anybody. He said that

1506
01:08:59,600 --> 01:09:02,599
Speaker 1: if you list, I got one for you. That's our

1507
01:09:02,760 --> 01:09:05,240
Speaker 1: attitude is he don't care. He's a real hip hop

1508
01:09:05,920 --> 01:09:07,920
Speaker 1: kick out a routine. If anybody want to test on

1509
01:09:07,960 --> 01:09:09,840
Speaker 1: the on the wheels is still you know what, man,

1510
01:09:09,880 --> 01:09:12,439
Speaker 1: I got one move there to kill you. One move

1511
01:09:12,880 --> 01:09:16,320
Speaker 1: is one moving your dad. Don't do it. That's just

1512
01:09:16,360 --> 01:09:23,720
Speaker 1: have fun man. Thank you Legend podcast. Yes,