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Speaker 1: only sixty bucks. All right, brand new, I am Rapp,

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Speaker 1: reports Stereo Podcast. This is Michael Rapp report on today's

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Speaker 1: fantastic deep dish. Iron Wrap reports Stereo Podcast. There's a

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Speaker 1: recount in Florida. Carmelo Anthony must be a fucking asshole

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Speaker 1: and the music man Man the Ace and Marco Polo

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Speaker 1: are here to talk about their dope ass new record.

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Speaker 1: I love this record called The Brooklyn Story. Marco Polo,

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Speaker 1: producer who you've heard. You may not know his face,

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Speaker 1: may not even know his name. He has worked with everybody,

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Speaker 1: and Master Ace is walking us through some of his

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Speaker 1: best songs, including the classic song The Symphony, walking us

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Speaker 1: through the making of the Symphony, produced by Marley marl

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Speaker 1: in his kitchen with Big Daddy Kane wol g Rap

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Speaker 1: Craig g. This is a hip hop lovers Delight interview

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Speaker 1: with the music Man, Master Ace and Marco Polo. But

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Speaker 1: first I'm gonna do what I do on a brand

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Speaker 1: new banging I am Rapp reports stereo podcast Miles Jordan.

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Speaker 1: Matter of fact, start off with some of that Brooklyn

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Speaker 1: story by Master Ace and Marco Polo. Let's go the

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Speaker 1: sound of Brooklyness, just down in Dookokness, the brown book

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Speaker 1: that start Flatbush, Brownsville, Crown Heights, where the music feels

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Speaker 1: good and it sounds right, summertime music in the park.

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Speaker 1: We can do this in the dark. We don't even

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Speaker 1: need no street lights. We bright. Look how we all shine.

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Speaker 1: Look we all trying to live. So we all crying.

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Speaker 1: And then we started saying Crooklyn and everybody thinking it

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Speaker 1: was all crimes come shouted out to Spike Lee and

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Speaker 1: the dude on the corner in the white tea and

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Speaker 1: the girl off the block with the attitude. I had

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Speaker 1: to write a song show my gratitude walk Welcome to

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Speaker 1: my city, Man to the streets with the late great

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Speaker 1: Biggie Ran and damn there everyone's a Biggie fan. That's

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Speaker 1: because we support a whole Brooker, all right. My rapport

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Speaker 1: a K. The Greno Man Dingo a K. The Jake

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Speaker 1: La Matta of podcasting. Usually sometimes it's always different. Every

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Speaker 1: single recording of the Iron Rapports Stereo podcast is totally different.

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Speaker 1: But today I am doing this in front of my

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Speaker 1: eighteen year old niece who's visiting New York City from Halifax, Canada.

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Speaker 1: She's my brother's daughter. We were out in the streets

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Speaker 1: of New York. Today she's sitting there on her phone

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Speaker 1: watching me do this podcast. I don't know what the

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Speaker 1: funk she must be thinking. Um, but she's a captivated

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Speaker 1: one person audience. I am in New York, I am

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Speaker 1: Mr New York UM, and we are rooking the vets.

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Speaker 1: The Iron Rapports Stereo podcast is here rooking the vets

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Speaker 1: in the only way we know how to do it. Um.

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Speaker 1: If you've never listened to The Iron Wrappers Stereo Pockets,

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Speaker 1: and there are so many brand new listeners, I gotta

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Speaker 1: tell you I hyped it up because it lived up

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Speaker 1: to all the hype and expectations, and I knew it

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Speaker 1: fucking would. Uh the last episode the celebration of Wu

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Speaker 1: Tang and Tripical Quest, respectively, Uh, Midnight Marauders and and

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Speaker 1: Enter the thirty six Chambers. I gotta be honest, I

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Speaker 1: I never re listened to the episodes more than once.

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Speaker 1: If that, I can't stand the fucking tone of my

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Speaker 1: voice Okay. Now, I'm not suggesting that you the fans,

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Speaker 1: take on that same dislike for the tone of my voice,

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Speaker 1: because then we'd be fucked. Okay, But I have to

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Speaker 1: live with my own inner monologue and dialogue to myself

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Speaker 1: all the time. Having to listen to it in stereo.

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Speaker 1: Uh is not a pleasant experience for me. I hope

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Speaker 1: you guys enjoy it. Again. I'm not trying to I'm

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Speaker 1: not trying to sway anybody to feel the self hatred

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Speaker 1: that I feel about myself. Um, you understand what I'm saying.

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Speaker 1: But I am so freaking proud of that episode, and

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Speaker 1: we brought in so many new fans, um, and I listened.

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Speaker 1: I actually listened back to the entire episode and and

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Speaker 1: enjoyed it. Um. Listening to metha man Talk Tribe and

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Speaker 1: listening to Q Tip Talk Wu Tang just got me

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Speaker 1: fucking hyped. And since that episode has come out, we

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Speaker 1: were just sniffing, sniffing that iTunes number one spot. I

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Speaker 1: don't know if we got to number one, but when

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Speaker 1: we when we're when we're fighting, clawing and new listeners

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Speaker 1: are coming in, enjoying and celebrating the I m rapports

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Speaker 1: stereo pockets. That is why, that is why I call

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Speaker 1: myself the Jake La Matta of podcasting because eight, round nine,

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Speaker 1: round ten, even round eleven and twelve, those are great rounds.

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Speaker 1: Those are tough rounds. But the champion chip podcasting rounds

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Speaker 1: around thirteen, round fourteen, and then the coveted round deep, deep,

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Speaker 1: deep deep into the the dark, deep treacherous waters. Round fourteen,

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Speaker 1: round fifteen. That's where we take you on the I

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Speaker 1: Am Rappaport Stereo podcast. And that fucking episode was just monumental.

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Speaker 1: And I think we have a doozy here. If you

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Speaker 1: never heard a Master Ace, you heard his music, Okay,

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Speaker 1: the music man from Brooklyn, New York. Um, I've been

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Speaker 1: killing it since the Symphony with Coolgi Wrap, Big Daddy

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Speaker 1: came Greg Craig g produced by more Allim mall Um

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Speaker 1: to all his solo ship two jeep Ass in word,

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Speaker 1: it's just so many fucking bangers, banger after consistent retired,

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Speaker 1: came back into the game and we talk about you

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Speaker 1: know that this new record that they put out together

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Speaker 1: Marco Polo and Uh Mass Days produced by Marco Polo's

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Speaker 1: another Dude's make been making dope ass Ship for years,

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Speaker 1: worked with everybody, everybody from Sean Price to fucking Tolip Qualities,

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Speaker 1: just everybody. This is just a hip hop lover's delight.

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Speaker 1: We talked about the new album, a Brooklyn Story, um

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Speaker 1: and what is Brooklyn hip hop? What is the Brooklyn

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Speaker 1: sound and so much more that's coming up later on.

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Speaker 1: But Carmelo Anthony, it has been announced. It's it's it's

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Speaker 1: moments away. By the time this iron rapports stereo podcast drops,

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Speaker 1: I actually have the computer and on to me and

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Speaker 1: I usually don't have that because I I it's all

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Speaker 1: but inevitable that Carmelo Anthony is going to be cut

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Speaker 1: from the Houston Rockets. The the Houston Rockets who are

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Speaker 1: led by, of course James Harden and his good friend

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Speaker 1: CP three. I believe they played on Olympic teams together,

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Speaker 1: World game teams together. They've traveled the world together. You

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Speaker 1: you could look up vacation photos of Chris Paul Lebron,

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Speaker 1: James d Wade and Carmelo Anthony, the famous banana boat picture,

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Speaker 1: and of course it to remind you, Mike d'An antoni

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Speaker 1: was the coach of the Knicks when Carmelo was a

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Speaker 1: Nick that didn't work out. I believe Mike d'An antonio

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Speaker 1: shaved his mustache while coaching the Knicks. That fucking mustache

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Speaker 1: hasn't been back since and and you know Mike d'An antoni.

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Speaker 1: And I know I said his name three different way

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Speaker 1: since I said Mike d'An antonio on this show, I

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Speaker 1: don't know how to pronounce his name. Is it dan Antonio,

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Speaker 1: dan Antoni, Dan and whatever? Then you know who the

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Speaker 1: funk I'm talking about? The coach? You know, he said

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Speaker 1: to Chris Paul and James Harden, who's younger. He's not

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Speaker 1: friends with these guys. You know, he asked him, James,

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Speaker 1: are you cool with Carmelo? And James probably like CP

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Speaker 1: says he's cool. I'm cool with it. You know, I don't.

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Speaker 1: I don't give a shit. But you know, dan Antoni said, CP.

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Speaker 1: You know I can't stand this motherfucker. This happened in

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Speaker 1: the summer. This is a conversation that happened that no

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Speaker 1: one is reporting. But dan Antoni said, Chris Paul, you know,

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Speaker 1: I can't stand that motherfucker. He got me fired from

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Speaker 1: the Knicks. I don't like him. I don't like coaching him.

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Speaker 1: I've never liked him. If we bring this motherfucker here,

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Speaker 1: is he going to acquiesce? Is he going to be

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Speaker 1: a role player? And c p must have had a

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Speaker 1: conversation with Carmelo and he said to Dan Antoni, I

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Speaker 1: got you, coach. He's ready to He's ready to win.

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Speaker 1: He just wants to win a championship. He's not gonna

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Speaker 1: cause any fucking problems. You know, this was a conversation

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Speaker 1: that happened. Chris Paul is a Hall of Famer, He's

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Speaker 1: the point guard, he's the floor general. And lo and Behold.

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Speaker 1: Ten games into the season, the Houston Rockets are now

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Speaker 1: going to cut this motherfucker the Oklahoma City Thunder one

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Speaker 1: and done. It didn't work out. Russell Westbrooks like, fuck you. Paul.

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Speaker 1: George is like, I'll sign if this motherfucker doesn't sign.

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Speaker 1: And I gotta say I have stood by Carmelo Anthony.

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Speaker 1: I've been a fan Winn since he was in Denver,

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Speaker 1: been loyal since he was a nick But while there

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Speaker 1: is when there is smoke, there's fires. Shout out to

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Speaker 1: all the people who have suffered in California from the fires.

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Speaker 1: By the way, I don't even know if that's a

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Speaker 1: good reference. Today, I'm gonna take that reference out. Keep

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Speaker 1: it in miles, but but I'm taking it out. I am.

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Speaker 1: I am recusing that reference from this podcast because so

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Speaker 1: many people are suffering from the fires in in Malibu,

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Speaker 1: in northern California, in the valley out there. Um. So

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Speaker 1: many people have lost their lives. Uh. So many people

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Speaker 1: have lost their homes, which I couldn't even imagine how

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Speaker 1: devastating that is to lose every single thing in your home.

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Speaker 1: And one of the big misconceptions is that Malibu is

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Speaker 1: just celebrities. That's not true, and Malibu is all just

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Speaker 1: the rich. First of all, the fire is affected more

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Speaker 1: than just Malibu. Second of all, Malibu, Yes, there is

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Speaker 1: a lot of celebrities, and there's a lot of wealthy people,

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Speaker 1: but that's not the whole community. If you've ever been

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Speaker 1: out there and driven around, there's so many working class people,

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Speaker 1: are regular people that just live out there, that are

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Speaker 1: from out there, whose houses are destroyed and devastated. Um

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Speaker 1: so uh, my thoughts go out to all the people

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Speaker 1: who have suffered in one way or another. Have plenty

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Speaker 1: of people have been evacuated. I have plenty of people

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Speaker 1: who have had to. Uh, they don't know the status

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Speaker 1: of their homes yet as of recording this Iron Wrap

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Speaker 1: or stereo podcast. The Fireman, the First Responders, Bethany Frankel,

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Speaker 1: all the people that are donating, that are that are

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Speaker 1: rushing to help everybody who's been affected, um, and the

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Speaker 1: people obviously who have been whose houses have just burned

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Speaker 1: down to the ground, who's who've lost animals. Couldn't even

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Speaker 1: fucking imagine. I couldn't even imagine at California right now

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Speaker 1: is just smoke everywhere, ash everywhere. Um. But with Carmelo Anthony,

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Speaker 1: it's just been one thing after another, one thing after another,

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Speaker 1: one thing after another, one team after another, one situation

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Speaker 1: after another. And and because of his greatness and because

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Speaker 1: of his star power, and I think because he's good

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Speaker 1: friends with Lebron James, d Wade and c P three,

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Speaker 1: obviously d Wade and Lebron James are untouchable. Never heard

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Speaker 1: any bad words about them. Uh that are that? Are?

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Speaker 1: You know true? You know CP just went through his

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Speaker 1: little you know ship with uh different people shipping on it.

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Speaker 1: But you know what I'm saying, this is like the

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Speaker 1: creme de la creme of the n B A Uh,

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Speaker 1: Carmelo has been protected, but but it's fucking over. I

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Speaker 1: don't know where he's gonna go. And yes, there was

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Speaker 1: games when Chris Paul was suspended, and there was a

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Speaker 1: couple of games when James Harden was hurt that Carmelo hit.

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Speaker 1: This is just two weeks ago. Twenty eight points, twenty

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Speaker 1: three points, twenty points, twenty four points in a four

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Speaker 1: games stretch. Obviously he could still score. But something just

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Speaker 1: ain't right. I'll say it again to quote the great

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Speaker 1: Key sweat. Something just ain't fucking right. And I imagine

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Speaker 1: that Chris Paul and Lebron have had conversations like Chris

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Speaker 1: Paul is probably like, Yo, what's up with this motherfucker?

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Speaker 1: Lebron's like, what do you mean? Well, we vacationed in

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Speaker 1: Santra Pe. We we have the private yard in the Caribbean.

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Speaker 1: And Chris Paul's like, yeah, I know, he's fucking great

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Speaker 1: vacation buddy. Yeah, I love traveling with him. But as

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Speaker 1: a fucking teammate he sucks. And Lebron's like, what are

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Speaker 1: you talking about? I played with him on the Olympic

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Speaker 1: team and the World Game. He goes, Yeah, those games

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Speaker 1: don't count, it's Olympics, it's the World Games. We beat

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Speaker 1: those teams by forty. It's the non issue. Lebron's like,

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Speaker 1: I don't understand. You know, I love I love Carmelo,

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Speaker 1: and Chris Paul's like, well, motherfucker, you never played with him,

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Speaker 1: and neither have I. But these ten games, these three

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Speaker 1: weeks have been fucking nightmare. And Lebron is like, I

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Speaker 1: don't understand. And then they get Dwayne Wade on the

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Speaker 1: three way phone call and like, Dwayne Wade is like,

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Speaker 1: what's going on? CP three And CP three is like,

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Speaker 1: d Wade, your man is a funk up. He's a

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Speaker 1: total funk him and d Wade, it's like, what are

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Speaker 1: you talking about? We traveled to Spain together, remember the

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Speaker 1: four of us and the wives. He goes, I know,

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Speaker 1: I know. Don't you think I I vouched for him

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Speaker 1: to coach Dan Antoni or dan Antonio, whereever the fuck

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Speaker 1: his name is, And d Wade is like, I think

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Speaker 1: it's dan Antoni and Lebron is like I think it's

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Speaker 1: dan Antonio. And CP's like, whatever the fund his name is,

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Speaker 1: he's making me look bad. I dealt with enough this year.

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Speaker 1: I got Rondo talking ship. I got that fucking half

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Speaker 1: fucking mon Bloyd, Big Baby Davis talking ship. I'm trying

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Speaker 1: to fix my reputation and he's not helping it. D

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Speaker 1: d Wade is like, well, what you gonna do? And

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Speaker 1: Lebron's like, yeah, what the funk are you gonna do?

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Speaker 1: It's like CP three, He's like, we're gonna cut this motherfucker.

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Speaker 1: And d Wade's like, well, you know he's gonna try

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Speaker 1: to come to the Lakers, and Lebron's like no, no, no, no, no,

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Speaker 1: funk that ship. We already got enough fucking problems. I

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Speaker 1: don't know how this is gonna end. This is me talking,

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Speaker 1: not d Wade, Lebron or CP three. Uh. Chris Broussard,

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Speaker 1: who is my favorite guy to talk about the NBA,

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Speaker 1: thinks he should retire. Why would you retire? He's like

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Speaker 1: thirty four years old. He just put up twenty eight

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Speaker 1: points the other day in Brooklyn or versus Brooklyn. I

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Speaker 1: just don't see how this is gonna end. Well, he

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Speaker 1: just got I don't know, a hundred ninety two million dollars,

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Speaker 1: but you know you're thirty four years old. Listen to

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Speaker 1: see Iron Reports Stereo Pockets he might be thirty five.

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Speaker 1: I have no fucking idea. Um, but why would he retire?

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Speaker 1: But I don't think any team is gonna pick him up.

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Speaker 1: He must be that much of a motherfucker to deal with,

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Speaker 1: to be that good, to be that iconic, and uh,

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Speaker 1: to have no team, to not be able to know, like, Yo,

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Speaker 1: I'm not the main dude. Of course, you're not the

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Speaker 1: fucking main dude, James Harden. Just one m v P.

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Speaker 1: You never won m v P. You're thirty years old.

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Speaker 1: You're trying to reinvent yourself as hoodie mellow. That was

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Speaker 1: a fucking disaster. Anyway, I don't care. I don't give

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Speaker 1: a ship. I'm gonna be honest. I sent my brother,

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Speaker 1: Professor Eric Rappaport, and his daughter to the garden the

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Speaker 1: other day. Okay, I bought tickets, those fucking tickets to

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Speaker 1: go into Madison Square Garden to watch the New York Knicks,

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Speaker 1: the fucking New York Knicks. I funk with Fizzdale, that's

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Speaker 1: my guy. I funk with the young talent whatever. It

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Speaker 1: was a Sunday night game. Uh, the New York Knicks

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Speaker 1: versus the Orlando Magic who again, Yeah, they're young mo Bamba,

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Speaker 1: I get it. Blah blah blah. Aaron Gordon fucking tickets

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Speaker 1: were ridiculously expensive and Aaron Gordon didn't even play. That's

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Speaker 1: my fucking guy. So I'm sitting here watching the game

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Speaker 1: at home, trying to catch my brother, Professor Rappaport, and

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Speaker 1: his daughter on the TV, you know, so I could

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Speaker 1: take a picture, like, hey, guys, you're on TV. The

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Speaker 1: Knicks are getting fucking blown out by twenty five points

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Speaker 1: by the end of the first quarter, and I'm thinking

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Speaker 1: to myself, I just pissed away all this money. The

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Speaker 1: Knicks are getting blown up by twenty five points. It's

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Speaker 1: my niece's first game in Madison Square Guarden, my brother,

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Speaker 1: they're sitting here right in the fucking front. I spent

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Speaker 1: my hard earned money, and I go, what an asshole

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Speaker 1: I am for spending my fucking money to send them

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Speaker 1: to see the Orlando fucking Magic with Aaron Gordon not playing,

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Speaker 1: And I gave James Dolan my fucking money. I have

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Speaker 1: no idea why I brought that up or what it

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Speaker 1: has to do with this Iron Rapports stereo podcast, but

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Speaker 1: I feel like I'm a sucker for sending him to

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Speaker 1: see that game. Can you imagine sitting through the Orlando

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Speaker 1: Magic with no Aaron Gordon? I get it. Mo Bamba

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Speaker 1: his name is fun to say. There's a song called

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Speaker 1: mo Bamba, A big fucking deal nineteen years old. God

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Speaker 1: hasn't how to play basketball yet. Yeah, he's from Harlem.

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Speaker 1: I funk with him. Harlem World, stand up, uptown, uptown.

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Speaker 1: I get it. But if you knew how much I

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Speaker 1: spent on those fucking tickets, they should give him my

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Speaker 1: my money back. I hope they got out of it.

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Speaker 1: Did you get a T shirt at the game? They

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Speaker 1: gave you a T shirt? How did you get a

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Speaker 1: T shirt? And you got a T shirt? All right? Well,

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Speaker 1: at least they got a fucking T shirt. There's a

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Speaker 1: recount in Florida going on. I don't know how this

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Speaker 1: is gonna work out. These these voting machines are dogshit. Um.

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Speaker 1: As I said the other day, it doesn't seem that

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Speaker 1: complicated to come up with one unified uh fail proof

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Speaker 1: or is it fall proof fail proof in UH? Not

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Speaker 1: international because it's national national voting system with one national

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Speaker 1: voting system machine. It turns out that the shut Up

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Speaker 1: and Vote campaign that I created, and it was heading

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Speaker 1: worked a little bit, but not that much. Apparently, only

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Speaker 1: thirty thirty three oh millennials voted, which I guess is

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Speaker 1: the most they've ever voted before. It was the most

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Speaker 1: that the most voted upon midterm election ever yet and

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Speaker 1: still there's recount. There might be one in Georgia, one

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Speaker 1: in Florida is going down right now. That's gonna take

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Speaker 1: a week. I don't get it. This shouldn't take a

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Speaker 1: fucking week two thousand eighteen. They should take twenty four

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Speaker 1: forty eight hours at most. You got motherfucker's they're they're

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Speaker 1: they're literally counting votes the same way they count bingo

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Speaker 1: cards at church bingo in two thousand eighteen. Motherfucker's are

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Speaker 1: hand counting the votes to figure out what's what, who won,

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Speaker 1: and who lost. Now, you know, we're not gonna do

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Speaker 1: a deep dive into politics here, but this young I

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Speaker 1: don't know what what the most interesting thing about this

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Speaker 1: Alexandria Okazia Cortez. The only the most interesting thing I

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Speaker 1: find and find out about her is her teeth. She's

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Speaker 1: got big fucking teeth. This Alexandria Okazia Cortez. She's been

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Speaker 1: uh in the news lately. She's been in the news

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Speaker 1: and she got elected. Apparently she says she's from the Bronx,

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Speaker 1: but then they're saying she's not from the Bronx. I

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Speaker 1: don't know. There's something about her. I don't trust. She's

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Speaker 1: a Democratic Socialist, the youngest woman ever elected to Congress.

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Speaker 1: Blah blah blah. Save all that ship for the movies.

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Speaker 1: It's got big fucking teeth. Uh. She's a nice looking lady.

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Speaker 1: But apparently she was shamed because she can't afford rent.

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Speaker 1: She can't afford to rent any apartment in Washington, d C.

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Speaker 1: Before her job starts in January. Okay, you know people

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Speaker 1: were making fun of her and all this stuff, and

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Speaker 1: then she was saying, this is a reflection of the country. Hey, listen,

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Speaker 1: I don't know what the funk you were doing before

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Speaker 1: you were elected. If your job and them checks don't

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Speaker 1: come in till January, I don't know what to tell you. Airbnb,

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Speaker 1: funk are you complained about? I don't I don't understand

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Speaker 1: how this is a big story. How she all of

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Speaker 1: a sudden she's a victim and she's the face of Listen,

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Speaker 1: you never did anything in politics before. You're the youngest

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Speaker 1: woman elected to Congress. Ever, maybe get a fucking job,

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Speaker 1: get a second job. Since you're all about a socialism

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Speaker 1: and for the people and all that ship, do it.

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Speaker 1: Go fund me. I'm sure you raised tons of fucking money.

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Speaker 1: She'll go corrupt. I give her to three years before

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Speaker 1: they find out something fishy about her. They've already dug

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Speaker 1: up some dirt about it. This is something I don't

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Speaker 1: like about her, and the teeth are just the beginning

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Speaker 1: of it. Emily, do you know this Alexandria Ocasio Cortez character.

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Speaker 1: She don't even know it. She's a millennial herself. She's eighteen.

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Speaker 1: My final love comment on politics as a former I

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Speaker 1: am Rappaport Stereo podcast sick Funk of the Week winner.

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Speaker 1: You remember this guy, Denver Riggleman. Remember him. He is

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Speaker 1: the Republican guy down in Virginia. He was a sick

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Speaker 1: Funk of the Week I'd say about six to eight

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00:25:08,520 --> 00:25:13,399
Speaker 1: months ago, because it was it came out that this

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Speaker 1: sick fuck had a hot, hot fetish, a pang for

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Speaker 1: big foot erotica. Remember this freak, you know what I'm

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00:25:23,600 --> 00:25:28,080
Speaker 1: talking about. Look him up. Listen to the old episode.

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Speaker 1: This guy had a pang him and his wife they

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Speaker 1: got off on big foot erotica. I mean, I don't

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Speaker 1: know how that could get anybody off. I don't know

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Speaker 1: how that that could be something that you find sexually

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Speaker 1: arousing for anybody, but this fuck. Even after being shamed

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Speaker 1: on the Iron rapp Reports Stereo podcast, a certified I

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Speaker 1: am Rapports Stereo podcast, Sick Funk of the Week award

390
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Speaker 1: winner and big foot Erotica fiend. He's a fiend for

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Speaker 1: that bigfoot eronica. He he won the open congressional seat

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Speaker 1: in Virginia last Tuesday. Can you believe? And you know

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Speaker 1: the person he beat, Leslie Cockburn. That's her name, Leslie Cockburn,

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Speaker 1: Denver Riggleman, This former Ian Rapports Sick Fuck of the Week.

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Speaker 1: And if you ever need any information on bigfoot erotica,

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Speaker 1: you now can reach out to your local congressman in Virginia.

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Speaker 1: It guy's gotta it's a it's a one stop shop

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Speaker 1: down there in Virginia. So, as I told you, I

399
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Speaker 1: am back in New York and one of the one

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Speaker 1: of the mantras and themes of the the Iron Rapp

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Speaker 1: Reports Stereo podcast. And I know I used to discuss

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00:26:54,960 --> 00:26:58,000
Speaker 1: it a lot and I haven't discussed it lately. Is

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Speaker 1: my favorite mwich of all time. Uh, the iconic staple

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00:27:06,440 --> 00:27:12,800
Speaker 1: of New York, the the bagel, cream cheese and locks. Um.

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00:27:13,600 --> 00:27:16,719
Speaker 1: And I know in the first probably episodes, I think

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00:27:16,760 --> 00:27:20,520
Speaker 1: I discussed the bagel, cream cheese and locks. Mm hmm,

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00:27:21,040 --> 00:27:24,280
Speaker 1: maybe once an episode and then I have to be honest,

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00:27:24,400 --> 00:27:29,520
Speaker 1: I've stayed away from trying to eat bagel, cream cheese

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00:27:29,600 --> 00:27:32,040
Speaker 1: and locks because you can't eat it every day, because

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Speaker 1: then you will inevitably become a fat, cholesterol filled funck.

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Speaker 1: And I'm trying to avoid that path, that downward spiral.

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Speaker 1: But but my brother the other day, he did the

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00:27:45,960 --> 00:27:49,240
Speaker 1: right thing. He did his his brotherly duty, and he

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Speaker 1: went to our Upper east Side. It's my favorite bagel

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00:27:52,960 --> 00:27:54,760
Speaker 1: place in all in New York. Now, now this is

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00:27:54,800 --> 00:28:00,560
Speaker 1: a very hot topic. Everybody gets very passionate and terrtorial,

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00:28:00,680 --> 00:28:02,720
Speaker 1: and you don't know what the funk you're talking about.

418
00:28:03,640 --> 00:28:06,480
Speaker 1: There's this place out in Corney Island. It's fucking great.

419
00:28:07,160 --> 00:28:09,920
Speaker 1: You fucking assholes in Manhattan. You don't know about this

420
00:28:10,080 --> 00:28:12,760
Speaker 1: fucking bagel place out in Coney Island. It's been out

421
00:28:12,800 --> 00:28:15,359
Speaker 1: here a hundred and twelve fucking years. You jerk off,

422
00:28:15,440 --> 00:28:17,800
Speaker 1: don't know. I got it. I'm not. I'm not going

423
00:28:17,840 --> 00:28:21,760
Speaker 1: out to Coney Island just to get your bagel, Duke.

424
00:28:22,800 --> 00:28:25,320
Speaker 1: I'm sure it's great joke. I'm not. I'm not taking

425
00:28:25,359 --> 00:28:30,320
Speaker 1: the motherfucking train cab uber all the way out to

426
00:28:30,480 --> 00:28:34,600
Speaker 1: motherfucking see I to try that bagel from that bagel

427
00:28:34,600 --> 00:28:37,240
Speaker 1: shop that's been there a hundred and twelve years. And

428
00:28:37,320 --> 00:28:41,160
Speaker 1: then there's motherfucker's in the Bronx like, go, you gotta

429
00:28:41,240 --> 00:28:43,480
Speaker 1: come up to the b X. It's fucking bagels up

430
00:28:43,520 --> 00:28:47,200
Speaker 1: here and said, fuck you too. Fuck you guys out

431
00:28:47,280 --> 00:28:51,120
Speaker 1: in Queens with your bagels. The best bagel in money

432
00:28:51,200 --> 00:28:55,200
Speaker 1: making Manhattan, as far as I'm concerned, I have a

433
00:28:55,400 --> 00:29:01,440
Speaker 1: full Jewish palette that tells to me this is the best.

434
00:29:01,640 --> 00:29:05,800
Speaker 1: And I've tried a lot of them. I know s

435
00:29:05,880 --> 00:29:11,200
Speaker 1: a bagel downtown on the Lower east Side Stuyvesant Town.

436
00:29:11,280 --> 00:29:15,480
Speaker 1: People rave about that. Yeah, fucking things like a doughnut,

437
00:29:17,360 --> 00:29:20,480
Speaker 1: the iconic bagel, cream cheese and locks from the Upper

438
00:29:20,560 --> 00:29:24,640
Speaker 1: east Side, which by the way, is filled with Oshkenazi Jews.

439
00:29:24,800 --> 00:29:28,400
Speaker 1: We have a nose and and a gift for understanding

440
00:29:28,480 --> 00:29:34,520
Speaker 1: and appreciating bagels. Cream, cheese and locks. There's a hasidic

441
00:29:34,600 --> 00:29:37,520
Speaker 1: place two blocks away from mine, from my apartment that

442
00:29:37,600 --> 00:29:41,480
Speaker 1: opened up. It's fine, it's a fine. It's a good bagel,

443
00:29:41,680 --> 00:29:45,200
Speaker 1: cream cheese and locks. It's like a professional bagel, cream

444
00:29:45,280 --> 00:29:48,520
Speaker 1: cheese and locks, the same way the Orlando Magic, our

445
00:29:48,640 --> 00:29:55,240
Speaker 1: professional NBA team. But if you want the Golden State Warriors, okay,

446
00:29:57,040 --> 00:29:59,680
Speaker 1: if you want the New England Patriots and you're like,

447
00:29:59,720 --> 00:30:01,520
Speaker 1: oh I felt with the Patrie, I'm saying, the best

448
00:30:01,600 --> 00:30:04,440
Speaker 1: of the best, motherfucker. If you want the best, the

449
00:30:04,520 --> 00:30:07,000
Speaker 1: current best of the best bagel, cream cheese and locks,

450
00:30:07,440 --> 00:30:11,280
Speaker 1: you take your ass eighty second between eighty three and

451
00:30:11,360 --> 00:30:14,360
Speaker 1: second and you get yourself to H and H bagel

452
00:30:14,480 --> 00:30:20,160
Speaker 1: and you get yourself he toasted everything bagel or whatever

453
00:30:20,240 --> 00:30:24,480
Speaker 1: your preferences. That's how I like. I like the toasted

454
00:30:24,720 --> 00:30:29,640
Speaker 1: everything bagel with cream cheese. And if I'm gonna go in,

455
00:30:29,840 --> 00:30:34,760
Speaker 1: I'm gonna go in hard body karate. You say I

456
00:30:34,800 --> 00:30:36,880
Speaker 1: would like some extra locks, and they said that cost more.

457
00:30:37,080 --> 00:30:40,960
Speaker 1: I go, I know it costs more, asshole. I don't

458
00:30:41,000 --> 00:30:45,120
Speaker 1: expect you to give me extra locks for free, asshole.

459
00:30:46,920 --> 00:30:49,480
Speaker 1: I understand it costs more. I've been fucking asking for

460
00:30:49,560 --> 00:30:53,160
Speaker 1: the extra locks for fifteen years, motherfucker. Every time I

461
00:30:53,240 --> 00:30:55,440
Speaker 1: asked for the extra locks, you say it costs more.

462
00:30:56,960 --> 00:31:03,680
Speaker 1: I don't expect it for free. The freshest fish, the

463
00:31:03,880 --> 00:31:08,560
Speaker 1: tastiest fish in the world, I know, if you're gonna

464
00:31:08,560 --> 00:31:10,600
Speaker 1: give me a little bit extra, I gotta pay you.

465
00:31:10,800 --> 00:31:14,240
Speaker 1: Dumb fuck. You get your toasted everything bagel with the

466
00:31:14,320 --> 00:31:18,120
Speaker 1: cream cheese, extra locks, one slice of tomato, a little

467
00:31:18,120 --> 00:31:21,440
Speaker 1: bit of onions, and some capers, and you sit back

468
00:31:21,520 --> 00:31:24,400
Speaker 1: and you eat that fucking piece of art, and you

469
00:31:24,600 --> 00:31:29,080
Speaker 1: chew it and you enjoy it slow. Now you're you're

470
00:31:29,120 --> 00:31:33,479
Speaker 1: your temptation will be to just eat it like it's

471
00:31:33,600 --> 00:31:36,400
Speaker 1: jelly beans or Eminem's. It ain't jelly beans Eminem's. It

472
00:31:36,480 --> 00:31:41,520
Speaker 1: ain't even slice of pizza. This is fine fish, Nova

473
00:31:41,600 --> 00:31:51,120
Speaker 1: Scotia fish. Emily. Your mom, uh she makes gravelocks. My nieces,

474
00:31:51,720 --> 00:31:57,560
Speaker 1: uh mother, my sister in law, they make the fucking gravelocks.

475
00:31:57,680 --> 00:32:01,320
Speaker 1: My brother does it. Matter of fact, I don't think

476
00:32:01,320 --> 00:32:06,800
Speaker 1: I have enough time. My niece, she knows that fucking locks.

477
00:32:08,480 --> 00:32:10,040
Speaker 1: You don't eat it like a slice. It ain't a

478
00:32:10,120 --> 00:32:14,480
Speaker 1: fucking hot dog. It ain't a grilled cheese sandwich. It

479
00:32:14,520 --> 00:32:18,800
Speaker 1: ain't fucking big Mac. This ain't burger king. You eat

480
00:32:18,840 --> 00:32:23,680
Speaker 1: that motherfucker slow. You think about life, You think about

481
00:32:23,920 --> 00:32:28,880
Speaker 1: the good, the bad, the ugly. You get sentimental when

482
00:32:28,920 --> 00:32:33,040
Speaker 1: you eat a great bagel, cream, cheese and locks. That's

483
00:32:33,080 --> 00:32:35,600
Speaker 1: just my suggestion on how to do it. If you

484
00:32:35,680 --> 00:32:37,840
Speaker 1: eat it too fast, you are going to miss it

485
00:32:38,160 --> 00:32:41,960
Speaker 1: when it is gone. Trust me, my friend, Oh yeah,

486
00:32:42,320 --> 00:32:55,280
Speaker 1: trust me. Podcasts going. I talked about these podcasts the

487
00:32:55,320 --> 00:32:59,160
Speaker 1: other day. I'm we're listening to these two podcasts. Three

488
00:32:59,360 --> 00:33:06,480
Speaker 1: three other podcast the Aaron Hernandez podcast on uh from

489
00:33:06,560 --> 00:33:12,600
Speaker 1: the Boston Globe Yo. That ship is crazy, um. And

490
00:33:12,720 --> 00:33:17,400
Speaker 1: then Serial season three. I like these they're like murder Dock.

491
00:33:17,520 --> 00:33:20,760
Speaker 1: It's like murder Dock and child are like crying true

492
00:33:20,880 --> 00:33:25,720
Speaker 1: crime podcast Aaron and Nandez. Of course I highly recommend

493
00:33:25,800 --> 00:33:29,480
Speaker 1: that podcast. It's called Gladiator. And then Serial season three

494
00:33:29,560 --> 00:33:33,720
Speaker 1: takes place in Cleveland and it's sort of the the

495
00:33:34,400 --> 00:33:38,240
Speaker 1: the home the base of the podcast is the Cleveland

496
00:33:38,760 --> 00:33:44,840
Speaker 1: downtown Cleveland Courthouse, and it follows these cases and these judges,

497
00:33:45,440 --> 00:33:48,280
Speaker 1: and it will follow the judge outside of you know,

498
00:33:48,880 --> 00:33:51,400
Speaker 1: you know, like what they're like, and they're just it's

499
00:33:51,480 --> 00:33:55,720
Speaker 1: it's great. It's like it's like fantastic episodes of sixty

500
00:33:55,800 --> 00:34:00,120
Speaker 1: Minutes or vice, whatever the funk you're into, or or

501
00:34:00,240 --> 00:34:04,360
Speaker 1: like Making of a Murderer on Netflix, um, which I'm

502
00:34:04,360 --> 00:34:06,400
Speaker 1: gonna go to. I watched season two of that ten

503
00:34:06,480 --> 00:34:08,880
Speaker 1: hours of that fucking ship this weekend. It could have

504
00:34:08,960 --> 00:34:12,080
Speaker 1: been in four hours. I mean, in hindsight, it was

505
00:34:12,120 --> 00:34:13,680
Speaker 1: really good. But it's just not the same thing. If

506
00:34:13,719 --> 00:34:17,920
Speaker 1: you watch Making Making of a Murderer season one, you

507
00:34:18,040 --> 00:34:20,120
Speaker 1: can watch season two. But just no, it's not the

508
00:34:20,200 --> 00:34:23,960
Speaker 1: same thing. It's the same case, same story, same characters,

509
00:34:24,680 --> 00:34:27,600
Speaker 1: but it's not the same thing. It's not the same

510
00:34:27,680 --> 00:34:30,359
Speaker 1: satisfying thing. It's a different kind of satisfying. It's it's

511
00:34:30,400 --> 00:34:34,120
Speaker 1: really good, but it's just different. Um. But there's other

512
00:34:34,719 --> 00:34:38,360
Speaker 1: podcast I'm listening to, Cold in the Dark, who I

513
00:34:38,480 --> 00:34:42,719
Speaker 1: actually was recommended to this by guerrilla tooth Gary de

514
00:34:42,800 --> 00:34:45,080
Speaker 1: la Bonte from The Howard Stern Show. You know, uh

515
00:34:45,200 --> 00:34:49,480
Speaker 1: bob Ba Booe, Big tooth Gary. I'm tripping out off

516
00:34:49,520 --> 00:34:51,960
Speaker 1: of it. I'm on episode eight and I believe there's

517
00:34:52,000 --> 00:34:56,080
Speaker 1: ten episodes, and I'm bugging out off this episode. This

518
00:34:56,280 --> 00:34:59,239
Speaker 1: this podcast called in the Dark it's another you know,

519
00:34:59,480 --> 00:35:04,600
Speaker 1: real crime, true crime documentary that follows the case of

520
00:35:04,680 --> 00:35:11,520
Speaker 1: this one guy who was convicted and sentenced to murder.

521
00:35:11,800 --> 00:35:14,880
Speaker 1: He was convicted of killing four people and sentenced to

522
00:35:15,000 --> 00:35:22,280
Speaker 1: murder and it got overturned six fucking times. Lo and behold,

523
00:35:22,960 --> 00:35:28,640
Speaker 1: it's a black dude shocking in a majority Well now

524
00:35:28,760 --> 00:35:35,000
Speaker 1: it's not majority, it's a sixty white black Mississippi town.

525
00:35:35,400 --> 00:35:38,239
Speaker 1: It's it's close to the town. They explore all that.

526
00:35:38,239 --> 00:35:40,200
Speaker 1: I said, I just listened to another episode last I

527
00:35:40,400 --> 00:35:43,200
Speaker 1: fucked my head up. The closer to the town where

528
00:35:43,280 --> 00:35:47,200
Speaker 1: Emmett Till the young man a young black man who

529
00:35:47,320 --> 00:35:51,640
Speaker 1: was killed I think in the thirties or forties because

530
00:35:51,680 --> 00:35:55,480
Speaker 1: he was accused of flirting with a white woman. Later on,

531
00:35:55,600 --> 00:35:58,600
Speaker 1: it turned and the people that killed him in the

532
00:35:58,680 --> 00:36:01,560
Speaker 1: nearby court house that this same case takes place in,

533
00:36:03,760 --> 00:36:09,120
Speaker 1: we're found not guilty. It's crazy, But but this documentary

534
00:36:09,520 --> 00:36:13,920
Speaker 1: in the Dark the air in Hernandez documentary Gladiator in

535
00:36:14,000 --> 00:36:16,320
Speaker 1: the Dark season two. Now, now, now I'm saying in

536
00:36:16,400 --> 00:36:18,359
Speaker 1: the Dark season two, I've said it, I think three

537
00:36:18,440 --> 00:36:22,960
Speaker 1: to four times. Now, Now do me a favor, don't

538
00:36:23,200 --> 00:36:28,440
Speaker 1: fucking dm me and say yo Mike rap I'm listening

539
00:36:28,520 --> 00:36:31,400
Speaker 1: to in the Dark, uh, season one, and and I

540
00:36:31,480 --> 00:36:33,560
Speaker 1: don't hear any I said, I see because I said

541
00:36:33,680 --> 00:36:37,680
Speaker 1: in the Dark season two. I said in the Dark

542
00:36:37,760 --> 00:36:39,840
Speaker 1: season two. Now I think I've said it five times.

543
00:36:40,160 --> 00:36:43,120
Speaker 1: Don't d m me later on saying, Yo, what was

544
00:36:43,160 --> 00:36:47,759
Speaker 1: the name of that podcast? I'm saying it now. If

545
00:36:47,800 --> 00:36:52,400
Speaker 1: you're listening to the podcast, the Iron Rapports Stereo podcast,

546
00:36:53,120 --> 00:36:57,240
Speaker 1: take some fucking notes. I'm giving you jewels. I'm giving

547
00:36:57,280 --> 00:37:02,560
Speaker 1: you fucking jewels. Anyway, All three of those are dope. Um,

548
00:37:02,680 --> 00:37:05,319
Speaker 1: and making of a Murderous Season two, which I spent

549
00:37:05,400 --> 00:37:09,319
Speaker 1: ten hours on. Honestly, again, it was good. I didn't

550
00:37:09,320 --> 00:37:10,799
Speaker 1: need to and you say, well, why don't you stop

551
00:37:10,880 --> 00:37:13,200
Speaker 1: watching it? I was fucking too too far down the

552
00:37:13,280 --> 00:37:15,840
Speaker 1: rabbit hole to turn it off. But I feel like

553
00:37:15,920 --> 00:37:17,799
Speaker 1: it could have been ten hours that could have taken

554
00:37:17,840 --> 00:37:21,960
Speaker 1: place in four five at the most. I know we

555
00:37:22,040 --> 00:37:25,759
Speaker 1: didn't have anything to do with it, but this is great. Um.

556
00:37:27,120 --> 00:37:33,319
Speaker 1: It turns out the Staten Island, which listen, not much

557
00:37:33,360 --> 00:37:35,640
Speaker 1: has come out of Staten Island. You know, they filmed

558
00:37:35,719 --> 00:37:39,120
Speaker 1: Godfather on Staten Island, the movie Godfather. That's where Michael

559
00:37:39,160 --> 00:37:44,080
Speaker 1: Corleone's home was Um, it's infamously the home and resting

560
00:37:44,160 --> 00:37:47,640
Speaker 1: spot to a lot of gangsters in New York. Um.

561
00:37:47,760 --> 00:37:54,239
Speaker 1: Of course, the Wu Tang clan uh is from Staten Island. Um.

562
00:37:54,320 --> 00:37:57,719
Speaker 1: And other than that, I don't know what else to

563
00:37:57,880 --> 00:38:02,040
Speaker 1: pick up Staten Island for no disrespect to Staten Island.

564
00:38:02,160 --> 00:38:07,040
Speaker 1: But I'm just I'm just being honest. Um. They are

565
00:38:07,160 --> 00:38:13,560
Speaker 1: making a Wu Tang Clan Day, which is only right.

566
00:38:13,800 --> 00:38:16,759
Speaker 1: But Wu Tang Clan should have a fucking week. They

567
00:38:16,800 --> 00:38:21,239
Speaker 1: should have Wu Tang Week in Staten Island. U Tang

568
00:38:21,320 --> 00:38:24,480
Speaker 1: put fucking Staten Island on the fucking map. A lot

569
00:38:24,520 --> 00:38:27,239
Speaker 1: of people born and raised in New York didn't even

570
00:38:27,320 --> 00:38:30,000
Speaker 1: know that Staten Island was part of the Five Boroughs

571
00:38:31,200 --> 00:38:35,960
Speaker 1: until Wu Tang came out. Uh. So that's a big

572
00:38:36,040 --> 00:38:40,279
Speaker 1: deal and I think it's overdue, but you know, good,

573
00:38:40,360 --> 00:38:42,319
Speaker 1: it's happened, and it's good to happen on the twenty

574
00:38:42,560 --> 00:38:49,759
Speaker 1: anniversary of Enter the thirty six Chambers. Um. Finally, before

575
00:38:49,800 --> 00:38:53,680
Speaker 1: I get to this hip hop, yo, trust me when

576
00:38:53,719 --> 00:38:56,719
Speaker 1: I tell you that you're going to love this interview

577
00:38:57,000 --> 00:39:03,080
Speaker 1: with Marco Polo, producer and and master as MC veteran

578
00:39:03,719 --> 00:39:08,520
Speaker 1: from Brooklyn, New York. So many gems. Both of them

579
00:39:08,600 --> 00:39:11,719
Speaker 1: talk on Brooklyn hip hop, The making of Crookland Dodgers.

580
00:39:13,320 --> 00:39:16,080
Speaker 1: Cute Tip actually produced that song, remember that song, Krookland

581
00:39:16,120 --> 00:39:21,400
Speaker 1: Dodgers from the Spike Lee Joint Crooklyn with special Ed

582
00:39:22,760 --> 00:39:26,200
Speaker 1: Buckshot Shorty and and Masked Ace. Those were the three

583
00:39:26,400 --> 00:39:29,359
Speaker 1: mcs on that song. The making of that The making

584
00:39:29,440 --> 00:39:33,080
Speaker 1: of the symphony, The making of Brooklyn Story. Marco Polo

585
00:39:33,160 --> 00:39:38,120
Speaker 1: talks about working as a producer with large Professor Rock

586
00:39:38,239 --> 00:39:42,120
Speaker 1: Kim todderb Quality, Sean Price. They both speak on Sean Price.

587
00:39:42,400 --> 00:39:47,719
Speaker 1: This is a hip hop and music lover's delight. Trust me,

588
00:39:48,200 --> 00:39:52,960
Speaker 1: trust me when I tell you the ship's fucking unedited.

589
00:39:53,160 --> 00:39:55,160
Speaker 1: We didn't even need to edit anything. There's no cuts

590
00:39:55,200 --> 00:39:57,640
Speaker 1: in this fucking interview. It's just we just flowed and rocked.

591
00:39:58,600 --> 00:40:08,239
Speaker 1: Um More Marville Comics co creator stan Lee, which, as

592
00:40:08,239 --> 00:40:10,320
Speaker 1: I think, is a funny name, stan Lee, because you know,

593
00:40:10,400 --> 00:40:13,120
Speaker 1: you think his name is Stanley, Like you know Stanley

594
00:40:13,840 --> 00:40:18,280
Speaker 1: who was born and raised in the Boogie Down Bronx

595
00:40:19,440 --> 00:40:22,680
Speaker 1: in Washington Heights in New York, a New Yorker, the

596
00:40:22,800 --> 00:40:30,640
Speaker 1: Great Stanley who created Black Panther, Spider Man, fucking created

597
00:40:30,719 --> 00:40:36,480
Speaker 1: spider Man, Iron Man, the Thor, the Hulk, the Avengers,

598
00:40:37,080 --> 00:40:43,720
Speaker 1: all of it, all of it, crazy crazy, crazy crazy.

599
00:40:43,800 --> 00:40:48,319
Speaker 1: I mean, that's genius. Ship. He's also a veteran who's

600
00:40:48,400 --> 00:40:54,360
Speaker 1: Veterans Day this weekend Veterans Day on Monday Sunday. But

601
00:40:54,520 --> 00:40:57,239
Speaker 1: this guy, I mean, you know the word genius is

602
00:40:57,280 --> 00:41:01,080
Speaker 1: thrown around, yo, this guy, this is a fucking genius.

603
00:41:01,200 --> 00:41:06,560
Speaker 1: Like to come up with that ship. Spider Man, Iron Man, Thor, Hulk,

604
00:41:06,760 --> 00:41:10,520
Speaker 1: Black Panther, the Avengers, and probably more. I'm not a

605
00:41:10,560 --> 00:41:13,040
Speaker 1: comic book guy. I don't funk with comic books. I

606
00:41:13,080 --> 00:41:16,120
Speaker 1: don't read them. I don't like the way they smell. Okay,

607
00:41:17,480 --> 00:41:21,239
Speaker 1: I don't like any of those movies. I I saw

608
00:41:21,719 --> 00:41:26,680
Speaker 1: The Hulk, Nope, Black Panther, Yeah, it was cool. But

609
00:41:26,800 --> 00:41:29,160
Speaker 1: I don't funk with superheroes. I talked about it a lot.

610
00:41:29,239 --> 00:41:31,239
Speaker 1: Spider Man. I don't give a funk which one of

611
00:41:31,320 --> 00:41:34,960
Speaker 1: them is doing it, Toby Maguire, the other assholes. I

612
00:41:35,000 --> 00:41:38,600
Speaker 1: don't give a fuck. Could give two ships iron Man.

613
00:41:39,080 --> 00:41:42,359
Speaker 1: The only fucking iron Man I like is ghost Face

614
00:41:42,480 --> 00:41:48,480
Speaker 1: Killer Okay, Tony Starks, I like. I like ghost Face

615
00:41:48,600 --> 00:41:50,920
Speaker 1: Killer as Tony Starks. I don't like Robert Downey. I

616
00:41:51,000 --> 00:41:54,319
Speaker 1: don't know what's happened in those movies. I find them confusing.

617
00:41:54,800 --> 00:41:58,400
Speaker 1: The Avengers. I'd rather fucking watch Pink Dry. That's just me.

618
00:41:58,520 --> 00:42:02,200
Speaker 1: I know him in the minority. I know I'm in

619
00:42:02,320 --> 00:42:07,000
Speaker 1: the fucking minority, Okay, but I'm acknowledging his greatness. Passed

620
00:42:07,040 --> 00:42:11,040
Speaker 1: away at ninety five years old. He's been getting tributes

621
00:42:11,360 --> 00:42:16,120
Speaker 1: since he's passed all over social media, television, A True

622
00:42:16,200 --> 00:42:19,360
Speaker 1: Blue American icon and True Blue creator. One of the

623
00:42:19,400 --> 00:42:26,279
Speaker 1: things that's not being discussed about stan Lee is that

624
00:42:26,600 --> 00:42:30,960
Speaker 1: fucking o g first generation plug job that he got.

625
00:42:31,120 --> 00:42:33,640
Speaker 1: He must have been the first dude to get a

626
00:42:33,719 --> 00:42:38,680
Speaker 1: hair transplant, because listen, no disrespect, no disrespect, But Stanley

627
00:42:38,719 --> 00:42:40,920
Speaker 1: has been walking around for the last thirty years with

628
00:42:41,040 --> 00:42:47,160
Speaker 1: a very very bizarre hair situation. I'm just gonna leave

629
00:42:47,200 --> 00:42:49,640
Speaker 1: it at that. But if you peep pictures of him,

630
00:42:50,200 --> 00:42:52,600
Speaker 1: I don't know what the funk he had stapled or

631
00:42:52,680 --> 00:42:56,319
Speaker 1: crazy glued into his head, but it wasn't fucking hair.

632
00:42:57,000 --> 00:43:00,399
Speaker 1: That being said, Arrest in peace. You gave the world

633
00:43:00,560 --> 00:43:04,640
Speaker 1: so so much pleasure and enjoy with all these comics

634
00:43:05,400 --> 00:43:07,640
Speaker 1: even though I'm not a fan of them. That's because

635
00:43:07,680 --> 00:43:11,799
Speaker 1: I'm a miserable funk. Whatever I listen. Growing up, they

636
00:43:11,880 --> 00:43:18,640
Speaker 1: had cartoons on the television, Fantastic four, He's done a

637
00:43:18,719 --> 00:43:24,719
Speaker 1: lot huge from New York. I kind of creator this.

638
00:43:24,840 --> 00:43:27,480
Speaker 1: I get it, fucking get it. But it's just not

639
00:43:27,640 --> 00:43:30,560
Speaker 1: for me. It's not fucking for me. And and growing

640
00:43:30,600 --> 00:43:33,040
Speaker 1: up when those those comic books were on, and when

641
00:43:33,080 --> 00:43:36,680
Speaker 1: those those those cartoons were me and my brother would

642
00:43:36,719 --> 00:43:38,919
Speaker 1: share rights to the TV. This was in the days

643
00:43:38,960 --> 00:43:42,160
Speaker 1: when there's one fucking TV in the house. Sounds like

644
00:43:42,200 --> 00:43:43,960
Speaker 1: a real old piece of ship there. When I said,

645
00:43:44,000 --> 00:43:46,160
Speaker 1: this is in the days, the seventies, we had one

646
00:43:46,239 --> 00:43:51,080
Speaker 1: fucking TV and we shared the motherfucker and Monday would

647
00:43:51,120 --> 00:43:55,160
Speaker 1: be you could watch your fucking dumbass cartoons and Tuesday

648
00:43:55,200 --> 00:43:57,840
Speaker 1: I want to watch Mr Rogers. I like Mr Rogers.

649
00:43:57,880 --> 00:44:01,640
Speaker 1: I didn't like the fucking cartoons. That's just never got

650
00:44:01,680 --> 00:44:07,560
Speaker 1: into it. I don't like Star Wars, Okay, you know

651
00:44:07,680 --> 00:44:13,080
Speaker 1: how I feel about Game of Thrones. I don't do dungeons, dragons,

652
00:44:13,640 --> 00:44:17,200
Speaker 1: lightning strikes, none of that. Ship's for me. It's just

653
00:44:17,360 --> 00:44:19,000
Speaker 1: not for me. And I put the comic books in

654
00:44:19,040 --> 00:44:22,880
Speaker 1: the same category that being said, rest in peace to

655
00:44:22,960 --> 00:44:27,200
Speaker 1: the great stand Lena coming up next. Trust me when

656
00:44:27,239 --> 00:44:29,120
Speaker 1: I tell you you're going to want to listen to this.

657
00:44:29,680 --> 00:44:34,960
Speaker 1: The music man from Brooklyn, New York, Master Ace, Marco

658
00:44:35,120 --> 00:44:39,600
Speaker 1: Polo producer Jordan There talking about their new record, which

659
00:44:39,640 --> 00:44:43,000
Speaker 1: I fucking love, Dope. Bass video of Brooklyn Story the

660
00:44:43,080 --> 00:44:47,800
Speaker 1: single is Dope, features Smith and Wesson. Also Brooklyn MC's

661
00:44:48,200 --> 00:44:50,680
Speaker 1: coming up next on the Iron Rapports stereo podcast, mass

662
00:44:50,719 --> 00:44:57,320
Speaker 1: Days and Marco Polo. All right, I'm very excited about

663
00:44:57,400 --> 00:45:00,960
Speaker 1: this Iron Wrapperports stereo pod cast with two people that

664
00:45:01,040 --> 00:45:04,440
Speaker 1: have actually I realized I've been on a Marco Polo

665
00:45:04,600 --> 00:45:09,120
Speaker 1: album and I've been on a mass Ace record. Um,

666
00:45:10,560 --> 00:45:15,000
Speaker 1: and before we get into a Brooklyn story, before we

667
00:45:15,080 --> 00:45:18,600
Speaker 1: get into some questions specifically for you Mark and for

668
00:45:18,719 --> 00:45:23,360
Speaker 1: you Ace. Twenty five anniversary into the thirty six Chambers

669
00:45:24,080 --> 00:45:28,120
Speaker 1: and Midnight Marauders came out, didn't Biggie's first album dropped

670
00:45:28,120 --> 00:45:30,640
Speaker 1: the same day as well. Those two records came out

671
00:45:30,719 --> 00:45:35,080
Speaker 1: on the same fucking day twenty five years ago. So

672
00:45:35,239 --> 00:45:39,200
Speaker 1: just as fans amazing, just what do you remember? What

673
00:45:39,320 --> 00:45:41,040
Speaker 1: do you like the relevance of it? I mean, it's

674
00:45:41,120 --> 00:45:43,680
Speaker 1: you know when you think about like golden arrow, like

675
00:45:43,800 --> 00:45:48,839
Speaker 1: that's a golden fucking day, man. Thirty six Changers, first

676
00:45:48,880 --> 00:45:51,640
Speaker 1: of all, came out of nowhere. I don't know about

677
00:45:51,680 --> 00:45:55,160
Speaker 1: other people, but for me, like protecting that that first

678
00:45:55,200 --> 00:45:57,840
Speaker 1: single that came out of nowhere, I was like, what

679
00:45:58,120 --> 00:46:01,520
Speaker 1: is this um? And I knew Rizza because because Rizzle

680
00:46:01,600 --> 00:46:03,880
Speaker 1: used to go to the same studios me, Firehouse Studios,

681
00:46:04,360 --> 00:46:06,600
Speaker 1: and me and Genius Jiza used to be signed to

682
00:46:06,640 --> 00:46:09,000
Speaker 1: the same label at one point, Coach Chilling, So I

683
00:46:09,080 --> 00:46:10,759
Speaker 1: knew all those guys. But that record came out of

684
00:46:10,880 --> 00:46:14,080
Speaker 1: nowhere and it was it was honestly at the same

685
00:46:14,200 --> 00:46:17,400
Speaker 1: time as the West Coast was killing it with you know,

686
00:46:17,520 --> 00:46:20,360
Speaker 1: the Chronic and that was like the super crystal clear

687
00:46:20,480 --> 00:46:25,280
Speaker 1: like perfectly e cute, you know, radio friendly sounding record.

688
00:46:25,840 --> 00:46:27,840
Speaker 1: And then it comes wul Tang with thirty six Chambers,

689
00:46:27,880 --> 00:46:32,880
Speaker 1: the grimiest, gutteriest, grungiest sounding production, and it just like

690
00:46:33,160 --> 00:46:35,239
Speaker 1: put the stamp on the fact that this is New

691
00:46:35,360 --> 00:46:37,040
Speaker 1: York and this is how we do it. We we

692
00:46:37,320 --> 00:46:40,960
Speaker 1: were Timberland boots and baggy Yes jeans all day. From

693
00:46:41,040 --> 00:46:46,080
Speaker 1: a production perspective, those are two monumental albums, what Rizza

694
00:46:46,239 --> 00:46:48,520
Speaker 1: was doing with Q Tip and Ali were doing with

695
00:46:48,600 --> 00:46:52,239
Speaker 1: the production. I remember hearing Electric Relaxation for the first time,

696
00:46:53,000 --> 00:46:57,759
Speaker 1: um hoof like those those are just staples. Those we

697
00:46:57,960 --> 00:47:00,480
Speaker 1: always talk about Mount Rushmore. Those could be on the

698
00:47:00,520 --> 00:47:04,520
Speaker 1: mount my Mount Rushmore of albums. UM influence was being

699
00:47:04,560 --> 00:47:07,840
Speaker 1: from Toronto, especially because those are East Coast sounding albums.

700
00:47:08,360 --> 00:47:12,000
Speaker 1: UM incredible. So yes, it is a monumental day, all right,

701
00:47:12,120 --> 00:47:16,880
Speaker 1: A Brooklyn story. I love I love this song. You

702
00:47:16,960 --> 00:47:20,440
Speaker 1: know my For me me personally, you have two reactions

703
00:47:20,480 --> 00:47:22,120
Speaker 1: to a song. The first time you here. Sometimes it

704
00:47:22,200 --> 00:47:24,480
Speaker 1: doesn't it's like a food like that's good, I'm gonna

705
00:47:24,520 --> 00:47:26,560
Speaker 1: eat the rest of thing on my plate. And then

706
00:47:26,600 --> 00:47:29,000
Speaker 1: there's other times for me, when you hear a song

707
00:47:29,120 --> 00:47:30,960
Speaker 1: literally the first time you're like, yo, what is this?

708
00:47:32,160 --> 00:47:34,000
Speaker 1: And I had that reaction. I said that to you

709
00:47:34,640 --> 00:47:39,919
Speaker 1: on in the d M s um Ace And first

710
00:47:39,960 --> 00:47:43,160
Speaker 1: of all, I sincerely think I don't know how this

711
00:47:43,200 --> 00:47:46,080
Speaker 1: ship works. That song needs to be pushed and put

712
00:47:46,160 --> 00:47:47,879
Speaker 1: up for a Grammy. I know you guys like fun

713
00:47:48,000 --> 00:47:50,320
Speaker 1: the Grammys. Who gives a funk about a goddamn Grammy.

714
00:47:50,719 --> 00:47:55,919
Speaker 1: But it's such a beautiful, sentimental um, and I'm trying

715
00:47:55,920 --> 00:47:58,759
Speaker 1: to think of the right word because you said you

716
00:47:58,840 --> 00:48:00,839
Speaker 1: think it's a smacker, and I was like, hell, you''s

717
00:48:02,880 --> 00:48:04,880
Speaker 1: since since you since you said that, I was like

718
00:48:04,920 --> 00:48:07,319
Speaker 1: trying to like think of what it is about that song,

719
00:48:07,440 --> 00:48:10,359
Speaker 1: knowing that I was gonna meet you, uh and talk

720
00:48:10,400 --> 00:48:13,840
Speaker 1: about it. I find it to be I'm calling it

721
00:48:13,920 --> 00:48:18,960
Speaker 1: a boom bap sentimental smacker because there's a sentimental emotion

722
00:48:19,040 --> 00:48:22,520
Speaker 1: to it. Nostalgic quality. Yeah, there's definitely emotion to it.

723
00:48:22,600 --> 00:48:25,360
Speaker 1: And I told Marco when we were making this record,

724
00:48:25,400 --> 00:48:27,600
Speaker 1: when he started, you know, creating Beach for the record,

725
00:48:28,480 --> 00:48:30,359
Speaker 1: He's like, I was like, yo, I know you've known

726
00:48:30,400 --> 00:48:33,799
Speaker 1: for all that, you know that, you know, baseball bat

727
00:48:33,880 --> 00:48:37,840
Speaker 1: in the head fucking ship, but I need some I

728
00:48:37,920 --> 00:48:40,360
Speaker 1: need some some you gotta put a little bit more emotional,

729
00:48:40,400 --> 00:48:42,680
Speaker 1: Like give me some more emotional records and tracks. And

730
00:48:42,760 --> 00:48:46,160
Speaker 1: so he started. He delivered. Man like he's known for

731
00:48:46,200 --> 00:48:48,480
Speaker 1: those joints, those those you know, the rusty jocks, tour

732
00:48:48,560 --> 00:48:52,680
Speaker 1: raide face, the ugly phase, the punch punch somebody in

733
00:48:52,760 --> 00:48:54,720
Speaker 1: the nose in the middle of the dance floor joints

734
00:48:55,960 --> 00:48:58,239
Speaker 1: and and and that's cool, But I wanted something that

735
00:48:58,360 --> 00:49:00,280
Speaker 1: I wanted some records that had a little bit more ocean,

736
00:49:00,320 --> 00:49:04,080
Speaker 1: and so Yo Margo went and he created these joints

737
00:49:04,160 --> 00:49:06,359
Speaker 1: that that had emotion, and Brooklyn is just one of them.

738
00:49:06,880 --> 00:49:10,279
Speaker 1: Specifically with that song. How does it work? You've made

739
00:49:10,920 --> 00:49:15,040
Speaker 1: I don't know, over a hundred hundreds of songs, hundreds

740
00:49:15,040 --> 00:49:18,040
Speaker 1: of beats that didn't make it. You've been doing it

741
00:49:18,120 --> 00:49:19,759
Speaker 1: for so long, Ace, You've been doing it for so

742
00:49:20,080 --> 00:49:25,279
Speaker 1: fucking long, specifically on Brooklyn Story, on the title to

743
00:49:25,400 --> 00:49:31,200
Speaker 1: the new album, which is also dropping eleven nine eighteen, Um,

744
00:49:31,600 --> 00:49:35,000
Speaker 1: how does it work? Do you make that beat? Do

745
00:49:35,160 --> 00:49:38,000
Speaker 1: you know you want to do a song called Brooklyn Story?

746
00:49:38,280 --> 00:49:40,200
Speaker 1: Do you know, like, do you have a hook? Talk

747
00:49:40,360 --> 00:49:42,040
Speaker 1: to me for from both of you guys, like how

748
00:49:42,160 --> 00:49:46,080
Speaker 1: it worked? What came first? I think the plan for

749
00:49:46,160 --> 00:49:48,640
Speaker 1: this record was, and Ace can correct me. I don't

750
00:49:48,880 --> 00:49:51,759
Speaker 1: necessarily know if he had all the songs in his mind.

751
00:49:51,840 --> 00:49:53,719
Speaker 1: I think basically, how it happens is I go into

752
00:49:53,760 --> 00:49:56,239
Speaker 1: a particular musical zone, Like I said, I need to

753
00:49:56,560 --> 00:49:59,760
Speaker 1: make blank canvases, because Ace is very good at painting

754
00:50:00,040 --> 00:50:03,000
Speaker 1: pictures with his lyrics. It's one of his strong points

755
00:50:03,560 --> 00:50:06,400
Speaker 1: emotional stuff. So I had to find that balance between

756
00:50:06,480 --> 00:50:10,960
Speaker 1: my hardcore drums and finding musical samples that invoke emotion.

757
00:50:11,600 --> 00:50:13,719
Speaker 1: And when I went there, I would send it to him.

758
00:50:13,719 --> 00:50:16,160
Speaker 1: You would say yes, no, he would put the ones aside.

759
00:50:16,239 --> 00:50:18,120
Speaker 1: We you know, we made a list of beats. These

760
00:50:18,160 --> 00:50:19,560
Speaker 1: are the ones that gonna be on the album, and

761
00:50:19,640 --> 00:50:22,400
Speaker 1: I think over time he rides around with them and

762
00:50:22,520 --> 00:50:24,759
Speaker 1: he gets inspired to come up with whatever he comes

763
00:50:24,840 --> 00:50:27,800
Speaker 1: up with. Is that more? That's exactly it. Because I

764
00:50:27,880 --> 00:50:31,000
Speaker 1: had a lot of these beats he sent me a

765
00:50:31,120 --> 00:50:33,440
Speaker 1: while ago, Like I want to say, I had that

766
00:50:33,520 --> 00:50:37,880
Speaker 1: Brooklyn beat for about four months or something like that.

767
00:50:38,040 --> 00:50:39,640
Speaker 1: I had a few of his beats, like for about

768
00:50:39,680 --> 00:50:43,960
Speaker 1: four months straight where I had no plan for the beat.

769
00:50:44,080 --> 00:50:46,440
Speaker 1: I just wanted to play it, to play the instrumental

770
00:50:47,000 --> 00:50:49,840
Speaker 1: drive with it and see what came to me. And

771
00:50:50,360 --> 00:50:52,040
Speaker 1: you know, um, when it came when it was time

772
00:50:52,320 --> 00:50:55,560
Speaker 1: for me to start thinking, like literally drive around with

773
00:50:55,640 --> 00:50:58,840
Speaker 1: an instrumental plane. That's that's how like that's something like

774
00:50:58,920 --> 00:51:03,200
Speaker 1: you that's yeah. I find that my most creative moments

775
00:51:03,320 --> 00:51:06,440
Speaker 1: happened when I'm doing something other than trying to create.

776
00:51:07,000 --> 00:51:10,120
Speaker 1: So I washed dishes, clean up the house, and put

777
00:51:10,160 --> 00:51:12,440
Speaker 1: the beat on in the background. I go to the

778
00:51:12,480 --> 00:51:14,399
Speaker 1: gym and work out with the beat on, Like that's

779
00:51:14,400 --> 00:51:16,320
Speaker 1: how That's how I worked on some of my previous albums.

780
00:51:16,760 --> 00:51:20,000
Speaker 1: I used to have the CD, the CD walkman man

781
00:51:20,239 --> 00:51:23,320
Speaker 1: the disc man and headphones on, doing my workout in

782
00:51:23,360 --> 00:51:25,240
Speaker 1: the gym, listening to the beat over and over again.

783
00:51:25,560 --> 00:51:27,279
Speaker 1: And that's how I come up with my ideas. Man,

784
00:51:27,920 --> 00:51:31,320
Speaker 1: that's dope. So the beat came first, Yes, when I

785
00:51:31,480 --> 00:51:33,120
Speaker 1: like when I just when I found that sample. I

786
00:51:33,280 --> 00:51:35,600
Speaker 1: was just really conscious of being super picky for Ace

787
00:51:35,600 --> 00:51:37,120
Speaker 1: because I know when he hears that, he got to

788
00:51:37,160 --> 00:51:39,920
Speaker 1: feel something, so it has to be special. So when

789
00:51:39,960 --> 00:51:42,480
Speaker 1: I was making beats for this album, I would just

790
00:51:42,600 --> 00:51:44,399
Speaker 1: listen to stuff and I was like, whoa, that makes

791
00:51:44,440 --> 00:51:47,279
Speaker 1: me feel something. I'm turning into a beat now. There

792
00:51:47,400 --> 00:51:50,360
Speaker 1: was something I read about the sample, I mean the

793
00:51:50,719 --> 00:51:54,600
Speaker 1: state of sampling. Like you since your tenure and Ace,

794
00:51:54,680 --> 00:51:56,239
Speaker 1: you've been through the whole fucking thing where it was

795
00:51:56,280 --> 00:51:58,160
Speaker 1: the wild, wild West where you could do whatever you want.

796
00:51:58,239 --> 00:52:00,800
Speaker 1: So they were like daylast soul and biss you and

797
00:52:00,920 --> 00:52:04,080
Speaker 1: shut the whole ship down. Where is sampling at now?

798
00:52:04,719 --> 00:52:08,120
Speaker 1: From your perspective, Marco, and from your perspective as um

799
00:52:08,680 --> 00:52:11,160
Speaker 1: you know, is is it harder? Is it or is

800
00:52:11,239 --> 00:52:14,239
Speaker 1: it easier? Or like, where are we at with sampling? Man?

801
00:52:14,440 --> 00:52:16,200
Speaker 1: I think it's a bit of both. It's turned into

802
00:52:16,239 --> 00:52:19,520
Speaker 1: such a business now. A lot of these old companies

803
00:52:19,640 --> 00:52:22,160
Speaker 1: that own the publishing are aware. They see the money

804
00:52:22,200 --> 00:52:24,400
Speaker 1: being made, so they're very aware. Some of them are

805
00:52:24,440 --> 00:52:26,680
Speaker 1: playing ball and saying, you know what, sample us, We're

806
00:52:26,680 --> 00:52:28,279
Speaker 1: gonna work it out. We're gonna give you a good

807
00:52:28,400 --> 00:52:30,520
Speaker 1: rate on the split, and others will still charge you

808
00:52:30,560 --> 00:52:33,480
Speaker 1: out the ass. So sometimes to avoid that headache, now

809
00:52:33,560 --> 00:52:36,239
Speaker 1: I have the option to buy incredible music for a

810
00:52:36,360 --> 00:52:39,360
Speaker 1: one time fee. We call it royalty free. Like I

811
00:52:39,440 --> 00:52:42,000
Speaker 1: did with Brooklyn. I used the piano, I gave the

812
00:52:42,040 --> 00:52:44,040
Speaker 1: guy I don't know, forty five dollars for the kid,

813
00:52:44,480 --> 00:52:46,719
Speaker 1: and now we have a song we can use with

814
00:52:46,880 --> 00:52:48,920
Speaker 1: no problems as sounds like a sample because it is

815
00:52:48,960 --> 00:52:52,479
Speaker 1: a sample. What does that mean the kit? Okay? So say,

816
00:52:52,640 --> 00:52:55,240
Speaker 1: uh I play piano when I'm dope. I'll make fifteen

817
00:52:55,280 --> 00:52:57,920
Speaker 1: pieces of me playing piano and I will sell them

818
00:52:58,000 --> 00:53:01,640
Speaker 1: as wave files to a produce and they will buy them.

819
00:53:01,640 --> 00:53:03,880
Speaker 1: They will give me one time fee, and now they

820
00:53:03,960 --> 00:53:06,759
Speaker 1: can use all this music however they want in any

821
00:53:06,800 --> 00:53:09,520
Speaker 1: way they see fit and will I will never chase

822
00:53:09,600 --> 00:53:12,919
Speaker 1: them for money after the forty and so that then

823
00:53:13,239 --> 00:53:14,840
Speaker 1: the piano is from the kid. He was like a

824
00:53:14,960 --> 00:53:18,880
Speaker 1: very neo soul jazzy piano theme kit, which is perfect

825
00:53:19,000 --> 00:53:21,040
Speaker 1: for you know, the type of things I was looking

826
00:53:21,080 --> 00:53:23,640
Speaker 1: for for this record. So it just worked out ace

827
00:53:23,719 --> 00:53:27,279
Speaker 1: with the sampling. No, I, I just got onto this,

828
00:53:27,400 --> 00:53:28,920
Speaker 1: like I just found out about this stuff that a

829
00:53:28,960 --> 00:53:33,239
Speaker 1: new movement, by the way, to me, is ingenious, you know, Um,

830
00:53:33,440 --> 00:53:37,479
Speaker 1: the idea of getting royalty free stuff, because it gets tricky.

831
00:53:37,520 --> 00:53:39,759
Speaker 1: I mean I've been I've been living by the old

832
00:53:39,840 --> 00:53:44,400
Speaker 1: rules for since ever, like literally like up to now,

833
00:53:44,760 --> 00:53:47,799
Speaker 1: like not really being careful, not clearing, and I haven't

834
00:53:47,800 --> 00:53:50,919
Speaker 1: cleared a record, and since since I was on a major,

835
00:53:51,560 --> 00:53:54,120
Speaker 1: we just go for it. We're just throw it in there.

836
00:53:54,160 --> 00:53:56,400
Speaker 1: And both been hit with lawsuits in the past. I

837
00:53:56,440 --> 00:53:58,040
Speaker 1: mean I've got we've gott step to a couple of

838
00:53:58,160 --> 00:54:02,360
Speaker 1: times for little samples of what ever. But um, you know,

839
00:54:02,560 --> 00:54:04,680
Speaker 1: we're not selling millions of records, so it's not like

840
00:54:05,840 --> 00:54:08,080
Speaker 1: gonna be worth it for them to get lawyers and

841
00:54:08,200 --> 00:54:10,719
Speaker 1: do all of that. Like, um, once they see what

842
00:54:10,880 --> 00:54:14,000
Speaker 1: the numbers are, they go okay, you know, And it's

843
00:54:14,320 --> 00:54:15,680
Speaker 1: a couple of times we had to settle for a

844
00:54:15,719 --> 00:54:18,560
Speaker 1: few grand or whatever with people, but for the most part, man,

845
00:54:18,960 --> 00:54:20,680
Speaker 1: we you know, we kept it up scure and we

846
00:54:20,760 --> 00:54:25,200
Speaker 1: just did it. The song, uh, the Sound of Brooklyn,

847
00:54:25,560 --> 00:54:30,440
Speaker 1: which you know, that's my bad impression of how to

848
00:54:30,480 --> 00:54:34,040
Speaker 1: be the backup like featuring Michael remix bro the Sound

849
00:54:34,080 --> 00:54:39,359
Speaker 1: of Brooklyn. That's my addition, um Ace, you're so synonymous

850
00:54:39,480 --> 00:54:44,080
Speaker 1: with Brooklyn. You're born and raised Brownsville, Brooklyn. And I

851
00:54:44,160 --> 00:54:47,120
Speaker 1: know this is sort of an all over question, but

852
00:54:48,239 --> 00:54:51,640
Speaker 1: in two thousand and eighteen in the history of hip hop,

853
00:54:52,400 --> 00:54:54,239
Speaker 1: and I want to get your answer too, because you're

854
00:54:54,320 --> 00:54:56,759
Speaker 1: you're a Brooklyn Night. You're you're an implanted Brooklyn Night.

855
00:54:56,800 --> 00:54:59,319
Speaker 1: But well we'll get to that. You're Canadian Brooklyn Night.

856
00:54:59,719 --> 00:55:05,520
Speaker 1: But it's your fucking born bread Brownsville, Brooklyn. What is

857
00:55:06,320 --> 00:55:07,800
Speaker 1: in terms of hip hop? Because I don't want to

858
00:55:07,800 --> 00:55:09,760
Speaker 1: go off on another ship, what is the sound of Brooklyn?

859
00:55:09,920 --> 00:55:13,080
Speaker 1: Just talk about that in however whatever terms that contract

860
00:55:13,200 --> 00:55:15,879
Speaker 1: because it's when you name different mcs in the song,

861
00:55:15,920 --> 00:55:18,920
Speaker 1: I'm like, it's like the sound of Brooklyn could be

862
00:55:19,200 --> 00:55:21,839
Speaker 1: you know, fucking m O P, which is certainly isn't

863
00:55:21,880 --> 00:55:24,120
Speaker 1: this song? The sound of Brooklyn could be Biggie, It

864
00:55:24,120 --> 00:55:27,600
Speaker 1: could be Kane, it could be mc like over that's

865
00:55:27,640 --> 00:55:31,200
Speaker 1: a sonic so as a as a native Brooklyn night

866
00:55:31,800 --> 00:55:34,759
Speaker 1: and who's proud Brooklyn night? Mass days? What is the

867
00:55:34,840 --> 00:55:38,000
Speaker 1: sound of Brooklyn? To me, Brooklyn is like it's like

868
00:55:38,120 --> 00:55:41,480
Speaker 1: Baskin Robbins. It's like thirty one flavors. Like you can

869
00:55:41,520 --> 00:55:44,400
Speaker 1: go to different neighborhoods and get different vibes, different fields.

870
00:55:44,400 --> 00:55:47,360
Speaker 1: You can go Williamsburg, Dumbo, you can go Brownsville Best Style,

871
00:55:47,480 --> 00:55:49,160
Speaker 1: you can go Crown Heights, you can go East New

872
00:55:49,239 --> 00:55:51,960
Speaker 1: York and they all kind of have a different feel

873
00:55:52,040 --> 00:55:55,600
Speaker 1: and have different rules and different ways that you can

874
00:55:55,680 --> 00:56:00,719
Speaker 1: and can't move in certain areas. And to me, you know,

875
00:56:01,160 --> 00:56:04,919
Speaker 1: it's it's really the amalgamation of all these different artists,

876
00:56:04,960 --> 00:56:07,240
Speaker 1: the ones you named, and and and many many others,

877
00:56:07,840 --> 00:56:10,880
Speaker 1: Um Black Moon and down the list of artists that

878
00:56:10,920 --> 00:56:13,799
Speaker 1: have come from from from Brooklyn. We all make up

879
00:56:14,280 --> 00:56:17,040
Speaker 1: this tree with all of these branches and all these leaves,

880
00:56:17,760 --> 00:56:21,440
Speaker 1: and it's just a big, beautiful, colorful tree. And I'm

881
00:56:21,520 --> 00:56:23,880
Speaker 1: just one of the leaves on one of the branches

882
00:56:23,920 --> 00:56:27,560
Speaker 1: on that on that tree. I like that. I like that, Marco.

883
00:56:28,120 --> 00:56:29,719
Speaker 1: I don't know if I could beat that answer, but

884
00:56:29,800 --> 00:56:32,560
Speaker 1: I'll come at it from a Canadian growing up listening

885
00:56:32,640 --> 00:56:35,239
Speaker 1: to my favorite groups from Brooklyn, like boot Camp or Ace.

886
00:56:35,320 --> 00:56:37,440
Speaker 1: You know what I'm saying, And it's just for me.

887
00:56:37,600 --> 00:56:39,520
Speaker 1: It was when the artists were painting pictures of all

888
00:56:39,560 --> 00:56:41,320
Speaker 1: these messed up hoods they were growing up, you know

889
00:56:41,360 --> 00:56:42,960
Speaker 1: what I'm saying. It was like a feeling. And I'm like,

890
00:56:43,120 --> 00:56:45,719
Speaker 1: living in the suburbs in Toronto, not even producing yet,

891
00:56:45,760 --> 00:56:47,279
Speaker 1: and it puts you in the world. So when I

892
00:56:47,360 --> 00:56:49,279
Speaker 1: finally moved here and got a chance to see some

893
00:56:49,400 --> 00:56:51,960
Speaker 1: of it, Like I remember moving New York being uncomfortable

894
00:56:51,960 --> 00:56:53,640
Speaker 1: a rap show, was being a skinny white kid, like

895
00:56:53,760 --> 00:56:56,200
Speaker 1: it's something gonna happen. You know, It's changed so much

896
00:56:56,320 --> 00:56:59,640
Speaker 1: and I actually kind of missed that feeling sometimes and

897
00:56:59,680 --> 00:57:01,719
Speaker 1: I put that into the music when I first moved here.

898
00:57:01,760 --> 00:57:03,719
Speaker 1: It's an energy. I can't describe it, you know what

899
00:57:03,760 --> 00:57:06,399
Speaker 1: I'm saying. It's the birthplace. When you're not from here,

900
00:57:06,719 --> 00:57:09,359
Speaker 1: you respected a little bit more because this is where

901
00:57:09,400 --> 00:57:12,080
Speaker 1: it all started, you know, what I'm saying. So I

902
00:57:12,239 --> 00:57:14,880
Speaker 1: just try and channel that energy into it and kind

903
00:57:14,920 --> 00:57:18,200
Speaker 1: of interpret it my way. So yeah, well, you know,

904
00:57:18,360 --> 00:57:21,520
Speaker 1: since you're you're so deep in Brooklyn, Uh, what is

905
00:57:21,600 --> 00:57:24,800
Speaker 1: what is your opinion of Brooklyn now? Like I mean

906
00:57:25,000 --> 00:57:26,880
Speaker 1: fucking Williams, Like, if we knew what we knew in

907
00:57:26,960 --> 00:57:30,560
Speaker 1: the nineties, I would have been buying blocks. I kicked

908
00:57:30,600 --> 00:57:33,040
Speaker 1: my fucking stuff. And then I remember walking around Williamsburg

909
00:57:33,760 --> 00:57:37,080
Speaker 1: like this is this is what is the ship factories

910
00:57:37,160 --> 00:57:39,840
Speaker 1: and ship factories and like fucking white. It had like

911
00:57:39,960 --> 00:57:42,600
Speaker 1: white trash in Brooklyn, Like it was like another kind.

912
00:57:42,680 --> 00:57:45,160
Speaker 1: It wasn't like, you know, like Italians and it was

913
00:57:45,240 --> 00:57:46,840
Speaker 1: like some other ship. It was like I think they

914
00:57:46,880 --> 00:57:50,400
Speaker 1: were like underground meth k two freaks. Alan Williams was

915
00:57:50,440 --> 00:57:52,960
Speaker 1: like zombie land out there. So what is your take

916
00:57:53,120 --> 00:57:55,439
Speaker 1: as a Brooklyn knight on on where it is? What's

917
00:57:55,480 --> 00:57:58,520
Speaker 1: the good and the bad of it? I like the

918
00:57:58,640 --> 00:58:02,280
Speaker 1: fact that um, I can go and find a vegan

919
00:58:02,320 --> 00:58:04,040
Speaker 1: mill in Brooklyn. That's not something that I could have

920
00:58:04,120 --> 00:58:08,360
Speaker 1: ever conceptualized, or even a vegetarian spot, Like, that's not

921
00:58:08,480 --> 00:58:10,800
Speaker 1: something that I could have conceptualized. To go to a

922
00:58:10,880 --> 00:58:13,320
Speaker 1: juice bar, you know, shout the styles, Peach Users for

923
00:58:13,400 --> 00:58:18,360
Speaker 1: Life and best Star. UM. I love that Brooklyn has

924
00:58:18,640 --> 00:58:24,360
Speaker 1: kind of evolved, you know into um it evolved into

925
00:58:24,480 --> 00:58:27,120
Speaker 1: a city that that reminds me of places that I

926
00:58:27,280 --> 00:58:31,240
Speaker 1: visited when I was overseas or in other cities and

927
00:58:31,360 --> 00:58:34,000
Speaker 1: states where I go. Man, I wish, you know, I

928
00:58:34,080 --> 00:58:36,800
Speaker 1: wish I had a place like this why where I'm from.

929
00:58:36,960 --> 00:58:39,280
Speaker 1: But they don't have nothing like that, So it's turning

930
00:58:39,320 --> 00:58:42,280
Speaker 1: into that. So that's the good. I love the restaurants.

931
00:58:42,320 --> 00:58:44,880
Speaker 1: I love the the energy. You know, they got a

932
00:58:44,920 --> 00:58:47,840
Speaker 1: damn Apple store and fucking downtown Brooklyn. Let's tell you what,

933
00:58:48,000 --> 00:58:52,360
Speaker 1: my coffee got a lot better with this whole stupendous

934
00:58:52,480 --> 00:58:54,880
Speaker 1: right now in Brooklyn and Green But there's a little

935
00:58:54,920 --> 00:58:56,480
Speaker 1: part of me, there's a little part of me, to

936
00:58:56,560 --> 00:59:00,560
Speaker 1: be honest, that kind of misses a little bit of

937
00:59:00,640 --> 00:59:03,880
Speaker 1: that danger that Brooklyn that Brooklyn had. You know, Um,

938
00:59:04,120 --> 00:59:06,040
Speaker 1: there was a time when you wouldn't see a white

939
00:59:06,080 --> 00:59:10,000
Speaker 1: person on foot on Murdle Avenue. Ever. They would never

940
00:59:10,080 --> 00:59:12,200
Speaker 1: be in that before Green Park ever. And then all

941
00:59:12,200 --> 00:59:14,000
Speaker 1: of a sudden you drive by of having picnics and

942
00:59:14,080 --> 00:59:17,640
Speaker 1: walking their dogs and jogging, and it's like Okay, it's cool.

943
00:59:17,960 --> 00:59:22,920
Speaker 1: It's a dog costume party in four Green Park on Halloween,

944
00:59:23,080 --> 00:59:27,160
Speaker 1: and I was like, man, it's it's different, man, it's different. Brother.

945
00:59:27,320 --> 00:59:29,800
Speaker 1: I mean, I was in out the square more wind

946
00:59:29,840 --> 00:59:32,680
Speaker 1: dudes was breaking breaking the jury the jewelry store window

947
00:59:32,760 --> 00:59:35,160
Speaker 1: and doing a snatch and grab. It's a food court

948
00:59:35,640 --> 00:59:39,720
Speaker 1: now it's a nice food food court. It's changed, man.

949
00:59:39,920 --> 00:59:42,000
Speaker 1: You know, I'm gonna say that most of it is positive.

950
00:59:42,080 --> 00:59:44,400
Speaker 1: I know a lot of people don't like the you know,

951
00:59:44,600 --> 00:59:48,080
Speaker 1: the gentrification part of it because they really have kind

952
00:59:48,080 --> 00:59:50,600
Speaker 1: of like forced out the people that were originally there

953
00:59:50,640 --> 00:59:52,920
Speaker 1: and and where do they go? You know, Um, a

954
00:59:53,000 --> 00:59:55,480
Speaker 1: lot of them went to far rockaway where they're they're

955
00:59:55,520 --> 00:59:57,680
Speaker 1: they're stuck out there. And miss I missed seeing Beach

956
00:59:57,720 --> 01:00:00,280
Speaker 1: Street records, downtown Brooklyn, things like that. Even for me,

957
01:00:00,360 --> 01:00:02,560
Speaker 1: I've been here eighteen years from Toronto, but not seeing

958
01:00:02,640 --> 01:00:05,320
Speaker 1: B Street when I go downtown on the record upstairs records,

959
01:00:05,320 --> 01:00:07,560
Speaker 1: It's it's weird. And the Sweet it was the Sweet

960
01:00:07,720 --> 01:00:09,640
Speaker 1: we call it the Sweet Pizza Spot. Like a couple

961
01:00:09,680 --> 01:00:12,800
Speaker 1: of couple of block over from from B Street was

962
01:00:13,600 --> 01:00:15,240
Speaker 1: this little piece of shop that everybody used to go

963
01:00:15,280 --> 01:00:18,520
Speaker 1: to to get they made their slices had the regular

964
01:00:18,560 --> 01:00:21,800
Speaker 1: slice was extra cheese. Um, that's how it was. And

965
01:00:22,040 --> 01:00:23,960
Speaker 1: they put I guess they put mad sugar in the

966
01:00:24,040 --> 01:00:27,760
Speaker 1: sauce because the pizza was dumb sweet. But that was

967
01:00:27,840 --> 01:00:32,200
Speaker 1: the spot going sneaker shopping right there, just starting to

968
01:00:32,280 --> 01:00:36,120
Speaker 1: fall off. Yes, it's weird, man, it's differently. You know,

969
01:00:36,200 --> 01:00:38,640
Speaker 1: if I out of towner feels that way, I don't

970
01:00:38,680 --> 01:00:40,400
Speaker 1: even know how a Brooklyn nighte feels. You know what

971
01:00:40,440 --> 01:00:42,600
Speaker 1: I'm saying. I've just I've just accepted it. I mean,

972
01:00:42,720 --> 01:00:44,680
Speaker 1: we got the bar Clay Now you just gotta like

973
01:00:44,760 --> 01:00:47,120
Speaker 1: kind of roll with it is. It's making it a

974
01:00:47,200 --> 01:00:50,360
Speaker 1: better city. Um. I wish it just was still affordable

975
01:00:50,440 --> 01:00:55,200
Speaker 1: for people, regular folks. It's not. It's not affordable for

976
01:00:55,240 --> 01:00:58,640
Speaker 1: a regular person anymore. Yeah. That's fucking insane. Yeah, I

977
01:00:58,680 --> 01:01:03,560
Speaker 1: mean that's that's a man. That's crazy shit. Um. The

978
01:01:03,680 --> 01:01:06,360
Speaker 1: people on the record rattle off some of the people

979
01:01:06,400 --> 01:01:09,720
Speaker 1: on on a Brooklyn story, people that came in and dropped.

980
01:01:09,720 --> 01:01:12,560
Speaker 1: It's not full of guest spots or or what do

981
01:01:12,560 --> 01:01:16,120
Speaker 1: they call him? The features, but it's there's people in

982
01:01:16,200 --> 01:01:19,560
Speaker 1: the styles p it's such a slept on sort of

983
01:01:19,760 --> 01:01:23,080
Speaker 1: mc His voice is so distinct ghost and he's real

984
01:01:23,160 --> 01:01:25,120
Speaker 1: clean with his with with with his with his thoughts.

985
01:01:25,800 --> 01:01:28,720
Speaker 1: He makes his statements you understand exactly what he's talking about.

986
01:01:29,200 --> 01:01:32,840
Speaker 1: He has those really uh to me entertaining and kind

987
01:01:32,880 --> 01:01:36,400
Speaker 1: of funny um metaphors that he throws in there. Um,

988
01:01:36,840 --> 01:01:38,960
Speaker 1: I love styles and I was glad that we got

989
01:01:39,040 --> 01:01:41,320
Speaker 1: to do a record together. He's on the record, u

990
01:01:41,520 --> 01:01:46,600
Speaker 1: els I is on the record. UM for Romanch Little Fame,

991
01:01:46,720 --> 01:01:49,760
Speaker 1: my first collaboration with the MLP member. Little Fame is

992
01:01:49,800 --> 01:01:53,880
Speaker 1: one different worlds connect. Yeah, we've been in the business,

993
01:01:54,120 --> 01:01:56,680
Speaker 1: you know, thirty years for myself, probably by twenty five

994
01:01:56,760 --> 01:01:59,880
Speaker 1: for them, and um, we never have collab before I did.

995
01:02:00,000 --> 01:02:02,160
Speaker 1: I didn't know how a collab would work with me

996
01:02:02,200 --> 01:02:05,120
Speaker 1: and m o P. But we figured it out to

997
01:02:05,320 --> 01:02:08,400
Speaker 1: count them up and yeah, I mean Fame and uh

998
01:02:08,680 --> 01:02:10,960
Speaker 1: m OP. It's such a When we go to the

999
01:02:11,080 --> 01:02:14,320
Speaker 1: sound of Brooklyn Brownsville, it's like, you know, that's like,

1000
01:02:14,480 --> 01:02:17,840
Speaker 1: I mean, they're like especially they're like eighties nineties browns

1001
01:02:17,880 --> 01:02:21,240
Speaker 1: Fell It's like, yo, you better have your you gotta

1002
01:02:21,280 --> 01:02:23,520
Speaker 1: keep your head on the But that's the type of

1003
01:02:23,560 --> 01:02:25,560
Speaker 1: group me growing up watching I was like, I'm never

1004
01:02:25,640 --> 01:02:27,680
Speaker 1: going to fucking Brownsville. That's just scares the ship out

1005
01:02:27,720 --> 01:02:32,920
Speaker 1: of me. You know, there was no there was no

1006
01:02:33,080 --> 01:02:35,720
Speaker 1: there was no false advertising about Brownsville. That's the thing.

1007
01:02:36,720 --> 01:02:39,480
Speaker 1: There's like they've lived up to all the expectations, and

1008
01:02:39,520 --> 01:02:41,840
Speaker 1: wouldn't we say that that's one of the that hasn't

1009
01:02:41,880 --> 01:02:46,280
Speaker 1: fully been projects gentrified at this point. Brown No, no, no,

1010
01:02:46,760 --> 01:02:50,480
Speaker 1: it's been there yet it happening. I'm hearing I say, no,

1011
01:02:50,800 --> 01:02:54,120
Speaker 1: I can't bear any projects. There's too many projects. Right, Well,

1012
01:02:54,240 --> 01:02:56,720
Speaker 1: they can, they can start kicking people out and turning

1013
01:02:56,760 --> 01:02:58,280
Speaker 1: them in the in the co ops, but I don't.

1014
01:02:58,400 --> 01:03:02,120
Speaker 1: I just think it's too far east for you know,

1015
01:03:02,880 --> 01:03:06,720
Speaker 1: the mainstream audience to be traveling because it's too far

1016
01:03:06,800 --> 01:03:09,200
Speaker 1: from the city. So I don't think that they're running

1017
01:03:09,200 --> 01:03:11,560
Speaker 1: out of places to make co ops and ships. So

1018
01:03:11,640 --> 01:03:17,560
Speaker 1: I who knows, now maybe yeah, Howard Houses, you know

1019
01:03:18,160 --> 01:03:20,120
Speaker 1: the soft side, you know, like you like you know,

1020
01:03:21,440 --> 01:03:24,400
Speaker 1: of course you know you know, so all right, um,

1021
01:03:24,840 --> 01:03:26,720
Speaker 1: all right, I want I forgot my notes. One of

1022
01:03:26,760 --> 01:03:29,160
Speaker 1: the things that I promiself on iron Wrap or stereo

1023
01:03:29,200 --> 01:03:32,960
Speaker 1: podcast is I don't fact check, but when I'm excited, um,

1024
01:03:33,160 --> 01:03:36,560
Speaker 1: and a little anxious to interview people. I write down notes,

1025
01:03:36,920 --> 01:03:39,280
Speaker 1: but I wanted to uh just and I don't want

1026
01:03:39,320 --> 01:03:40,880
Speaker 1: to do the full life and times, but I want

1027
01:03:40,920 --> 01:03:43,920
Speaker 1: to throw some songs um at you, Ace that you've

1028
01:03:43,920 --> 01:03:46,040
Speaker 1: been a part of, that you've done, and you tell

1029
01:03:46,080 --> 01:03:48,960
Speaker 1: me the ingredients and just tell me how it happened.

1030
01:03:49,000 --> 01:03:52,320
Speaker 1: Here's my first question about the symphony. My questions are this,

1031
01:03:52,480 --> 01:03:54,360
Speaker 1: and you can I'm sure this isn't the first time

1032
01:03:54,400 --> 01:03:57,040
Speaker 1: you've asked been asked this fucking question. My question is this,

1033
01:03:58,440 --> 01:04:02,840
Speaker 1: was there in order? Where did you record it? Were

1034
01:04:02,920 --> 01:04:06,880
Speaker 1: you all together when you recorded it? Yes, we were

1035
01:04:06,920 --> 01:04:10,480
Speaker 1: all together. We were at Molly's. I want to say

1036
01:04:10,480 --> 01:04:13,040
Speaker 1: it was a two bedroom apartment and in a story

1037
01:04:13,080 --> 01:04:18,280
Speaker 1: of Queen's um and uh we were all there, um

1038
01:04:18,640 --> 01:04:22,800
Speaker 1: and there was no decided order. So much so that

1039
01:04:23,480 --> 01:04:25,600
Speaker 1: because the song was really gonna just be Craig g

1040
01:04:26,600 --> 01:04:29,560
Speaker 1: u g rapping. Cane mc sham was supposed to come,

1041
01:04:30,000 --> 01:04:31,400
Speaker 1: he bailed. He didn't want to, he didn't want to

1042
01:04:31,400 --> 01:04:33,280
Speaker 1: be a part of it, so he didn't come. So

1043
01:04:33,360 --> 01:04:35,680
Speaker 1: it was gonna be those three. They all wrote their

1044
01:04:35,800 --> 01:04:39,760
Speaker 1: verses and then Marley was basically leaving it up to them.

1045
01:04:40,840 --> 01:04:42,640
Speaker 1: To decide who was going to go into booth first.

1046
01:04:42,800 --> 01:04:44,840
Speaker 1: What booth wasn't really a booth that was going in

1047
01:04:44,920 --> 01:04:48,640
Speaker 1: his kitchen where the mic was and so yeah, straight up,

1048
01:04:49,040 --> 01:04:52,400
Speaker 1: so um, they were kind of passing the buck like Craig,

1049
01:04:52,440 --> 01:04:54,480
Speaker 1: it's like, yo, go ahead, g rap like no you

1050
01:04:54,680 --> 01:04:57,200
Speaker 1: you go, y okay, yoka head Kane, and they were

1051
01:04:57,240 --> 01:04:59,280
Speaker 1: just kind of like passing the buck around like nobody

1052
01:04:59,360 --> 01:05:02,320
Speaker 1: wanted to No, there was no order. It was literally

1053
01:05:02,400 --> 01:05:04,120
Speaker 1: like okay. So then Marully looks at me and goes

1054
01:05:04,160 --> 01:05:06,680
Speaker 1: your age, you got a verse, like just warm the

1055
01:05:06,760 --> 01:05:08,600
Speaker 1: mic up. These dudes act can scared like getting in

1056
01:05:08,800 --> 01:05:11,640
Speaker 1: just just lay something down. So I didn't write to

1057
01:05:11,720 --> 01:05:13,800
Speaker 1: this beat I had. I was. I walked around with

1058
01:05:13,880 --> 01:05:16,280
Speaker 1: ten to fifteen verses in my head memorized ready to

1059
01:05:16,360 --> 01:05:18,680
Speaker 1: go at all times. You had to win those days.

1060
01:05:19,200 --> 01:05:21,040
Speaker 1: So I was. I got signed. So I went in

1061
01:05:21,120 --> 01:05:22,760
Speaker 1: on the on the mic first and I spent one

1062
01:05:22,840 --> 01:05:25,800
Speaker 1: of my memorize joints that I had, and right after

1063
01:05:25,880 --> 01:05:28,840
Speaker 1: I went, then Craig was like I'll go second, and

1064
01:05:28,880 --> 01:05:31,280
Speaker 1: then right after that Wrappers I'll go like like but

1065
01:05:31,440 --> 01:05:33,240
Speaker 1: literally it wasn't like Mally was like I think you

1066
01:05:33,280 --> 01:05:35,680
Speaker 1: should go, and then you should go. It was totally

1067
01:05:36,160 --> 01:05:40,400
Speaker 1: organic the way it happened. Listen close, your attention is

1068
01:05:40,440 --> 01:05:42,880
Speaker 1: under body. Many in the past I tried to do

1069
01:05:43,040 --> 01:05:45,080
Speaker 1: what I do just the way you came off. Then

1070
01:05:45,160 --> 01:05:48,120
Speaker 1: I'm gonna come or stronger and longer, even with the

1071
01:05:48,200 --> 01:05:51,680
Speaker 1: trauma and flowing just like a river. I got a

1072
01:05:51,720 --> 01:05:55,200
Speaker 1: whole lot of gifts, so want little letter time, new

1073
01:05:55,320 --> 01:05:59,400
Speaker 1: trails and plays. Action is in effect in all its stays. Yeah,

1074
01:05:59,840 --> 01:06:02,080
Speaker 1: just like a shot from a cannon. I am the

1075
01:06:02,200 --> 01:06:05,160
Speaker 1: man in charge and I'm planning a jam strong up today,

1076
01:06:05,200 --> 01:06:08,480
Speaker 1: can lipse your soul. I'll the originator and my rampabata

1077
01:06:09,120 --> 01:06:12,560
Speaker 1: watching me at the capital a rapid stay with your Wow.

1078
01:06:12,800 --> 01:06:15,520
Speaker 1: It won't go away unless you want it. Stays with

1079
01:06:15,680 --> 01:06:17,800
Speaker 1: your my friend, and if he wants it away, I'm

1080
01:06:17,800 --> 01:06:21,320
Speaker 1: gonna hit you. You suck my head up with that

1081
01:06:21,360 --> 01:06:23,560
Speaker 1: ship because it sounds like he wrote it to that beat.

1082
01:06:23,600 --> 01:06:25,920
Speaker 1: That's what wokes me up. That's crazy. It sounds it's

1083
01:06:25,920 --> 01:06:28,800
Speaker 1: a marriage, those those bars over that beat. So for

1084
01:06:28,920 --> 01:06:30,640
Speaker 1: you to tell me you didn't write to that beat

1085
01:06:31,080 --> 01:06:34,080
Speaker 1: blows my mind. Now, now, you you guys, all of

1086
01:06:34,160 --> 01:06:37,240
Speaker 1: you in a two bedroom apartment. Kane is a star

1087
01:06:37,320 --> 01:06:39,680
Speaker 1: at this point, right, No, No, he hadn't popped. No,

1088
01:06:39,840 --> 01:06:41,240
Speaker 1: he had not popped. He had he didn't have an

1089
01:06:41,240 --> 01:06:42,920
Speaker 1: album out. All he had I was rhyming with Biz

1090
01:06:43,640 --> 01:06:46,040
Speaker 1: and he had a single get into it, okay, and

1091
01:06:46,240 --> 01:06:49,240
Speaker 1: um like his album was about to to drop it.

1092
01:06:49,320 --> 01:06:52,800
Speaker 1: He hadn't popped yet, okay, g rap Nope, nope. Shan

1093
01:06:52,960 --> 01:06:56,080
Speaker 1: was the only star and Shan didn't show up. So

1094
01:06:56,320 --> 01:06:58,600
Speaker 1: we're like, you guys all roll around the same as

1095
01:06:58,640 --> 01:07:01,560
Speaker 1: like funk I mean, don't you wish fucking Instagram was

1096
01:07:01,640 --> 01:07:04,240
Speaker 1: around them? Like like what did what did the rules smell? Like?

1097
01:07:04,520 --> 01:07:06,120
Speaker 1: No pictures? I wish it was a picture of at

1098
01:07:06,200 --> 01:07:09,960
Speaker 1: least of that. Nobody had even the consciousness to say

1099
01:07:10,240 --> 01:07:12,040
Speaker 1: we should take a picture of this this moment, Like

1100
01:07:12,120 --> 01:07:14,680
Speaker 1: nobody thought about that. There's no pictures of that. So

1101
01:07:14,800 --> 01:07:16,560
Speaker 1: you guys were just in your head making a song.

1102
01:07:17,120 --> 01:07:19,400
Speaker 1: Did you know was like I mean, obviously it took

1103
01:07:19,400 --> 01:07:22,360
Speaker 1: off so quick to symphony, but did you when you

1104
01:07:22,480 --> 01:07:24,200
Speaker 1: heard the beat, we're like, yo, this is that ship?

1105
01:07:24,400 --> 01:07:27,680
Speaker 1: Or I wasn't. Honestly, they were writing to it and

1106
01:07:27,720 --> 01:07:29,720
Speaker 1: I was sitting there going to is not that ill

1107
01:07:29,800 --> 01:07:35,000
Speaker 1: to me, but remember you're hearing it as a mixed

1108
01:07:35,320 --> 01:07:38,959
Speaker 1: final product. I was hearing is super raw drumas weren't

1109
01:07:39,000 --> 01:07:41,160
Speaker 1: even really pushed up. It was just like mostly piano.

1110
01:07:41,280 --> 01:07:44,400
Speaker 1: I was like, I don't get it, but whatever, like

1111
01:07:44,560 --> 01:07:46,240
Speaker 1: what I'm saying, that's how I felt. And what do

1112
01:07:46,320 --> 01:07:50,680
Speaker 1: you remember about some of the other guys process what

1113
01:07:50,840 --> 01:07:53,720
Speaker 1: they were writing on, like Kane g rap Like, you know,

1114
01:07:53,760 --> 01:07:56,160
Speaker 1: I was interviewing a large professor one time who was

1115
01:07:56,240 --> 01:07:59,320
Speaker 1: so fucking hip hop, who's such a great storyteller, and

1116
01:07:59,600 --> 01:08:02,040
Speaker 1: he was telling me, I mean, this is exactly what

1117
01:08:02,120 --> 01:08:03,960
Speaker 1: he said. He goes. I'll remember when I was when

1118
01:08:04,000 --> 01:08:05,840
Speaker 1: he was working with Rock Kim Eric being around Kim.

1119
01:08:05,880 --> 01:08:08,160
Speaker 1: He was like, I was in the studio and you know,

1120
01:08:08,320 --> 01:08:10,560
Speaker 1: Rock Kim came in and and you know, he had

1121
01:08:10,600 --> 01:08:13,360
Speaker 1: the two sweatsuits on and he had to cell phones

1122
01:08:13,480 --> 01:08:15,360
Speaker 1: back in the days it was two. He was like, oh, ship,

1123
01:08:15,600 --> 01:08:17,679
Speaker 1: and he goes and then he took out his jacket

1124
01:08:17,800 --> 01:08:20,080
Speaker 1: and out of his jacket he had a zip block

1125
01:08:20,160 --> 01:08:23,560
Speaker 1: bag and in the zip block bag was his padow.

1126
01:08:24,160 --> 01:08:26,280
Speaker 1: So he like he had his ship like in a scripture,

1127
01:08:26,320 --> 01:08:28,040
Speaker 1: Like he had a scripture in the zip block bag.

1128
01:08:28,400 --> 01:08:30,599
Speaker 1: So what do you remember, just like like what did

1129
01:08:30,640 --> 01:08:32,640
Speaker 1: you write on? Do you remember? Like what did came? Like,

1130
01:08:32,760 --> 01:08:35,599
Speaker 1: what do you remember any of that? I don't. I again,

1131
01:08:35,640 --> 01:08:38,400
Speaker 1: I didn't write anything because it was it was one

1132
01:08:38,400 --> 01:08:40,920
Speaker 1: of my memorized joints that I walked around with. But

1133
01:08:41,040 --> 01:08:44,200
Speaker 1: the one thing that that I now remember, because Kane

1134
01:08:44,840 --> 01:08:47,160
Speaker 1: recanted the story one day when we were on the road,

1135
01:08:47,880 --> 01:08:52,440
Speaker 1: was that when Ji Rat went, he said this ridiculous

1136
01:08:53,200 --> 01:08:57,080
Speaker 1: Lee long verse it had to be sixty seventy bars.

1137
01:08:57,920 --> 01:09:01,479
Speaker 1: He rhymes so long that the two winch Real ran

1138
01:09:01,640 --> 01:09:06,479
Speaker 1: off the tape and stopped, and Marley's like, Yo, we

1139
01:09:06,560 --> 01:09:08,760
Speaker 1: don't got no room for Kane. We gotta you're gonna

1140
01:09:08,760 --> 01:09:10,240
Speaker 1: have to cut that. Can you cut it? Like you're

1141
01:09:10,240 --> 01:09:11,760
Speaker 1: trying to figure out a place to cut it, like

1142
01:09:12,320 --> 01:09:15,320
Speaker 1: let's end it here. And I was like, Noah, funk it.

1143
01:09:15,360 --> 01:09:17,840
Speaker 1: I just said a different one, and then he said

1144
01:09:17,880 --> 01:09:19,360
Speaker 1: and then he said that. Then he said that different

1145
01:09:19,439 --> 01:09:22,080
Speaker 1: rhyme was the rhymness on the record, So that sixties

1146
01:09:22,160 --> 01:09:25,120
Speaker 1: seventy I don't even know what that being. It could

1147
01:09:25,160 --> 01:09:27,719
Speaker 1: have wind up on his wanted that or a live album.

1148
01:09:27,800 --> 01:09:29,800
Speaker 1: If if I'm not sure what I don't remember that rhymes.

1149
01:09:29,800 --> 01:09:33,160
Speaker 1: I don't know what he said, but it was the

1150
01:09:33,240 --> 01:09:35,680
Speaker 1: first taker. I doubt it. I was never really a

1151
01:09:35,720 --> 01:09:39,080
Speaker 1: first take guy, but it might have been because again,

1152
01:09:39,920 --> 01:09:41,639
Speaker 1: there was no plan for me to be on the song.

1153
01:09:41,760 --> 01:09:44,080
Speaker 1: It was really just to get everybody warmed up. So

1154
01:09:44,120 --> 01:09:46,240
Speaker 1: I might have just went in because it was memorized.

1155
01:09:46,240 --> 01:09:48,000
Speaker 1: I probably didn't make a big mistake. I probably just

1156
01:09:48,280 --> 01:09:49,680
Speaker 1: ran it down and then I was like, all right,

1157
01:09:50,120 --> 01:09:52,920
Speaker 1: now now y'all can go. Go Craig, you go and whatever.

1158
01:09:53,000 --> 01:09:56,400
Speaker 1: Whatever his plan I think was to, you know, just

1159
01:09:56,760 --> 01:09:58,680
Speaker 1: keep me on there until they got their verses then

1160
01:09:58,720 --> 01:10:01,599
Speaker 1: and then cut me out. And then I found out

1161
01:10:01,720 --> 01:10:05,320
Speaker 1: that Kane and g Rap because when when they when

1162
01:10:05,320 --> 01:10:08,920
Speaker 1: I started recording that my verse, Kine was like, Yo,

1163
01:10:09,040 --> 01:10:10,760
Speaker 1: let's go to the store, and him and g Rap

1164
01:10:10,960 --> 01:10:14,400
Speaker 1: left while I was recording, so they're basically walking to

1165
01:10:14,520 --> 01:10:16,400
Speaker 1: the store going, Yo, what's what are you doing with

1166
01:10:16,479 --> 01:10:18,720
Speaker 1: this new dude? Who is this dude? Like what? They

1167
01:10:18,760 --> 01:10:21,560
Speaker 1: didn't hear my rom They were just like, what do

1168
01:10:21,600 --> 01:10:22,680
Speaker 1: you do? I don't know if I don't know if

1169
01:10:22,680 --> 01:10:24,479
Speaker 1: I want to do this record, Like, I don't know what,

1170
01:10:24,520 --> 01:10:26,240
Speaker 1: I don't know what this cat so they come back

1171
01:10:26,280 --> 01:10:30,880
Speaker 1: from the store, they hear my verse and then Kane says, he, yo, yo,

1172
01:10:30,960 --> 01:10:34,640
Speaker 1: glasses is kind of nice. Yo call me glasses. Your

1173
01:10:34,680 --> 01:10:37,559
Speaker 1: glasses is kind of yo. Yeah, I came in front.

1174
01:10:37,640 --> 01:10:41,600
Speaker 1: So they kind of like together co signed me and

1175
01:10:41,920 --> 01:10:44,559
Speaker 1: and so I think it was their conversation with Marley

1176
01:10:44,640 --> 01:10:47,639
Speaker 1: that wound up keeping me on the song. I fucking

1177
01:10:47,720 --> 01:10:53,920
Speaker 1: love that. I love that ship. Um biz Marky rhyming

1178
01:10:54,000 --> 01:10:57,360
Speaker 1: with biz biz Market is such a fucking He's like

1179
01:10:57,600 --> 01:10:59,639
Speaker 1: a planet to himself, like a one of a kind,

1180
01:11:00,680 --> 01:11:08,160
Speaker 1: totally sort of like un heralded book of knowledge. Bitch,

1181
01:11:08,200 --> 01:11:10,240
Speaker 1: just talk to me about biz and that song? Where'ming

1182
01:11:10,280 --> 01:11:12,680
Speaker 1: with Biz? And like I met business Actually I met

1183
01:11:12,720 --> 01:11:16,400
Speaker 1: Busy at the rooftop and fucking like I don't know

1184
01:11:16,520 --> 01:11:20,599
Speaker 1: fucking and uh you know, but I mean I was like, yo,

1185
01:11:20,680 --> 01:11:22,320
Speaker 1: it's sucking business Market. I was like, and I used

1186
01:11:22,320 --> 01:11:23,960
Speaker 1: to see him at at the Latin Cord doesn't see

1187
01:11:24,000 --> 01:11:26,360
Speaker 1: him at the Union Square. But he was such a

1188
01:11:26,439 --> 01:11:29,200
Speaker 1: big star and like so unique and like his his

1189
01:11:29,439 --> 01:11:33,040
Speaker 1: voices styled like the Bismarket dance and like the beat.

1190
01:11:34,000 --> 01:11:36,160
Speaker 1: Talk to me about that song and just Biz Markey.

1191
01:11:36,360 --> 01:11:38,560
Speaker 1: So my song, and where the funk is bismarket, this

1192
01:11:38,760 --> 01:11:42,880
Speaker 1: is everywhere. This is a celebrity DJ. DJ is all

1193
01:11:42,960 --> 01:11:46,320
Speaker 1: the high profile parties around Hollywood and such. He rubs

1194
01:11:46,360 --> 01:11:49,600
Speaker 1: elbows with all of those, all those types. Um, but

1195
01:11:49,720 --> 01:11:51,640
Speaker 1: he does his thing. He makes good money DJ and

1196
01:11:51,720 --> 01:11:54,439
Speaker 1: for these parties Will Smith and Magic Johnson and all

1197
01:11:54,479 --> 01:11:57,720
Speaker 1: this kind of stuff. Um, but my song, my song.

1198
01:11:57,800 --> 01:11:59,880
Speaker 1: If you're referring to my song, me and the Bid,

1199
01:12:00,040 --> 01:12:01,800
Speaker 1: Me and you and the Bis. Yeah, So that was

1200
01:12:01,840 --> 01:12:05,120
Speaker 1: the Kine talk just exactly. Um, I said, I forgot

1201
01:12:05,160 --> 01:12:08,120
Speaker 1: my fucking notice right. My song was supposed to be

1202
01:12:08,320 --> 01:12:10,600
Speaker 1: a duet. It's supposed to be a duet with me

1203
01:12:10,680 --> 01:12:13,439
Speaker 1: and Biz. Um. I learned during the process of my

1204
01:12:13,920 --> 01:12:17,519
Speaker 1: making my first album that um that Caine pretty much

1205
01:12:17,560 --> 01:12:20,839
Speaker 1: wrote a lot of business rhymes, and so Marley explained

1206
01:12:20,880 --> 01:12:22,759
Speaker 1: to me that the way it worked was that Caine

1207
01:12:22,800 --> 01:12:26,599
Speaker 1: with labors business verses down, he'll he would spit them

1208
01:12:27,040 --> 01:12:29,439
Speaker 1: and then give Bisiness the tape. Bis would take the tape,

1209
01:12:29,920 --> 01:12:33,519
Speaker 1: memorize it, and then come back and spit. So I

1210
01:12:33,640 --> 01:12:35,720
Speaker 1: was like, okay, cool, I really think that this is

1211
01:12:35,760 --> 01:12:38,920
Speaker 1: a perfect beat for Biz. I wrote my verse and

1212
01:12:38,960 --> 01:12:43,200
Speaker 1: I wrote his verse. I said, Okay, I'm gonna record

1213
01:12:43,400 --> 01:12:45,479
Speaker 1: my parts, and then I will record business parts on

1214
01:12:45,520 --> 01:12:48,720
Speaker 1: a separate track, and I'll change my voice so that

1215
01:12:48,840 --> 01:12:51,439
Speaker 1: he'll know when he hears the song, when he rhymes

1216
01:12:51,520 --> 01:12:54,280
Speaker 1: and when iry not to see it. Gym. It's like

1217
01:12:54,360 --> 01:12:56,639
Speaker 1: a spect you kind of song. It's not too short,

1218
01:12:56,800 --> 01:12:59,160
Speaker 1: but then again it's not too long. I put somebody

1219
01:12:59,280 --> 01:13:01,600
Speaker 1: with me, some one you might know he's about to

1220
01:13:01,640 --> 01:13:04,160
Speaker 1: wreck your body from the tempt I'll get told all

1221
01:13:04,240 --> 01:13:09,800
Speaker 1: the way up until your last half falling he's met. Yes,

1222
01:13:10,640 --> 01:13:13,599
Speaker 1: let's come from me, the falling to people to make

1223
01:13:13,680 --> 01:13:16,000
Speaker 1: you have a call and like jump, make you move

1224
01:13:16,080 --> 01:13:19,200
Speaker 1: you from from before and like come on over your chump.

1225
01:13:19,240 --> 01:13:22,559
Speaker 1: By four and maybe five Harty people bought the rest

1226
01:13:22,560 --> 01:13:27,200
Speaker 1: the nuts a far one too, So that's what we recorded.

1227
01:13:27,640 --> 01:13:29,800
Speaker 1: I gave him the tape. He's like, Yo, it's cool.

1228
01:13:30,040 --> 01:13:32,639
Speaker 1: I'll do it, but I'm not coming to Marley's crib

1229
01:13:33,400 --> 01:13:35,280
Speaker 1: because at the time him and Marley were having a

1230
01:13:35,360 --> 01:13:39,200
Speaker 1: little bit of a disagreement. Um and he was like,

1231
01:13:39,560 --> 01:13:42,320
Speaker 1: if you want to record it, bring the tape to

1232
01:13:42,439 --> 01:13:43,800
Speaker 1: my how he wanted me to bring the two inch

1233
01:13:43,840 --> 01:13:46,719
Speaker 1: real to his his studio with his crib to record

1234
01:13:46,800 --> 01:13:49,439
Speaker 1: the song, and Marley shut that down because Morley was

1235
01:13:49,760 --> 01:13:52,000
Speaker 1: I mean, he's Marley, I'm not I'm the new guy. Like,

1236
01:13:52,040 --> 01:13:54,720
Speaker 1: I'm just happy to be down. Marley's like, nah, we

1237
01:13:54,760 --> 01:13:56,479
Speaker 1: ain't doing that. We ain't doing that. Let's just leave

1238
01:13:56,479 --> 01:13:58,880
Speaker 1: it how it is. I'm like leaving how it is. Yeah,

1239
01:13:58,960 --> 01:14:00,719
Speaker 1: you know, it might be cool, so cool song. People

1240
01:14:00,800 --> 01:14:02,960
Speaker 1: gonna think it's busy, you know, it'd be a cool

1241
01:14:03,000 --> 01:14:07,280
Speaker 1: little whatever. And I was like, I wasn't really feeling it.

1242
01:14:07,360 --> 01:14:10,000
Speaker 1: But I was like, all right, I'm in person named

1243
01:14:10,000 --> 01:14:12,759
Speaker 1: biss On on a song. Now, Okay, okay, I guess

1244
01:14:13,479 --> 01:14:16,360
Speaker 1: I named it me. I named it me in the business, Um,

1245
01:14:17,240 --> 01:14:18,800
Speaker 1: I guess they said that. The rest is history. We

1246
01:14:18,840 --> 01:14:20,800
Speaker 1: shot the video for it. Obviously Business wasn't in the

1247
01:14:20,880 --> 01:14:23,280
Speaker 1: video because he's not on the song, So we we

1248
01:14:23,400 --> 01:14:25,400
Speaker 1: got somebody to make a puppet of him, and that

1249
01:14:25,800 --> 01:14:27,680
Speaker 1: all that was kind of cool. Was he cool with

1250
01:14:27,800 --> 01:14:31,080
Speaker 1: that or was he you know, I never really got

1251
01:14:31,200 --> 01:14:34,280
Speaker 1: to have a real conversation with him about it. Um,

1252
01:14:34,880 --> 01:14:36,439
Speaker 1: I don't know if he was a hundred percent cool

1253
01:14:36,479 --> 01:14:37,960
Speaker 1: with it. He went he went with it because I'm

1254
01:14:38,000 --> 01:14:40,479
Speaker 1: on the label. I'm down with the crew. But um,

1255
01:14:41,479 --> 01:14:43,800
Speaker 1: I heard that he had like some little like you know,

1256
01:14:43,880 --> 01:14:46,240
Speaker 1: stuff to say at the time when the song was out,

1257
01:14:46,800 --> 01:14:50,160
Speaker 1: But it was nothing like too disrespectful. He just was

1258
01:14:50,280 --> 01:14:51,960
Speaker 1: mad at Mally. He wasn't trying to really rock with

1259
01:14:52,040 --> 01:14:54,400
Speaker 1: Molly at that time. All right, that's good. One of

1260
01:14:54,479 --> 01:14:57,280
Speaker 1: my favorite songs. I mentioned it to you before. Um,

1261
01:14:57,400 --> 01:15:00,880
Speaker 1: and it's got one of my favorite samples, Uh Willie Hutch.

1262
01:15:01,479 --> 01:15:03,519
Speaker 1: It's it's I'm skipping for because I like I could

1263
01:15:03,520 --> 01:15:05,559
Speaker 1: go song by song with song will be your all

1264
01:15:05,640 --> 01:15:09,720
Speaker 1: fucking day, good old love. Yeah, shout to ninth, wonder man.

1265
01:15:10,439 --> 01:15:13,080
Speaker 1: Talk to me about like the creation, Like I love

1266
01:15:13,439 --> 01:15:16,160
Speaker 1: that song again. You have a you have a tendency

1267
01:15:16,640 --> 01:15:18,439
Speaker 1: and you you get in the sweet spot a lot

1268
01:15:18,479 --> 01:15:21,920
Speaker 1: of times with sentimentality, not on the runs, but just

1269
01:15:22,040 --> 01:15:24,800
Speaker 1: it has that soul. It's like a soul song and

1270
01:15:24,880 --> 01:15:26,680
Speaker 1: it's got you know, the Willie Hutch samples. Dude, So

1271
01:15:26,760 --> 01:15:29,000
Speaker 1: talk to you about like how that that song came

1272
01:15:29,040 --> 01:15:31,120
Speaker 1: about with ninth and the beat? You know, like what

1273
01:15:31,280 --> 01:15:33,280
Speaker 1: did you hear the beat first? Like how did that work?

1274
01:15:33,439 --> 01:15:36,760
Speaker 1: Definitely he heard the beat first. Um, Um shout to

1275
01:15:36,880 --> 01:15:40,280
Speaker 1: shout to Abby O'Neil um from NPR who actually gave

1276
01:15:40,400 --> 01:15:43,160
Speaker 1: me the beat c D with those beats on it.

1277
01:15:43,400 --> 01:15:45,680
Speaker 1: Um Ninth Wonder was just one of many producers that

1278
01:15:45,760 --> 01:15:48,280
Speaker 1: were on this beat CD that she gave me. Um.

1279
01:15:48,400 --> 01:15:51,200
Speaker 1: She was like kind of helping producers shot beats, and

1280
01:15:52,320 --> 01:15:53,800
Speaker 1: so she gave me this b CD. I listened to

1281
01:15:53,880 --> 01:15:56,639
Speaker 1: it and immediately I zumed it on that beat because

1282
01:15:57,040 --> 01:15:58,760
Speaker 1: I knew the Willi Hutch sample. I knew it from

1283
01:15:58,800 --> 01:16:02,240
Speaker 1: that Mob Deep joint Um and everything. It's called still

1284
01:16:02,240 --> 01:16:05,080
Speaker 1: Shining because their joint. But I knew that sample, but

1285
01:16:05,160 --> 01:16:06,920
Speaker 1: he flipped it different and I was like, this is

1286
01:16:07,040 --> 01:16:11,240
Speaker 1: actually dope. Is It's as dope as the Mob Deep Dream,

1287
01:16:11,320 --> 01:16:14,760
Speaker 1: but it's different. And I immediately wrote UM to that beat.

1288
01:16:14,840 --> 01:16:17,040
Speaker 1: Now this is this is ninth one to down with

1289
01:16:17,200 --> 01:16:23,080
Speaker 1: Little Brother before what he wind up doing pre Beyonce

1290
01:16:23,439 --> 01:16:28,080
Speaker 1: and Destiny's Child pre jay z Um. And so I

1291
01:16:28,240 --> 01:16:31,040
Speaker 1: recorded the joint. It was. It was a very reasonable

1292
01:16:31,120 --> 01:16:35,000
Speaker 1: price at that time, and he actually credits me in

1293
01:16:35,080 --> 01:16:40,160
Speaker 1: an interview as being his first UH song placement outside

1294
01:16:40,200 --> 01:16:43,920
Speaker 1: of his Little Brother camp. So he's like, yo, he's

1295
01:16:43,960 --> 01:16:47,280
Speaker 1: the one who really opened that door. And and boy,

1296
01:16:47,320 --> 01:16:48,960
Speaker 1: I'm glad I opened that door. But when I did,

1297
01:16:49,080 --> 01:16:53,320
Speaker 1: because literally before Good Old Love even dropped, he was

1298
01:16:53,360 --> 01:16:55,680
Speaker 1: already working with Destiny's Child and jay Z and he

1299
01:16:55,760 --> 01:16:57,680
Speaker 1: was in studio with these people, and I was like, man,

1300
01:16:57,880 --> 01:16:59,720
Speaker 1: I would have never been able to afford this guy

1301
01:17:00,520 --> 01:17:03,679
Speaker 1: had I met him like eight months later, I would

1302
01:17:03,680 --> 01:17:06,080
Speaker 1: have not been able to afford him. So it just

1303
01:17:06,160 --> 01:17:08,400
Speaker 1: worked out. And to this day that song is still

1304
01:17:08,520 --> 01:17:11,200
Speaker 1: like the song I closed my shows with. People respond

1305
01:17:11,240 --> 01:17:14,400
Speaker 1: to it. It's the perfect ending to a show. I

1306
01:17:14,560 --> 01:17:18,000
Speaker 1: love that song. Um finally, and then want to ask

1307
01:17:18,040 --> 01:17:23,519
Speaker 1: you Marco's specific questions. Crookland Crookland Dodgers. Another Brooklyn song,

1308
01:17:23,680 --> 01:17:27,800
Speaker 1: a totally different sounding Brooklyn song. Tip produced it you

1309
01:17:28,720 --> 01:17:32,280
Speaker 1: Buckshot special Ed a Razminshole high school. I went to

1310
01:17:32,880 --> 01:17:36,920
Speaker 1: rain with special Ed. Used to see his tag all

1311
01:17:36,960 --> 01:17:38,640
Speaker 1: around the school say special and I was like, this

1312
01:17:38,720 --> 01:17:41,120
Speaker 1: kid must be in special because his tag was sucked up.

1313
01:17:43,200 --> 01:17:46,639
Speaker 1: Tag was sucked up? So, um, how did that song

1314
01:17:46,760 --> 01:17:49,800
Speaker 1: come about? And it was you know to me like

1315
01:17:50,120 --> 01:17:52,360
Speaker 1: Brooklyn story has that same type of thing, like it's

1316
01:17:52,400 --> 01:17:55,000
Speaker 1: just like this, it has this emotion to it. Talk

1317
01:17:55,000 --> 01:17:57,120
Speaker 1: to me about what you remember about that song and

1318
01:17:57,280 --> 01:18:00,760
Speaker 1: getting you know, you four together at the time, and

1319
01:18:01,080 --> 01:18:04,160
Speaker 1: you know Spike Lee joined Crookly what do you remember

1320
01:18:04,160 --> 01:18:06,880
Speaker 1: about the song? So Ali was definitely part of the

1321
01:18:06,960 --> 01:18:10,120
Speaker 1: production of that record. Um, Q Tip I got a

1322
01:18:10,160 --> 01:18:11,880
Speaker 1: call from q Tip. I don't I don't even know

1323
01:18:11,960 --> 01:18:13,320
Speaker 1: how he got my number. He got my nun from

1324
01:18:13,360 --> 01:18:16,360
Speaker 1: somebody and he just he just asked me over the phone.

1325
01:18:16,680 --> 01:18:19,080
Speaker 1: You know, we're doing this UM song for Spike Lee's movie.

1326
01:18:19,120 --> 01:18:21,120
Speaker 1: Are you down? I'm like, hell, yeah, I'm down. Like

1327
01:18:21,560 --> 01:18:25,080
Speaker 1: at that time, such a Q tip conversation. Are you down? Yes,

1328
01:18:25,160 --> 01:18:27,800
Speaker 1: I'm down. Um. At the time, I had my song

1329
01:18:27,880 --> 01:18:29,560
Speaker 1: Boring a role, which was really blowing up crazy on

1330
01:18:29,600 --> 01:18:31,920
Speaker 1: the West Coast, and you know, the East Coast wasn't

1331
01:18:31,920 --> 01:18:34,400
Speaker 1: really checking for that record or those records that I

1332
01:18:34,439 --> 01:18:36,519
Speaker 1: had been doing that we're making noise on the West.

1333
01:18:36,960 --> 01:18:38,760
Speaker 1: So it was a perfect opportunity for me to like

1334
01:18:38,840 --> 01:18:41,120
Speaker 1: work with some guys from my town. And you know

1335
01:18:41,200 --> 01:18:43,200
Speaker 1: the fact that it was gonna be about a movie,

1336
01:18:43,240 --> 01:18:45,320
Speaker 1: a movie about my borrow, It's like, Okay, this is

1337
01:18:45,320 --> 01:18:47,920
Speaker 1: like the perfect balance to what I got going on

1338
01:18:48,040 --> 01:18:51,080
Speaker 1: on the West Coast and down south. So we go

1339
01:18:51,200 --> 01:18:54,280
Speaker 1: to UM Specialized studio Dollar Cab Lab, which was on

1340
01:18:54,520 --> 01:18:58,400
Speaker 1: Utica and I want to say, what was the cross street?

1341
01:18:58,439 --> 01:19:00,920
Speaker 1: I want to say Utica and maybe d or something

1342
01:19:00,960 --> 01:19:03,760
Speaker 1: like that Avenue d Um. We go upstairs to Dollar

1343
01:19:03,840 --> 01:19:06,760
Speaker 1: Cab Lab and my first time going there. Tip is there,

1344
01:19:06,800 --> 01:19:09,640
Speaker 1: Ali is there. They played the beat. Okay, beat B

1345
01:19:09,840 --> 01:19:12,400
Speaker 1: sounds cool. We all took a copy of the beat

1346
01:19:12,479 --> 01:19:16,040
Speaker 1: home with us, wrote our ROMs. We came back on

1347
01:19:16,080 --> 01:19:19,040
Speaker 1: a separate occasion to to record. I can't even remember

1348
01:19:19,040 --> 01:19:22,040
Speaker 1: where we did the recording app but we recorded our versus.

1349
01:19:23,439 --> 01:19:26,200
Speaker 1: Spike Lee comes in to listen to the song and

1350
01:19:26,320 --> 01:19:31,479
Speaker 1: he goes, this is not really y'all need to see

1351
01:19:31,520 --> 01:19:33,600
Speaker 1: the movie. He's like, because this is like because we

1352
01:19:33,760 --> 01:19:37,720
Speaker 1: just all wrote just braggadocious, regular New York m C.

1353
01:19:37,960 --> 01:19:41,000
Speaker 1: I'm the ellest dot dot type ROMs. He's like, this

1354
01:19:41,120 --> 01:19:44,320
Speaker 1: doesn't really capture the movie. He set up a private

1355
01:19:44,360 --> 01:19:46,760
Speaker 1: screening of the movie on a separate day. Only about

1356
01:19:46,800 --> 01:19:50,839
Speaker 1: twenty people there. Meat Buckshot Edwar their Tip was there alive,

1357
01:19:50,920 --> 01:19:53,200
Speaker 1: a few other people. We sat down, we watched the

1358
01:19:53,240 --> 01:19:55,439
Speaker 1: whole movie in this little small screening room. He's like,

1359
01:19:55,560 --> 01:19:58,000
Speaker 1: now you've seen the movie, Now go back and capture

1360
01:19:58,040 --> 01:20:00,799
Speaker 1: the essence. Of the seventies and what you've scene capture

1361
01:20:00,840 --> 01:20:02,920
Speaker 1: that in the verses, and we all went back and

1362
01:20:03,000 --> 01:20:06,200
Speaker 1: wrote completely new verses. And that's the version of the

1363
01:20:06,280 --> 01:20:12,240
Speaker 1: song that everybody knows. That's fun style. Does it hit you?

1364
01:20:13,560 --> 01:20:18,120
Speaker 1: Mentality is getting killer instinct's trying to infill right, But wait,

1365
01:20:18,439 --> 01:20:20,320
Speaker 1: I know you wanted to enter, but I can't let

1366
01:20:20,360 --> 01:20:22,720
Speaker 1: you end. My mind stays the maddest. I'm gone with

1367
01:20:22,880 --> 01:20:25,960
Speaker 1: the wind because it is Sabapa love the fittest. When

1368
01:20:26,000 --> 01:20:27,920
Speaker 1: the ship hits the fan, I got my shape, getting

1369
01:20:27,960 --> 01:20:31,320
Speaker 1: my hand black man with the permanent tan. I come

1370
01:20:31,439 --> 01:20:36,840
Speaker 1: from the Villa neperand damn ship is one more than

1371
01:20:36,880 --> 01:20:39,160
Speaker 1: because I don't want to go down full mass days

1372
01:20:39,400 --> 01:20:42,560
Speaker 1: rabbit hole. When Born the role was was cooking and

1373
01:20:42,640 --> 01:20:44,920
Speaker 1: it was like a different sound. And I'll be honest,

1374
01:20:45,080 --> 01:20:47,200
Speaker 1: like I was like I knew you as a Brooklyn dude,

1375
01:20:47,600 --> 01:20:49,400
Speaker 1: and it was a different sound, and like at the time,

1376
01:20:49,479 --> 01:20:52,439
Speaker 1: I was prejudiced against different sounds, like if it was dope,

1377
01:20:52,479 --> 01:20:55,320
Speaker 1: it was dope. But I was like, wait, Born the role,

1378
01:20:55,400 --> 01:20:58,519
Speaker 1: what does he know about jeeps? Like jeeps like you know,

1379
01:20:58,960 --> 01:21:02,200
Speaker 1: tires and this is supposed to be juice cool, old story.

1380
01:21:02,520 --> 01:21:05,640
Speaker 1: What's going on here? Were you getting flat? Like? How

1381
01:21:05,680 --> 01:21:07,640
Speaker 1: did that switch come? Were you like your funk that

1382
01:21:07,920 --> 01:21:10,200
Speaker 1: I'm trying to make sell some fucking records? Where was

1383
01:21:10,280 --> 01:21:12,439
Speaker 1: your head at? And how did it come with? In

1384
01:21:12,520 --> 01:21:14,920
Speaker 1: the in the short version, there's many different things. Yeah,

1385
01:21:14,960 --> 01:21:16,960
Speaker 1: I mean I had a song. I had a song

1386
01:21:17,000 --> 01:21:19,439
Speaker 1: called Gepass Nigger that was on my Sloughter House album.

1387
01:21:19,479 --> 01:21:21,400
Speaker 1: We had did a video for it and everything. It

1388
01:21:21,520 --> 01:21:24,080
Speaker 1: was a dope song. People liked it, but it wasn't

1389
01:21:24,120 --> 01:21:26,759
Speaker 1: like really cracking like that. We were onto the next single,

1390
01:21:27,479 --> 01:21:29,720
Speaker 1: um and I decided on my own to just do

1391
01:21:29,800 --> 01:21:32,759
Speaker 1: a remix to that song. I took the same lyrics

1392
01:21:32,880 --> 01:21:35,080
Speaker 1: and I flipped it to this beat that was on

1393
01:21:35,200 --> 01:21:39,000
Speaker 1: a deaf jam label called Original Concept. I remember that

1394
01:21:39,120 --> 01:21:41,120
Speaker 1: beat because they didn't wrap to it. They talked over it.

1395
01:21:41,200 --> 01:21:44,040
Speaker 1: It was Russell Simmons and Dr Dre and they were

1396
01:21:44,080 --> 01:21:46,320
Speaker 1: just they just talked ship over the whole record. I

1397
01:21:46,479 --> 01:21:48,400
Speaker 1: never put the two of them together. So you just

1398
01:21:48,479 --> 01:21:51,559
Speaker 1: said that knowledge me was was there was the record.

1399
01:21:51,560 --> 01:21:53,559
Speaker 1: It's it's a deaf jam, right, it's an East Coast record.

1400
01:21:54,080 --> 01:21:59,400
Speaker 1: That was the knowledge that was like they must have

1401
01:21:59,439 --> 01:22:04,080
Speaker 1: been on some because they used to play that ship overall.

1402
01:22:04,200 --> 01:22:06,360
Speaker 1: I was like, what the funk are they talking about?

1403
01:22:07,000 --> 01:22:09,960
Speaker 1: But that's the beat, and I remember that didn't connect

1404
01:22:10,000 --> 01:22:12,960
Speaker 1: the dots. I found that record in a been in

1405
01:22:13,120 --> 01:22:15,200
Speaker 1: somewhere in Virginia. We want. We were on a promo

1406
01:22:15,280 --> 01:22:17,160
Speaker 1: tour and I went home and I and our listen.

1407
01:22:17,200 --> 01:22:19,439
Speaker 1: I was remember this beat, this would actually work in

1408
01:22:19,560 --> 01:22:21,240
Speaker 1: some other markets. I was saying that in my head,

1409
01:22:21,760 --> 01:22:24,519
Speaker 1: calculated decision. I'm gonna take the same lyrics to Jeep

1410
01:22:24,560 --> 01:22:26,519
Speaker 1: as nig I'm gonna lay them to this. I laid

1411
01:22:26,560 --> 01:22:29,080
Speaker 1: them down. I submitted to the Delicious Vinyl. They were like,

1412
01:22:29,640 --> 01:22:32,280
Speaker 1: what are we doing remixes to this? Like we're on

1413
01:22:32,320 --> 01:22:34,800
Speaker 1: to the next single. And I fought for them to

1414
01:22:34,840 --> 01:22:37,160
Speaker 1: put it on the B side of my slaughter House single.

1415
01:22:37,600 --> 01:22:39,720
Speaker 1: They put it on the B side as as just

1416
01:22:40,000 --> 01:22:42,519
Speaker 1: a one joint on the B side. The all the

1417
01:22:42,600 --> 01:22:45,080
Speaker 1: DJ's got that ship the slaughter House joint flipped it

1418
01:22:45,160 --> 01:22:48,800
Speaker 1: over and all started playing born a Roll. I like that.

1419
01:22:49,200 --> 01:22:52,120
Speaker 1: I like that. Um, all right, Marco, You've worked with

1420
01:22:52,200 --> 01:22:54,400
Speaker 1: a bunch of people. As I said, I I fact checked.

1421
01:22:55,080 --> 01:22:58,400
Speaker 1: I preplanned, uh this interview. You know there's there's a

1422
01:22:58,479 --> 01:23:01,120
Speaker 1: list of people you know, and and I try to

1423
01:23:01,240 --> 01:23:03,400
Speaker 1: sum it up, Uh, you know to a few people,

1424
01:23:03,840 --> 01:23:06,439
Speaker 1: um that you've produced for. So I want to throw

1425
01:23:06,479 --> 01:23:08,800
Speaker 1: different names at you about your experience with them in

1426
01:23:08,840 --> 01:23:11,280
Speaker 1: the booth, how they work. What you remember was a

1427
01:23:11,400 --> 01:23:15,760
Speaker 1: quirky like who's the one? Take wonder who's a micromanager?

1428
01:23:16,080 --> 01:23:19,479
Speaker 1: Just in celebration. No, no fucking gossip, but like, let

1429
01:23:19,560 --> 01:23:22,160
Speaker 1: me throw first one Large Professor. I brought him up, Yes,

1430
01:23:22,360 --> 01:23:24,599
Speaker 1: that was He's one of the I had the most

1431
01:23:24,680 --> 01:23:27,280
Speaker 1: fun recording with Large pro from my very first album.

1432
01:23:27,280 --> 01:23:29,000
Speaker 1: I never met him. He came to my apartment. My

1433
01:23:29,360 --> 01:23:31,280
Speaker 1: best friend THEO was there. He used to manage me,

1434
01:23:31,680 --> 01:23:34,639
Speaker 1: and he came through to do this verse, and uh,

1435
01:23:34,960 --> 01:23:37,519
Speaker 1: I think he was smoking weed or something in my

1436
01:23:37,800 --> 01:23:40,080
Speaker 1: bedroom where the mic was. You know what I'm saying,

1437
01:23:40,120 --> 01:23:42,880
Speaker 1: because it wasn't a fancy studio, so during the takes

1438
01:23:42,920 --> 01:23:44,720
Speaker 1: I would stop it and what he while he was

1439
01:23:44,800 --> 01:23:47,839
Speaker 1: listening back to his lyrics. I could hear him literally

1440
01:23:47,920 --> 01:23:51,040
Speaker 1: get excited at hearing himself over the beat, like oh

1441
01:23:51,120 --> 01:23:53,519
Speaker 1: that's dope. And we weren't sure if he was talking

1442
01:23:53,760 --> 01:23:55,840
Speaker 1: to us like yo, do it again, but we figured

1443
01:23:55,840 --> 01:23:58,720
Speaker 1: out he was just vibing with himself so hard that

1444
01:23:58,800 --> 01:24:00,880
Speaker 1: he almost was having a little bit of a conversation

1445
01:24:00,960 --> 01:24:04,599
Speaker 1: with himself. But it's just that eclectic hip hop goodness

1446
01:24:04,720 --> 01:24:06,559
Speaker 1: that you know when you see when you meet large Pro,

1447
01:24:06,680 --> 01:24:09,479
Speaker 1: you understand, like if you look in the dictionary besides

1448
01:24:09,560 --> 01:24:11,439
Speaker 1: hip hop, I always say it should be his face,

1449
01:24:11,840 --> 01:24:14,960
Speaker 1: just they're like in his stance. So he's always and

1450
01:24:15,080 --> 01:24:17,559
Speaker 1: since then I've produced, I've been the only other producer

1451
01:24:17,640 --> 01:24:19,000
Speaker 1: on a lot of his records. He does all the

1452
01:24:19,040 --> 01:24:20,800
Speaker 1: beats and then he saves me a slot, and I'm like,

1453
01:24:20,920 --> 01:24:23,000
Speaker 1: I don't know why that happens, but I'm grateful. So

1454
01:24:23,520 --> 01:24:26,640
Speaker 1: Large Pro. You know, he's such another sort of unheralded

1455
01:24:27,400 --> 01:24:29,720
Speaker 1: unless you're a hip hop head guy. You know, he's

1456
01:24:29,760 --> 01:24:31,760
Speaker 1: done songs. He's worked with so many people for so

1457
01:24:31,840 --> 01:24:35,320
Speaker 1: many years. You know, Na Ship obviously the main source

1458
01:24:35,360 --> 01:24:37,679
Speaker 1: ship Cool Gi rapper Polo when he was like fucking

1459
01:24:37,760 --> 01:24:41,160
Speaker 1: seventeen rock Kim Ship. What is it about his sound?

1460
01:24:41,560 --> 01:24:44,760
Speaker 1: You know you did Tribe Ship. I mean for me,

1461
01:24:44,920 --> 01:24:47,400
Speaker 1: it all starts with the drums, and as a producer,

1462
01:24:47,520 --> 01:24:50,599
Speaker 1: I have my drum gods I call gods of drums,

1463
01:24:51,160 --> 01:24:53,360
Speaker 1: you know, and large professors in that, you know, along

1464
01:24:53,439 --> 01:24:57,080
Speaker 1: with p rock uh DJ Premier, Large Professor, his drums,

1465
01:24:57,200 --> 01:24:59,920
Speaker 1: his baselines, The way he hooked up samples, interesting rec

1466
01:25:00,520 --> 01:25:02,560
Speaker 1: even that first main source album. The way he was

1467
01:25:02,680 --> 01:25:05,120
Speaker 1: using three or four different samples together to make these

1468
01:25:05,560 --> 01:25:07,720
Speaker 1: these anthems was you know, I was just in awe.

1469
01:25:07,840 --> 01:25:09,320
Speaker 1: I was like, what the fund is? Like where is

1470
01:25:09,320 --> 01:25:13,680
Speaker 1: all this stuff? And I'm glad you said that he

1471
01:25:13,800 --> 01:25:15,840
Speaker 1: may have started on that. The Large Professor is the

1472
01:25:15,920 --> 01:25:18,439
Speaker 1: type of dude that everybody called to ask him how

1473
01:25:18,479 --> 01:25:21,040
Speaker 1: to use the sampler they had because he knew everything

1474
01:25:21,680 --> 01:25:25,080
Speaker 1: and he learned from policy. That was his mentor r

1475
01:25:25,120 --> 01:25:29,719
Speaker 1: I p and um. He just knows every freaking sampler.

1476
01:25:29,800 --> 01:25:32,280
Speaker 1: He knows that's not fifty. He knows twe hundred. He

1477
01:25:32,320 --> 01:25:35,400
Speaker 1: knows the early MPCs. Like I could probably call Large

1478
01:25:35,400 --> 01:25:37,360
Speaker 1: about something I don't, you know, know how to use,

1479
01:25:37,400 --> 01:25:39,479
Speaker 1: and he'll know how to use it. He's a dude

1480
01:25:39,520 --> 01:25:41,360
Speaker 1: who like, if you got problems setting up your internet,

1481
01:25:41,400 --> 01:25:43,880
Speaker 1: he could like he can't like he could he could

1482
01:25:43,880 --> 01:25:45,920
Speaker 1: tell you, like fix your ship. Like he's like he's

1483
01:25:45,960 --> 01:25:48,120
Speaker 1: like he's a scientist. I think he came to a

1484
01:25:48,240 --> 01:25:50,160
Speaker 1: crib wants to do an interview for something for the

1485
01:25:50,200 --> 01:25:52,519
Speaker 1: album You're on. We're doing some promo and he saw

1486
01:25:52,600 --> 01:25:54,519
Speaker 1: my records and I literally feel like he was getting

1487
01:25:54,560 --> 01:25:56,960
Speaker 1: anxiety about how I had my records organized. He's like,

1488
01:25:57,000 --> 01:25:58,280
Speaker 1: you know what, I'm gonna come back and help you

1489
01:25:58,520 --> 01:26:00,840
Speaker 1: fucking organize this ship because it should crazy. It's all

1490
01:26:00,880 --> 01:26:03,040
Speaker 1: funked up. You're sucking up. And I was like, this

1491
01:26:03,160 --> 01:26:07,840
Speaker 1: isn't the greatest thing ever. That's Pharaoh Munch, another guy

1492
01:26:08,040 --> 01:26:11,360
Speaker 1: like you know, sort of like underground unheld, the dude

1493
01:26:11,400 --> 01:26:14,280
Speaker 1: you worked with him? What was that experience? Like? What

1494
01:26:14,439 --> 01:26:17,840
Speaker 1: was the name of the songs I've done? Actually quite

1495
01:26:17,840 --> 01:26:19,960
Speaker 1: a few of him now, Um, The first one we

1496
01:26:20,080 --> 01:26:23,599
Speaker 1: did was called War On On War Album, and then

1497
01:26:23,680 --> 01:26:25,599
Speaker 1: the next album we really locked in. We did three

1498
01:26:25,680 --> 01:26:28,519
Speaker 1: we call One was called Rapid Eye Movement featuring Black Thought,

1499
01:26:28,560 --> 01:26:31,800
Speaker 1: which is just them trading bars bananas. Then there was

1500
01:26:31,960 --> 01:26:34,720
Speaker 1: Times Square and a really special song to me called

1501
01:26:34,760 --> 01:26:36,760
Speaker 1: the Jungle, which I know Ace is a fan of,

1502
01:26:37,280 --> 01:26:42,160
Speaker 1: very conceptual song. Another New York song Pharaoh is a scientist,

1503
01:26:42,640 --> 01:26:44,559
Speaker 1: you know what I'm saying? Like Sometimes when I first

1504
01:26:44,600 --> 01:26:46,320
Speaker 1: met him, I was like, is this guy little? Is

1505
01:26:46,360 --> 01:26:49,479
Speaker 1: he have? Asperg? Is he a little you know what

1506
01:26:49,520 --> 01:26:51,679
Speaker 1: I'm saying, But it's not. It's just like the social

1507
01:26:51,840 --> 01:26:53,800
Speaker 1: nous of some of your favorite artists is always a

1508
01:26:53,840 --> 01:26:57,519
Speaker 1: little off, and it's not necessarily a bad thing, but

1509
01:26:57,640 --> 01:26:59,640
Speaker 1: it's just like a thing like large pro has it

1510
01:26:59,720 --> 01:27:03,519
Speaker 1: to this eclectic energy where I'm like, they're just always

1511
01:27:03,680 --> 01:27:07,040
Speaker 1: thinking about creative ship and other galaxies and I'm kind

1512
01:27:07,080 --> 01:27:09,479
Speaker 1: of jealous that I don't. I'm not there with them sometimes.

1513
01:27:10,439 --> 01:27:13,639
Speaker 1: And Farrell has that thing where I'm like, I remember

1514
01:27:13,680 --> 01:27:16,280
Speaker 1: when he came and he was spitting a verse over

1515
01:27:16,360 --> 01:27:18,160
Speaker 1: my beat and he did it backwards and I was like,

1516
01:27:18,280 --> 01:27:20,040
Speaker 1: your tripped. In my mind, I'm like, yo, you're bugging.

1517
01:27:20,080 --> 01:27:21,640
Speaker 1: I don't know what the fund is happening right now,

1518
01:27:21,760 --> 01:27:24,639
Speaker 1: but don't do this like this doesn't make sense. It's weird.

1519
01:27:24,720 --> 01:27:27,719
Speaker 1: And now in hindsight, I'm like, it's brilliant. He's spent

1520
01:27:27,800 --> 01:27:32,080
Speaker 1: eight bars backwards on another joint of and it's but

1521
01:27:32,160 --> 01:27:34,960
Speaker 1: it's like I wasn't able to process what he was

1522
01:27:35,040 --> 01:27:38,120
Speaker 1: doing at the time in my like not open mindedness

1523
01:27:38,160 --> 01:27:41,360
Speaker 1: to whatever galaxy was in almost stopped some insanity that

1524
01:27:41,760 --> 01:27:44,000
Speaker 1: I listened to it now and I'm like, yo, your

1525
01:27:44,080 --> 01:27:46,519
Speaker 1: head like Um, you know, he's eight steps ahead type

1526
01:27:46,520 --> 01:27:49,160
Speaker 1: of guy with some of his concepts, so it's it's

1527
01:27:49,160 --> 01:27:50,600
Speaker 1: an honor. I got a new song with him, his

1528
01:27:50,640 --> 01:27:53,800
Speaker 1: styles p that is Bananas that hasn't come out yet.

1529
01:27:53,840 --> 01:27:56,360
Speaker 1: So chau Stefaro always you know, one of the best,

1530
01:27:57,479 --> 01:27:59,840
Speaker 1: and he's on an album one of a very very dope.

1531
01:28:01,400 --> 01:28:04,760
Speaker 1: Um you did a sou on rock him. Yes, that

1532
01:28:05,320 --> 01:28:07,519
Speaker 1: that story is is dope. It's just I wasn't in

1533
01:28:07,600 --> 01:28:09,960
Speaker 1: the studio with him, but there's a story basically so

1534
01:28:10,200 --> 01:28:12,519
Speaker 1: so low key that you might not see me. Yeah, exactly,

1535
01:28:12,680 --> 01:28:15,760
Speaker 1: and Nito taking it easy. Shouts to Nick Whizz who

1536
01:28:15,840 --> 01:28:18,679
Speaker 1: hooked up that connection. I gave beats to Nick Whizz.

1537
01:28:18,760 --> 01:28:22,280
Speaker 1: He gave beats to rock him, rock him pick some joints.

1538
01:28:22,360 --> 01:28:25,479
Speaker 1: One specifically he recorded to he wanted to use on

1539
01:28:25,600 --> 01:28:28,760
Speaker 1: his album. He could not have multiple samples that could

1540
01:28:28,760 --> 01:28:32,000
Speaker 1: not be cleared. I think I sampled like icon Tina

1541
01:28:32,120 --> 01:28:34,760
Speaker 1: or something stupid. It scared him and they're like, yeah,

1542
01:28:34,840 --> 01:28:36,639
Speaker 1: we can't clear it. I'm like, give me the record.

1543
01:28:36,680 --> 01:28:38,519
Speaker 1: I'll put that ship out. I don't give a fuck.

1544
01:28:39,000 --> 01:28:41,160
Speaker 1: So the record came back to me. I ended up

1545
01:28:41,200 --> 01:28:43,040
Speaker 1: remixing it. I spoke. We are on the phone a

1546
01:28:43,120 --> 01:28:46,040
Speaker 1: couple of times. I still staying in touch sometimes, but

1547
01:28:46,640 --> 01:28:48,479
Speaker 1: I wasn't in the actual lab with him for that

1548
01:28:48,600 --> 01:28:51,560
Speaker 1: one because he's just sometimes in his own situations and

1549
01:28:52,479 --> 01:28:55,080
Speaker 1: got it back and you're hearing his rock him on

1550
01:28:55,160 --> 01:28:57,400
Speaker 1: my beat. It's like life changing for me as a fan.

1551
01:28:57,600 --> 01:29:00,760
Speaker 1: Like his voice is instantly like it's rock him on

1552
01:29:00,960 --> 01:29:03,719
Speaker 1: my beat. I'm a kid from you know, the burbs

1553
01:29:03,800 --> 01:29:06,240
Speaker 1: of Toronto, Canada and rock hims rhyming on my beat.

1554
01:29:06,280 --> 01:29:08,680
Speaker 1: I was a life changing moment, even with Kane and

1555
01:29:08,720 --> 01:29:11,639
Speaker 1: shouts to as almost positive that connection came from Ace

1556
01:29:11,720 --> 01:29:15,040
Speaker 1: to meet Kane, got Ace. Kane called me randomly one

1557
01:29:15,120 --> 01:29:17,280
Speaker 1: day on my cell phone, unknown number. It's sucking Big

1558
01:29:17,360 --> 01:29:19,599
Speaker 1: Daddy Kane. Look at my roommate. I'm like, I'm talking

1559
01:29:19,640 --> 01:29:21,840
Speaker 1: to Kane right now, Like it's sucking Big Daddy Kane

1560
01:29:21,880 --> 01:29:24,760
Speaker 1: on the phone. Um. And we did our joint and

1561
01:29:25,240 --> 01:29:27,200
Speaker 1: it's crazy to me even talking about it now after

1562
01:29:27,400 --> 01:29:29,439
Speaker 1: fifteen years in the game, you know, producing for all

1563
01:29:29,479 --> 01:29:31,800
Speaker 1: these dudes, I'm still a fan man after all this time.

1564
01:29:31,960 --> 01:29:35,920
Speaker 1: You know, that's dope, um a quality. He's a dude

1565
01:29:35,960 --> 01:29:40,000
Speaker 1: who's a fucking workhorse. Definitely that motherfucker. Once he started rhyming,

1566
01:29:40,120 --> 01:29:44,280
Speaker 1: he never stopped rhyming. Like he just songs songs, records

1567
01:29:44,360 --> 01:29:47,679
Speaker 1: different style, like he just goes what what is the process?

1568
01:29:47,720 --> 01:29:50,040
Speaker 1: Working with Kua, I was on a Quality record too.

1569
01:29:50,479 --> 01:29:54,840
Speaker 1: Absolutely my fucking my body of works as guest joints

1570
01:29:54,840 --> 01:29:58,120
Speaker 1: in there. It's fucking pretty, fucking thick like it's pretty.

1571
01:29:58,200 --> 01:29:59,920
Speaker 1: But you weren't a couple of his videos to our

1572
01:30:00,280 --> 01:30:01,880
Speaker 1: the record. But like you know, and that was on

1573
01:30:01,960 --> 01:30:04,960
Speaker 1: a jay Z record, no jay Z video, like my ships.

1574
01:30:05,160 --> 01:30:06,800
Speaker 1: I was in a Showing Price video and a Showing

1575
01:30:06,840 --> 01:30:10,400
Speaker 1: Price record, Like that's something to brag about. That's your

1576
01:30:10,479 --> 01:30:14,000
Speaker 1: hip hop. I've never I've never rhyme going any I

1577
01:30:14,000 --> 01:30:15,479
Speaker 1: don't know why they never asked me to do that.

1578
01:30:15,600 --> 01:30:18,360
Speaker 1: I'm always saying I got sixteen or thirty two ready

1579
01:30:18,400 --> 01:30:20,320
Speaker 1: to go. But you know what you just reminded me, Mike,

1580
01:30:20,400 --> 01:30:23,080
Speaker 1: because I used to work at a studio on Broadway

1581
01:30:23,200 --> 01:30:26,160
Speaker 1: where Tower Record used to be, where all the rockets

1582
01:30:26,240 --> 01:30:28,120
Speaker 1: dudes Quality used to record, and you came through, and

1583
01:30:28,200 --> 01:30:30,080
Speaker 1: that's where I started. I used to be a scrubby

1584
01:30:30,160 --> 01:30:32,799
Speaker 1: intern at the cutting room. So with Quality, it's interesting

1585
01:30:32,880 --> 01:30:35,880
Speaker 1: because he saw me as not I'm saying a lesser then.

1586
01:30:36,040 --> 01:30:38,240
Speaker 1: But I was the guy who probably went to pick

1587
01:30:38,320 --> 01:30:40,799
Speaker 1: up his food before I was making beats or get coffee,

1588
01:30:41,040 --> 01:30:42,840
Speaker 1: you know what I'm saying. And so for me to

1589
01:30:42,920 --> 01:30:46,040
Speaker 1: transition into the his perspective, that's what I was, to

1590
01:30:46,320 --> 01:30:48,720
Speaker 1: an equal and producing for him. And we have a

1591
01:30:48,760 --> 01:30:50,960
Speaker 1: really special song on Port Authority two, the album you

1592
01:30:51,080 --> 01:30:55,360
Speaker 1: narrated about Guru dedicated to Rest in Peace, and uh,

1593
01:30:55,439 --> 01:30:57,240
Speaker 1: you know he came through and now you know we do.

1594
01:30:57,479 --> 01:30:59,640
Speaker 1: I did a joint with him and Styles and the

1595
01:30:59,760 --> 01:31:01,559
Speaker 1: law Box have done to join with him and Sean

1596
01:31:01,640 --> 01:31:05,599
Speaker 1: Price rest in Peace called Pelucas. So I've actually never

1597
01:31:05,640 --> 01:31:07,759
Speaker 1: been in the studio. You have so many songs recorded.

1598
01:31:07,800 --> 01:31:09,960
Speaker 1: It's always back and forth, that internet ship. But we

1599
01:31:10,080 --> 01:31:12,160
Speaker 1: you know, every time we see each other, it's all love.

1600
01:31:12,280 --> 01:31:14,200
Speaker 1: And you know, he owes me a couple of verses.

1601
01:31:14,240 --> 01:31:16,360
Speaker 1: So I'll probably calling him up soon. All right, Um,

1602
01:31:16,760 --> 01:31:20,880
Speaker 1: Sean Price, you know, uh you when did you shans from?

1603
01:31:20,960 --> 01:31:25,439
Speaker 1: Like he's like from three three minutes away from distance.

1604
01:31:25,439 --> 01:31:27,360
Speaker 1: I used to walk through through there all the time,

1605
01:31:27,479 --> 01:31:29,280
Speaker 1: or around there. I should say I didn't walk through there.

1606
01:31:29,400 --> 01:31:32,720
Speaker 1: I walked around there. Right, and partially because of him

1607
01:31:32,920 --> 01:31:34,559
Speaker 1: if you didn't know, you know what I mean, I was, well,

1608
01:31:34,600 --> 01:31:37,080
Speaker 1: he's younger than me, so he's like he's like from

1609
01:31:37,160 --> 01:31:41,880
Speaker 1: Decepticon era. I was in college during Decepticon. All the

1610
01:31:41,960 --> 01:31:44,640
Speaker 1: younger guys that that that, um that like that came

1611
01:31:44,720 --> 01:31:47,160
Speaker 1: up under me. They was all in that Decepticon stuff.

1612
01:31:47,160 --> 01:31:48,760
Speaker 1: I wasn't in that. I was already too old for

1613
01:31:48,800 --> 01:31:52,760
Speaker 1: that garbage. Shawan Price passed. I mean, you know when

1614
01:31:52,800 --> 01:31:54,960
Speaker 1: he passed, like a lot of times, when people passed,

1615
01:31:54,960 --> 01:31:58,720
Speaker 1: people start to you know, appreciate him more. Like to me,

1616
01:31:59,160 --> 01:32:03,240
Speaker 1: it seemed like rapping came easy to him. And he

1617
01:32:03,479 --> 01:32:07,559
Speaker 1: was so brooklyn um, such a great sense of humor. Um.

1618
01:32:07,680 --> 01:32:10,240
Speaker 1: So talk about him as an m c uh and

1619
01:32:10,400 --> 01:32:12,400
Speaker 1: you know, working with him and just like just a

1620
01:32:12,520 --> 01:32:16,120
Speaker 1: homage to him. Well listen, man um. He to me,

1621
01:32:18,360 --> 01:32:21,439
Speaker 1: there's two Shawn Prices. For me, there's the Health of

1622
01:32:21,479 --> 01:32:24,600
Speaker 1: Skelter Sean Price, which I thought Healthy Skelter was a

1623
01:32:24,640 --> 01:32:27,040
Speaker 1: dope group too. I like the records that they did,

1624
01:32:27,880 --> 01:32:30,040
Speaker 1: and then things just kind of started to slow down

1625
01:32:30,080 --> 01:32:31,680
Speaker 1: for Duckdown and then you didn't really hear any Health

1626
01:32:31,720 --> 01:32:33,640
Speaker 1: of Skelter records and then it was like silent for

1627
01:32:33,720 --> 01:32:37,320
Speaker 1: a minute. And then one day I'm playing Grand Theft

1628
01:32:37,360 --> 01:32:41,160
Speaker 1: Auto and I hear this joint on on the rap station.

1629
01:32:41,479 --> 01:32:43,040
Speaker 1: Because you're driving around in the car and you can

1630
01:32:43,120 --> 01:32:44,800
Speaker 1: change any station you want, I always have kept my

1631
01:32:44,800 --> 01:32:47,200
Speaker 1: minds on the rap station, and I hear this song

1632
01:32:47,800 --> 01:32:50,000
Speaker 1: called Rising to the Top, and I'm like, what the

1633
01:32:50,080 --> 01:32:51,880
Speaker 1: hell is this? This is dope. I like this. I

1634
01:32:51,920 --> 01:32:53,400
Speaker 1: don't even know what this is, but it the beat

1635
01:32:53,479 --> 01:32:56,479
Speaker 1: ist dope that the rhymes are crazy. And that was

1636
01:32:56,600 --> 01:33:01,960
Speaker 1: my rediscovery of of of Sean Price that record, and

1637
01:33:02,000 --> 01:33:04,360
Speaker 1: then from that moment, from that record, I think that

1638
01:33:04,720 --> 01:33:07,519
Speaker 1: kicked off his solo career and everything that he's done

1639
01:33:07,520 --> 01:33:09,840
Speaker 1: after that, which is like a completely two different, two

1640
01:33:09,840 --> 01:33:14,160
Speaker 1: different careers. Monkey Bars. Yeah, yeah, his transition, I think

1641
01:33:14,560 --> 01:33:16,560
Speaker 1: I think he had a just like kind of you

1642
01:33:16,640 --> 01:33:19,400
Speaker 1: were disposable when he went solo and changed from rock

1643
01:33:19,479 --> 01:33:21,760
Speaker 1: to Sean Price the Monkey Bars, it was like a

1644
01:33:21,840 --> 01:33:25,040
Speaker 1: new person, like he went somewhere dark and those emotions

1645
01:33:25,160 --> 01:33:27,760
Speaker 1: was like fun, this Brocus rapper alive. You know that's me,

1646
01:33:28,080 --> 01:33:29,559
Speaker 1: you know what I'm saying, And he changed his whole

1647
01:33:29,560 --> 01:33:32,840
Speaker 1: ship up, and man, I have a good story about Sean.

1648
01:33:32,920 --> 01:33:35,680
Speaker 1: He came to my crib once um holding a bag

1649
01:33:35,760 --> 01:33:39,040
Speaker 1: of fish. Just he just came up and he's like, hey,

1650
01:33:39,280 --> 01:33:41,080
Speaker 1: can you put this in my in the fridge. And

1651
01:33:41,160 --> 01:33:43,920
Speaker 1: then because he came cooked uncooked, he's like, ya, this

1652
01:33:44,040 --> 01:33:47,000
Speaker 1: is my dinner, just throwing in the fridge. So fucking

1653
01:33:47,120 --> 01:33:51,400
Speaker 1: showing fucking price. That's fucking funny. Yeah, yeah, I don't know.

1654
01:33:51,520 --> 01:33:53,760
Speaker 1: It's so weird. Man. I'm blessed because like we had

1655
01:33:53,800 --> 01:33:57,479
Speaker 1: a connection too, because just random times he would like,

1656
01:33:57,520 --> 01:33:59,000
Speaker 1: he's like, you know, I know you like coffee. Come

1657
01:33:59,040 --> 01:34:01,040
Speaker 1: to this place. We went to this called Gorilla Coffee

1658
01:34:01,040 --> 01:34:03,240
Speaker 1: and Park Slope and and you know, he just knew

1659
01:34:03,240 --> 01:34:05,080
Speaker 1: I like coffee. And then another time he would call

1660
01:34:05,120 --> 01:34:07,880
Speaker 1: me randomly on the phone and be like I heard

1661
01:34:07,920 --> 01:34:09,800
Speaker 1: his sample. You know what. I heard this Billy Paul

1662
01:34:09,840 --> 01:34:12,439
Speaker 1: sample from a movie I'm sending to you. Flip it

1663
01:34:12,560 --> 01:34:14,240
Speaker 1: and you know, and ended up becoming a song on

1664
01:34:14,320 --> 01:34:17,559
Speaker 1: his last album Rest in Peace with Freeway called Prisoner.

1665
01:34:17,640 --> 01:34:19,840
Speaker 1: And I just felt cool that he would call me

1666
01:34:19,880 --> 01:34:21,720
Speaker 1: and give me these little assignments like thought of me.

1667
01:34:21,760 --> 01:34:23,639
Speaker 1: I'm like, you could work with Mapp. He was working

1668
01:34:23,680 --> 01:34:26,760
Speaker 1: with everybody. Ninth Crisis alchemists, So for him to go

1669
01:34:26,800 --> 01:34:28,160
Speaker 1: out his way to be like, yo, I thought you

1670
01:34:28,240 --> 01:34:30,680
Speaker 1: could do this, you know, rest in peace, man, that's

1671
01:34:30,760 --> 01:34:33,040
Speaker 1: I'm still missing that dude. He was the best, and

1672
01:34:33,120 --> 01:34:35,320
Speaker 1: he seemed to get better with age, like you know,

1673
01:34:35,920 --> 01:34:37,760
Speaker 1: as a rapper, he was like liberated, like he just

1674
01:34:38,400 --> 01:34:40,160
Speaker 1: it's like he figured out some kind of cheek cold

1675
01:34:40,240 --> 01:34:41,960
Speaker 1: But that's and correct me if I'm wrong. That's the

1676
01:34:42,040 --> 01:34:43,800
Speaker 1: thing to do with. When it was held to Skelt,

1677
01:34:43,840 --> 01:34:46,639
Speaker 1: I always feel like the focus was on rock Nous,

1678
01:34:46,720 --> 01:34:49,360
Speaker 1: you know, because he's super dope and and and and

1679
01:34:49,560 --> 01:34:53,120
Speaker 1: and I think the group chemistry kind of kept him

1680
01:34:53,160 --> 01:34:55,000
Speaker 1: in a in a certain space, like because he had

1681
01:34:55,040 --> 01:34:57,720
Speaker 1: to like bounce off of rock and they had to

1682
01:34:57,760 --> 01:35:00,439
Speaker 1: make that work and stuff, and so you know, the

1683
01:35:00,520 --> 01:35:02,880
Speaker 1: group was whatever that image was, you know, the straight

1684
01:35:02,960 --> 01:35:06,320
Speaker 1: jackets and the crazy hair. That was just like an

1685
01:35:06,360 --> 01:35:09,120
Speaker 1: image and and the records had to match the image.

1686
01:35:09,160 --> 01:35:11,120
Speaker 1: But I think after that was when he really was

1687
01:35:11,120 --> 01:35:13,360
Speaker 1: like I'm just gonna be me. Because Rocketness went off

1688
01:35:13,400 --> 01:35:16,400
Speaker 1: and got a crazy huge deal with members of fred

1689
01:35:16,520 --> 01:35:19,240
Speaker 1: Durst or something, Sean had nothing popping, so it was

1690
01:35:19,280 --> 01:35:21,240
Speaker 1: like I think he was going through a lot of things. Yeah,

1691
01:35:21,320 --> 01:35:24,439
Speaker 1: Rockness got a huge deal with some Limpiscuit or one

1692
01:35:24,439 --> 01:35:26,599
Speaker 1: of those groups. They loved him and they signed him. Yeah,

1693
01:35:26,640 --> 01:35:28,840
Speaker 1: don't call me on that, but one of those fact

1694
01:35:28,920 --> 01:35:31,240
Speaker 1: check here anyway you feel free to. You could just

1695
01:35:31,280 --> 01:35:33,280
Speaker 1: make it. Remember remember Sean used to tell me these

1696
01:35:33,320 --> 01:35:35,240
Speaker 1: stories like rock got this huge deal and like I

1697
01:35:35,400 --> 01:35:36,920
Speaker 1: was sitting here trying to figure out what to do.

1698
01:35:37,120 --> 01:35:39,280
Speaker 1: And I think it's that type of energy or vibe

1699
01:35:39,680 --> 01:35:43,000
Speaker 1: made him reinvent. Like Yo, I'm coming, I'm Sean Price.

1700
01:35:43,080 --> 01:35:46,360
Speaker 1: Now look what happened. Yeah, all right, listen, this was

1701
01:35:46,800 --> 01:35:50,080
Speaker 1: lived up to all my fucking expectations. Sincerely. Imagine if

1702
01:35:50,120 --> 01:35:52,680
Speaker 1: you had your notes notes, you guys be like, all right,

1703
01:35:52,720 --> 01:35:55,120
Speaker 1: we're trying to do a better interview than this. I'm

1704
01:35:55,160 --> 01:35:57,479
Speaker 1: sad man. You got me hype, Mike. Now, this is

1705
01:35:57,560 --> 01:36:00,560
Speaker 1: why podcast like this is I think going to be

1706
01:36:00,640 --> 01:36:05,919
Speaker 1: a completely unedited, perfect, I am wrapped poor stereo podcast,

1707
01:36:06,080 --> 01:36:12,599
Speaker 1: hip hop podcast. So listen. A Brooklyn story drops November nine, eighteen.

1708
01:36:12,600 --> 01:36:14,680
Speaker 1: You guys are gonna tour with this ship. Yeah, we're

1709
01:36:14,680 --> 01:36:17,439
Speaker 1: going to Europe um right off for Thanksgiving. Now, I

1710
01:36:17,640 --> 01:36:20,559
Speaker 1: would like to assign myself if you find out if

1711
01:36:20,600 --> 01:36:23,240
Speaker 1: you do the leg work and find out who I

1712
01:36:23,360 --> 01:36:27,240
Speaker 1: gotta instagram ship talk, who I gotta tweet ship talk,

1713
01:36:27,280 --> 01:36:29,720
Speaker 1: Who I gotta change into giving this song, because you

1714
01:36:29,760 --> 01:36:32,160
Speaker 1: know we're gonna have all the big groups and all

1715
01:36:32,200 --> 01:36:35,360
Speaker 1: the labels, and Ariana Grande going for She'll she'll be

1716
01:36:35,479 --> 01:36:37,280
Speaker 1: up for you know, she'll be submitting something for hip

1717
01:36:37,320 --> 01:36:39,640
Speaker 1: hop single or hip hop song. I will take it

1718
01:36:39,760 --> 01:36:41,559
Speaker 1: upon myself. If you tell me who to get, I'll

1719
01:36:41,600 --> 01:36:44,160
Speaker 1: be the fucking bulldog to go get him to try

1720
01:36:44,240 --> 01:36:46,880
Speaker 1: to give this song. It's due um because I think

1721
01:36:46,920 --> 01:36:49,360
Speaker 1: it's a beautiful song, a much needed song, and and

1722
01:36:49,520 --> 01:36:53,560
Speaker 1: you know it's it's the rare um boom bap sentimental

1723
01:36:53,640 --> 01:36:57,720
Speaker 1: boom bap smacker um So Marco Polo mast Ace, I

1724
01:36:57,760 --> 01:37:00,839
Speaker 1: appreciate you rocking me. Good luck everybody. You should download

1725
01:37:00,960 --> 01:37:05,320
Speaker 1: cop motherfucking a Brooklyn story. The spelling of Brooklyn, that's

1726
01:37:05,360 --> 01:37:08,439
Speaker 1: Ace's idea. We spelled it the original Dutch way because

1727
01:37:08,439 --> 01:37:10,280
Speaker 1: it was and I didn't know this once again, that

1728
01:37:10,360 --> 01:37:12,640
Speaker 1: it was named after a Dutch city and so it

1729
01:37:12,760 --> 01:37:14,960
Speaker 1: had that spelling. He said, I want to use this spelling.

1730
01:37:15,000 --> 01:37:16,600
Speaker 1: I was like, no one's gonna know what that is.

1731
01:37:16,680 --> 01:37:18,479
Speaker 1: And now I think it's the dope. Should ever and

1732
01:37:18,520 --> 01:37:20,200
Speaker 1: shout out to Smith and Weston, who we didn't even

1733
01:37:20,240 --> 01:37:28,160
Speaker 1: mention are on the record. All right, cool? Thank you guys. Now,

1734
01:37:28,320 --> 01:37:31,840
Speaker 1: was I bullshit? I told you I don't listen. I

1735
01:37:32,040 --> 01:37:34,840
Speaker 1: told you, I told you it was good. I want

1736
01:37:34,840 --> 01:37:38,200
Speaker 1: to thank Master's people. Check the whole album Out of

1737
01:37:38,280 --> 01:37:40,920
Speaker 1: Brooklyn Story. I want to thank Marco Polo, Thank you

1738
01:37:40,960 --> 01:37:43,519
Speaker 1: for rocking with the best Iron Rappors stereo pockets. What

1739
01:37:43,640 --> 01:37:46,360
Speaker 1: more can I do? What more can I do? What

1740
01:37:46,560 --> 01:37:50,280
Speaker 1: more can I give? Miles? Take us out of here

1741
01:37:50,320 --> 01:37:54,679
Speaker 1: with something dope from that new Massa's Marco Polo record

1742
01:37:54,680 --> 01:37:57,360
Speaker 1: of Brooklyn Story. This is the Iron rap Pors Stereo

1743
01:37:57,520 --> 01:38:24,439
Speaker 1: podcast done to be honest, man, I'm a kind of fan.

1744
01:38:24,760 --> 01:38:27,200
Speaker 1: I thought it wrappings the quarterback in the Promised Land.

1745
01:38:27,600 --> 01:38:29,719
Speaker 1: I was set to be leading teams to a victory.

1746
01:38:30,240 --> 01:38:33,200
Speaker 1: I was picked three old pro shot flow. Let me

1747
01:38:33,320 --> 01:38:35,840
Speaker 1: break down the name in the game and explain all

1748
01:38:35,880 --> 01:38:38,640
Speaker 1: the moves. Giant playing the same no living, but I

1749
01:38:38,720 --> 01:38:40,640
Speaker 1: came with a cane and two d s when I

1750
01:38:40,720 --> 01:38:42,880
Speaker 1: came in trying to get my name in the game.

1751
01:38:43,280 --> 01:38:45,639
Speaker 1: The hood that I claimed with fame in him came

1752
01:38:46,000 --> 01:38:48,439
Speaker 1: and cast God robbed if they came to him. Changed,

1753
01:38:48,840 --> 01:38:51,360
Speaker 1: ain't much change but the size of the guns. We

1754
01:38:51,479 --> 01:38:53,720
Speaker 1: still wanted the rocks to the funds, trying to make

1755
01:38:53,800 --> 01:38:56,599
Speaker 1: it up green paper with the face of the pressers,

1756
01:38:56,800 --> 01:38:59,519
Speaker 1: and still gotta wait for our blessings. That's gonna mistake

1757
01:39:00,200 --> 01:39:02,960
Speaker 1: be in the paper chase. There's no escape, that's to

1758
01:39:03,040 --> 01:39:06,040
Speaker 1: die with no estate. So await for the chance of

1759
01:39:06,080 --> 01:39:08,680
Speaker 1: a lifetime that I might shine be a millionaire. But

1760
01:39:08,760 --> 01:39:11,880
Speaker 1: I'm not using the lifeline though I see right through it.

1761
01:39:12,160 --> 01:39:14,920
Speaker 1: Like white wine. It's a second ground and y'all running

1762
01:39:14,960 --> 01:39:17,920
Speaker 1: the pipeline trying to find the Lenny's frosts in front

1763
01:39:17,920 --> 01:39:19,920
Speaker 1: of the men. I was right there with the place.

1764
01:39:20,000 --> 01:39:22,840
Speaker 1: Then when you bore them in. Man, this ship is

1765
01:39:22,920 --> 01:39:26,040
Speaker 1: competitive and your best, but you better give. Can't let

1766
01:39:26,080 --> 01:39:28,240
Speaker 1: them live, you know, I'm sure there's more than what

1767
01:39:28,360 --> 01:39:31,040
Speaker 1: you were playing for. Like Spain, you gotta try to

1768
01:39:31,280 --> 01:39:34,200
Speaker 1: stand more, feel the power and try to follow them. Man.

1769
01:39:34,320 --> 01:39:34,519
Speaker 1: Lor