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Speaker 1: And when I go on the stage and go, oh, na, na, na, na,

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Speaker 1: everybody's singing.

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Speaker 2: Facts, because that's everybody's joint.

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Speaker 1: I'm like, what? But they sing every other song. Let

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Speaker 1: me say, woman, if you're fed up with your boyfriend,

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Speaker 1: let him go. And your boyfriend, they sing everything.

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Speaker 2: Right.

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Speaker 1: So they sing everything. When I go, old dog, like me, them.

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Speaker 1: He didn't get stabbed.

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Speaker 2: Right. Shut the up. OK.

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Speaker 1: Bruvins!

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Speaker 3: Bruvins!

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Speaker 2: Bruvins!

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Speaker 4: Yeah, it's the talk of New York, Tony Ayo.

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Speaker 2: And it's the boy Uncle Murder, a.k.a. Laird Jet Lenny.

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Speaker 5: And right now, we in here with one man, the

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Speaker 5: man with a Grammy, the man with 24 albums, the

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Speaker 5: man that started doing music at eight years old.

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Speaker 4: Make some noise for the legend, Beanie Man.

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Speaker 2: Whoa!

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Speaker 1: Whoa!

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Speaker 3: Whoa!

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Speaker 2: Dancehall legend.

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Speaker 4: Thanks for coming to our show.

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Speaker 2: Thank you for pulling up.

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Speaker 1: Thank you for having me.

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Speaker 2: Thank you, man.

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Speaker 1: Thank you for having me.

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Speaker 2: Yes, sir.

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Speaker 5: You know, I'm from Queens. He's from Brooklyn. So we're

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Speaker 5: trying to figure out where more Jamaicans at. And I

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Speaker 5: said Queens.

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Speaker 2: And I definitely say Brooklyn.

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Speaker 4: That's why they call us South Jamaica Queens.

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Speaker 1: I don't care.

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Speaker 2: We got flatboots. I thought my flatboots Jamaicans.

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Speaker 1: All right.

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Speaker 3: Good.

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Speaker 1: Let me get to the point now. Go ahead.

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Speaker 3: All right.

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Speaker 1: Queens got Jamaica Queens. But Brooklyn, It's kind of Jamaica.

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Speaker 1: What the fuck.

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Speaker 2: Am I talking about? You hear me, Ledger? Ledger, let

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Speaker 2: me get some love on that, Ledger. Thank you, Ledger.

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Speaker 3: Thank you, Ledger. Yeah.

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Speaker 1: Shut up, man.

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Speaker 2: Let the Ledger talk.

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Speaker 1: Go ahead, BD.

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Speaker 3: Go ahead, BD.

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Speaker 1: Queens is Jamaica, Queens. Because Queens got a lot of Jamaicans.

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Speaker 1: But Brooklyn is Jamaica. Like, seriously, Jamaica.

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Speaker 2: Gotcha.

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Speaker 1: Sometimes I go to Brooklyn, I have to say, okay,

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Speaker 1: which avenue I'm going down there? Okay.

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Speaker 2: All right.

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Speaker 1: I'm going around there.

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Speaker 2: Got you.

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Speaker 1: Yeah, because, you know, all the flatbush, the church, go

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Speaker 1: right back to downtown Brooklyn, is Jamaicans.

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Speaker 2: Definitely.

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Speaker 1: Like, right you. Like, definitely. So, don't care who want

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Speaker 1: to move in now and try to move out the Jamaicans,

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Speaker 1: they're still somewhere near Queen, Brooklyn.

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Speaker 2: Definitely.

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Speaker 1: They're not going no further.

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Speaker 2: Nowhere. Nowhere.

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Speaker 1: That's serious. Let's go. Because I've been coming to New

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Speaker 1: York since the 80s. You see me? Like from there

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Speaker 1: to seven of them times I've been coming to New York. So, yeah.

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Speaker 1: A whole heap of Jamaican there.

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Speaker 2: Yes.

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Speaker 1: And the Jamaican.

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Speaker 4: I'm listening to it.

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Speaker 2: I know that. I'm just making sure you know I

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Speaker 2: get hype when it's Brooklyn.

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Speaker 1: And the Jamaican, he lost. And see, they're dead. That

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Speaker 1: nigga's not dead. He go to Brooklyn.

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Speaker 2: He's right there.

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Speaker 1: Yeah. Seriously.

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Speaker 5: So, what was life like for you growing up in Jamaica?

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Speaker 5: Because you did your first record at eight years old.

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Speaker 1: Yeah.

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Speaker 4: Which is unheard of.

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Speaker 1: Oh, well, all right. Jamaican always, when, right. I was

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Speaker 1: born a kid that stammered. You know what stammer is,

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Speaker 1: like when you can't talk. Like you take one minute

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Speaker 1: to make a sentence. You had to.

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Speaker 2: Stutter, you had a little stuttering problem.

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Speaker 1: Not a little, I was always stuttered. Trust me, it

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Speaker 1: take me like two minutes to make one word. Yeah,

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Speaker 1: trust me. So I never like it because sometimes I

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Speaker 1: can't talk to people. I figured out that if you sing,

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Speaker 1: your word flow. So I start to sing the shop list.

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Speaker 1: When my mom sent me to the shop, I used

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Speaker 1: to sing that list.

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Speaker 3: Oh, look at that. That's crazy.

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Speaker 2: Yeah.

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Speaker 1: Then I used to sing the reading book. Like when

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Speaker 1: you get the book to read, it says Johnny was

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Speaker 1: a lip boy and Jane was a girl and, you know,

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Speaker 1: maybe I believe in love and all of these things.

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Speaker 1: I'm trying to get your pale of water.

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Speaker 2: So.

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Speaker 1: When I started to do that, I realized that my

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Speaker 1: thing flow. So at age five, at three, you start

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Speaker 1: going to school. But age five, now I start to,

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Speaker 1: you know, get into the music because if I'm going

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Speaker 1: to sing, I'm going to sing. So I'm going to

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Speaker 1: do serious things. So I, you know, I start to

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Speaker 1: put lyrics together from out of the reading book and

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Speaker 1: all that. So that's when I realized, all right, if

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Speaker 1: I do this, I can't talk. So I have to,

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Speaker 1: you know, fix my speech pattern. I got to know

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Speaker 1: what I'm doing. So at age seven, I decided like,

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Speaker 1: I'm going to be an artist.

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Speaker 2: At seven?

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Speaker 1: Yeah, everybody's laughing at me. They're like, yeah, right. Your

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Speaker 1: mom's going to kill you. Because my mom is an

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Speaker 1: ardent Christian. She's a Christian, Christian, Christian. Fallen spirit Christian,

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Speaker 1: hallelujah Christian, Christian, Christian. So certain things I can't do

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Speaker 1: in my mom's house. So, you know, me have a

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Speaker 1: uncle and grandfather live next door. They got a sound

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Speaker 1: system called Master Blaster. And that's where I learned to

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Speaker 1: sing on the beat. I learned timing and everything. So

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Speaker 1: I realized that I need things because I've been seeing

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Speaker 1: artists like General Trees. I've been seeing artists like Sasa Frass.

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Speaker 1: I've been seeing artists like, you know, Echo Minor. Artists like,

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Speaker 1: you know, Wally, a big star in my days and

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Speaker 1: in my community, these artists are stars. So I decided

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Speaker 1: that I'm gonna need some money because I'm gonna need

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Speaker 1: some clothes. And there was no clothes that could fit me.

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Speaker 1: This is the reason why I named Beanie Man, because

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Speaker 1: I was this skinny. So there's nothing you can find

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Speaker 1: in a store that can really fit I. So I

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Speaker 1: realized that I gotta go tailor-made. So everything I have

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Speaker 1: to do is telemade. If I need the shots, I

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Speaker 1: have to make it telemade. If I need the pants,

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Speaker 1: I got to get it telemade. Even this suit reminds

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Speaker 1: me of some suit that I used to make back

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Speaker 1: in the days. So to get that, you have to

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Speaker 1: have money. So what I do, I enter all DJ

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Speaker 1: competition everywhere. Like I go to Duna Park, DJ competition,

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Speaker 1: win that. Go to Marvelli, DJ competition, win that. Waterhouse,

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Speaker 1: DJ competition, win that. Went to Crossroad, DJ competition, win that.

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Speaker 1: Went to infantry DJ competition, win that. Then I used

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Speaker 1: to follow this DJ called Barry G. He used to

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Speaker 1: work on the radio station, playing music and everything. So

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Speaker 1: anywhere Barry G is, I am. Trust me, because he

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Speaker 1: have the DJ contest and they've got monies to give away.

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Speaker 1: So that's how I started to make some money and

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Speaker 1: started to get myself together, to put myself together, to

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Speaker 1: look the part. Go and take the mic from a

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Speaker 1: Johnny Ringo or a Squidley Rankin or a Peter Rankin

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Speaker 1: back in the days. You have to look the part.

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Speaker 1: So I said, now you got to go clean. So

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Speaker 1: I'm going to go clean. They know that I come

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Speaker 1: as an artist. You get what I'm saying? That's the

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Speaker 1: new slate. You got to be clean. Yeah, you got

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Speaker 1: to be clean. So I went there and clean. I

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Speaker 1: win this competition in Jamaica. I get a chance to

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Speaker 1: go in the studio with one of the biggest producers

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Speaker 1: in Jamaica at the time. But when I reached there,

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Speaker 1: he wasn't there. So Danny Dread was there, and Danny

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Speaker 1: Dread took my vice. And I was like eight at

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Speaker 1: that time, and I vice two songs. I vice two Fancy,

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Speaker 1: and I vice Over the Ocean. And yeah, after that,

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Speaker 1: it was all everybody talking about Beanie Man, Beanie Man,

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Speaker 1: Beanie Man, Beanie Man, because them time we got one

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Speaker 1: TV station. So when you come on that TV station,

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Speaker 1: the whole island see you. You got two radio stations.

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Speaker 1: Once you come on that radio station, the whole island

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Speaker 1: hears you. So, you know, I'm there in my lane.

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Speaker 1: First time, I think it was my cousin. I told

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Speaker 1: him that, yeah, that's me in the cassette. He never

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Speaker 1: believed me because he knows that my mother is Christian

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Speaker 1: and me not supposed to.

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Speaker 3: Be a DJ.

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Speaker 2: So he didn't believe that was you.

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Speaker 1: He didn't believe that.

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Speaker 2: He's like, there ain't no way that's you.

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Speaker 1: So I tell him to pause the cassette and I

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Speaker 1: sing the whole entire song. I said, play it back.

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Speaker 1: He know I ain't got no tape player. So he

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Speaker 1: know I ain't kidding. So I said, I use that man.

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Speaker 1: So yeah, I use that. If you proceed, I'm going

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Speaker 1: and you will succeed. That man say, I want to

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Speaker 1: be successful. Don't worry about that.

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Speaker 3: So And you were eight years old?

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Speaker 1: Yeah, I was eight.

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Speaker 6: That's crazy to even have that mindset like that at

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Speaker 6: eight years old.

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Speaker 1: Yeah, well, you see, when you dedicate yourself to something,

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Speaker 1: that's what it is. It started from the early days.

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Speaker 1: It don't start when you're 15, 16. When you're 15, 16,

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Speaker 1: you think about the job that you want.

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Speaker 2: Right. You get me?

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Speaker 1: If you're going to be a doctor, if you're going

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Speaker 1: to be a lawyer, if you're going to be a

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Speaker 1: professor or not. But when you're thinking about being a musician,

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Speaker 1: you got to get that from childhood days, especially in Jamaica.

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Speaker 1: I don't know about hip-hop, I don't know hip-hop, I

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Speaker 1: don't know nothing about that. But I know that the

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Speaker 1: first time I hear a hip-hop song, it was hip-hop, itty-ditty-hop,

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Speaker 1: and then it don't stop, rock to the bam-bam boogie

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Speaker 1: and the bam-bam boogie and the boogie the beat. Yeah,

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Speaker 1: that was DJ Herc, and I realized that DJ Herc

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Speaker 1: is Jamaican. I'm like, what? So we can do this.

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Speaker 2: Oh, look at that.

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Speaker 1: Yeah. So I did my first album when I was

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Speaker 1: 10 years of age.

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Speaker 2: Yeah.

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Speaker 1: But we in Jamaica, we know everything about music. We

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Speaker 1: know R & B music, hip-hop music, country and western, gospel.

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Speaker 1: I know Whitney Houston and Sissy Houston from they were

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Speaker 1: singing gospels when we were kids. I know these things. So,

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Speaker 1: these things is what I used to play on our radio.

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Speaker 1: And then, dance artists like us, we never used to

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Speaker 1: have no song that playing on the radio. You know,

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Speaker 1: we have artists like Michigan and Smiley that come out and,

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Speaker 1: you know, them get a run, but Dancehall music never

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Speaker 1: used to play in the dancehall because there was no disco.

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Speaker 1: There was sound system that the artists sing on. You

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Speaker 1: as the DJ, you hold the mic and you sing

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Speaker 1: and the selector play the song. Then he flip over

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Speaker 1: the beat.

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Speaker 3: Right.

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Speaker 1: And then you rap on the beat. And that's how

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Speaker 1: the music used to go. All in the 80s, 70s.

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Speaker 1: From the 70s to the 80s, that's what used to happen.

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Speaker 2: Oh, they used to do it live like that?

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Speaker 1: Yeah.

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Speaker 2: Oh, that's crazy.

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Speaker 1: Because we never used to play in the dancehall. It's

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Speaker 1: only singers. You have singers like Johnny Asburn. You have

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Speaker 1: singers like Michael Prophet. You have singers like Dennis Brown.

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Speaker 1: You have singers like, all these singers used to just

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Speaker 1: play in the dance hall and we as the DJ

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Speaker 1: have to grab the mic because it don't make no

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Speaker 1: sense to play a DJ song when a DJ is

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Speaker 1: coming on the mic. Now a lot of people in

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Speaker 1: America mix DJ like DJ scratch scratch. We are the

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Speaker 1: microphone chanters. In America you got rappers, in Jamaica we

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Speaker 1: are DJs. Because we are the, all right, they used

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Speaker 1: to call us MC back in those days.

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Speaker 3: Right.

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Speaker 1: Master of Ceremony.

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Speaker 3: Yeah.

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Speaker 1: So, you know, when they're Master of Ceremony, you use

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Speaker 1: them and they hold the mic.

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Speaker 4: Yeah, you the MC.

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Speaker 2: Yeah, you talk.

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Speaker 5: And the DJ is usually, you know, rest in peace,

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Speaker 5: Jam Master Jay.

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Speaker 3: Or, yeah.

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Speaker 1: DJs usually play. But back in the 80s, I think

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Speaker 1: it's 1986, they changed it to Mike Chanter. then my

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Speaker 1: chance to turn to DJ. So they might say, what

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Speaker 1: are you doing man, DJ? So one time when I

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Speaker 1: used to tell people that I'm DJing, they said, what,

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Speaker 1: you spin music?

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Speaker 3: Yeah, because that's what we would think.

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Speaker 2: We definitely would, definitely.

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Speaker 1: I do spin music. Don't get interested because if you

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Speaker 1: don't know music, you can't do music. Don't make no sense.

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Speaker 2: Right.

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Speaker 1: So, you know, I did my first album at age 10.

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Speaker 1: I walk into the studio and I meet a guy

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Speaker 1: called Bunny Stryker Lee. God rest his soul. And he

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Speaker 1: gave me a chance. I was there to record for

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Speaker 1: King Jammies because Jammies have a government house and a liquor,

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Speaker 1: A-Chalk tape and thing, and Bill M. Strudel from there

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Speaker 1: to what it is today. Now, I couldn't vice on

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Speaker 1: the A-Chalk machine because I wasn't invited them time, but

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Speaker 1: I was there. I was there when Admiral Bailey coming up.

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Speaker 1: I was there when He started to produce Josie Whale.

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Speaker 1: I was there. I was there. I was always there.

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Speaker 1: Until Bunny Lee gave me this chance, I would not

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Speaker 1: get a chance down at that street. I'm telling you

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Speaker 1: that on the street. And that's where I'm from. So anyways,

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Speaker 1: I moved from there and I went to Jonestown to live.

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Speaker 1: And then I started to get more opportunities because this

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Speaker 1: is halfway uptown. Uptown is there and this is Together,

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Speaker 1: but you can just leave out of the ghetto and

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Speaker 1: you're uptown. You see, so them time you know you

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Speaker 1: got all different dance that keep you out. You got Metromeda,

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Speaker 1: you got Skateland, you got all different type of venues.

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Speaker 1: So these are the venues that give us the opportunity

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Speaker 1: so we can, you know, prolong the career to go on.

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Speaker 1: So you got sound like Volcano, which is John Gillard's sound.

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Speaker 1: You have sound like Leeds Unlimited, You have something like

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Speaker 1: King of Tony. You have something like, whoa. You got

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Speaker 1: so many sound systems back in the days. But I

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Speaker 1: used to go on Master Blaster Sound because it's my

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Speaker 1: uncle's sound. So I love that sound. So the first

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Speaker 1: time I went to the country was Port Antonio. And

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Speaker 1: I love it because the people there love me. I

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Speaker 1: couldn't have left there for three days. I was there

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Speaker 1: for three days. I was there for Friday, Saturday, and Sunday.

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Speaker 4: Amadri Murda, he's a kid at this time. Like, I

300
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Speaker 4: never knew that.

301
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Speaker 5: Everybody knows who he is, but I never knew you

302
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Speaker 5: started at 8, 10 years old.

303
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Speaker 1: No, you got to start somewhere. But I just start

304
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Speaker 1: from start.

305
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Speaker 2: See?

306
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Speaker 1: So, after that, it's just thinking about music, music, music, music, music.

307
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Speaker 1: Then I started to fly. I can't believe that. It

308
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Speaker 1: just started happening. Boom, I went to Cayman Island.

309
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Speaker 3: Yeah.

310
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Speaker 1: Wow. And then I came to Canada, and then New York.

311
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Speaker 1: in the 80s, like 1986, 87. Yeah, I came to

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Speaker 1: New York and then I realized that I can go

313
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Speaker 1: home and make myself the superstar that I need to be.

314
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Speaker 1: I went home and I work in it. It took

315
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Speaker 1: me a time because when I was supposed to be

316
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Speaker 1: the star, I ran up in a big ditch, like

317
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Speaker 1: Nelson Mandela get free from prison and came to Jamaica,

318
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Speaker 1: came to the National Stadium, And I was there, I said, mm-hmm,

319
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Speaker 1: I need a piece of this. I need a piece

320
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Speaker 1: of this. And when I get it, I sing the

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Speaker 1: wrong song at the wrong time. Yeah, yo, I got booed.

322
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Speaker 6: Damn.

323
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Speaker 2: So you got booed?

324
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Speaker 1: What? Uncle Murda, I got booed. Big booed, the whole

325
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Speaker 1: stadium booed me. Even the dog was like, whoa.

326
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Speaker 2: Even the dog booed you.

327
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Speaker 3: So how'd you feel? How'd you feel? Because, you know.

328
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Speaker 1: No, you see. When that happen, you always feel down.

329
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Speaker 1: But when you think about it, the amount of things

330
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Speaker 1: that I've been through and the amount of things that

331
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Speaker 1: I've done as a kid and as a teenager, you

332
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Speaker 1: know that God is showing you a sign. Either you

333
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Speaker 1: go left or you go on the right street. So

334
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Speaker 1: I decide like, left, leave me alone a little bit.

335
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Speaker 1: Let me try the right street. So I went to

336
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Speaker 1: Hewitt and I was there. Stay in my house and

337
00:16:11,200 --> 00:16:13,380
Speaker 1: I build some lyrics, I build some lyrics, and build

338
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Speaker 1: some lyrics, and I came out. And when I came

339
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Speaker 1: back to Kingston, I did the first show in Scotland,

340
00:16:20,200 --> 00:16:26,940
Speaker 1: never forgot that. We come on Captain Barkey, God rest

341
00:16:26,980 --> 00:16:31,370
Speaker 1: his soul. And they were there, talking to me about

342
00:16:31,380 --> 00:16:34,630
Speaker 1: the stadium thing. Yeah, they were talking to me about

343
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Speaker 1: the stadium thing. And I went up on stage, within

344
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Speaker 1: the two of them, And I sing the song, what

345
00:16:40,260 --> 00:16:42,960
Speaker 1: I sing in the stadium when I got booed, what

346
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Speaker 1: I dedicated.

347
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Speaker 2: You sung the same song?

348
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Speaker 1: Yeah. Yeah. So let me say what I dedicated to them.

349
00:16:50,000 --> 00:16:52,040
Speaker 1: When we say, So from then I know that people

350
00:16:52,060 --> 00:16:54,380
Speaker 1: love when they hear talented kid. So I decide, say, okay,

351
00:16:54,680 --> 00:17:07,649
Speaker 1: I'm going to take this on. So I did a

352
00:17:07,670 --> 00:17:10,980
Speaker 1: song called Meity on a Good Sittin' when Meity passed out,

353
00:17:11,000 --> 00:17:12,420
Speaker 1: left my mama missing. Guess what happened?

354
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Speaker 3: What?

355
00:17:14,000 --> 00:17:15,120
Speaker 1: My first number one song.

356
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Speaker 2: Oh.

357
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Speaker 1: And from there, there's nothing stopping me.

358
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Speaker 4: But what's your mom saying?

359
00:17:22,240 --> 00:17:23,510
Speaker 3: Because she's, you know, she's in a church.

360
00:17:23,530 --> 00:17:24,399
Speaker 2: That's a good question.

361
00:17:24,420 --> 00:17:25,510
Speaker 3: You know what she's saying?

362
00:17:26,310 --> 00:17:29,730
Speaker 1: My mom's, see, me and my mom's life is different.

363
00:17:29,770 --> 00:17:32,330
Speaker 1: My mom was my best friend. God rest her soul.

364
00:17:32,369 --> 00:17:32,770
Speaker 1: I love her.

365
00:17:32,790 --> 00:17:32,859
Speaker 2: Mr.

366
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Speaker 3: Peace.

367
00:17:33,650 --> 00:17:33,770
Speaker 2: Mr.

368
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Speaker 3: Peace.

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00:17:33,950 --> 00:17:37,680
Speaker 1: Mama loves moms. Yeah, but You see, my mom's my

370
00:17:37,720 --> 00:17:39,960
Speaker 1: best friend. Everything, every problem I have, I go to

371
00:17:40,000 --> 00:17:40,420
Speaker 1: my mom.

372
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Speaker 2: Everything.

373
00:17:41,550 --> 00:17:43,470
Speaker 1: But I've been taking care of my mom since I

374
00:17:43,490 --> 00:17:46,450
Speaker 1: was 10 years of age. Because I'm bringing money in

375
00:17:46,490 --> 00:17:49,010
Speaker 1: the house. Every time she sees me, I bring her money.

376
00:17:49,530 --> 00:17:51,190
Speaker 1: Every time she talks to me, I bring her money.

377
00:17:51,250 --> 00:17:53,730
Speaker 1: So it's not like she's going to fight against that.

378
00:17:53,869 --> 00:17:56,290
Speaker 1: Because she knows that I'm not a thief. And she

379
00:17:56,330 --> 00:17:58,649
Speaker 1: knows that I'm not doing crime. She knows that I

380
00:17:58,710 --> 00:18:02,700
Speaker 1: only do music. So she accepts me. for what I

381
00:18:02,820 --> 00:18:04,859
Speaker 1: am and who I am, and she don't worry about me,

382
00:18:04,880 --> 00:18:07,110
Speaker 1: because every time she see me, I look better and better.

383
00:18:07,530 --> 00:18:10,010
Speaker 4: That's crazy, because you're 10 years old. I'm from Queens,

384
00:18:10,050 --> 00:18:10,890
Speaker 4: he's from Brooklyn, right?

385
00:18:11,070 --> 00:18:11,330
Speaker 2: Yeah.

386
00:18:11,410 --> 00:18:15,520
Speaker 4: So, coming up in Queens, One of my best.

387
00:18:15,380 --> 00:18:16,740
Speaker 3: Friends was Dean. He was Jamaican.

388
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Speaker 5: It was always Jamaican people around us. I go to

389
00:18:19,920 --> 00:18:21,980
Speaker 5: the Boulevard, we go to the beef patty shop. We knew,

390
00:18:22,400 --> 00:18:24,440
Speaker 5: we loved the guy. He opened the door, the whole block.

391
00:18:24,890 --> 00:18:27,590
Speaker 5: We came up off the beef patties and cocoa bread.

392
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Speaker 5: That's when it was $ 1.

393
00:18:28,210 --> 00:18:28,350
Speaker 6: 50, $ 1.

394
00:18:28,250 --> 00:18:28,310
Speaker 2: 25.

395
00:18:28,290 --> 00:18:33,590
Speaker 5: My next door neighbor was Hemsley. I never met a

396
00:18:33,630 --> 00:18:36,810
Speaker 5: broke Jamaican ever in my life. Every Jamaican I met

397
00:18:37,210 --> 00:18:40,629
Speaker 5: is always work hard, work hard, work hard. So to

398
00:18:40,670 --> 00:18:44,370
Speaker 5: see you be 10 years old paying the bills, It's

399
00:18:44,450 --> 00:18:45,050
Speaker 5: crazy to me.

400
00:18:45,050 --> 00:18:48,090
Speaker 1: It's always a great thing because in the ghetto, you

401
00:18:48,130 --> 00:18:50,170
Speaker 1: got no bills to pay. You got no water rate

402
00:18:50,210 --> 00:18:53,430
Speaker 1: to pay. You got no light to pay. You got

403
00:18:53,490 --> 00:18:56,710
Speaker 1: free light, free water. I used to think that we

404
00:18:56,730 --> 00:19:00,369
Speaker 1: got everything free. Didn't know that. We was bridging everything.

405
00:19:01,470 --> 00:19:04,629
Speaker 5: That's why I'm glad you're on the show because when

406
00:19:04,650 --> 00:19:06,270
Speaker 5: you think about it, when we used to go to

407
00:19:06,350 --> 00:19:09,149
Speaker 5: all the parties in Queens and you go to parties

408
00:19:09,230 --> 00:19:12,900
Speaker 5: in Brooklyn, there always had to be a Jamaican set.

409
00:19:12,960 --> 00:19:13,500
Speaker 3: Two guys.

410
00:19:14,020 --> 00:19:17,180
Speaker 5: Like my man Rough Hands or Grandmaster Vic might play

411
00:19:17,200 --> 00:19:20,020
Speaker 5: the hip hop, but you always had like Shorty Black,

412
00:19:20,460 --> 00:19:24,500
Speaker 5: my man Los, Eli. So I came up, I'll tell

413
00:19:24,520 --> 00:19:28,429
Speaker 5: you my guy Eli, his father managed Shaba. So I

414
00:19:28,470 --> 00:19:32,290
Speaker 5: met Shaba and Patra and was like, cause it's always,

415
00:19:32,350 --> 00:19:35,810
Speaker 5: Jamaican music's always been big in the culture. Every time

416
00:19:35,830 --> 00:19:38,390
Speaker 5: you go to a hip hop party, there had to

417
00:19:38,470 --> 00:19:40,330
Speaker 5: be a Jamaican set.

418
00:19:40,510 --> 00:19:41,810
Speaker 1: Rob Markman No, I tried to do everything.

419
00:19:42,020 --> 00:19:42,650
Speaker 2: All right.

420
00:19:43,440 --> 00:19:50,230
Speaker 1: I know Shabba Rankin, from he was called Pilot. the

421
00:19:50,270 --> 00:19:52,649
Speaker 1: pilot and Shabba was the co-pilot.

422
00:19:52,950 --> 00:19:53,190
Speaker 2: Right.

423
00:19:53,350 --> 00:19:56,410
Speaker 1: So you got Kiba Rankin and Shabba Rankin. Right. Yeah,

424
00:19:56,430 --> 00:19:58,410
Speaker 1: and you got Roos Melody. That's the sound system that

425
00:19:58,430 --> 00:20:02,620
Speaker 1: he used to sing on. And from those days, I

426
00:20:02,880 --> 00:20:07,000
Speaker 1: was always trying to say, all right, I respect Shabba

427
00:20:07,020 --> 00:20:10,440
Speaker 1: because he's a wicked DJ. Don't worry about it, wicked DJ.

428
00:20:11,080 --> 00:20:13,270
Speaker 1: And you know exactly what to do, when to do,

429
00:20:13,310 --> 00:20:15,530
Speaker 1: and how to do it. You got a next artist

430
00:20:15,570 --> 00:20:22,169
Speaker 1: called Chaka Dimas. And then you got my coach. My

431
00:20:22,230 --> 00:20:23,429
Speaker 1: coach was General Trees.

432
00:20:23,990 --> 00:20:25,450
Speaker 3: General Trees.

433
00:20:25,760 --> 00:20:28,560
Speaker 1: Yeah, he's one of the DJs all of them want

434
00:20:28,580 --> 00:20:30,720
Speaker 1: to be like. Because he's the man with the lyrics,

435
00:20:30,800 --> 00:20:33,520
Speaker 1: and he's the man with the rock stone plays. And

436
00:20:34,060 --> 00:20:38,900
Speaker 1: he got the thing like, Wicked DJ, like seriously. So,

437
00:20:39,780 --> 00:20:43,160
Speaker 1: I grew up in the old school. You know, Super Cat,

438
00:20:43,359 --> 00:20:49,590
Speaker 1: used to name Cataract. So, you know, from those days, from,

439
00:20:50,190 --> 00:20:54,590
Speaker 1: you know, Imperial to Kilimanjaro to all of those days,

440
00:20:54,609 --> 00:21:00,050
Speaker 1: I was always there as a kid. Always there. You know,

441
00:21:00,270 --> 00:21:03,220
Speaker 1: these guys are bigger man than me. Remember, I was

442
00:21:03,260 --> 00:21:06,909
Speaker 1: the youngest DJ ever. I remember the first time I

443
00:21:09,210 --> 00:21:12,080
Speaker 1: was in a dance hall with some big time DJ

444
00:21:12,100 --> 00:21:15,660
Speaker 1: like Johnny Ringo and Squidler Rankin. They thought I was

445
00:21:15,700 --> 00:21:19,260
Speaker 1: a lost kid. Like they was looking for my moms. Like,

446
00:21:19,700 --> 00:21:22,220
Speaker 1: come and get your kid. And they actually put me

447
00:21:22,260 --> 00:21:22,619
Speaker 1: up on a.

448
00:21:23,420 --> 00:21:25,320
Speaker 3: You had to stand on a crate?

449
00:21:25,520 --> 00:21:27,899
Speaker 1: No, it's not a crate. It was a, what do

450
00:21:27,920 --> 00:21:31,080
Speaker 1: you call them thing? It was a veranda. And you

451
00:21:31,100 --> 00:21:33,859
Speaker 1: know the veranda got the side there and you put, Like,

452
00:21:33,930 --> 00:21:35,740
Speaker 1: you know, it's right there and they put me in

453
00:21:35,760 --> 00:21:41,859
Speaker 1: a stone right there and they said, where your mother name?

454
00:21:42,100 --> 00:21:44,770
Speaker 1: I said, tell me your mother name. They said, run

455
00:21:44,790 --> 00:21:48,370
Speaker 1: the rhythm selector. And that was it.

456
00:21:48,390 --> 00:21:51,610
Speaker 5: Yeah, because I never knew this. Like, when we look

457
00:21:51,630 --> 00:21:54,010
Speaker 5: at you, we think of all the hit records.

458
00:21:54,510 --> 00:21:58,780
Speaker 2: Cause like, I know what we was talking about.

459
00:21:59,300 --> 00:22:01,459
Speaker 5: So when you think about it, cause four of you

460
00:22:01,500 --> 00:22:06,020
Speaker 5: won Grammys. It's you, Shabba, Sean Paul, and who am

461
00:22:06,080 --> 00:22:10,660
Speaker 5: I missing? You, Shabba, Sean Paul, and Shaggy.

462
00:22:11,380 --> 00:22:11,620
Speaker 1: Right?

463
00:22:11,720 --> 00:22:11,980
Speaker 3: So.

464
00:22:12,660 --> 00:22:14,780
Speaker 2: Bouncy Killer got a Grammy too, but he was a feature,

465
00:22:14,800 --> 00:22:16,280
Speaker 2: but it's all good. We're going to give him his

466
00:22:16,300 --> 00:22:16,500
Speaker 2: props too.

467
00:22:16,520 --> 00:22:17,020
Speaker 4: Okay, cool.

468
00:22:17,040 --> 00:22:17,820
Speaker 3: That's the Shabba Bouncy.

469
00:22:17,840 --> 00:22:18,820
Speaker 1: Yeah, Bouncy got his props too.

470
00:22:20,260 --> 00:22:24,620
Speaker 5: But when you hear Art of Life, when you hear everybody, like,

471
00:22:24,680 --> 00:22:31,590
Speaker 5: come on, this is a world record. Zagaza, Zagaza, Zagaza.

472
00:22:31,850 --> 00:22:34,250
Speaker 5: When you in the studio, what's the process to think, yo,

473
00:22:34,270 --> 00:22:36,389
Speaker 5: this is going to be... Do you know this is

474
00:22:36,430 --> 00:22:36,910
Speaker 5: going to be.

475
00:22:36,830 --> 00:22:38,649
Speaker 4: A worldwide record that lasts for.

476
00:22:39,359 --> 00:22:43,280
Speaker 5: Years and years of time. What's the process in the studio?

477
00:22:43,359 --> 00:22:45,699
Speaker 5: Football is back, folks. And you need to change the

478
00:22:45,740 --> 00:22:49,040
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479
00:22:49,119 --> 00:22:53,240
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480
00:22:53,300 --> 00:22:57,180
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481
00:22:56,700 --> 00:23:00,640
Speaker 4: In all 50 states. And all them old sportsbooks, they're

482
00:23:00,660 --> 00:23:01,940
Speaker 4: a relic of the past.

483
00:23:02,359 --> 00:23:05,960
Speaker 5: On Polymarket, you can trade on all things NFL from

484
00:23:06,010 --> 00:23:08,639
Speaker 5: the Sunday slate to who wins rookie of the year

485
00:23:08,960 --> 00:23:11,310
Speaker 5: to who performs on a halftime show. We hear from

486
00:23:11,369 --> 00:23:15,390
Speaker 5: listeners all the time about sportsbooks driving them crazy. Trying

487
00:23:15,430 --> 00:23:18,190
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488
00:23:18,230 --> 00:23:20,530
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489
00:23:20,570 --> 00:23:23,109
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490
00:23:23,150 --> 00:23:25,990
Speaker 6: the momentum swings, You sell off it in real time.

491
00:23:26,230 --> 00:23:28,310
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492
00:23:28,369 --> 00:23:30,190
Speaker 2: And you can also buy in anytime.

493
00:23:30,560 --> 00:23:32,820
Speaker 6: So when the market dips, like if a team starts

494
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Speaker 6: slow and drops to say 40%, that's not a loss.

495
00:23:36,480 --> 00:23:39,200
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496
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497
00:23:42,710 --> 00:23:45,209
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498
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499
00:23:48,109 --> 00:23:51,169
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500
00:23:51,210 --> 00:23:57,220
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501
00:23:56,720 --> 00:24:00,140
Speaker 2: To get a $ 50 bonus when you deposit just $ 10.

502
00:24:00,040 --> 00:24:00,679
Speaker 4: Let's go!

503
00:24:01,580 --> 00:24:04,459
Speaker 1: My thinking is different. I make songs for the masses.

504
00:24:05,520 --> 00:24:07,770
Speaker 1: I don't make songs to say, okay, I'm going to

505
00:24:08,430 --> 00:24:10,750
Speaker 1: program this type of people and this type of people

506
00:24:10,850 --> 00:24:13,630
Speaker 1: and that type of people. My song is for the masses.

507
00:24:13,670 --> 00:24:16,450
Speaker 1: So if you're white, black, pink, purple, it don't care

508
00:24:16,490 --> 00:24:19,190
Speaker 1: what kind of race you are. If you love my song,

509
00:24:19,230 --> 00:24:21,220
Speaker 1: you love my song. And this is what I do.

510
00:24:21,359 --> 00:24:22,740
Speaker 1: I make music for everybody.

511
00:24:23,560 --> 00:24:23,860
Speaker 3: You see?

512
00:24:23,880 --> 00:24:24,820
Speaker 2: All right.

513
00:24:25,220 --> 00:24:29,740
Speaker 1: I remember the first time I've been to Spain, I'm like,

514
00:24:30,140 --> 00:24:33,020
Speaker 1: I'm going to do this. Because these are Spanish people.

515
00:24:33,180 --> 00:24:35,639
Speaker 1: You can't talk to these people. And when I go

516
00:24:35,660 --> 00:24:39,950
Speaker 1: on the stage, I go, Everybody's singing.

517
00:24:40,910 --> 00:24:42,419
Speaker 2: Facts, because that's everybody's joint.

518
00:24:43,119 --> 00:24:46,680
Speaker 1: I'm like, what? But they sing every other song. They

519
00:24:46,700 --> 00:24:47,080
Speaker 1: sing everything.

520
00:24:47,100 --> 00:24:47,219
Speaker 2: Right.

521
00:24:53,590 --> 00:24:57,250
Speaker 1: Because that's when people actually used to- You got so

522
00:24:57,270 --> 00:25:03,900
Speaker 1: many of them. Yeah, because those remind me of when

523
00:25:03,940 --> 00:25:06,800
Speaker 1: people actually used to dance up on the females.

524
00:25:06,840 --> 00:25:09,540
Speaker 4: That's when people actually used to really dance.

525
00:25:18,310 --> 00:25:20,070
Speaker 2: Dance up on the female, you really enjoyed yourself at

526
00:25:20,090 --> 00:25:20,359
Speaker 2: the party, man.

527
00:25:20,369 --> 00:25:21,570
Speaker 5: Rob Markman, But what I'm saying is like when you

528
00:25:21,590 --> 00:25:24,290
Speaker 5: do this record with Maya, right? Because all them records

529
00:25:24,350 --> 00:25:27,050
Speaker 5: are hits too, right? But like when you hit a

530
00:25:27,090 --> 00:25:29,950
Speaker 5: record with Maya, like Zaga Za, Zaga Za, you know

531
00:25:29,970 --> 00:25:32,250
Speaker 5: when that come on, like I want to go to

532
00:25:32,270 --> 00:25:35,590
Speaker 5: a concert and just want to know his record placement

533
00:25:35,609 --> 00:25:39,150
Speaker 5: because he has so many hits. But do you know

534
00:25:39,170 --> 00:25:39,830
Speaker 5: that was a hit?

535
00:25:40,010 --> 00:25:43,649
Speaker 1: Yeah, because that was a royal song that definitely pointed

536
00:25:43,710 --> 00:25:48,300
Speaker 1: to the world because it was Pharrell Williams. came up

537
00:25:48,340 --> 00:25:50,980
Speaker 1: to me with the idea that I need to make

538
00:25:51,200 --> 00:25:55,520
Speaker 1: Garza M. Sugar and Sim Sima in one song. So

539
00:25:55,540 --> 00:25:57,800
Speaker 1: I'm like- You said Pharrell came up to you and

540
00:25:57,820 --> 00:25:59,790
Speaker 1: said that? Yeah, he was wanting to make the beat.

541
00:26:00,119 --> 00:26:01,050
Speaker 2: Look at that, okay.

542
00:26:01,130 --> 00:26:02,310
Speaker 4: Oh, Pharrell made them beats?

543
00:26:02,390 --> 00:26:03,389
Speaker 1: Yeah, he made them beats.

544
00:26:03,670 --> 00:26:04,770
Speaker 2: That was his beat.

545
00:26:05,050 --> 00:26:05,629
Speaker 3: That's crazy.

546
00:26:05,710 --> 00:26:09,350
Speaker 1: So I go, okay, let's try this. And he go,

547
00:26:09,510 --> 00:26:18,290
Speaker 1: and this little guy from Philippines that play in the Neptunes, Chad.

548
00:26:18,310 --> 00:26:19,010
Speaker 2: Chad.

549
00:26:19,090 --> 00:26:22,320
Speaker 1: And Chad started to play. And I'm like, okay, let's

550
00:26:22,359 --> 00:26:25,060
Speaker 1: do a Sim Sima. Beat him under the girls, them sugar.

551
00:26:25,080 --> 00:26:29,220
Speaker 1: Sim Sima. The girls, them work. And Farrah said, I

552
00:26:29,240 --> 00:26:32,160
Speaker 1: will say the Sim Sima. And I said, okay, that's better.

553
00:26:32,700 --> 00:26:38,330
Speaker 1: That gives me a chance to breathe. Farrah went to

554
00:26:38,350 --> 00:26:41,230
Speaker 1: the studio and I go, Sim Sima. Because he wanted

555
00:26:41,250 --> 00:26:43,550
Speaker 1: to put the American touch in it. The Sim Simmer,

556
00:26:43,570 --> 00:26:46,629
Speaker 1: so I know definitely where he was going with it.

557
00:26:46,830 --> 00:26:50,590
Speaker 1: And then he sang for Maya. And true because I'm

558
00:26:50,609 --> 00:26:54,189
Speaker 1: a movie buff, as I see Maya and her, I'm like, wow,

559
00:26:54,230 --> 00:26:56,649
Speaker 1: this is a girl from the school movie.

560
00:26:57,490 --> 00:26:59,830
Speaker 2: You know?

561
00:26:59,850 --> 00:27:05,750
Speaker 1: So I'm like, yeah, this is gonna be nice. And

562
00:27:05,790 --> 00:27:09,390
Speaker 1: then we start putting the hook together because I told

563
00:27:09,430 --> 00:27:12,320
Speaker 1: him that we need a hook. Because Sim Simmer, Girls

564
00:27:12,380 --> 00:27:15,629
Speaker 1: in Sugar, Yes, it can be a nice hook, but

565
00:27:15,670 --> 00:27:21,070
Speaker 1: we need something to melodize the hook. There you go.

566
00:27:21,150 --> 00:27:24,260
Speaker 1: So I said, okay, we need that. And then we

567
00:27:24,280 --> 00:27:26,440
Speaker 1: get that because if we're going to make an American song,

568
00:27:26,600 --> 00:27:29,359
Speaker 1: I am going to make an American song. I am

569
00:27:29,400 --> 00:27:31,219
Speaker 1: not going to allow you to do that for me

570
00:27:31,280 --> 00:27:33,160
Speaker 1: to tell me that, yeah, I did that for you.

571
00:27:33,280 --> 00:27:33,800
Speaker 2: Got you.

572
00:27:33,940 --> 00:27:35,899
Speaker 1: Yeah, but he gave me the idea to put it

573
00:27:35,960 --> 00:27:40,180
Speaker 1: together and I really respect for that. And then we

574
00:27:40,200 --> 00:27:41,570
Speaker 1: get together and we make the song.

575
00:27:41,590 --> 00:27:41,689
Speaker 3: Yeah.

576
00:27:43,859 --> 00:27:45,810
Speaker 1: We nominated for Grammy Award that year.

577
00:27:46,130 --> 00:27:46,670
Speaker 2: Look at that.

578
00:27:46,990 --> 00:27:49,139
Speaker 1: And that was beautiful.

579
00:27:49,800 --> 00:27:50,899
Speaker 2: Dope, man. Dope.

580
00:27:51,040 --> 00:27:54,560
Speaker 5: Definitely, because it was making, you know, reggae music, Jamaican

581
00:27:54,580 --> 00:27:57,940
Speaker 5: music worldwide. It wasn't just, it just wasn't one category

582
00:27:58,030 --> 00:27:58,480
Speaker 5: in music.

583
00:27:58,510 --> 00:27:59,730
Speaker 1: Kicking on bars.

584
00:27:59,770 --> 00:28:02,930
Speaker 6: Definitely kicked down the doors with that, man. Definitely kicked

585
00:28:02,950 --> 00:28:03,800
Speaker 6: down the doors with that, man.

586
00:28:03,810 --> 00:28:04,909
Speaker 1: Open it for some Jamaican artists.

587
00:28:04,930 --> 00:28:05,490
Speaker 2: That's a fact.

588
00:28:05,510 --> 00:28:06,369
Speaker 1: Kicking on bars.

589
00:28:06,470 --> 00:28:08,910
Speaker 5: And the whole thing is it's not microwave music. Like,

590
00:28:09,109 --> 00:28:11,730
Speaker 5: I love to hear the stories from the OGs and,

591
00:28:11,930 --> 00:28:15,149
Speaker 5: you know, the real legends because it's like... The music

592
00:28:15,210 --> 00:28:18,720
Speaker 5: is lasting. You touring, you just came from Germany, you said.

593
00:28:18,780 --> 00:28:22,780
Speaker 1: I just came from Europe. See? Yeah. And we did

594
00:28:22,820 --> 00:28:26,400
Speaker 1: some show here in America where I did two shows

595
00:28:26,420 --> 00:28:30,220
Speaker 1: with me and Barry Salmon just the other day in August.

596
00:28:31,790 --> 00:28:34,190
Speaker 1: It was Barry Salmon's birthday, so we did two shows.

597
00:28:34,230 --> 00:28:40,570
Speaker 1: We did one in Connecticut and we did one in Philadelphia.

598
00:28:41,230 --> 00:28:45,020
Speaker 1: Was it? Yeah, we did that. We did two shows

599
00:28:45,080 --> 00:28:46,840
Speaker 1: and it was wicked.

600
00:28:47,140 --> 00:28:47,700
Speaker 2: Look at that.

601
00:28:47,780 --> 00:28:49,060
Speaker 4: How do you like performing in London?

602
00:28:49,880 --> 00:28:53,740
Speaker 1: I like performing in London. I love London. London is great.

603
00:28:53,760 --> 00:28:58,630
Speaker 1: I've been going to London since forever. I've been going

604
00:28:58,650 --> 00:29:03,890
Speaker 1: to London since forever. Forever, ever, ever, ever, ever, ever.

605
00:29:03,910 --> 00:29:06,850
Speaker 1: I've been going to London forever. I love London. Because

606
00:29:07,250 --> 00:29:10,209
Speaker 1: London people, they appreciate the music.

607
00:29:10,620 --> 00:29:11,280
Speaker 2: Definitely do.

608
00:29:11,340 --> 00:29:13,880
Speaker 1: For what it is. Because when you go to London...

609
00:29:14,680 --> 00:29:18,090
Speaker 1: It's the first place that I ever go from Jamaica.

610
00:29:18,230 --> 00:29:21,410
Speaker 1: When I turn on my TV, I see an advertisement

611
00:29:22,250 --> 00:29:25,610
Speaker 1: with reggae music behind it. First place.

612
00:29:25,650 --> 00:29:26,630
Speaker 2: Was it London?

613
00:29:26,810 --> 00:29:31,150
Speaker 1: Yes, London. I'm not kidding. I've come to America, been

614
00:29:31,170 --> 00:29:32,970
Speaker 1: coming to America. I told you how long I've been

615
00:29:33,010 --> 00:29:38,160
Speaker 1: coming to America. I've never seen an advertisement with no

616
00:29:38,200 --> 00:29:42,680
Speaker 1: Jamaican song in it. None, ever. So, London is the

617
00:29:42,720 --> 00:29:45,640
Speaker 1: first place that I ever went to, like, ever.

618
00:29:45,920 --> 00:29:48,500
Speaker 2: America, we gotta change that. Y'all making us look bad out.

619
00:29:48,440 --> 00:29:48,739
Speaker 3: There, man.

620
00:29:49,520 --> 00:29:56,140
Speaker 1: Ever went to. And here, commercial on the TV with

621
00:29:56,370 --> 00:29:58,230
Speaker 1: reggae song is the background.

622
00:29:58,290 --> 00:29:58,730
Speaker 2: Look at that.

623
00:30:00,060 --> 00:30:03,400
Speaker 1: In the commercial. And I'm not talking about one commercial

624
00:30:03,440 --> 00:30:06,500
Speaker 1: or two commercial. You get like five commercial and all

625
00:30:06,520 --> 00:30:09,070
Speaker 1: of them is regular commercial. And I'm like, what is

626
00:30:09,110 --> 00:30:13,530
Speaker 1: going on here? But then you realize that there's a

627
00:30:13,550 --> 00:30:15,710
Speaker 1: lot of Jamaican living in London.

628
00:30:15,750 --> 00:30:18,210
Speaker 3: Lots, yes, lots of them.

629
00:30:18,310 --> 00:30:19,350
Speaker 4: That's your last stop.

630
00:30:19,370 --> 00:30:21,370
Speaker 2: There's some good Jamaican food in London.

631
00:30:21,410 --> 00:30:22,469
Speaker 3: You ain't getting nowhere else.

632
00:30:22,510 --> 00:30:24,250
Speaker 1: Yeah, you'll love London for the Jamaican food.

633
00:30:24,310 --> 00:30:24,930
Speaker 3: That's a fact.

634
00:30:25,010 --> 00:30:30,890
Speaker 1: Most of the biggest... Latin, England artists bust from reggae music. Like, red,

635
00:30:30,990 --> 00:30:35,670
Speaker 1: red wine. That's reggae music. And then you got Steel Puzzle,

636
00:30:35,710 --> 00:30:38,470
Speaker 1: which is an English band. And then you got Pasi

637
00:30:38,490 --> 00:30:42,050
Speaker 1: Dotsi Panila, which is an English band. So you get

638
00:30:42,070 --> 00:30:48,860
Speaker 1: to realize that, you know, London has always been a

639
00:30:48,960 --> 00:30:52,780
Speaker 1: big supporter of the reggae music. See, when Bob Marley

640
00:30:52,820 --> 00:30:55,670
Speaker 1: get shot in Jamaica, and he left, he went to London.

641
00:30:55,890 --> 00:30:56,450
Speaker 2: Oh, look at that.

642
00:30:56,490 --> 00:30:57,200
Speaker 3: Oh, I never knew that.

643
00:30:57,800 --> 00:31:01,300
Speaker 1: You get what I'm saying? So it's like, it's kind

644
00:31:01,360 --> 00:31:03,800
Speaker 1: of a different thing when it comes to London. London

645
00:31:03,880 --> 00:31:08,320
Speaker 1: people love Jamaican music. Love it, love it. I think

646
00:31:09,060 --> 00:31:15,610
Speaker 1: almost everybody in a London old soul from the 60s, because, yeah,

647
00:31:15,720 --> 00:31:18,790
Speaker 1: what is his name again? I'm not going to try

648
00:31:18,810 --> 00:31:24,430
Speaker 1: to kill myself. But most of the Jamaican artists, Bust

649
00:31:24,530 --> 00:31:29,470
Speaker 1: in London, Ken Boot, Bust in London. U Roy, Bust

650
00:31:29,510 --> 00:31:32,470
Speaker 1: in London. I think U Roy have number one, number two,

651
00:31:32,530 --> 00:31:35,550
Speaker 1: number three, number four, number five on the British chart.

652
00:31:37,430 --> 00:31:42,230
Speaker 1: That was crazy. So it's not really like London is

653
00:31:42,290 --> 00:31:45,390
Speaker 1: just picking up the music. So all of us as Jamaican,

654
00:31:46,010 --> 00:31:49,680
Speaker 1: we love London. So New York was the next London.

655
00:31:51,480 --> 00:31:55,040
Speaker 1: When you come to New York, Man, don't play around, dog.

656
00:31:55,060 --> 00:31:56,260
Speaker 2: You ain't lying about that.

657
00:31:56,300 --> 00:31:58,460
Speaker 6: You know how many parties we used to go to

658
00:31:58,720 --> 00:32:00,160
Speaker 6: as kids, like bad kids?

659
00:32:00,200 --> 00:32:02,580
Speaker 2: How many underground basement.

660
00:32:02,200 --> 00:32:05,480
Speaker 6: Parties and the Jamaican music was popping in there.

661
00:32:05,820 --> 00:32:08,620
Speaker 1: Queens, New York, Bronx.

662
00:32:09,820 --> 00:32:10,920
Speaker 2: Bronx, Brooklyn.

663
00:32:13,180 --> 00:32:17,250
Speaker 1: Trust me. Staten Island was a little white, but....

664
00:32:20,790 --> 00:32:24,770
Speaker 6: It's all right, it was a little white.

665
00:32:25,030 --> 00:32:25,730
Speaker 1: Long Island.

666
00:32:26,330 --> 00:32:27,930
Speaker 2: It was a little white.

667
00:32:28,130 --> 00:32:31,910
Speaker 1: But yeah. We was all up in there. Because you

668
00:32:31,930 --> 00:32:34,650
Speaker 1: got some Italians and you got some other people, you

669
00:32:34,670 --> 00:32:37,560
Speaker 1: got other people, you got other people, but we was

670
00:32:37,740 --> 00:32:40,980
Speaker 1: all up in there. Trust me. So that's when I

671
00:32:41,000 --> 00:32:46,020
Speaker 1: know that the Caribbean music is not gonna be easy

672
00:32:46,040 --> 00:32:46,680
Speaker 1: to get rid of.

673
00:32:47,190 --> 00:32:47,790
Speaker 2: Definitely.

674
00:32:48,270 --> 00:32:51,110
Speaker 1: Jamaican music is not going to be like pop music.

675
00:32:51,190 --> 00:32:53,250
Speaker 1: It's not going to be like, you know, it's not

676
00:32:53,290 --> 00:32:55,280
Speaker 1: going to be the big music, but it's going to

677
00:32:55,440 --> 00:32:57,600
Speaker 1: always be the music that's stuck in the ears of

678
00:32:57,640 --> 00:32:58,000
Speaker 1: the people.

679
00:32:58,360 --> 00:32:59,860
Speaker 2: I wanted to always ask you too, son, because you

680
00:32:59,920 --> 00:33:02,440
Speaker 2: did a record... Flow Natural.

681
00:33:02,700 --> 00:33:03,020
Speaker 1: Yeah.

682
00:33:03,080 --> 00:33:03,720
Speaker 2: With Tito.

683
00:33:04,020 --> 00:33:04,280
Speaker 1: Yeah.

684
00:33:04,480 --> 00:33:06,020
Speaker 2: And that was a big record.

685
00:33:06,160 --> 00:33:07,720
Speaker 1: Yeah. It was a big record.

686
00:33:07,860 --> 00:33:08,420
Speaker 2: Big record.

687
00:33:08,460 --> 00:33:09,120
Speaker 1: For the reggaeton.

688
00:33:09,360 --> 00:33:09,500
Speaker 2: Yes.

689
00:33:09,520 --> 00:33:10,440
Speaker 1: And it's still a big record.

690
00:33:10,560 --> 00:33:11,810
Speaker 2: Of course. Yeah.

691
00:33:12,070 --> 00:33:15,030
Speaker 1: Of course. I don't understand it. It's still up there.

692
00:33:15,330 --> 00:33:16,530
Speaker 2: Still a big, big record.

693
00:33:16,610 --> 00:33:17,229
Speaker 1: Still a big record.

694
00:33:17,250 --> 00:33:20,510
Speaker 6: You think we need more collaborations like that so reggae

695
00:33:20,530 --> 00:33:23,530
Speaker 6: could actually get in a better place like for nowadays?

696
00:33:23,550 --> 00:33:26,210
Speaker 6: Because reggaeton is so big right now.

697
00:33:26,390 --> 00:33:26,710
Speaker 3: Yeah.

698
00:33:27,150 --> 00:33:32,040
Speaker 1: But I don't think we need anything. I think we

699
00:33:32,080 --> 00:33:35,330
Speaker 1: have it. I think it's just for them to collaborate

700
00:33:35,350 --> 00:33:39,830
Speaker 1: with us the right way. Because the music is reggaeton

701
00:33:39,850 --> 00:33:44,800
Speaker 1: for God's sake. The music name is what?

702
00:33:45,260 --> 00:33:46,200
Speaker 3: Reggaeton.

703
00:33:46,260 --> 00:33:46,800
Speaker 1: Say it again.

704
00:33:47,140 --> 00:33:48,080
Speaker 2: Reggaeton.

705
00:33:48,160 --> 00:33:50,660
Speaker 6: You can't even say it without saying Reggaeton.

706
00:33:50,870 --> 00:33:51,370
Speaker 2: Got you.

707
00:33:51,480 --> 00:33:54,590
Speaker 5: But Beanie, you got to remember, when he says collaborations,

708
00:33:54,670 --> 00:33:56,910
Speaker 5: come on, man. You did a record with Janet Jackson.

709
00:33:57,110 --> 00:33:57,670
Speaker 2: Yeah.

710
00:33:57,890 --> 00:34:00,110
Speaker 4: Come on, that's not an everyday collab, brother.

711
00:34:00,150 --> 00:34:01,810
Speaker 1: No, that's not an everyday collab.

712
00:34:01,850 --> 00:34:02,790
Speaker 4: Now, what was that like?

713
00:34:02,990 --> 00:34:05,670
Speaker 1: No, that was beautiful. That was all Jermaine Dupri.

714
00:34:06,790 --> 00:34:07,490
Speaker 2: Jake, my man.

715
00:34:07,510 --> 00:34:08,850
Speaker 6: Now here we're trying to say I got beef with

716
00:34:08,890 --> 00:34:11,810
Speaker 6: Jermaine Dupri. Shout out to my man, Jermaine Dupri. Shout

717
00:34:11,830 --> 00:34:13,430
Speaker 6: out to my man, Jermaine Dupri.

718
00:34:13,489 --> 00:34:14,050
Speaker 3: How was that?

719
00:34:14,070 --> 00:34:16,370
Speaker 4: Like making a record? Because you did records with pretty

720
00:34:16,410 --> 00:34:16,970
Speaker 4: big names.

721
00:34:17,030 --> 00:34:21,180
Speaker 1: Yeah, but that was beautiful with Janet Jackson. Because Janet

722
00:34:21,200 --> 00:34:24,640
Speaker 1: Jackson has always been my artist. Like always. It's Michael

723
00:34:24,660 --> 00:34:25,320
Speaker 1: Jackson's sister.

724
00:34:26,320 --> 00:34:27,280
Speaker 3: For sure.

725
00:34:27,560 --> 00:34:27,820
Speaker 2: Thanks.

726
00:34:27,860 --> 00:34:29,200
Speaker 1: Michael Jackson is my star.

727
00:34:29,239 --> 00:34:31,509
Speaker 4: So what was the process of being in the studio

728
00:34:31,550 --> 00:34:31,890
Speaker 4: with her?

729
00:34:32,219 --> 00:34:37,300
Speaker 1: It was beautiful. The process was... Chairman Dupree was, I think,

730
00:34:38,120 --> 00:34:40,120
Speaker 1: the president of Virgin Records at the time.

731
00:34:40,140 --> 00:34:40,540
Speaker 2: Right.

732
00:34:40,820 --> 00:34:42,439
Speaker 1: So he was the one that called in the shot.

733
00:34:43,480 --> 00:34:45,920
Speaker 1: So he think that if me and Janet have a

734
00:34:45,940 --> 00:34:52,930
Speaker 1: song together, it will be beautiful. So he called up Neptune's,

735
00:34:53,250 --> 00:34:54,070
Speaker 1: you know how it goes.

736
00:34:55,390 --> 00:34:58,450
Speaker 2: Pharrell always in the loop. Pharrell always in the loop.

737
00:34:58,489 --> 00:35:01,130
Speaker 1: He was the one that made the first song. So,

738
00:35:01,370 --> 00:35:06,609
Speaker 1: you know, companies don't think about another person, they put

739
00:35:06,650 --> 00:35:09,880
Speaker 1: you to the person that made the magic.

740
00:35:10,020 --> 00:35:11,190
Speaker 2: If it ain't broke, don't fix it.

741
00:35:11,200 --> 00:35:12,319
Speaker 1: They're like, there you go.

742
00:35:12,360 --> 00:35:12,880
Speaker 2: There you go.

743
00:35:12,900 --> 00:35:16,480
Speaker 1: So yeah, that's what they did. And then Jeremy Dupree

744
00:35:16,500 --> 00:35:19,610
Speaker 1: put me together with Janet Jackson, and it works.

745
00:35:21,090 --> 00:35:23,410
Speaker 5: Yeah, because when you look at your career, you'll be

746
00:35:23,430 --> 00:35:25,750
Speaker 5: in a sound clash. We know you get in a

747
00:35:25,790 --> 00:35:28,759
Speaker 5: sound clash with Ninja Man or whoever the fuck you

748
00:35:28,780 --> 00:35:31,120
Speaker 5: put in front of this man, right? But at the

749
00:35:31,180 --> 00:35:33,900
Speaker 5: same time, you're going to hear him on top radio.

750
00:35:34,560 --> 00:35:35,160
Speaker 3: You know what I mean?

751
00:35:35,219 --> 00:35:36,299
Speaker 4: So how do you feel?

752
00:35:36,340 --> 00:35:38,379
Speaker 5: Because I know once I win a Grammy and have

753
00:35:38,420 --> 00:35:40,640
Speaker 5: as much albums you have, and you got like two,

754
00:35:40,680 --> 00:35:42,290
Speaker 5: three hundred hits, maybe two thousand.

755
00:35:42,570 --> 00:35:43,710
Speaker 3: You got all these hits.

756
00:35:44,110 --> 00:35:46,970
Speaker 5: When I come to a clash and somebody want to battle,

757
00:35:46,989 --> 00:35:48,070
Speaker 5: I'm like, what the fuck?

758
00:35:48,830 --> 00:35:49,469
Speaker 3: How do you feel?

759
00:35:49,510 --> 00:35:51,570
Speaker 4: Was you cocky like, I'm the fucking top guy?

760
00:35:51,690 --> 00:35:57,150
Speaker 1: No, I never feel cocky. You see, boasting is, anybody

761
00:35:57,190 --> 00:36:00,540
Speaker 1: who boasts becomes a base. So you boast in everything

762
00:36:00,580 --> 00:36:02,920
Speaker 1: that you do, you stop right there at your boasting.

763
00:36:02,940 --> 00:36:06,460
Speaker 1: Because when your boasting stops, you finish. Because people don't

764
00:36:06,480 --> 00:36:09,620
Speaker 1: like hype. Once you hype and you hype and your

765
00:36:09,640 --> 00:36:13,630
Speaker 1: hype is done, you're done. You're a wannabe, and I

766
00:36:13,690 --> 00:36:16,689
Speaker 1: never want to be a wannabe. I never think about that.

767
00:36:17,170 --> 00:36:18,989
Speaker 1: I never want to be that. I never want to

768
00:36:19,070 --> 00:36:22,649
Speaker 1: do that, like never ever in my life. So what

769
00:36:22,670 --> 00:36:26,800
Speaker 1: I did, I came to the world, and I give

770
00:36:26,820 --> 00:36:29,060
Speaker 1: the world what I got. Then I go back to Jamaica,

771
00:36:29,540 --> 00:36:32,239
Speaker 1: and I give Jamaica what they want. So I was

772
00:36:32,260 --> 00:36:34,940
Speaker 1: just coming off a world tour, like tour the world,

773
00:36:34,980 --> 00:36:36,560
Speaker 1: and I go back to Jamaica and say, why go

774
00:36:36,680 --> 00:36:39,480
Speaker 1: on Jamaica? And they're going to say, eh. Boy, I

775
00:36:39,480 --> 00:36:43,660
Speaker 1: want to run off the mountain. Back at it again. Boy,

776
00:36:43,739 --> 00:36:45,680
Speaker 1: I need to run off the mountain and back at

777
00:36:45,719 --> 00:36:47,100
Speaker 1: it again. Then I leave and I go on the

778
00:36:47,120 --> 00:36:47,719
Speaker 1: road to another country.

779
00:36:47,739 --> 00:36:50,219
Speaker 4: Yeah, because you never thought you was big. He never thought, yo,

780
00:36:50,280 --> 00:36:52,610
Speaker 4: I'm big. I don't got a sound class with these motherfuckers.

781
00:36:52,739 --> 00:36:52,859
Speaker 2: No.

782
00:36:52,890 --> 00:36:56,770
Speaker 1: See, the problem is it's not think like a star.

783
00:36:56,850 --> 00:36:57,669
Speaker 1: It's being a star.

784
00:36:57,710 --> 00:36:58,989
Speaker 2: You are a star. Got you.

785
00:36:59,290 --> 00:37:04,170
Speaker 1: So, you are a star in every genre. So, whether

786
00:37:04,210 --> 00:37:08,950
Speaker 1: it's dancehall, whether it's international, No care what you do.

787
00:37:09,070 --> 00:37:11,569
Speaker 1: Some people at Jamaica say, yo, you don't know Big

788
00:37:11,630 --> 00:37:14,149
Speaker 1: A is like, they're the one that's going out there.

789
00:37:14,690 --> 00:37:17,170
Speaker 1: They're the one that's fooling stadiums. They're the one that's

790
00:37:17,190 --> 00:37:19,270
Speaker 1: fooling arena. What are you telling me?

791
00:37:20,390 --> 00:37:21,770
Speaker 3: You stupid.

792
00:37:23,650 --> 00:37:26,630
Speaker 1: You know, I'm here doing what I'm doing because I

793
00:37:26,730 --> 00:37:30,230
Speaker 1: love what I'm doing. I'm not doing it because, yeah,

794
00:37:30,830 --> 00:37:33,489
Speaker 1: Beanie's a star. I becomes a star. Watch me now.

795
00:37:33,570 --> 00:37:36,089
Speaker 1: I come from dance hall, like flat dance hall, like

796
00:37:36,300 --> 00:37:38,790
Speaker 1: where dance hall is coming from. before there was any

797
00:37:38,830 --> 00:37:41,690
Speaker 1: stage shows and big band and all of that. I'm

798
00:37:41,730 --> 00:37:44,700
Speaker 1: coming from dance hall, dance hall. Now I supposed to

799
00:37:44,739 --> 00:37:48,640
Speaker 1: come to Jamaica and then go to a dance hall

800
00:37:48,680 --> 00:37:50,940
Speaker 1: and the vibe's nice and I'm not supposed to hold

801
00:37:50,960 --> 00:37:53,840
Speaker 1: the mic. I was supposed to just like, hmm, a

802
00:37:53,860 --> 00:37:56,379
Speaker 1: big under. No, that's never me.

803
00:37:56,760 --> 00:38:00,180
Speaker 2: Got you. You gonna go grab that mic and turn up?

804
00:38:00,200 --> 00:38:04,299
Speaker 1: Well, if I feel like. So you can't tell me

805
00:38:04,340 --> 00:38:07,700
Speaker 1: my feelings. I come to America, yes, I want to

806
00:38:07,739 --> 00:38:09,279
Speaker 1: go to a club, you got to give me some money.

807
00:38:09,300 --> 00:38:12,799
Speaker 1: What are you talking about? I got to Jamaica, that's

808
00:38:12,860 --> 00:38:13,440
Speaker 1: where I live.

809
00:38:13,780 --> 00:38:14,219
Speaker 2: Got you.

810
00:38:14,260 --> 00:38:14,800
Speaker 3: For sure.

811
00:38:15,080 --> 00:38:15,820
Speaker 1: There's a difference.

812
00:38:17,870 --> 00:38:20,810
Speaker 4: Now, how do you come up with 24 albums though?

813
00:38:20,930 --> 00:38:24,570
Speaker 5: I mean, you know, somebody has like five albums, six albums,

814
00:38:24,630 --> 00:38:27,650
Speaker 5: maybe 10, that's a good career. Maybe even three albums,

815
00:38:28,270 --> 00:38:31,400
Speaker 5: but 24 albums, like what gives you that drive?

816
00:38:32,120 --> 00:38:37,000
Speaker 1: No, it's not what gives me that drive. I vice

817
00:38:37,040 --> 00:38:41,120
Speaker 1: for producers. I vice for that producer, I vice for

818
00:38:41,140 --> 00:38:46,360
Speaker 1: that producer, and then they got 10 songs because I

819
00:38:46,380 --> 00:38:49,820
Speaker 1: like the beat. I don't collect no money. Because I

820
00:38:49,840 --> 00:38:53,470
Speaker 1: think Jammie's put out two albums with us. Face to

821
00:38:53,510 --> 00:38:55,529
Speaker 1: Face with me and Bon Tickler, and I think he

822
00:38:55,550 --> 00:38:58,090
Speaker 1: put out the next album with me and Mike Carver

823
00:38:58,110 --> 00:39:01,169
Speaker 1: or something like that. I don't know, I'm telling a lie.

824
00:39:01,210 --> 00:39:04,589
Speaker 1: So this is how the albums come together.

825
00:39:04,810 --> 00:39:05,049
Speaker 3: You know?

826
00:39:05,480 --> 00:39:07,700
Speaker 1: Somebody have half an album with me, they put out

827
00:39:07,760 --> 00:39:10,380
Speaker 1: half an album with the next person and put it out.

828
00:39:10,739 --> 00:39:16,450
Speaker 1: That's how it comes, because you have something named compilation album.

829
00:39:16,730 --> 00:39:20,590
Speaker 1: So they compile some songs together and you don't even.

830
00:39:20,250 --> 00:39:23,069
Speaker 2: Make a compilation. Yeah, the bunch of people put it together.

831
00:39:23,310 --> 00:39:26,220
Speaker 1: Yeah, so they go boop and put it together. You know?

832
00:39:26,510 --> 00:39:30,400
Speaker 1: And then VP, everything called. Sometimes they put out the songs,

833
00:39:30,800 --> 00:39:33,200
Speaker 1: put the songs in together. Like you have 24 number

834
00:39:33,340 --> 00:39:36,080
Speaker 1: one and one album. Then they put out the next

835
00:39:36,180 --> 00:39:39,660
Speaker 1: one with 60 number one and one album. And yeah,

836
00:39:40,090 --> 00:39:44,410
Speaker 1: it's wicked. But that's how it goes. You work towards

837
00:39:45,070 --> 00:39:49,400
Speaker 1: making that. But I got like, To be honest, I

838
00:39:49,440 --> 00:39:54,560
Speaker 1: got 18 studio albums that I make for myself. The

839
00:39:54,600 --> 00:39:56,840
Speaker 1: rest of it is just compilation and put together.

840
00:39:57,140 --> 00:39:57,589
Speaker 2: Got you.

841
00:39:57,950 --> 00:39:58,120
Speaker 1: Yeah.

842
00:39:58,390 --> 00:40:02,589
Speaker 6: What record made you leave the studio and say, oh yeah,

843
00:40:02,610 --> 00:40:03,790
Speaker 6: I'm never going to be broke again?

844
00:40:05,910 --> 00:40:06,330
Speaker 3: So many.

845
00:40:08,250 --> 00:40:10,770
Speaker 6: But which one you made that you were like, oh yeah,

846
00:40:10,810 --> 00:40:12,570
Speaker 6: I'm never going to be broke again?

847
00:40:12,590 --> 00:40:15,950
Speaker 1: There's a lot. I remember when I make Royal Dance,

848
00:40:16,010 --> 00:40:18,540
Speaker 1: I say that. I remember when I make Romy, I

849
00:40:18,600 --> 00:40:21,180
Speaker 1: say that. I remember when I make Girls M Sugar,

850
00:40:21,219 --> 00:40:23,500
Speaker 1: I say that. I remember when I make Sim Sim,

851
00:40:23,580 --> 00:40:24,219
Speaker 1: I say that.

852
00:40:25,760 --> 00:40:27,350
Speaker 2: I'm never going to be broken.

853
00:40:27,570 --> 00:40:30,850
Speaker 3: He got a lot, man. He got a lot. Music

854
00:40:30,930 --> 00:40:31,490
Speaker 3: is different.

855
00:40:32,030 --> 00:40:35,630
Speaker 1: It's not like what you think music is going to

856
00:40:35,670 --> 00:40:38,980
Speaker 1: be and where music is going to take you. I

857
00:40:39,000 --> 00:40:42,600
Speaker 1: didn't have companies to back me all my life. See,

858
00:40:42,800 --> 00:40:45,799
Speaker 1: I'm a Jamaican that live in Jamaica. And I'm a

859
00:40:45,820 --> 00:40:49,680
Speaker 1: Jamaican that believe in people. Sometimes people take this advantage.

860
00:40:50,260 --> 00:40:52,649
Speaker 1: And then a lot of my management do that too.

861
00:40:52,670 --> 00:40:55,330
Speaker 1: Because sometimes you feel like, yeah, you got that and

862
00:40:55,390 --> 00:40:58,549
Speaker 1: this is it. And then when you find out, that's

863
00:40:58,610 --> 00:40:58,989
Speaker 1: not it.

864
00:41:00,370 --> 00:41:00,569
Speaker 3: Right.

865
00:41:00,590 --> 00:41:04,469
Speaker 1: Because sometimes you got to twing it for yourself and

866
00:41:04,550 --> 00:41:08,510
Speaker 1: twang it and go like, boom. Get rid of that person.

867
00:41:08,610 --> 00:41:11,640
Speaker 1: And get rid of somebody who's there for you, who's

868
00:41:11,719 --> 00:41:14,650
Speaker 1: got your back. And sometimes when you feed that person

869
00:41:14,690 --> 00:41:16,730
Speaker 1: got you back, that person never got you back.

870
00:41:17,850 --> 00:41:18,930
Speaker 2: Yeah. Crazy.

871
00:41:18,969 --> 00:41:22,890
Speaker 1: So, you know, sometimes you got to know. But I'll

872
00:41:22,910 --> 00:41:23,670
Speaker 1: be rich forever.

873
00:41:23,969 --> 00:41:24,469
Speaker 2: Got you.

874
00:41:24,510 --> 00:41:25,529
Speaker 1: This is my right.

875
00:41:25,610 --> 00:41:28,480
Speaker 2: Of course. Of course. Of course. Now, we live and learn.

876
00:41:28,500 --> 00:41:30,680
Speaker 2: You trust certain people and you just find out like, damn.

877
00:41:30,700 --> 00:41:34,080
Speaker 1: You find out like, damn. I thought they were going

878
00:41:34,100 --> 00:41:38,800
Speaker 1: to be better. But now I'm good. I'm in a

879
00:41:38,860 --> 00:41:42,430
Speaker 1: comfortable place. Right. I am nice. I got my wife

880
00:41:42,469 --> 00:41:42,830
Speaker 1: with me.

881
00:41:42,890 --> 00:41:45,170
Speaker 2: She's- Shout out to wifey.

882
00:41:45,370 --> 00:41:47,390
Speaker 3: Shout out to wifey.

883
00:41:47,650 --> 00:41:50,649
Speaker 2: She's my rock. She was in here cleaning you up before.

884
00:41:50,670 --> 00:41:51,970
Speaker 2: She's like, hold up, nigga. You ain't looking.

885
00:41:51,989 --> 00:41:52,870
Speaker 1: That's right. She's there.

886
00:41:52,890 --> 00:41:53,609
Speaker 2: I respect her.

887
00:41:53,670 --> 00:41:56,270
Speaker 3: I respect the dedication that she put in the thing.

888
00:41:56,310 --> 00:41:57,049
Speaker 3: Because for the.

889
00:42:08,430 --> 00:42:10,629
Speaker 1: She got her own life, she live her own life,

890
00:42:10,810 --> 00:42:13,900
Speaker 1: she did her own thing. All the time I know her,

891
00:42:13,950 --> 00:42:16,890
Speaker 1: I know her for over 22 years, over 22 years

892
00:42:16,989 --> 00:42:21,390
Speaker 1: I know her for. And she always be that person,

893
00:42:21,410 --> 00:42:25,290
Speaker 1: always stand firm for herself. And for she to come

894
00:42:25,489 --> 00:42:30,160
Speaker 1: here now and be with me, standing here behind me,

895
00:42:30,719 --> 00:42:32,940
Speaker 1: pushing this thing and know that yes, this is what

896
00:42:32,980 --> 00:42:36,860
Speaker 1: we're gonna do. Now, not saying that I didn't got myself.

897
00:42:39,270 --> 00:42:42,989
Speaker 6: But we all need some motivation. We all need motivation.

898
00:42:43,010 --> 00:42:44,250
Speaker 6: We all need some motivation.

899
00:42:44,290 --> 00:42:46,669
Speaker 1: That said, I didn't get what I said, but every

900
00:42:46,690 --> 00:42:47,890
Speaker 1: king need a strong queen.

901
00:42:48,010 --> 00:42:48,450
Speaker 3: That's right.

902
00:42:48,469 --> 00:42:49,210
Speaker 2: You better believe it.

903
00:42:49,410 --> 00:42:51,110
Speaker 4: Shelter wifey, she's in the building.

904
00:42:51,150 --> 00:42:51,950
Speaker 2: Yeah, blessings.

905
00:42:52,350 --> 00:42:52,989
Speaker 1: Come here.

906
00:42:53,050 --> 00:42:55,170
Speaker 4: Now, we looking forward towards more music.

907
00:42:55,430 --> 00:42:55,770
Speaker 3: Yeah.

908
00:42:56,090 --> 00:42:59,950
Speaker 1: Now, I got this new album. It's called Eminence.

909
00:43:00,410 --> 00:43:01,299
Speaker 4: Let's talk about that.

910
00:43:01,440 --> 00:43:01,700
Speaker 3: Yeah.

911
00:43:01,960 --> 00:43:05,020
Speaker 1: And this album is not an easy album.

912
00:43:06,160 --> 00:43:08,880
Speaker 2: It reached number one in everything, though. It reached number one.

913
00:43:09,120 --> 00:43:12,060
Speaker 1: Yeah, it reached number one in everything. Going all genre,

914
00:43:12,800 --> 00:43:14,540
Speaker 1: all genre, number one.

915
00:43:14,600 --> 00:43:16,060
Speaker 2: Yes, yes. Everything.

916
00:43:16,140 --> 00:43:18,620
Speaker 1: This album is wicked. Trust me, it's wicked.

917
00:43:18,800 --> 00:43:19,919
Speaker 4: Make sure y'all go get that.

918
00:43:20,020 --> 00:43:21,140
Speaker 3: Yeah, you have.

919
00:43:21,040 --> 00:43:23,260
Speaker 1: To go get it. Because, you know, we got some

920
00:43:23,340 --> 00:43:25,490
Speaker 1: big stars in the album. We got Snoop on the album.

921
00:43:25,530 --> 00:43:29,270
Speaker 1: We got T.I. on the album. We got Ashanti. And

922
00:43:29,690 --> 00:43:30,690
Speaker 1: I went back for Maya.

923
00:43:32,450 --> 00:43:33,330
Speaker 2: You went back for Maya?

924
00:43:33,590 --> 00:43:36,239
Speaker 1: What? She's on the album with- Fire.

925
00:43:36,280 --> 00:43:36,860
Speaker 3: Definitely.

926
00:43:36,880 --> 00:43:38,590
Speaker 2: We definitely get that. Fire. Yeah, man.

927
00:43:38,610 --> 00:43:42,270
Speaker 1: We went back from Maya. And then we got... I

928
00:43:42,310 --> 00:43:45,270
Speaker 1: got one song with me and Snoop and eight people.

929
00:43:45,290 --> 00:43:49,770
Speaker 1: I think Elephant Man is in that song. And we

930
00:43:49,810 --> 00:43:54,160
Speaker 1: have a lot of females on that song.

931
00:43:54,620 --> 00:43:55,839
Speaker 2: Elephant Man and a lot of females.

932
00:43:55,860 --> 00:43:58,900
Speaker 1: A lot of females. Got you. That song is beautiful.

933
00:43:58,920 --> 00:44:00,020
Speaker 1: That song is beautiful.

934
00:44:00,340 --> 00:44:01,640
Speaker 3: It's good because people got to.

935
00:44:01,980 --> 00:44:02,540
Speaker 4: People got to.

936
00:44:03,110 --> 00:44:03,730
Speaker 3: know it's out.

937
00:44:03,810 --> 00:44:06,109
Speaker 5: So it's like now before we used to have just

938
00:44:06,170 --> 00:44:10,090
Speaker 5: radio and God willing, now we got podcast and streaming.

939
00:44:10,110 --> 00:44:11,830
Speaker 5: So now this the new wave and we got you

940
00:44:11,890 --> 00:44:13,470
Speaker 5: on here. So we know the numbers going.

941
00:44:13,530 --> 00:44:14,430
Speaker 3: To go crazy. Yeah.

942
00:44:14,450 --> 00:44:17,120
Speaker 1: This album is everywhere. This album is everywhere. Anywhere you

943
00:44:17,160 --> 00:44:19,799
Speaker 1: want to stream a song from, go stream it. I'd

944
00:44:19,860 --> 00:44:24,600
Speaker 1: rather you stream it more than go somewhere where you

945
00:44:24,620 --> 00:44:25,450
Speaker 1: can find it for free.

946
00:44:25,820 --> 00:44:28,870
Speaker 6: What was the motivation behind this project here, man?

947
00:44:29,380 --> 00:44:32,060
Speaker 1: Well, the motivation is to show people that I'm still here.

948
00:44:32,080 --> 00:44:33,000
Speaker 1: I'm not going nowhere.

949
00:44:33,180 --> 00:44:33,680
Speaker 2: Got you.

950
00:44:33,960 --> 00:44:34,720
Speaker 1: What you talking about?

951
00:44:35,180 --> 00:44:35,589
Speaker 2: Got you.

952
00:44:35,610 --> 00:44:37,090
Speaker 3: What you talking about?

953
00:44:37,110 --> 00:44:37,870
Speaker 2: He love music.

954
00:44:37,890 --> 00:44:39,950
Speaker 3: That's right. Murda, guy with 18 albums lives in the studio.

955
00:44:39,969 --> 00:44:41,280
Speaker 3: He got a studio in the....

956
00:44:45,670 --> 00:44:48,779
Speaker 5: In the crib, studio on the tour bus. He got

957
00:44:48,800 --> 00:44:53,200
Speaker 5: a portable studio. He loves music, bro. And that's what

958
00:44:53,219 --> 00:44:56,380
Speaker 5: we love. You know, like we said, reggae music is

959
00:44:56,480 --> 00:44:57,140
Speaker 5: always going to be.

960
00:44:57,100 --> 00:44:57,940
Speaker 4: A part of the culture.

961
00:44:57,960 --> 00:44:59,259
Speaker 1: You're always going to tour.

962
00:44:59,590 --> 00:45:01,210
Speaker 4: What's one of your.

963
00:45:01,090 --> 00:45:04,569
Speaker 5: Craziest tour stories? Like, when was your craziest tour? Tell

964
00:45:04,590 --> 00:45:06,049
Speaker 5: me one of your craziest tours you've been on.

965
00:45:06,050 --> 00:45:06,430
Speaker 1: All right.

966
00:45:06,890 --> 00:45:10,069
Speaker 2: No. Wifey here, leave the girl stuff out, man.

967
00:45:10,570 --> 00:45:15,170
Speaker 4: I just want to know all the legendaries.

968
00:45:16,050 --> 00:45:17,090
Speaker 2: She said I'm used to it.

969
00:45:18,050 --> 00:45:23,759
Speaker 1: No, no, no. My first tour. Because I started tour

970
00:45:23,780 --> 00:45:25,960
Speaker 1: very early. I become a star in 1992. No, I

971
00:45:25,960 --> 00:45:27,379
Speaker 1: become a star in 1993. 1992, I get my first

972
00:45:27,820 --> 00:45:37,779
Speaker 1: number one song. 1993, I get the artist of the year. And,

973
00:45:38,060 --> 00:45:39,760
Speaker 1: you know, all of that ting.

974
00:45:40,500 --> 00:45:41,819
Speaker 2: Did the money start hitting too then?

975
00:45:41,840 --> 00:45:43,710
Speaker 6: Because it'd be funny, sometimes everything else would be.

976
00:45:43,700 --> 00:45:45,590
Speaker 1: Coming except for the money. No, the money been coming

977
00:45:45,650 --> 00:45:47,370
Speaker 1: in since before I get my first number. You said

978
00:45:47,390 --> 00:45:49,450
Speaker 1: he was 10 years old when the money came in.

979
00:45:49,469 --> 00:45:51,690
Speaker 4: You said he was eight years old taking care of him.

980
00:45:51,710 --> 00:45:54,170
Speaker 6: I'm just making sure. Because sometimes it be like that though.

981
00:45:54,190 --> 00:45:57,100
Speaker 6: You'd be surprised. You know, I'm quite sure you know

982
00:45:57,120 --> 00:45:59,410
Speaker 6: some artists that had it. Just definitely Jamaican arts that

983
00:45:59,430 --> 00:46:02,350
Speaker 6: has the success, right? We're here and they be real popular,

984
00:46:02,670 --> 00:46:04,589
Speaker 6: but the money don't be there like that, how you

985
00:46:04,610 --> 00:46:05,049
Speaker 6: might think.

986
00:46:05,310 --> 00:46:07,589
Speaker 1: All right, you see, my life take a turn in

987
00:46:07,650 --> 00:46:10,779
Speaker 1: teenage time because, you know, you live in the wrong place.

988
00:46:11,440 --> 00:46:13,779
Speaker 1: You end up in the wrong company and, you know,

989
00:46:13,800 --> 00:46:14,980
Speaker 1: you end up doing, yeah.

990
00:46:15,020 --> 00:46:16,160
Speaker 2: Doing bad deals, yes.

991
00:46:16,180 --> 00:46:22,540
Speaker 1: Yeah, they're not bad deals, it's just, yeah, bad things happen. Yeah, yeah. Yeah,

992
00:46:22,580 --> 00:46:26,399
Speaker 1: you know, yeah, you know how shit goes. So, you know,

993
00:46:27,520 --> 00:46:31,149
Speaker 1: I decide, You know, you don't make up your mind

994
00:46:31,190 --> 00:46:34,670
Speaker 1: until you've been in a situation that you as the

995
00:46:34,730 --> 00:46:36,310
Speaker 1: only person can get yourself out of.

996
00:46:39,150 --> 00:46:39,350
Speaker 2: Yeah.

997
00:46:39,890 --> 00:46:43,750
Speaker 1: When you're locked up, then you realize that life is

998
00:46:44,050 --> 00:46:48,730
Speaker 1: messed up. Then you know that you got to get

999
00:46:48,750 --> 00:46:52,180
Speaker 1: yourself out of this situation. So from that, I realized

1000
00:46:52,219 --> 00:46:57,629
Speaker 1: that I have to become the star. This not gonna work.

1001
00:46:57,710 --> 00:46:59,730
Speaker 1: This is how I get booed because I push myself

1002
00:46:59,810 --> 00:47:02,290
Speaker 1: on stage and try to get myself up there to

1003
00:47:02,330 --> 00:47:03,029
Speaker 1: make people know that.

1004
00:47:03,050 --> 00:47:04,609
Speaker 2: And you wasn't even ready like that.

1005
00:47:04,630 --> 00:47:06,610
Speaker 1: Yeah, it wasn't my time.

1006
00:47:06,670 --> 00:47:08,870
Speaker 2: Got you. Got you.

1007
00:47:08,969 --> 00:47:11,950
Speaker 1: Because God don't sleep. God is like, you can't do

1008
00:47:11,989 --> 00:47:14,489
Speaker 1: so much wicked things. Boy, come here.

1009
00:47:14,890 --> 00:47:15,570
Speaker 3: Come here.

1010
00:47:15,719 --> 00:47:18,859
Speaker 1: What are you doing? He's in and send me back

1011
00:47:18,980 --> 00:47:23,300
Speaker 1: in the room and go like, yeah, I got to

1012
00:47:23,320 --> 00:47:27,430
Speaker 1: do this better. And I do this better. And then

1013
00:47:27,489 --> 00:47:33,030
Speaker 1: I met a lot of artists that motivate me differently.

1014
00:47:33,590 --> 00:47:36,109
Speaker 1: I have to give love to Laila Sarr because she's

1015
00:47:36,190 --> 00:47:39,410
Speaker 1: one of them who motivate me different without even talking

1016
00:47:39,450 --> 00:47:42,410
Speaker 1: to me or telling me anything. Just watching her, doing

1017
00:47:42,430 --> 00:47:45,250
Speaker 1: what she do and knowing where she coming from and

1018
00:47:45,810 --> 00:47:49,200
Speaker 1: how strong she is and things. She's one of them

1019
00:47:49,239 --> 00:47:51,819
Speaker 1: who motivate me strong. That's why she'll always be my

1020
00:47:51,860 --> 00:47:54,560
Speaker 1: female artist at all times. She doesn't know the reason why.

1021
00:47:55,180 --> 00:47:58,900
Speaker 1: I'm just saying that now so people can understand. Because

1022
00:47:59,020 --> 00:48:03,940
Speaker 1: I learn from people without people teaching me. I don't

1023
00:48:03,980 --> 00:48:07,960
Speaker 1: have to be taught. I teach myself. You see?

1024
00:48:08,000 --> 00:48:09,259
Speaker 2: But you can just sit back and observe.

1025
00:48:09,300 --> 00:48:12,060
Speaker 1: Yeah, you sit back and observe and you watch and

1026
00:48:12,100 --> 00:48:14,740
Speaker 1: you learn. You say, okay, I'm going to go that way.

1027
00:48:16,239 --> 00:48:18,450
Speaker 1: And when you move in that way, in that direction,

1028
00:48:19,150 --> 00:48:22,570
Speaker 1: It work for you. Then you adapt and adjust, adjust

1029
00:48:22,750 --> 00:48:27,790
Speaker 1: and adapt. And then you make it becomes you. Once

1030
00:48:27,810 --> 00:48:31,299
Speaker 1: you make it becomes you, there's nothing nobody can tell you.

1031
00:48:31,520 --> 00:48:32,060
Speaker 2: Right.

1032
00:48:32,820 --> 00:48:36,380
Speaker 1: You just swim through it. All the fight, you just

1033
00:48:36,420 --> 00:48:41,830
Speaker 1: swim through it. I become a star. Here come Bounty Killer. Hey, boy,

1034
00:48:41,850 --> 00:48:50,430
Speaker 1: you're for dead, baby. Swim through it. What am I

1035
00:48:50,469 --> 00:48:52,550
Speaker 1: going to do? I'm not going to follow you and become,

1036
00:48:52,570 --> 00:48:57,270
Speaker 1: because listen, the King say, which is Selassie, he said

1037
00:48:57,390 --> 00:48:59,549
Speaker 1: one thing in life, you can't follow a fool and

1038
00:48:59,570 --> 00:49:04,180
Speaker 1: become an idiot. You can't follow a fool and become

1039
00:49:04,219 --> 00:49:06,660
Speaker 1: an idiot. You got to be smart.

1040
00:49:06,700 --> 00:49:09,380
Speaker 3: Follow a fool and become an idiot. Makes sense.

1041
00:49:09,440 --> 00:49:13,620
Speaker 1: You cannot do that. So I'm like, what? What are

1042
00:49:13,660 --> 00:49:16,980
Speaker 1: you saying? So I realized that if I follow you,

1043
00:49:17,930 --> 00:49:21,609
Speaker 1: then I becomes an idiot because I'm gonna lose all

1044
00:49:21,630 --> 00:49:25,299
Speaker 1: the blessing that I supposed to get by running up

1045
00:49:25,360 --> 00:49:27,180
Speaker 1: on you, following up on you and this and that.

1046
00:49:27,489 --> 00:49:29,060
Speaker 1: When I supposed to run up on you, you're not

1047
00:49:29,100 --> 00:49:33,400
Speaker 1: gonna expect it. So when I caught him in the

1048
00:49:33,600 --> 00:49:37,320
Speaker 1: right part, the right place, it was Tone Love 22nd anniversary.

1049
00:49:39,380 --> 00:49:41,859
Speaker 1: And he was on stage feeling like he's.

1050
00:49:41,930 --> 00:49:43,339
Speaker 2: I think I remember that one too.

1051
00:49:43,390 --> 00:49:44,910
Speaker 1: Feeling like he was- It was footage of that.

1052
00:49:44,950 --> 00:49:47,050
Speaker 2: It's footage of that though, right? Yeah. You and Bouncy

1053
00:49:47,090 --> 00:49:49,650
Speaker 2: Killick going to Nashville. Feeling like he's king. Yes, I

1054
00:49:49,670 --> 00:49:50,150
Speaker 2: remember that.

1055
00:49:50,170 --> 00:49:52,569
Speaker 1: And then I ran up on stage and then he

1056
00:49:52,630 --> 00:49:54,370
Speaker 1: realized that. Okay.

1057
00:49:54,690 --> 00:49:56,970
Speaker 2: I'm not here to play. You shut him down.

1058
00:49:56,989 --> 00:49:57,649
Speaker 3: You shut him down.

1059
00:49:57,730 --> 00:49:58,750
Speaker 4: I'm not here to play.

1060
00:49:59,660 --> 00:50:00,339
Speaker 1: This is trouble.

1061
00:50:00,800 --> 00:50:03,080
Speaker 6: I need y'all to bring up that footage too with

1062
00:50:03,120 --> 00:50:04,359
Speaker 6: Beanie Man and Bouncy.

1063
00:50:04,080 --> 00:50:05,359
Speaker 1: On stage, man.

1064
00:50:05,400 --> 00:50:06,080
Speaker 2: He got in trouble.

1065
00:50:06,380 --> 00:50:11,950
Speaker 1: Yeah, he got in trouble. And then- The Christmas after that,

1066
00:50:12,950 --> 00:50:15,689
Speaker 1: he run up on my stage and feel like he's

1067
00:50:15,730 --> 00:50:18,299
Speaker 1: going to get me in trouble. But I was waiting

1068
00:50:18,340 --> 00:50:21,339
Speaker 1: for him. I was like, where are you? I've been

1069
00:50:21,360 --> 00:50:24,560
Speaker 1: waiting for you for so long. And he come up

1070
00:50:24,640 --> 00:50:26,319
Speaker 1: and say, you know what, I want to hold you

1071
00:50:26,340 --> 00:50:29,840
Speaker 1: and cut you like a rose. I've been laughing. Because,

1072
00:50:30,340 --> 00:50:33,710
Speaker 1: you see, that's when they know that you're prepared. When

1073
00:50:33,750 --> 00:50:36,489
Speaker 1: somebody come to frighten you, And you was like, ha.

1074
00:50:37,830 --> 00:50:39,190
Speaker 3: You got to be ready in the clash.

1075
00:50:39,370 --> 00:50:40,529
Speaker 4: It's just like battle rap.

1076
00:50:40,550 --> 00:50:41,130
Speaker 2: Got to be ready.

1077
00:50:41,170 --> 00:50:43,029
Speaker 5: You know the sound clashes? We used to watch them

1078
00:50:43,110 --> 00:50:44,969
Speaker 5: all the time. So you got to be ready.

1079
00:50:44,989 --> 00:50:45,750
Speaker 2: You got to be ready.

1080
00:50:46,170 --> 00:50:46,890
Speaker 1: And I was ready.

1081
00:50:47,170 --> 00:50:47,990
Speaker 3: Yeah.

1082
00:50:48,260 --> 00:50:51,820
Speaker 1: Trust me, I was ready. And after that, I changed

1083
00:50:51,840 --> 00:50:57,500
Speaker 1: the narrative. I stopped the warrior. It's not going to

1084
00:50:57,520 --> 00:51:00,680
Speaker 1: take me nowhere. It's just making me famous in Jamaica

1085
00:51:01,120 --> 00:51:06,709
Speaker 1: and in the diaspora. where Jamaican and Caribbean people live.

1086
00:51:07,989 --> 00:51:10,469
Speaker 1: I don't want to be there. So I went, give

1087
00:51:10,510 --> 00:51:13,259
Speaker 1: me the girl, let me do it. Give thanks to

1088
00:51:13,280 --> 00:51:14,900
Speaker 1: Dave Kelly. Oh my God.

1089
00:51:14,920 --> 00:51:16,500
Speaker 2: That used to be my joint right there.

1090
00:51:16,540 --> 00:51:21,009
Speaker 1: That's when I changed the old narrative. And I go like....

1091
00:51:22,489 --> 00:51:23,010
Speaker 4: Hit records.

1092
00:51:23,850 --> 00:51:27,069
Speaker 1: And then I make hits after hits after hits after hits.

1093
00:51:27,090 --> 00:51:28,900
Speaker 2: I know you're responsible for a lot of babies out

1094
00:51:28,940 --> 00:51:29,400
Speaker 2: here too.

1095
00:51:29,739 --> 00:51:35,040
Speaker 6: Yeah, I know. All right, Kyle, just making sure you

1096
00:51:35,080 --> 00:51:38,299
Speaker 6: know that, my brother. You know I got to ask

1097
00:51:38,320 --> 00:51:41,989
Speaker 6: you this, because there's so many different good eras of

1098
00:51:42,030 --> 00:51:42,710
Speaker 6: reggae music.

1099
00:51:43,270 --> 00:51:46,149
Speaker 5: Instead of top five, who's your top ten male artists

1100
00:51:46,210 --> 00:51:47,310
Speaker 5: and your top ten female?

1101
00:51:47,810 --> 00:51:49,130
Speaker 1: My top ten male artists?

1102
00:51:49,430 --> 00:51:49,810
Speaker 2: Okay.

1103
00:51:50,570 --> 00:51:56,120
Speaker 1: Number one would be Shabba Rankin. Super Cat, Chaka Dimas.

1104
00:51:56,660 --> 00:51:59,729
Speaker 1: They got to give my elders the honor.

1105
00:52:00,070 --> 00:52:00,490
Speaker 2: Of course.

1106
00:52:00,510 --> 00:52:04,120
Speaker 1: Do not try to take that from me. Fanta Killah.

1107
00:52:06,030 --> 00:52:07,589
Speaker 2: Even though you had to mash them up, you still

1108
00:52:07,610 --> 00:52:08,510
Speaker 2: get Bounty Killer.

1109
00:52:08,550 --> 00:52:09,609
Speaker 1: We mash up each other.

1110
00:52:09,630 --> 00:52:10,750
Speaker 2: Of course, man. It's all good.

1111
00:52:10,770 --> 00:52:13,009
Speaker 1: It's all good. Him punch me, punch him, punch me.

1112
00:52:13,070 --> 00:52:15,500
Speaker 1: Of course, of course, of course. You see?

1113
00:52:15,840 --> 00:52:18,260
Speaker 2: Bounty Killer remix, one of my songs back in the day.

1114
00:52:18,280 --> 00:52:19,100
Speaker 3: Shout out to Bounty.

1115
00:52:19,140 --> 00:52:21,660
Speaker 1: Yeah, it's a win-win thing. It's a win-win. Me win,

1116
00:52:21,700 --> 00:52:22,040
Speaker 1: him win.

1117
00:52:22,060 --> 00:52:23,850
Speaker 3: That's right, that's right, that's right.

1118
00:52:24,250 --> 00:52:25,390
Speaker 1: I think we bring each other.

1119
00:52:25,750 --> 00:52:26,010
Speaker 2: Mm-hmm.

1120
00:52:26,290 --> 00:52:29,090
Speaker 1: Because without me, there wouldn't be no Bunty the same way.

1121
00:52:29,110 --> 00:52:32,279
Speaker 1: I wouldn't say without Bunty there would be no me.

1122
00:52:32,340 --> 00:52:34,580
Speaker 2: Because I love somebody.

1123
00:52:34,600 --> 00:52:37,480
Speaker 6: I still was who I was, I'm just saying. But

1124
00:52:37,540 --> 00:52:40,980
Speaker 6: he played a part in your careers, man. What are

1125
00:52:41,020 --> 00:52:41,940
Speaker 6: you talking about?

1126
00:52:42,219 --> 00:52:42,900
Speaker 3: That's right.

1127
00:52:43,000 --> 00:52:51,300
Speaker 1: I'm going to reach out to Mike Cabell. That's my DJ.

1128
00:52:51,390 --> 00:52:56,640
Speaker 1: Because I respect Mike Cabell because... of his style, it's not,

1129
00:52:58,500 --> 00:53:02,140
Speaker 1: I don't understand. We fought one time when I was

1130
00:53:02,180 --> 00:53:05,939
Speaker 1: a kid, he was a kid. And yeah, we knocked face.

1131
00:53:08,340 --> 00:53:11,460
Speaker 1: Back in the days. But Kabe is my DJ, I

1132
00:53:11,520 --> 00:53:16,180
Speaker 1: respect him. So, I have to give it up for

1133
00:53:16,200 --> 00:53:21,859
Speaker 1: Bojo Manton. Yeah, he's my DJ. I have to give

1134
00:53:21,920 --> 00:53:26,890
Speaker 1: it up for Capitan. He's why I'm a DJ. Even

1135
00:53:26,930 --> 00:53:27,950
Speaker 1: though we war sometimes.

1136
00:53:28,030 --> 00:53:28,870
Speaker 2: I'm very, very.

1137
00:53:28,910 --> 00:53:33,520
Speaker 1: Even though we war sometimes. Yeah. But I'm a DJ.

1138
00:53:33,580 --> 00:53:34,280
Speaker 1: I'm a DJ.

1139
00:53:34,900 --> 00:53:35,460
Speaker 2: That's right.

1140
00:53:35,520 --> 00:53:36,880
Speaker 3: That's right. That's right.

1141
00:53:37,460 --> 00:53:39,980
Speaker 1: So can I sneak in two more before I reach them?

1142
00:53:40,000 --> 00:53:40,239
Speaker 3: Yeah, yeah.

1143
00:53:40,260 --> 00:53:41,480
Speaker 2: Of course, man. Of course.

1144
00:53:41,500 --> 00:53:43,700
Speaker 1: Because I have to sneak in Sizzler too right there.

1145
00:53:44,460 --> 00:53:45,020
Speaker 2: Right there.

1146
00:53:45,040 --> 00:53:48,170
Speaker 1: I have to do that. But I don't know. I'm

1147
00:53:48,230 --> 00:53:50,810
Speaker 1: a DJ. These are my new artists.

1148
00:53:52,750 --> 00:53:53,110
Speaker 2: I knew I did.

1149
00:53:53,150 --> 00:53:54,210
Speaker 3: Because it's different artists.

1150
00:53:54,670 --> 00:53:54,990
Speaker 2: Okay.

1151
00:53:55,190 --> 00:53:58,160
Speaker 1: I do a number DJ. Popcorn, I'm a DJ. Sorry

1152
00:53:58,640 --> 00:54:03,960
Speaker 1: about the popcorn. Yeah. Alkaline, I'm a DJ. And I

1153
00:54:04,020 --> 00:54:09,819
Speaker 1: do respect business segment. Yeah. I respect the other ones too,

1154
00:54:09,840 --> 00:54:10,930
Speaker 1: but you said my top ten.

1155
00:54:11,510 --> 00:54:12,370
Speaker 2: Got you. Yes, of course.

1156
00:54:12,390 --> 00:54:14,850
Speaker 3: Now you go female. I know you said Lady Saw.

1157
00:54:15,510 --> 00:54:20,160
Speaker 1: I go Lady Saw. I go Sister Nancy. Yeah, I

1158
00:54:20,160 --> 00:54:20,739
Speaker 1: leave her out.

1159
00:54:20,820 --> 00:54:22,299
Speaker 3: Yeah, you got to put sister in there.

1160
00:54:22,320 --> 00:54:28,209
Speaker 1: What are you talking about? It's my first crush. She's

1161
00:54:28,250 --> 00:54:30,089
Speaker 1: a big woman. I'm a little kid and I'm like,

1162
00:54:31,969 --> 00:54:35,529
Speaker 1: it's like Michael Jackson and Diana Ross. Okay, that was

1163
00:54:35,550 --> 00:54:37,170
Speaker 1: a crush for us.

1164
00:54:37,370 --> 00:54:39,489
Speaker 4: That's a good comparison.

1165
00:54:39,630 --> 00:54:42,920
Speaker 1: Yeah, so you see what I'm saying. Sister Nancy, she's

1166
00:54:43,180 --> 00:54:49,270
Speaker 1: my female DJ. Queen Afrika. She's one of them because

1167
00:54:49,610 --> 00:54:51,730
Speaker 1: I know her from she was coming up and before

1168
00:54:51,790 --> 00:54:54,569
Speaker 1: she becomes an artist that she is. I love her

1169
00:54:54,670 --> 00:54:57,410
Speaker 1: for her work ethics and I love her for her

1170
00:54:57,450 --> 00:54:59,569
Speaker 1: strength and I love her for the strongness that she

1171
00:54:59,630 --> 00:55:02,860
Speaker 1: has as an artist. I respect her as a stage performer.

1172
00:55:03,280 --> 00:55:04,980
Speaker 1: I respect her as a recording artist.

1173
00:55:05,660 --> 00:55:06,040
Speaker 2: Okay.

1174
00:55:06,980 --> 00:55:10,600
Speaker 1: God rest her soul, Sister Charmaine. She was the baddest

1175
00:55:10,760 --> 00:55:16,109
Speaker 1: of the artists, the female artists than before. She was

1176
00:55:16,120 --> 00:55:20,660
Speaker 1: the weakest thing. Like, But no female couldn't talk to Charlie.

1177
00:55:21,200 --> 00:55:23,940
Speaker 1: She was the wickedest thing. I respect her, God rest

1178
00:55:23,980 --> 00:55:28,120
Speaker 1: her soul, and let's get to this now. Let's get

1179
00:55:28,160 --> 00:55:28,820
Speaker 1: to Yutana.

1180
00:55:30,400 --> 00:55:30,740
Speaker 3: Okay?

1181
00:55:31,660 --> 00:55:37,150
Speaker 1: Let's get to, what's her, yeah, Sensia.

1182
00:55:38,030 --> 00:55:40,069
Speaker 2: I love her. Sensia, she's poppin' right now.

1183
00:55:40,130 --> 00:55:40,609
Speaker 1: I love Sensia.

1184
00:55:40,630 --> 00:55:43,569
Speaker 2: They love her right now. They love her right now, yes.

1185
00:55:43,670 --> 00:55:47,700
Speaker 1: I love Sensia, I love her, I love her. Sung

1186
00:55:47,739 --> 00:55:48,850
Speaker 1: together a couple songs.

1187
00:55:48,870 --> 00:55:51,109
Speaker 2: We did like two songs together. That's dope. That's dope.

1188
00:55:51,270 --> 00:55:53,810
Speaker 1: And yeah, I love her. I love her work. I

1189
00:55:53,870 --> 00:55:56,770
Speaker 1: text too and she's wicked. I really do love her.

1190
00:55:57,469 --> 00:55:57,730
Speaker 2: Yeah.

1191
00:55:58,330 --> 00:56:02,140
Speaker 1: I love Jada Kingdom because she's body lyricist. Yes.

1192
00:56:02,930 --> 00:56:03,550
Speaker 2: I love.

1193
00:56:05,420 --> 00:56:10,500
Speaker 1: Miss Moore. I love you 100%. Trust me, I love that.

1194
00:56:11,219 --> 00:56:14,940
Speaker 1: And you know, there's a few more female artists that

1195
00:56:14,980 --> 00:56:17,549
Speaker 1: I want to say but it's going to go over 10.

1196
00:56:17,550 --> 00:56:17,730
Speaker 2: So.

1197
00:56:18,510 --> 00:56:19,370
Speaker 3: No, keep going.

1198
00:56:19,390 --> 00:56:19,790
Speaker 4: We got time.

1199
00:56:19,810 --> 00:56:21,870
Speaker 2: Shout out to all the females, man. Shout out to

1200
00:56:21,969 --> 00:56:22,509
Speaker 2: all of them, man.

1201
00:56:22,530 --> 00:56:24,770
Speaker 1: Yeah, I just want to say, all the female artists,

1202
00:56:25,210 --> 00:56:28,280
Speaker 1: all female artists, I love you. There are a lot

1203
00:56:28,340 --> 00:56:31,120
Speaker 1: of artists now, body artists, she named Sita. She bought,

1204
00:56:31,140 --> 00:56:33,020
Speaker 1: she bought, she bought, she bought, she bought, she bought,

1205
00:56:33,040 --> 00:56:34,320
Speaker 1: she bought out of this world.

1206
00:56:34,440 --> 00:56:35,259
Speaker 2: Shout out to her.

1207
00:56:35,300 --> 00:56:39,620
Speaker 1: Yeah, man. She bought out of this world. She's wicked.

1208
00:56:40,360 --> 00:56:43,049
Speaker 1: And I just want to tell all the females, just

1209
00:56:43,550 --> 00:56:44,590
Speaker 1: continue to do the work.

1210
00:56:45,050 --> 00:56:45,310
Speaker 3: Mm-hmm.

1211
00:56:45,870 --> 00:56:50,029
Speaker 1: Because, We got more females now in the business than ever.

1212
00:56:50,350 --> 00:56:50,870
Speaker 4: You think so?

1213
00:56:51,210 --> 00:56:52,649
Speaker 1: Yeah, right.

1214
00:56:52,790 --> 00:56:56,360
Speaker 5: I feel like an earlier era of reggae music, it

1215
00:56:56,580 --> 00:56:58,020
Speaker 5: felt like it was more artists than.

1216
00:56:57,920 --> 00:56:58,520
Speaker 3: There is now.

1217
00:56:58,820 --> 00:57:00,540
Speaker 1: No, talk about female artists.

1218
00:57:00,700 --> 00:57:01,360
Speaker 3: Oh, just female.

1219
00:57:01,500 --> 00:57:02,480
Speaker 1: Yeah, like female artists.

1220
00:57:02,500 --> 00:57:05,420
Speaker 6: There's a whole lot of female artists now.

1221
00:57:05,500 --> 00:57:09,410
Speaker 1: One time you have Alty and Donna. You have Oregon.

1222
00:57:10,770 --> 00:57:18,419
Speaker 1: You have Sophia and you have No, you can't count

1223
00:57:18,440 --> 00:57:19,620
Speaker 1: the female artists one time.

1224
00:57:20,240 --> 00:57:20,560
Speaker 2: Okay.

1225
00:57:20,760 --> 00:57:21,580
Speaker 1: Nowadays, after today.

1226
00:57:21,620 --> 00:57:23,280
Speaker 2: There was so many now.

1227
00:57:23,320 --> 00:57:26,090
Speaker 1: You got more than 25 female artists that is mashing

1228
00:57:26,130 --> 00:57:26,990
Speaker 1: up the place right now.

1229
00:57:27,010 --> 00:57:27,770
Speaker 2: For real, yes.

1230
00:57:29,490 --> 00:57:29,890
Speaker 1: Spice.

1231
00:57:31,410 --> 00:57:32,730
Speaker 2: Yeah. Killing shit right now.

1232
00:57:32,770 --> 00:57:38,430
Speaker 1: She's wicked. Yeah, she's wicked. She's not my favorite female artist,

1233
00:57:39,070 --> 00:57:44,650
Speaker 1: but Gracie is my artist. Spice. She's not my favorite.

1234
00:57:44,670 --> 00:57:47,670
Speaker 1: My favorite artist is Lady Sark. I just told you that.

1235
00:57:48,670 --> 00:57:52,430
Speaker 1: But I love Spice. Spice is wicked. I love her

1236
00:57:52,470 --> 00:57:55,340
Speaker 1: performance and I love a few songs that she sing.

1237
00:57:56,080 --> 00:57:56,700
Speaker 1: And yeah.

1238
00:57:56,880 --> 00:57:58,840
Speaker 2: And she know how to promote. She keep in tone

1239
00:57:58,860 --> 00:58:02,260
Speaker 2: with the social media nowadays and everything. She know how

1240
00:58:02,280 --> 00:58:03,330
Speaker 2: to market herself right now, too.

1241
00:58:03,340 --> 00:58:05,280
Speaker 4: To me, you know, it's always the music. Like, I

1242
00:58:05,300 --> 00:58:07,840
Speaker 4: remember the song, I forget, cool forget, cool forget. Sing

1243
00:58:07,860 --> 00:58:08,940
Speaker 4: that again.

1244
00:58:08,980 --> 00:58:11,980
Speaker 1: You're talking about Shelly Turner.

1245
00:58:12,060 --> 00:58:13,440
Speaker 3: So I just, I be remembering.

1246
00:58:13,460 --> 00:58:16,070
Speaker 1: No, Shelly Turner is wicked. Shelly Turner is wicked. Shelly

1247
00:58:16,090 --> 00:58:16,510
Speaker 1: Turner is wicked.

1248
00:58:16,530 --> 00:58:18,120
Speaker 4: So that's how long the music stayed on.

1249
00:58:18,140 --> 00:58:21,810
Speaker 1: But you see, Shelly Turner is from New York.

1250
00:58:22,430 --> 00:58:22,670
Speaker 2: Oh, good.

1251
00:58:23,530 --> 00:58:26,090
Speaker 1: And not because she's from New York, she's not supposed

1252
00:58:26,110 --> 00:58:26,930
Speaker 1: to get respected.

1253
00:58:26,950 --> 00:58:30,750
Speaker 2: It sounds like that's what you're about to say.

1254
00:58:30,770 --> 00:58:33,530
Speaker 1: No, no, I did not say that. I don't want

1255
00:58:33,570 --> 00:58:38,780
Speaker 1: nobody to say that. But I'm Jamaican. Do you get

1256
00:58:38,800 --> 00:58:41,160
Speaker 1: what I'm saying? Shelly Tenday is Jamaican, but I know

1257
00:58:41,200 --> 00:58:41,940
Speaker 1: her from New York.

1258
00:58:42,300 --> 00:58:42,540
Speaker 2: What?

1259
00:58:42,820 --> 00:58:48,430
Speaker 1: So I have her as a foreign artist. Do you understand?

1260
00:58:48,450 --> 00:58:49,150
Speaker 2: She's a foreign artist.

1261
00:58:49,170 --> 00:58:51,490
Speaker 1: Yeah, as a Jamaican, we have her as a foreign artist.

1262
00:58:51,570 --> 00:58:52,050
Speaker 2: Okay, I got you.

1263
00:58:52,090 --> 00:58:54,190
Speaker 1: So every time she come to Jamaica, she come for visit.

1264
00:58:54,760 --> 00:58:57,540
Speaker 1: But she make some bad song and she's a bad, bad, bad,

1265
00:58:57,680 --> 00:58:58,340
Speaker 1: bad DJ.

1266
00:58:58,480 --> 00:58:59,680
Speaker 2: Got you. Yeah.

1267
00:58:59,940 --> 00:59:03,460
Speaker 1: Don't get it twisted. Sometimes Jamaica say something, some people

1268
00:59:03,460 --> 00:59:06,630
Speaker 1: feel like, yeah, we're trying to disrespect.

1269
00:59:06,630 --> 00:59:09,240
Speaker 6: Sometimes they do sound like that.

1270
00:59:09,240 --> 00:59:11,840
Speaker 2: He said, yeah, she dope. Yeah. But she from New York.

1271
00:59:12,060 --> 00:59:16,600
Speaker 1: Yeah. But she... We don't... All right. We don't have

1272
00:59:16,620 --> 00:59:20,440
Speaker 1: the artists. We have Boston, America, Jamaican artists. You see? Shiley,

1273
00:59:20,480 --> 00:59:22,700
Speaker 1: he come from Jamaica.

1274
00:59:22,720 --> 00:59:23,640
Speaker 2: Right.

1275
00:59:23,970 --> 00:59:27,150
Speaker 1: But he grew up in New York. And he bust

1276
00:59:27,170 --> 00:59:29,670
Speaker 1: from New York. So we have him as a foreign artist.

1277
00:59:31,190 --> 00:59:34,280
Speaker 1: So when you come and say, hey, I'm an alien.

1278
00:59:34,900 --> 00:59:39,650
Speaker 1: I'm a legal alien. I'm a Jamaican in New York.

1279
00:59:40,270 --> 00:59:42,150
Speaker 1: So he's telling you that I'm Jamaican, but I'm in

1280
00:59:42,210 --> 00:59:47,640
Speaker 1: New York. He could come from Jamaica, Queens.

1281
00:59:47,880 --> 00:59:53,620
Speaker 3: Jamaica, Queens. He said Jamaica, Queens. That's my man.

1282
00:59:53,680 --> 00:59:55,700
Speaker 1: He could come from Jamaica, Queens. Got you.

1283
00:59:55,820 --> 00:59:56,380
Speaker 3: Got you.

1284
00:59:56,440 --> 00:59:58,140
Speaker 1: Well, I know him from Jamaica. I know him from

1285
00:59:58,180 --> 00:59:59,060
Speaker 1: Sound System time.

1286
00:59:59,300 --> 00:59:59,450
Speaker 2: Got you.

1287
00:59:59,480 --> 01:00:01,100
Speaker 1: So I know that he is from Jamaica.

1288
01:00:01,260 --> 01:00:01,580
Speaker 2: All right.

1289
01:00:01,600 --> 01:00:01,780
Speaker 3: Got you.

1290
01:00:01,800 --> 01:00:02,480
Speaker 1: You get what I'm saying?

1291
01:00:02,580 --> 01:00:02,920
Speaker 2: Okay.

1292
01:00:03,100 --> 01:00:03,400
Speaker 1: All right.

1293
01:00:03,520 --> 01:00:04,820
Speaker 2: He just moved out here early.

1294
01:00:04,840 --> 01:00:04,940
Speaker 6: Yeah.

1295
01:00:05,490 --> 01:00:05,990
Speaker 2: Got you.

1296
01:00:06,090 --> 01:00:06,630
Speaker 1: There you go.

1297
01:00:06,790 --> 01:00:07,970
Speaker 2: So he's still a foreigner now.

1298
01:00:07,990 --> 01:00:10,320
Speaker 1: He's still a foreigner.

1299
01:00:10,340 --> 01:00:13,160
Speaker 4: So now, so save me a murder scenario, because you

1300
01:00:13,420 --> 01:00:14,320
Speaker 4: ride around with a chef.

1301
01:00:14,360 --> 01:00:15,140
Speaker 3: We don't got a chef.

1302
01:00:15,320 --> 01:00:15,600
Speaker 2: Yeah.

1303
01:00:15,660 --> 01:00:18,300
Speaker 3: You know what I'm saying? We don't got a chef.

1304
01:00:18,340 --> 01:00:19,440
Speaker 1: You got to have a chef, though.

1305
01:00:19,500 --> 01:00:22,160
Speaker 5: So me in London, me and murders with you, we

1306
01:00:22,200 --> 01:00:24,790
Speaker 5: in London, what would you tell your chef to make

1307
01:00:24,890 --> 01:00:25,570
Speaker 5: us when we there?

1308
01:00:26,250 --> 01:00:30,310
Speaker 1: Well, it depends on what you want. Because my chef

1309
01:00:30,330 --> 01:00:33,430
Speaker 1: can make a wicked brown stew chicken, or a wicked

1310
01:00:33,490 --> 01:00:37,120
Speaker 1: brown stew fish, or a If you want some oxtail,

1311
01:00:37,160 --> 01:00:39,700
Speaker 1: you can get that too. If you want some curry goat,

1312
01:00:39,760 --> 01:00:42,780
Speaker 1: you can get it too. My chef cook anything. Not

1313
01:00:42,820 --> 01:00:47,450
Speaker 1: that I eat anything. But they will cook anything if

1314
01:00:47,510 --> 01:00:48,020
Speaker 1: you want it.

1315
01:00:48,270 --> 01:00:49,669
Speaker 4: In the morning, I can sell fish.

1316
01:00:49,730 --> 01:00:51,450
Speaker 1: Yes, the only thing you can't cook in my pot

1317
01:00:51,490 --> 01:00:51,870
Speaker 1: is pork.

1318
01:00:52,030 --> 01:00:54,710
Speaker 2: That's right, no pork. Yeah, no pork. I'm with you

1319
01:00:54,730 --> 01:00:55,130
Speaker 2: with that.

1320
01:00:55,510 --> 01:00:57,570
Speaker 1: I don't care if you're a black man and you're

1321
01:00:57,610 --> 01:00:59,800
Speaker 1: saying black men are supposed to eat pork. I don't

1322
01:00:59,840 --> 01:01:03,880
Speaker 1: believe in that philosophy. That's stupid. I don't eat pork.

1323
01:01:04,140 --> 01:01:04,610
Speaker 2: No pork, man.

1324
01:01:04,900 --> 01:01:05,820
Speaker 3: Turkey bacon there.

1325
01:01:05,980 --> 01:01:07,820
Speaker 2: He's like, are you going to do turkey bacon there?

1326
01:01:07,980 --> 01:01:09,080
Speaker 3: That's not pork.

1327
01:01:09,300 --> 01:01:10,050
Speaker 2: I know, I know.

1328
01:01:10,990 --> 01:01:14,890
Speaker 1: See, that's what choked me out. The bacon part.

1329
01:01:16,510 --> 01:01:17,690
Speaker 2: The bacon part?

1330
01:01:17,750 --> 01:01:22,370
Speaker 1: Turkey bacon. Bacon is from pork. That's all I know.

1331
01:01:22,410 --> 01:01:24,270
Speaker 2: So you're trying to say, where is this turkey bacon

1332
01:01:24,290 --> 01:01:25,990
Speaker 2: coming from? That's what I'm talking about.

1333
01:01:26,370 --> 01:01:28,660
Speaker 6: Because I only do turkey bacon, but you're trying to

1334
01:01:28,680 --> 01:01:29,540
Speaker 6: say even that's bullshit?

1335
01:01:29,560 --> 01:01:30,840
Speaker 2: You're trying to say that's bullshit, Vini?

1336
01:01:31,100 --> 01:01:34,710
Speaker 1: I'm not trying to say. I'm just saying.

1337
01:01:34,870 --> 01:01:36,410
Speaker 6: Where the fuck is the turkey bacon from?

1338
01:01:36,430 --> 01:01:38,750
Speaker 1: Where the bacon come from from the turkey?

1339
01:01:38,810 --> 01:01:43,170
Speaker 3: He's making sense, though. Turkey bacon. This is what I'm saying.

1340
01:01:43,370 --> 01:01:47,270
Speaker 1: I'm not going to do that. Because somebody, I ain't

1341
01:01:47,290 --> 01:01:49,830
Speaker 1: tell somebody that I eat turkey bacon. Somebody's going to

1342
01:01:49,870 --> 01:01:53,510
Speaker 1: take the turkey off and leave the bacon. He said,

1343
01:01:53,710 --> 01:01:57,630
Speaker 1: you say you eat bacon. That's nothing.

1344
01:01:57,650 --> 01:02:00,450
Speaker 2: We got to get to the bottom of that, man.

1345
01:02:00,470 --> 01:02:02,510
Speaker 1: See, we're going to find out where the bacon come from.

1346
01:02:03,340 --> 01:02:05,180
Speaker 1: Why isn't that turkey slice?

1347
01:02:06,320 --> 01:02:08,060
Speaker 2: You ain't lying. Something ain't right over there.

1348
01:02:08,080 --> 01:02:09,459
Speaker 4: You know what I want to ask both of y'all?

1349
01:02:09,520 --> 01:02:11,560
Speaker 5: What pisses y'all off the most when you go to

1350
01:02:11,580 --> 01:02:13,570
Speaker 5: the Jamaican food store? Because I'm going to tell you

1351
01:02:13,590 --> 01:02:16,070
Speaker 5: what gets me pissed. There's never no festival.

1352
01:02:17,750 --> 01:02:18,130
Speaker 1: That's true.

1353
01:02:18,450 --> 01:02:19,410
Speaker 2: You know what? You right.

1354
01:02:19,430 --> 01:02:20,550
Speaker 3: Why the fuck is there never no festival?

1355
01:02:20,590 --> 01:02:22,430
Speaker 1: No, because you go to the wrong restaurant.

1356
01:02:22,450 --> 01:02:23,470
Speaker 2: You at the wrong spot?

1357
01:02:23,830 --> 01:02:24,950
Speaker 1: You can't go to the wrong spot.

1358
01:02:25,010 --> 01:02:26,090
Speaker 3: You can't get no festival?

1359
01:02:26,110 --> 01:02:28,490
Speaker 1: Man, you can't go to the wrong spot and get festival.

1360
01:02:29,130 --> 01:02:30,709
Speaker 1: You got to go to the place where they sell

1361
01:02:30,730 --> 01:02:35,920
Speaker 1: fried fish. and bombings, then you get festival. You can't

1362
01:02:35,960 --> 01:02:38,390
Speaker 1: go to the place that they make rice and peas

1363
01:02:38,470 --> 01:02:41,550
Speaker 1: and everything else, you're going to get vegetable, or you're

1364
01:02:41,570 --> 01:02:43,770
Speaker 1: going to get some plantains. Boy, you ain't going to

1365
01:02:43,790 --> 01:02:48,200
Speaker 1: get no? Thank you. You got to go to the

1366
01:02:48,240 --> 01:02:48,680
Speaker 1: right place.

1367
01:02:48,720 --> 01:02:50,340
Speaker 4: That's the only thing that get me tight, bro.

1368
01:02:50,580 --> 01:02:52,620
Speaker 6: It was a song, right, when I was in third grade,

1369
01:02:52,640 --> 01:02:54,200
Speaker 6: a kid used to sing a lot. I was telling

1370
01:02:54,220 --> 01:02:56,700
Speaker 6: my man that really I fell in love with Jamaican music.

1371
01:02:56,840 --> 01:03:01,930
Speaker 6: Something like, police can't kick Police can't come. Police can't

1372
01:03:01,970 --> 01:03:04,930
Speaker 6: throw you in the lockup. I'm going to tell you

1373
01:03:04,950 --> 01:03:08,710
Speaker 6: what police can't do. Let's see a foreign house here,

1374
01:03:08,770 --> 01:03:09,550
Speaker 6: original Jamaican.

1375
01:03:09,650 --> 01:03:12,080
Speaker 1: I am Constable Brown. They call me boy blue.

1376
01:03:12,140 --> 01:03:15,860
Speaker 6: Yes, I make a warrant to arrest you.

1377
01:03:15,900 --> 01:03:17,000
Speaker 2: Make a black and.

1378
01:03:16,860 --> 01:03:17,600
Speaker 3: Blue, yes.

1379
01:03:18,220 --> 01:03:22,300
Speaker 1: I got sure what police can't do. And that song

1380
01:03:22,380 --> 01:03:25,700
Speaker 1: is a counteraction. What do you mean? Yeah, it was

1381
01:03:25,740 --> 01:03:29,240
Speaker 1: a counteraction for, what is his name again? Echo Minor song.

1382
01:03:30,290 --> 01:03:33,300
Speaker 1: What the hell the police can do? What the hell

1383
01:03:33,340 --> 01:03:36,840
Speaker 1: the police can do? Get after me, feed me, close you.

1384
01:03:37,220 --> 01:03:41,590
Speaker 1: Give you everything you have to comfort you. It was

1385
01:03:41,630 --> 01:03:42,670
Speaker 1: a counteraction to that.

1386
01:03:43,190 --> 01:03:44,170
Speaker 3: Oh, okay, got you.

1387
01:03:44,190 --> 01:03:46,870
Speaker 1: Because he turned on me until it was black and blue,

1388
01:03:46,930 --> 01:03:49,110
Speaker 1: and she called the police. Oh, okay, that was a

1389
01:03:49,130 --> 01:03:50,870
Speaker 1: real story. Yes, and I said, what the hell the

1390
01:03:50,910 --> 01:03:53,570
Speaker 1: police can do? So I love when they come back

1391
01:03:53,650 --> 01:03:55,610
Speaker 1: and say, I'll go show what police can do. Police

1392
01:03:55,630 --> 01:03:58,150
Speaker 1: can do. I am concerned, bro, they've called me boy, bro.

1393
01:03:58,330 --> 01:04:00,510
Speaker 1: I have you, I want to arrest you.

1394
01:04:01,150 --> 01:04:02,130
Speaker 2: To arrest you.

1395
01:04:02,170 --> 01:04:02,630
Speaker 1: Yes, yes.

1396
01:04:02,750 --> 01:04:06,430
Speaker 6: Police can kick, police can cough, police can throw you.

1397
01:04:06,370 --> 01:04:06,770
Speaker 2: In the locker.

1398
01:04:06,790 --> 01:04:09,800
Speaker 1: You know the wickedest thing? I'm just remembering. You see

1399
01:04:09,820 --> 01:04:16,220
Speaker 1: that rhythm? The same rhythm that I do. That's the

1400
01:04:17,180 --> 01:04:21,720
Speaker 1: first time that rhythm making now. I'm just remembering it.

1401
01:04:21,740 --> 01:04:23,700
Speaker 1: I am concept. The dude got the whole.

1402
01:04:23,740 --> 01:04:24,660
Speaker 2: Yeah, that's.

1403
01:04:24,680 --> 01:04:24,919
Speaker 1: Okay.

1404
01:04:35,150 --> 01:04:39,070
Speaker 2: He said, I think I done thiefed a man's song, man.

1405
01:04:40,870 --> 01:04:45,090
Speaker 1: I'm just remembering that. That's where the bass line come from.

1406
01:04:45,410 --> 01:04:45,890
Speaker 2: Look at that.

1407
01:04:45,950 --> 01:04:48,370
Speaker 5: And that's why I say, that's why it's so dope

1408
01:04:48,410 --> 01:04:50,990
Speaker 5: because it's like, it's a part of rap culture.

1409
01:04:51,030 --> 01:04:52,390
Speaker 3: Like, rest in peace Biggie.

1410
01:04:52,430 --> 01:04:54,930
Speaker 5: They had, you know, Jamaican music in their songs.

1411
01:04:54,950 --> 01:04:56,040
Speaker 2: It's definitely part of the culture.

1412
01:04:56,060 --> 01:04:59,180
Speaker 5: Snoop, when you have a Snoop album in his songs.

1413
01:04:59,300 --> 01:05:01,840
Speaker 5: And then when you really think about it, like, Like,

1414
01:05:01,880 --> 01:05:05,040
Speaker 5: songs like Rikers Island. Before I even knew what Rikers

1415
01:05:05,140 --> 01:05:07,980
Speaker 5: Island was, I was hearing, you know what I'm saying,

1416
01:05:08,040 --> 01:05:09,380
Speaker 5: Rikers Island.

1417
01:05:09,660 --> 01:05:10,800
Speaker 4: Until I went to Rikers.

1418
01:05:10,880 --> 01:05:13,860
Speaker 3: I knew what it was, you know what I'm saying?

1419
01:05:14,060 --> 01:05:16,840
Speaker 3: I wasn't on Rikers when that came out.

1420
01:05:17,300 --> 01:05:19,510
Speaker 4: But it's a part of the, you know, the culture.

1421
01:05:19,530 --> 01:05:22,590
Speaker 3: The culture, not for real. The culture is good.

1422
01:05:22,910 --> 01:05:23,350
Speaker 2: Real talk.

1423
01:05:23,370 --> 01:05:24,170
Speaker 1: That's crazy.

1424
01:05:24,190 --> 01:05:25,790
Speaker 3: That's what I'm.

1425
01:05:27,670 --> 01:05:30,410
Speaker 1: Saying.

1426
01:05:30,430 --> 01:05:31,970
Speaker 3: That's crazy.

1427
01:05:32,550 --> 01:05:34,860
Speaker 1: Yes, he was in a party.

1428
01:05:34,880 --> 01:05:37,060
Speaker 4: And then later on, you think about that when you

1429
01:05:37,080 --> 01:05:37,959
Speaker 4: hit Rikers.

1430
01:05:38,060 --> 01:05:41,100
Speaker 1: If you don't know, now you know, nigga.

1431
01:05:41,200 --> 01:05:45,860
Speaker 2: Yeah. Real talk.

1432
01:05:45,940 --> 01:05:49,950
Speaker 1: That's music. That's music for you. And, you know, nothing

1433
01:05:49,990 --> 01:05:51,810
Speaker 1: going to change. Nothing going to change the vibe of

1434
01:05:51,830 --> 01:05:56,650
Speaker 1: the music. The duration music. What I don't like in

1435
01:05:56,690 --> 01:06:02,240
Speaker 1: music now is clashes. Because the clashes is phone in

1436
01:06:02,280 --> 01:06:07,360
Speaker 1: the head. These brothers are clashing in the phone.

1437
01:06:08,890 --> 01:06:09,950
Speaker 2: There's no more link-ups.

1438
01:06:10,030 --> 01:06:11,370
Speaker 1: There's no more face-to-face.

1439
01:06:11,390 --> 01:06:13,760
Speaker 2: Yeah, there's no more in-person. Everything is B.A. beefing over

1440
01:06:13,780 --> 01:06:15,020
Speaker 2: the phone. Beefing over the phone, yeah.

1441
01:06:15,040 --> 01:06:15,580
Speaker 1: I know what you mean.

1442
01:06:15,660 --> 01:06:16,900
Speaker 2: I know what you mean.

1443
01:06:17,000 --> 01:06:18,980
Speaker 1: A man singing a song, an X-Men singer song. Man

1444
01:06:19,000 --> 01:06:22,200
Speaker 1: singer say, the new song will come out. They're a

1445
01:06:22,200 --> 01:06:26,040
Speaker 1: stupid clash. Because if you got five songs out together,

1446
01:06:26,540 --> 01:06:30,510
Speaker 1: you're supposed to meet on the stage together. Get together

1447
01:06:30,530 --> 01:06:31,280
Speaker 1: and keep a show.

1448
01:06:31,470 --> 01:06:31,770
Speaker 2: Yes.

1449
01:06:32,050 --> 01:06:33,990
Speaker 1: Because people is listening to those songs.

1450
01:06:34,190 --> 01:06:34,350
Speaker 2: Yes.

1451
01:06:34,370 --> 01:06:36,960
Speaker 1: And they want to see you clashing. Because these are

1452
01:06:36,980 --> 01:06:39,040
Speaker 1: some artists that people are listening to and they love.

1453
01:06:41,100 --> 01:06:46,480
Speaker 1: You got to make a move, dog. Keep the culture alive.

1454
01:06:47,110 --> 01:06:47,360
Speaker 3: Yes.

1455
01:06:47,720 --> 01:06:48,110
Speaker 2: Definitely.

1456
01:06:48,180 --> 01:06:48,910
Speaker 1: Stop killing it.

1457
01:06:49,950 --> 01:06:50,730
Speaker 2: Definitely, man.

1458
01:06:50,750 --> 01:06:52,910
Speaker 1: Because you're going to die before the culture. Because the

1459
01:06:52,930 --> 01:06:54,050
Speaker 1: culture is bigger than you are.

1460
01:06:54,850 --> 01:06:55,150
Speaker 2: Crazy.

1461
01:06:55,470 --> 01:06:55,709
Speaker 3: Yeah.

1462
01:06:55,810 --> 01:06:58,350
Speaker 1: So, please, keep it alive. So, why you were singing

1463
01:06:58,370 --> 01:07:00,450
Speaker 1: a song about him and he's singing a song about you.

1464
01:07:05,570 --> 01:07:07,030
Speaker 1: I still not kick him nine feet.

1465
01:07:07,510 --> 01:07:12,510
Speaker 6: That don't make much sense.

1466
01:07:12,550 --> 01:07:15,710
Speaker 1: That don't make much sense to me. That's why, you see,

1467
01:07:16,010 --> 01:07:19,260
Speaker 1: I just stop because people want to sing song and

1468
01:07:19,300 --> 01:07:21,080
Speaker 1: sing song with me and sing song and sing song

1469
01:07:21,100 --> 01:07:23,700
Speaker 1: with me. I don't play them games. I will come

1470
01:07:23,740 --> 01:07:27,280
Speaker 1: and look for you where you at. I will drive

1471
01:07:27,340 --> 01:07:30,570
Speaker 1: up on you. I will walk up on you. And

1472
01:07:30,610 --> 01:07:33,890
Speaker 1: I will ride up on you. Because I need to

1473
01:07:33,950 --> 01:07:36,610
Speaker 1: see you face to face to make you know that

1474
01:07:37,530 --> 01:07:41,930
Speaker 1: I deal with lyrics to lyrics, microphone to microphone, stage

1475
01:07:41,950 --> 01:07:44,870
Speaker 1: to stage. And this is what I'm talking about. It's

1476
01:07:44,890 --> 01:07:47,880
Speaker 1: not about badness or who's badder than who. Because music

1477
01:07:47,930 --> 01:07:49,900
Speaker 1: is not about badness and who can kill who and

1478
01:07:49,920 --> 01:07:54,020
Speaker 1: who can shoot who. It's all about lyrics to lyrics,

1479
01:07:54,540 --> 01:07:58,840
Speaker 1: mic to mic. And I believe in that. And that's

1480
01:07:58,860 --> 01:08:01,000
Speaker 1: where I'm coming from. And I don't believe that you

1481
01:08:01,020 --> 01:08:07,950
Speaker 1: should change the whole entire culture because You can. Don't

1482
01:08:07,970 --> 01:08:09,440
Speaker 1: do it. Please.

1483
01:08:09,700 --> 01:08:10,100
Speaker 2: Stop.

1484
01:08:11,200 --> 01:08:15,380
Speaker 5: Y'all heard that from the living legend Beanie Man. It's

1485
01:08:15,400 --> 01:08:19,320
Speaker 5: the Real Report Show. Make sure y'all like, share, and subscribe.

1486
01:08:19,560 --> 01:08:20,960
Speaker 5: Nothing but legends coming up here.

1487
01:08:21,000 --> 01:08:21,860
Speaker 4: Make some noise, y'all.

1488
01:08:21,880 --> 01:08:22,780
Speaker 2: You know the vibes.

1489
01:08:23,320 --> 01:08:23,840
Speaker 1: Legend.

1490
01:08:24,080 --> 01:08:24,660
Speaker 2: Legend.

1491
01:08:24,970 --> 01:08:27,290
Speaker 3: Hold up.

1492
01:08:27,330 --> 01:08:29,350
Speaker 2: We got gifts. We got some gifts for the legend.

1493
01:08:29,390 --> 01:08:29,849
Speaker 3: Hold up.

1494
01:08:30,250 --> 01:08:30,510
Speaker 1: Okay.

1495
01:08:30,860 --> 01:08:32,599
Speaker 4: Shout out to the Unit Dispo.

1496
01:08:32,620 --> 01:08:34,850
Speaker 2: We got a dispensary, though. This is straight from the

1497
01:08:34,990 --> 01:08:35,769
Speaker 2: Unit Dispo.

1498
01:08:35,830 --> 01:08:37,030
Speaker 4: That's a gift.

1499
01:08:37,050 --> 01:08:43,430
Speaker 2: Definitely, man. Yeah, the Unit Dispo. 24601 Jericho Turnpike.

1500
01:08:44,550 --> 01:08:45,429
Speaker 4: The Unit Dispo.

1501
01:08:45,450 --> 01:08:48,549
Speaker 2: We come with some gifts. Yes, sir.

1502
01:08:48,610 --> 01:08:49,670
Speaker 3: Yes, sir.

1503
01:08:49,710 --> 01:08:53,689
Speaker 4: Thanks for being on the show, man. Make some noise, y'all.

1504
01:08:54,130 --> 01:08:56,410
Speaker 2: Hold up, y'all. We got an album out right now

1505
01:08:56,430 --> 01:08:57,790
Speaker 2: that we need y'all to go get.

1506
01:08:58,170 --> 01:08:58,670
Speaker 1: Eminence.

1507
01:08:58,910 --> 01:08:59,750
Speaker 2: Go get it now.

1508
01:09:00,180 --> 01:09:00,440
Speaker 6: Now.

1509
01:09:00,840 --> 01:09:02,580
Speaker 2: Go get that now.

1510
01:09:03,360 --> 01:09:03,799
Speaker 3: Legend.

1511
01:09:03,900 --> 01:09:06,960
Speaker 2: Dancehall Legend.

1512
01:09:07,180 --> 01:09:11,080
Speaker 6: And we need the reggaeton artists to start paying some

1513
01:09:11,100 --> 01:09:12,700
Speaker 6: homage to the reggaeton artists.

1514
01:09:12,720 --> 01:09:14,880
Speaker 2: Let's go, y'all. Let's bring it all back. Let's bring

1515
01:09:14,920 --> 01:09:16,849
Speaker 2: it together, baby. Let's bring it together. Woo!