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Speaker 1: Biggie was twenty four when he passed, Punk was twenty

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Speaker 1: five when he passed. Given what they were doing, how

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Speaker 1: big do you think they would have been? Let's just

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Speaker 1: say they live another ten years, another fifteen, other twenty years.

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Speaker 2: Pop would have probably been the Michael Jackson of hip

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Speaker 2: hop All my.

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Speaker 3: Life, grinding all my life, sacrid fights, hustle, pad to Pricing, right,

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Speaker 3: one slice, gottor bron geyst Swatt all my life. I'd

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Speaker 3: be grinding all my life, all my life, grinding all

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Speaker 3: my life, sacrid fights, hustle, bat to Bryson, one slice,

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Speaker 3: doctor Bronic Geist Swatch all my life. I've been grinding

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Speaker 3: all my life.

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Speaker 1: Hello, Welcome to another episode of Club Sha Shak. I

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Speaker 1: am your host, Shannon Sharp. I'm also the propriud of

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Speaker 1: Club Sha Shak. Stopping by for conversation and a drink Today.

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Speaker 1: Is an og original, a master wordsmith, a hardcore word assassin,

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Speaker 1: the Grammy Award winning artist, one of the greatest rappers

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Speaker 1: of all time. He helped shake the way hip hop

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Speaker 1: is viewed worldwide. He defied the term lyricists. He sold

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Speaker 1: over five hundred thousand albums before CD streams and social media.

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Speaker 1: A pioneer from the Golden era. He transformed live performance.

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Speaker 1: He revolutionized hip hop fashion. A legendary entertainer, actor, songwriter, producer,

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Speaker 1: and a model. One of the most influential and skilled

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Speaker 1: respected mcs ever, he's been.

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Speaker 4: Active for over forty years. An icon, a Hall of Famer,

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Speaker 4: Royalty Brooklyn Barn.

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Speaker 1: A key to the borough here. He is one of

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Speaker 1: the greatest lyricists of all time. Big Daddy came, came.

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Speaker 4: My brother.

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Speaker 1: When you hear me read off those accolades, after being

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Speaker 1: in the business for forty years, what are you thinking?

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Speaker 1: What am I thinking? I guess the main thing to

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Speaker 1: come to mind is it's only been thirty seven.

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Speaker 4: I gave you.

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Speaker 1: I added years to that thing. Yeah yeah, but it's

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Speaker 1: all good. I take it, man, I take it.

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Speaker 2: I mean, you know, this is just something that you know,

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Speaker 2: I started doing as a kid and realizing that I

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Speaker 2: have a voice and people want to hear it. I've

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Speaker 2: tried to do the right thing with it and you know,

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Speaker 2: promote the right message. So you know, all these, you know,

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Speaker 2: decades later, to have people you know, you know, giving

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Speaker 2: you accolades and flowers and things of that nature, I

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Speaker 2: think it's a blessing man.

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Speaker 4: You know.

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Speaker 1: When you got started, I mean in the very because

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Speaker 1: this thing goes back what.

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Speaker 4: DJ Hurt.

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Speaker 1: Cool Hurt, DJ Cool Hurt in the Bronx and you

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Speaker 1: got malely mail.

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Speaker 4: They started this thing. So that was is that when

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Speaker 4: you got hooked because proud of that, there was nothing else.

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Speaker 4: So how did you like, you know what, this is

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Speaker 4: what I want to do?

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Speaker 2: Well, you know back when Hurt and Africa Bambada and

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Speaker 2: the Grandmaster Flash No them started, you know, I was

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Speaker 2: probably about five years old, right, you know, so I

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Speaker 2: was really you know, playing with toys and things of

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Speaker 2: that nature. It wasn't until nineteen seventy seven I heard

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Speaker 2: DJ in Brooklyn by the name of mess Okay and

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Speaker 2: he threw on love is the Message by MFSB. And

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Speaker 2: I've seen the craziest thing in the world. I just

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Speaker 2: seen all the mature teens and adults line up by

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Speaker 2: the DJ booth Okay, and they all this rhyme they're

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Speaker 2: getting on the mic, you know, Dip Dip Die socialize

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Speaker 2: at age one and I had never seen nothing like

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Speaker 2: that before. That was seventy seven, so hip hop had

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Speaker 2: already been going on in the Bronx and like that.

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Speaker 2: But this was in Brooklyn, my first time really seeing it,

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Speaker 2: and I was like, all right, I don't know what

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Speaker 2: that is, but I want to be a part.

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Speaker 4: I want to be a part of it. Tell you right, yeah, yeah, kin, how.

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Speaker 1: Did you how did you find your voice? Because how

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Speaker 1: did you find like, Okay, this is kind of the

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Speaker 1: message that I'm going to deliver because you great with

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Speaker 1: wordplay and you know UKRS one, we're going to get

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Speaker 1: through the backdrop of that. But how did you decide

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Speaker 1: to say, you know what, this is kind of the

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Speaker 1: direction I want to go.

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Speaker 4: Well, y'all are you're talking about lyrically? Yes?

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Speaker 2: Well, you know, I'm from Brooklyn, so as a kid,

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Speaker 2: you know, it's nothing like like, yeah, you want to

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Speaker 2: play outside and have fun. But you know when you

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Speaker 2: see a coop de Ville El Dorado or a deuce

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Speaker 2: and a quarter pull up, you know, and one of

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Speaker 2: the pimps and the hustlers get out, you know you

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Speaker 2: rush over there, right because you know they gonna give

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Speaker 2: you like a dub, They're gonna give you like a

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Speaker 2: twenty spot just to run to the store to either

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Speaker 2: get them a bill or lucy and tell you to

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Speaker 2: keep the change.

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Speaker 4: You know, so you're around.

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Speaker 1: That type of element and then you're hearing them talk

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Speaker 1: and the way they talk, and everybody just fascinated. But

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Speaker 1: oh and if they standing there, because I remember one

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Speaker 1: of my first rhymes.

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Speaker 2: I used something I heard one of the older hustler

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Speaker 2: dude say, you know one of my first rhymes, I said,

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Speaker 2: I know the tricks, I know the trades, and I'm

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Speaker 2: sharp as a motherfucking raisor blade. That was something older dudes,

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Speaker 2: you know what I'm saying. And I'm a kid putting

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Speaker 2: that in a rhyme, you for see. So it was

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Speaker 2: like that was I'm like, you know, I just want

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Speaker 2: to have that slick talk.

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Speaker 4: You know. Yeah, Brooklyn, you mentioned Brooklyn. What is it

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Speaker 4: the water? What is it in the soil? Yourself?

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Speaker 1: Biggie Jay z, Kim, Foxy, Most Death, Bust, the foul

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Speaker 1: pop smoke, Joey Badass? What is it about that Burrow

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Speaker 1: that's being able to produce this?

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Speaker 2: I think that that quality of uniqueness, you know, like,

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Speaker 2: I just think that Brooklyn just got their own way

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Speaker 2: of doing things, right. We have our own way of

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Speaker 2: doing things, you know. I just, you know, I think

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Speaker 2: that that plays a major part. You know from what

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Speaker 2: we seen in the streets in Brooklyn and how it

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Speaker 2: impacted us in a way where this is what we

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Speaker 2: want to talk about.

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Speaker 4: Okay, you know, were you the first mainstream from Brooklyn?

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Speaker 4: No Houdini? Oh, okay, Whodini?

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Speaker 1: First mainstream, first hip hop, sex symbols Oudini? I remember

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Speaker 1: in nineteen eighty six, I saw Houdini, I saw run DMC,

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Speaker 1: I saw the Fat Boys, I saw.

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Speaker 4: Listen.

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Speaker 1: I saw about five groups at Savannah Civic Center. I'll

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Speaker 1: never forget nineteen eighty six, and it was unbelievable. And

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Speaker 1: now that you mentioned, I was like, I did not

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Speaker 1: know they were from Brooklyn.

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Speaker 4: Yeah, who Deni's from Brooklyn? And Fat Boys? Yeah?

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Speaker 2: I think if I'm correct, I believe the first MC

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Speaker 2: to have a recording deal from Brooklyn was Jimmy Spicer.

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Speaker 2: He had a song called super Rhymes and Dollar Bill y'all.

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Speaker 2: But who DENI were like the first.

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Speaker 1: The impact, knowing what you know now is that when

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Speaker 1: you look back at it, and you didn't know that

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Speaker 1: there were gonna be so many more to come after you.

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Speaker 1: But did you feel like an obligation like, Okay, I'm

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Speaker 1: from Brooklyn, you know who Deini? But the first to

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Speaker 1: like get on their individually and do your thing. Did

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Speaker 1: you feel like you had to start this thing off,

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Speaker 1: hold it up because they were gonna be coming after you?

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Speaker 4: Or did you not think that bar in advance?

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Speaker 2: I felt like I wanted to try to help other

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Speaker 2: talented artists, okay, get established. That's what I felt, because

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Speaker 2: that's how I got on, you know. I mean I

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Speaker 2: started rapping in eighty two. I was making demos and

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Speaker 2: things of that nature, and no one was checking for me.

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Speaker 2: I couldn't get a record deal to save my life.

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Speaker 2: Then in eighty four I met Biz Marquis did did

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Speaker 2: that where y'all started for the Jews Crew? Well Jews

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Speaker 2: Crew was before before Biz. That was with mister Magic.

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Speaker 2: You're right, yeah, mister Magic. You know, Fly tied on them.

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Speaker 4: You know.

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Speaker 1: Rock Sante Chante was the was it? Yeah, Rox Sanne

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Speaker 1: Chante was the first artist. Then Shan Craig g and

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Speaker 1: then Biz, I believe, but Bizz I met him before

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Speaker 1: he even had a deal, and I met him. We battled, Yeah,

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Speaker 1: we battled, and after the battle, you know, he says, Yo,

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Speaker 1: you're dope.

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Speaker 4: You should get down with me.

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Speaker 2: You know, I do a lot of shows and make

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Speaker 2: a little bit of money, and I promise you I'm

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Speaker 2: gonna get your record deal.

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Speaker 1: So that's who believed in me. That's who took me,

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Speaker 1: put me on the stage for the first time. Okay,

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Speaker 1: So I mean with everything that biz there for me.

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Speaker 1: You know, once I, you know, got out in the public,

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Speaker 1: I wanted to try to do that for other artists.

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Speaker 1: So you are each one, teach one and someone gave

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Speaker 1: you an opportunity. So now naturally you feel it's canes

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Speaker 1: job to give back like somebody gave to me.

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Speaker 4: Everybody don't look that way.

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Speaker 1: A lot of times people get put on realizing someone

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Speaker 1: helped cut them on. Now I'm gonna pull the ladder

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Speaker 1: up because I don't want nobody else to get on.

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Speaker 2: Yeah, yeah, yeah, there's a lot of selfish thinking. I've

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Speaker 2: seen it, I've experienced it, but you know that's not

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Speaker 2: my style, right, you know.

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Speaker 4: Yeah.

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Speaker 1: This episode is brought to you by Prize Picks. You

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Speaker 1: lineup Prize Fix. It's good to be right. You were

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Speaker 1: biggest favorite rapper. Did you you met Biggie?

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Speaker 2: Yeah, yeah, I've been around big twice. Okay, but we

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Speaker 2: had three phone calls, you know. It was always funny,

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Speaker 2: you know too, because we didn't have a direct connection.

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Speaker 2: It was my DJ, mister C who would call and

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Speaker 2: put us on the phone together, and when you know,

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Speaker 2: when he clicked big again his first thing, he said,

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Speaker 2: the real big.

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Speaker 4: That's the first thing, and we just laugh and whatnot.

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Speaker 4: Then he tell me what's on his mind. You know.

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Speaker 2: But you know, but I mean, he was someone that

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Speaker 2: I had so much respect for man, and I thought

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Speaker 2: was super talented because I've seen a lot of MC's,

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Speaker 2: you know, develop, you know, their style and become better

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Speaker 2: throughout the years. I saw Biggie do this in like

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Speaker 2: a year, yes, and like one year, I've seen him

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Speaker 2: go from here to here lyrically, you know what I'm saying.

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Speaker 2: So I was like, had he lived, I think he

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Speaker 2: would have probably been the greatest MC ever. Wow, did

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Speaker 2: you know that he had that ability? Because like you said,

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Speaker 2: it wasn't it wasn't like he had a five year

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Speaker 2: or ten year career.

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Speaker 4: It like he blew up and then it was gone

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Speaker 4: just like that.

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Speaker 2: I mean, it's the type of thing where back then

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Speaker 2: when when Mr C was trying to get him a deal,

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Speaker 2: she would be like, yo, he don't remind you you nah,

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Speaker 2: And then he came out with I believe partying bullshit.

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Speaker 2: You know, you're rocking and he's like yeah, and he's

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Speaker 2: asked me again, You're like, yo, you don't because see,

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Speaker 2: Biggie talked about stuff I didn't talk.

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Speaker 4: About, correct, you know what I'm saying. So I'm like, nah,

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Speaker 4: I don't see it.

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Speaker 2: Then when he came out with the remix for One

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Speaker 2: More Chance, you know, and when I'm like, however, I

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Speaker 2: stayed coogie down to the slocks, I called see that time?

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Speaker 4: All right, my bad? I see it. I see it.

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Speaker 4: I was like yeah.

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Speaker 1: I was like yeah. I was like, yeah, he's a monster.

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Speaker 1: Bigg invited you to one of Tupac shows. How did

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Speaker 1: you and Tupac get?

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Speaker 2: I was performing in Madison Square, Guardens for the Budweiser

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Speaker 2: Superfest and Biggie wanted to come, and I was like yeah,

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Speaker 2: you know. And Biggie was hanging with Park because he

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Speaker 2: was in New York filming Above the Rim okay, so

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Speaker 2: he asked, could Pop come? And I was like absolutely

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Speaker 2: because I knew Park when he was dancing for Digital Underground,

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Speaker 2: you know, cause they like one. They would have opened

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Speaker 2: an act on my first tour, so I know hi

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Speaker 2: Park for that, you know, so I was like absolutely, yeah.

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Speaker 4: Bring them.

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Speaker 2: So when they brought him, I just I called them,

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Speaker 2: you know, both on stage and let them freestyle.

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Speaker 4: You know, damn yeah.

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Speaker 1: How often does that happen, that somewhat of your ilk caliber,

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Speaker 1: invite somebody on stage, y'all go ahead and freestyle here. Well,

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Speaker 1: the reason I really, I mean, I do it a lot,

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Speaker 1: But the reason I really wanted to do it that

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Speaker 1: particular night is because when I first got on, Bobby

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Speaker 1: Brown did it for me.

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Speaker 4: Oh you know yes.

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Speaker 2: Because this is when they wasn't really letting hip hop

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Speaker 2: in the garden like that.

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Speaker 4: You know.

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Speaker 2: I think maybe the last ones to beat him might

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Speaker 2: have been like run dmc lll.

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Speaker 4: You know.

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Speaker 2: So like Bobby Brown had to show, you know, his

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Speaker 2: first soul album, and he let me get on and

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Speaker 2: rock with him and perform one of my songs. So I,

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Speaker 2: you know, I here's Biggie, a new up and coming artists,

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Speaker 2: here his pop.

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Speaker 4: You know.

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Speaker 2: He filming the movie Fat Joe. Also by I ran

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Speaker 2: out of time. I couldn't let Joe on because they

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Speaker 2: was telling me five minutes left. But I was like, y'all,

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Speaker 2: come on, you know rock you know, jo Goo tell

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Speaker 2: that story. Jogo said, you had twenty five minutes left,

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Speaker 2: you know, joo Joko asser yees to that thing, so

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Speaker 2: that thing grow that.

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Speaker 4: No, listen, let me explain something to you.

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Speaker 2: Ain't nothing better than watching put Jokyo do his thing.

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Speaker 1: Jo Yo, come on, okay when when he getting in

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Speaker 1: his element? I love it, I love it all right,

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Speaker 1: love it, but I'm gonna let the world no.

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Speaker 4: Straight up.

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Speaker 2: He telling the truth when he said that he was

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Speaker 2: there and was supposed to get on that particular night

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Speaker 2: at Masison Square.

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Speaker 4: Guard and Joe telling the truth.

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Speaker 1: Because you know, people say, bad man, you was supposed

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Speaker 1: to go over with k K. What about to let

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Speaker 1: you own?

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Speaker 4: Nah? Nah? He's telling the straight up truth.

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Speaker 1: And in all honestly, it was something that you know,

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Speaker 1: really bothered me because you know, because he was a

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Speaker 1: new artist at.

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Speaker 2: That time, so that would have been a good look

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Speaker 2: for him. But they like five minutes and I still

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Speaker 2: hadn't done Woman of Kane or Ain't a Half Stevens,

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Speaker 2: So I had no.

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Speaker 4: Time, don't have no time to get them on. Were

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Speaker 4: you did you ever get in the studio with Pop?

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Speaker 4: Do you ever see Parking in the studio? We worked together?

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Speaker 4: Uh before, like a year before he passed.

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Speaker 2: Suld Knight wanted to start Death Row East right, and

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Speaker 2: you know, he invited me out. We went out, went

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Speaker 2: out to Tyson Fight, and you know, we talked about

307
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Speaker 2: working and then we left Vegas and flew right back

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Speaker 2: to LA went in the studio and I recorded a

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Speaker 2: song called Wherever You Are with Pop. I wrote a

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Speaker 2: song for Hammer called what You're Gonna Do for Me?

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Speaker 2: And Me, Pock and Hammer or three of us did

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Speaker 2: a song together called two Let Player All in the

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Speaker 2: same night.

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Speaker 4: Wow.

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Speaker 1: Yeah, sure offered you an opportunity, did he Did he

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Speaker 1: try to sign you the Depth Death Roast?

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Speaker 4: Yeah?

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Speaker 2: Yeah, why you're in the sign It was like, he

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Speaker 2: asked me, what did I want? I said, four hundred

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Speaker 2: thousand an album. I didn't because I'm checking the temperature

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Speaker 2: because at at that point in time, no one was

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Speaker 2: really trying to sign me, so I'm trying to check

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Speaker 2: the temperature in the room, you know. So I didn't

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Speaker 2: want to go hard, so I said four hundred thousand.

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Speaker 2: He was like, that's a strange number. Four hundred. Why

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Speaker 2: wouldn't you just simply say five hundred, okay, five hundred,

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Speaker 2: and he like, man, you big daddy came man.

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Speaker 4: He was like, I have to make the dog Pound.

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Speaker 1: I have to make I forgot the whether the artists

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Speaker 1: he mentioned, I have to, you know, make them. You

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Speaker 1: already an established name I would be in. Sought you

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Speaker 1: to give you less than a million, Okay, cool, and

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Speaker 1: I mean I thought we had a deal, right but

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Speaker 1: then he said, look, I don't know about your financial

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Speaker 1: status right now, but you know, if you need a

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Speaker 1: little something, I can, you know, you know, give you

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Speaker 1: a little hundred thousand right now, you know, to take

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Speaker 1: with you, you know. And then that's what made me uncomfortable.

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00:16:18,440 --> 00:16:20,320
Speaker 1: Oh yeah, yeah, you feel that you took that on

340
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Speaker 1: hundred thousand. She was gonna be indebted to this man

341
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Speaker 1: head and all of a sudden that that just.

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Speaker 2: Felt like a gangster move. And I was like, you know, like, nah,

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Speaker 2: I'm good, man, I'm good. And I didn't do it. Yeah.

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Speaker 2: Biggie was twenty four when he passed. Park was twenty

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Speaker 2: five when he passed.

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Speaker 1: Given what they were doing at the time of their

347
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Speaker 1: untimely demise, how big do you think they would have been.

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Speaker 1: Let's just say they live another ten years, another fifteen

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Speaker 1: of twenty years.

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Speaker 2: I think that Park would have probably been the Michael

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Speaker 2: Jackson of hip hop Wow, you know, because you got

352
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Speaker 2: to understand not only did women love POC, men love POC. Yes,

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Speaker 2: you know what I'm saying, men like women wanted to

354
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Speaker 2: be with Pop. Men wanted to be like POC, you know. So,

355
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Speaker 2: I mean he was a very very powerful figure.

356
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Speaker 1: You know, anytime you you you you pass away and

357
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Speaker 1: people have sightings of you, that's when you're a bad dude,

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Speaker 1: you know what I'm saying. You know, true, true, Like

359
00:17:38,080 --> 00:17:40,760
Speaker 1: people still see my swell to Michael Jackson still alive,

360
00:17:40,960 --> 00:17:42,639
Speaker 1: People still swell Elvis President's alive.

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Speaker 4: People doing that with Pac, you know, right, how much

362
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Speaker 4: do you think.

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Speaker 1: Him being something that he's not played a role because

364
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Speaker 1: a lot of people say Pop wasn't what he was

365
00:17:55,440 --> 00:17:57,840
Speaker 1: rapping about, what he was pretending to be, you know,

366
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Speaker 1: this thug life, and he had California, you tatted on him,

367
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Speaker 1: he wasn't that.

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Speaker 4: Do you think that played a role in his demise.

369
00:18:08,880 --> 00:18:14,320
Speaker 1: I think that Park had a lot of hood ways

370
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Speaker 1: in him. I think that Park was a real dude.

371
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Speaker 1: I think the Park was a good dude.

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Speaker 2: I think that the bad thing was just that he

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Speaker 2: was easily influenced. You know, I'm not gonna sit here

374
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Speaker 2: and say that he wasn't about it, He wasn't real.

375
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Speaker 2: I think that he was just easily influenced.

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Speaker 1: He was a chameleon because he get with executives be

377
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Speaker 1: it TV or music execs, and he was charming.

378
00:18:42,720 --> 00:18:43,600
Speaker 4: He was charismatic.

379
00:18:44,320 --> 00:18:46,320
Speaker 1: Now all of a sudden, he gets with people that

380
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Speaker 1: live that lifestyle. He could convince you that he's about

381
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Speaker 1: that lifestyle. But you see, you gotta understand.

382
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Speaker 2: When he was a dancer for Digital Underground, Yeah, I

383
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Speaker 2: don't know how many nights there would be where I

384
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Speaker 2: would have to sit him and it was him and

385
00:19:02,640 --> 00:19:06,800
Speaker 2: money B. Yeah, money B wasn't doing that right, Pock

386
00:19:07,280 --> 00:19:10,280
Speaker 2: and my dance is school and scrap. I'd have to

387
00:19:10,280 --> 00:19:13,159
Speaker 2: sit them down, like, Yo, why are y'all fighting at

388
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Speaker 2: an after party?

389
00:19:14,359 --> 00:19:16,240
Speaker 1: Why are y'all you know what I'm saying. So, I've

390
00:19:16,280 --> 00:19:20,960
Speaker 1: seen that side of pack before he was right. I've

391
00:19:20,960 --> 00:19:23,480
Speaker 1: seen that side. I've seen him, you know, get into

392
00:19:23,520 --> 00:19:25,840
Speaker 1: it and romp with cats, you know after a show

393
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Speaker 1: on backstage.

394
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Speaker 4: I've seen that side. What was that about? Okay?

395
00:19:29,160 --> 00:19:31,800
Speaker 1: Because you're like he's up and coming, and then he

396
00:19:31,840 --> 00:19:34,080
Speaker 1: is at an after party. He's squabbing at an after party.

397
00:19:34,119 --> 00:19:36,680
Speaker 1: Why you don't have to do that. We all did that.

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Speaker 1: Dumb shit, man, I mean, I mean, you can't just

399
00:19:42,240 --> 00:19:44,679
Speaker 1: put that on box. We all did that. You know

400
00:19:45,280 --> 00:19:47,000
Speaker 1: this thing you're going through, I mean, I mean, you

401
00:19:47,040 --> 00:19:49,040
Speaker 1: think about it. He passed it twenty five, so he

402
00:19:49,119 --> 00:19:51,560
Speaker 1: had to be what a late teenager early twenties.

403
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Speaker 4: You ain't never had a fight at the after party?

404
00:19:53,680 --> 00:19:57,840
Speaker 4: Nah nah nah No, come on, shore n I ain't

405
00:19:57,840 --> 00:19:59,040
Speaker 4: never had no fight after party.

406
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Speaker 1: Put it again, big ass dudes, nobody that They probably

407
00:20:02,440 --> 00:20:04,320
Speaker 1: ain't want that smoke, you know. So it's yeah, yeah,

408
00:20:04,440 --> 00:20:06,439
Speaker 1: let me ask you this, Okay, if you could go

409
00:20:06,480 --> 00:20:08,480
Speaker 1: back and do anything different in your career, what would

410
00:20:08,480 --> 00:20:08,720
Speaker 1: it be?

411
00:20:10,560 --> 00:20:15,639
Speaker 4: If I could do anything different? I don't know.

412
00:20:16,480 --> 00:20:18,200
Speaker 1: That's a dangerous thing to do, you know, I don't.

413
00:20:18,200 --> 00:20:20,240
Speaker 1: I don't know if I really want to. You ain't

414
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Speaker 1: trying to rewrite history.

415
00:20:21,240 --> 00:20:22,800
Speaker 4: Yeah, I don't think I want to mess up what

416
00:20:22,840 --> 00:20:25,800
Speaker 4: I have. Yeah, yeah, I don't. I don't think I

417
00:20:25,800 --> 00:20:31,320
Speaker 4: would want to do that. The money's money. I mean, look,

418
00:20:31,359 --> 00:20:34,320
Speaker 4: there was no internet, there was no streaming. There was

419
00:20:34,560 --> 00:20:34,960
Speaker 4: you were.

420
00:20:34,880 --> 00:20:41,600
Speaker 1: Selling hard copy albums and CD and CDs, so you

421
00:20:41,640 --> 00:20:45,119
Speaker 1: had to to have somebody go wait in the line

422
00:20:45,520 --> 00:20:49,360
Speaker 1: for this drop and the line be around the building.

423
00:20:50,800 --> 00:20:53,480
Speaker 4: That was a powerful thing back then. Yeah.

424
00:20:54,359 --> 00:20:58,639
Speaker 2: Now I used to love like stuff like that. Like

425
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Speaker 2: I remember, like me and Albis Sure we dropped like

426
00:21:01,280 --> 00:21:04,240
Speaker 2: around the same time. So Warner Brothers had us out

427
00:21:04,240 --> 00:21:07,520
Speaker 2: on promotional tour, and I get every day. You know,

428
00:21:07,640 --> 00:21:11,040
Speaker 2: we just did clowning and joking and having a good time.

429
00:21:11,080 --> 00:21:12,800
Speaker 2: And to like come in a record store and see

430
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Speaker 2: the line, like you said, wrapping around the corner.

431
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Speaker 4: Oh man, beautiful thing. Man.

432
00:21:18,200 --> 00:21:20,560
Speaker 1: I sit there, start acting silly and whatnot, you know,

433
00:21:20,800 --> 00:21:23,240
Speaker 1: as they start coming in, you know, me and Ire

434
00:21:23,240 --> 00:21:25,320
Speaker 1: sitting there, I'm like, all right, all the light skinned

435
00:21:25,320 --> 00:21:27,480
Speaker 1: fans on this side, dark skinned fans over here.

436
00:21:29,800 --> 00:21:34,880
Speaker 4: You know, do you think it will ever be Will

437
00:21:34,880 --> 00:21:37,680
Speaker 4: it ever be like that again? Kaine? Will music ever

438
00:21:37,720 --> 00:21:38,280
Speaker 4: said like that?

439
00:21:38,359 --> 00:21:41,320
Speaker 1: Will people ever line up to want to hear a record,

440
00:21:41,359 --> 00:21:44,840
Speaker 1: to go purchase a physical copy of a record or CD?

441
00:21:45,240 --> 00:21:47,040
Speaker 4: Will it ever be like that again?

442
00:21:47,240 --> 00:21:51,600
Speaker 1: Or we relegated to streams and other forms of receiving that.

443
00:21:54,160 --> 00:21:57,199
Speaker 2: I think that it's it's like that right now, just

444
00:21:57,359 --> 00:22:02,200
Speaker 2: not as strong. Okay, have artists that's selling vinyl for

445
00:22:02,359 --> 00:22:06,159
Speaker 2: like two hundred and fifty dollars a copy, you know,

446
00:22:06,280 --> 00:22:08,919
Speaker 2: and people are buying it. They're purchasing it, you know,

447
00:22:10,240 --> 00:22:14,639
Speaker 2: So it's happening. It does exist. But will it be

448
00:22:14,840 --> 00:22:17,880
Speaker 2: at the forefront like it was before. I doubt it

449
00:22:19,040 --> 00:22:22,560
Speaker 2: because the world has pretty much become you know, a

450
00:22:22,600 --> 00:22:25,879
Speaker 2: fast food world is fast food now, so.

451
00:22:25,760 --> 00:22:28,880
Speaker 1: It's going to be really really hard. People ain't trying

452
00:22:28,920 --> 00:22:31,359
Speaker 1: to wait on nothing came nah. I mean, hey, they

453
00:22:31,359 --> 00:22:33,399
Speaker 1: don't want to create the grocery store. They called somebody,

454
00:22:33,520 --> 00:22:36,600
Speaker 1: they called somebody the shopboard, they called uber Eve, they

455
00:22:36,680 --> 00:22:39,680
Speaker 1: called door dash, they called no, no, no, no, hold this one.

456
00:22:40,160 --> 00:22:41,800
Speaker 1: People don't even want to wait on the truth.

457
00:22:42,560 --> 00:22:43,240
Speaker 4: Wow.

458
00:22:44,480 --> 00:22:46,600
Speaker 1: It's not about, you know, getting the story right, It's

459
00:22:46,600 --> 00:22:48,240
Speaker 1: about getting the story first first.

460
00:22:49,600 --> 00:22:52,680
Speaker 4: Yeah, you know, okay, what have you learned about money?

461
00:22:54,080 --> 00:22:55,080
Speaker 4: I learned about money?

462
00:22:55,560 --> 00:22:59,920
Speaker 1: I mean, you know, for one, you know, you have

463
00:23:00,040 --> 00:23:02,960
Speaker 1: have to protect it, you have to tect protect it

464
00:23:03,440 --> 00:23:04,879
Speaker 1: and spend.

465
00:23:04,600 --> 00:23:06,320
Speaker 4: It wisely, you know.

466
00:23:07,200 --> 00:23:10,640
Speaker 1: And but how does a young man that's coming into

467
00:23:10,680 --> 00:23:13,080
Speaker 1: a large summer money coming up from the background. A

468
00:23:13,080 --> 00:23:16,840
Speaker 1: lot of us came up from in Povery's background. Maybe

469
00:23:16,880 --> 00:23:18,880
Speaker 1: it wasn't a two parent home, it was a mom

470
00:23:19,000 --> 00:23:22,640
Speaker 1: or a grandmom and you've never had and you get

471
00:23:22,680 --> 00:23:25,200
Speaker 1: this summer money and all the things that you've ever

472
00:23:25,240 --> 00:23:27,480
Speaker 1: wanted as a child or as a young man. You

473
00:23:27,520 --> 00:23:29,280
Speaker 1: get an opportunity to get it all at once. You

474
00:23:29,280 --> 00:23:31,920
Speaker 1: can get whatever you want, as much as you want.

475
00:23:32,520 --> 00:23:38,080
Speaker 1: How does one refrain from being reckless? Because when we

476
00:23:38,119 --> 00:23:40,840
Speaker 1: get money, Cane and we our we in our twenties,

477
00:23:41,240 --> 00:23:42,800
Speaker 1: we think we're gonna be getting money like this and

478
00:23:42,840 --> 00:23:44,960
Speaker 1: I before that, it's fought it fitted So.

479
00:23:45,119 --> 00:23:47,400
Speaker 4: They ain't gonna that's the mentality.

480
00:23:47,800 --> 00:23:51,359
Speaker 2: But you know, you have to understand that, you know,

481
00:23:51,880 --> 00:23:56,280
Speaker 2: there was always someone before you. Yes, you know what

482
00:23:56,320 --> 00:24:00,320
Speaker 2: I'm saying. There was a run DMC before for me.

483
00:24:00,840 --> 00:24:04,800
Speaker 2: There was a Melly Mel before me. You know, there

484
00:24:05,000 --> 00:24:09,200
Speaker 2: was a Jim Brown before you. Yes, you know what

485
00:24:09,240 --> 00:24:11,920
Speaker 2: I'm saying. So, yeah, you have to understand that was

486
00:24:11,960 --> 00:24:16,280
Speaker 2: there was someone before me, right you were.

487
00:24:16,960 --> 00:24:19,240
Speaker 1: But to see rappers what they become, They plot, they

488
00:24:19,280 --> 00:24:21,880
Speaker 1: fly private, they got I mean I.

489
00:24:21,840 --> 00:24:24,679
Speaker 4: Saw Drake Dre I was like, whoa man that? Yo?

490
00:24:24,760 --> 00:24:30,480
Speaker 4: Gotta say, I'm sixty seven that down these guys.

491
00:24:30,560 --> 00:24:34,240
Speaker 1: You know, thirty forty fifty sixty million dollars nothing for

492
00:24:34,280 --> 00:24:38,760
Speaker 1: these guys now, year, Kay probably looking back like, damn,

493
00:24:39,680 --> 00:24:41,280
Speaker 1: I'm just forty years too soon.

494
00:24:43,880 --> 00:24:48,160
Speaker 2: Well said man, well said, but you know, I am

495
00:24:48,320 --> 00:24:51,479
Speaker 2: so happy for these cats, Like you know when I

496
00:24:51,520 --> 00:24:57,439
Speaker 2: see that, you know, when I hear about Drake's success, uh,

497
00:24:57,920 --> 00:25:03,080
Speaker 2: jay Z's success, you know, I love hearing those stories

498
00:25:03,119 --> 00:25:07,719
Speaker 2: because I know how difficult, especially with jay Z. Yeah, yeah,

499
00:25:07,720 --> 00:25:09,639
Speaker 2: because this is someone who I tried to get a

500
00:25:09,640 --> 00:25:12,320
Speaker 2: deal for in the early nineties, you know what I'm saying,

501
00:25:12,840 --> 00:25:14,200
Speaker 2: and no one was receptive.

502
00:25:14,640 --> 00:25:17,240
Speaker 4: So to see this dude become a billionaire, I'm.

503
00:25:17,040 --> 00:25:21,240
Speaker 1: Like, in their face, yes, you know, I love it right,

504
00:25:21,400 --> 00:25:23,159
Speaker 1: you know, And and that goes for the rest of

505
00:25:23,200 --> 00:25:25,760
Speaker 1: them as well. You know, Kane, what is the biggest

506
00:25:25,760 --> 00:25:29,560
Speaker 1: difference with the rap when you was coming up and

507
00:25:29,920 --> 00:25:31,720
Speaker 1: moving it to the fourth front. Let's just say when

508
00:25:31,720 --> 00:25:34,919
Speaker 1: you first started and then say the first ten years

509
00:25:35,359 --> 00:25:37,040
Speaker 1: versus what you see nine the rap game.

510
00:25:37,880 --> 00:25:41,320
Speaker 2: Well, I mean I have this conversation with a lot

511
00:25:41,359 --> 00:25:45,920
Speaker 2: of people all the time when they're against certain things

512
00:25:45,960 --> 00:25:48,720
Speaker 2: that artists up today do. I try to explain to

513
00:25:48,760 --> 00:25:52,800
Speaker 2: them that, you know, when we were doing it, you know,

514
00:25:53,200 --> 00:25:56,520
Speaker 2: like the first rap song came out seventy nine, did you.

515
00:25:56,600 --> 00:26:00,560
Speaker 1: Get your game, Yeah, rather the light. Yeah that's yeah.

516
00:26:00,960 --> 00:26:03,960
Speaker 1: I got a deal in eighty eight. That's nine years later.

517
00:26:04,080 --> 00:26:04,399
Speaker 4: Correct.

518
00:26:04,520 --> 00:26:08,199
Speaker 2: Even at that point, hip hop wasn't respected as a

519
00:26:08,280 --> 00:26:12,639
Speaker 2: music genre. You know, we wasn't really acknowledged, no, and

520
00:26:13,480 --> 00:26:15,959
Speaker 2: damn there, couldn't really get on the radio even at

521
00:26:15,960 --> 00:26:16,399
Speaker 2: that point.

522
00:26:16,520 --> 00:26:17,359
Speaker 4: You know, even in.

523
00:26:17,960 --> 00:26:19,920
Speaker 1: MTV didn't really play y'all like that, and you didn't

524
00:26:19,920 --> 00:26:22,360
Speaker 1: get the Grammys, didn't acknowledge you until ninety two.

525
00:26:22,560 --> 00:26:23,040
Speaker 4: There you go.

526
00:26:23,119 --> 00:26:25,119
Speaker 2: So it's like it's the type of thing where I

527
00:26:25,160 --> 00:26:27,119
Speaker 2: try to explain to a lot of artists, you know

528
00:26:27,160 --> 00:26:31,119
Speaker 2: from my era. It's like you got to separate the

529
00:26:31,200 --> 00:26:36,360
Speaker 2: culture from the genre, because now hip hop is a genre.

530
00:26:36,520 --> 00:26:40,120
Speaker 2: It's music genre, just like R and B, just like rock,

531
00:26:40,720 --> 00:26:42,040
Speaker 2: you know, just like pop.

532
00:26:42,640 --> 00:26:44,760
Speaker 4: And let's just look at R and B.

533
00:26:46,720 --> 00:26:51,920
Speaker 1: Two of the greatest R and B vocalists ever, Marvin Gate,

534
00:26:52,960 --> 00:26:58,360
Speaker 1: Luther Vandros two of the greatest ever. Both of them

535
00:26:58,359 --> 00:27:02,040
Speaker 1: had writers. So you see, like an artist up today,

536
00:27:02,040 --> 00:27:03,639
Speaker 1: you be like, yo, so he not even writing his

537
00:27:03,640 --> 00:27:05,680
Speaker 1: own stuff, yet he ain't hip hop.

538
00:27:05,920 --> 00:27:06,400
Speaker 4: It's like.

539
00:27:08,240 --> 00:27:11,840
Speaker 1: Culturally speaking that we don't now, we didn't do that.

540
00:27:12,520 --> 00:27:14,680
Speaker 1: I still don't do that. I let someone write a hook,

541
00:27:14,840 --> 00:27:15,640
Speaker 1: but not my verse.

542
00:27:16,280 --> 00:27:16,479
Speaker 4: You know.

543
00:27:16,560 --> 00:27:19,240
Speaker 1: That's because I'm a part of the culture. I'm from

544
00:27:19,280 --> 00:27:23,119
Speaker 1: that era, from that cloth. But artists today, they're coming

545
00:27:23,160 --> 00:27:25,800
Speaker 1: out in this thing as it's a hip hop genre,

546
00:27:26,520 --> 00:27:30,480
Speaker 1: so they're looking at themselves as artists, not as MC's,

547
00:27:31,200 --> 00:27:33,639
Speaker 1: so you know, it's different to them, and some of

548
00:27:33,680 --> 00:27:35,560
Speaker 1: it it's still hardcore because I hear that man he

549
00:27:35,560 --> 00:27:37,399
Speaker 1: don't even write, he got ghost writer, he got this.

550
00:27:37,800 --> 00:27:40,280
Speaker 1: But I never heard anybody say, well, Whitney can't sing

551
00:27:40,320 --> 00:27:42,760
Speaker 1: because she didn't write the song. Mariah can't sing because

552
00:27:42,760 --> 00:27:45,480
Speaker 1: she didn't write the song. I never hear that other

553
00:27:45,600 --> 00:27:51,960
Speaker 1: with other genres except rap. That's because it's like it's

554
00:27:52,080 --> 00:27:56,600
Speaker 1: people that understand the culture to understand hip hop culture,

555
00:27:57,359 --> 00:28:02,360
Speaker 1: you know, because like what we call biting today, they

556
00:28:02,440 --> 00:28:05,760
Speaker 1: call paying homage. Okay, you see what I'm saying.

557
00:28:07,080 --> 00:28:09,400
Speaker 2: So it's like it's just it's just it's just different.

558
00:28:09,600 --> 00:28:13,160
Speaker 2: Like I mean, even like what we called a freestyle

559
00:28:13,960 --> 00:28:15,840
Speaker 2: in the seventies and eighties.

560
00:28:18,000 --> 00:28:20,600
Speaker 4: To today, they call it a written rhyme.

561
00:28:20,440 --> 00:28:25,280
Speaker 1: Right, yeah, because freestyle, I'm thinking, Okay, they say, hey,

562
00:28:25,320 --> 00:28:29,480
Speaker 1: coming to the hey to freestyle is it's king Okay?

563
00:28:29,600 --> 00:28:33,600
Speaker 1: They start playing a beat. You going through, okay, how

564
00:28:33,640 --> 00:28:36,320
Speaker 1: you want to you know, and then you go if

565
00:28:36,320 --> 00:28:39,680
Speaker 1: you already got the song in your head, you already

566
00:28:39,680 --> 00:28:41,160
Speaker 1: know what you're gonna say, and they drop a beat.

567
00:28:41,160 --> 00:28:43,160
Speaker 1: Not in a freestyle. A freestyle mean you got to

568
00:28:43,200 --> 00:28:44,680
Speaker 1: come up there and give it to them free.

569
00:28:44,840 --> 00:28:49,240
Speaker 4: You don't. No, no, that's that's that's today's definition. You know.

570
00:28:49,720 --> 00:28:51,640
Speaker 1: No, no, I mean you're not wrong. You're not wrong,

571
00:28:51,920 --> 00:28:56,080
Speaker 1: because that is today's definition. Okay, But back in the

572
00:28:57,280 --> 00:29:01,040
Speaker 1: in the eighties, we said off the dome. Yes, seventies

573
00:29:01,120 --> 00:29:04,440
Speaker 1: they said off the top. Right, today they say freestyle

574
00:29:05,480 --> 00:29:08,920
Speaker 1: with us. If you write a rhyme and it's not

575
00:29:08,960 --> 00:29:12,480
Speaker 1: about a girl, it's not about poverty, you know, it's

576
00:29:12,480 --> 00:29:15,160
Speaker 1: not no gangster stuff about you know who you shot up.

577
00:29:15,640 --> 00:29:18,640
Speaker 2: It's just a rhyme just bragging about how dope you are.

578
00:29:19,200 --> 00:29:21,680
Speaker 2: That rhyme that you wrote, that's called a freestyle because

579
00:29:21,680 --> 00:29:24,760
Speaker 2: it's free of style. You're not talking about no specific subject.

580
00:29:24,800 --> 00:29:27,280
Speaker 4: Man. Oh okay, that's what a freestyle's.

581
00:29:27,400 --> 00:29:32,560
Speaker 1: A freestyle free is that you're not talking about anything specific, right, Yeah,

582
00:29:33,720 --> 00:29:34,320
Speaker 1: off the dome.

583
00:29:34,760 --> 00:29:36,520
Speaker 4: So you going up, so you just going up there

584
00:29:36,520 --> 00:29:38,760
Speaker 4: and you just talking about.

585
00:29:38,560 --> 00:29:40,800
Speaker 1: What they called freestyle now is what we called off

586
00:29:40,800 --> 00:29:44,760
Speaker 1: the dome back in the days. Okay, okay, you just

587
00:29:44,800 --> 00:29:46,480
Speaker 1: say the first thing come to mind and make it rhyme,

588
00:29:46,600 --> 00:29:49,720
Speaker 1: you know, right, But what happened to the lyricist? Where

589
00:29:49,720 --> 00:29:53,000
Speaker 1: did they go? Did all y'all retire once? K did

590
00:29:53,000 --> 00:29:55,600
Speaker 1: all y'all? Did all y'all? A, I'm up out of here.

591
00:29:55,640 --> 00:29:58,440
Speaker 1: I'm up, may when you leave it, I'm leaving. Where

592
00:29:58,520 --> 00:30:00,600
Speaker 1: are they? Where are they now? You know the story

593
00:30:00,600 --> 00:30:02,680
Speaker 1: that used to come on the TV, like the athletes

594
00:30:02,800 --> 00:30:04,320
Speaker 1: or whomever that the entertainers.

595
00:30:04,320 --> 00:30:06,320
Speaker 4: Where are they now? Where are the lyrics now?

596
00:30:06,360 --> 00:30:13,080
Speaker 1: Kendrick Lamar is a great lyricist. Jacob Conway the Machine

597
00:30:14,000 --> 00:30:17,760
Speaker 1: It is a great lyricist. Benny the Butcher, Oh, okay,

598
00:30:18,240 --> 00:30:26,440
Speaker 1: great lyrics. Lady London is a magnificent lyricists. Jake Cole is.

599
00:30:26,360 --> 00:30:31,360
Speaker 2: My favorite of this era, really my favorite great lyricists.

600
00:30:31,360 --> 00:30:33,040
Speaker 2: So they're there, they're there, they're there.

601
00:30:33,120 --> 00:30:36,880
Speaker 1: It's just that music is going through this phase where

602
00:30:37,200 --> 00:30:40,080
Speaker 1: it's you know, the fans ain't really focused on the lyrics.

603
00:30:40,680 --> 00:30:42,720
Speaker 1: When like, you talk to someone you ask them about

604
00:30:42,760 --> 00:30:44,440
Speaker 1: the song, the first thing they say is yo, Yeah,

605
00:30:44,480 --> 00:30:47,760
Speaker 1: that's a vibe, you know, like the disco era. Yes,

606
00:30:48,120 --> 00:30:51,400
Speaker 1: you know you can as long as you can hear that. Yeah,

607
00:30:51,560 --> 00:30:53,720
Speaker 1: you ain't care what somebody was singing. You know what

608
00:30:53,720 --> 00:30:54,120
Speaker 1: I'm saying.

609
00:30:54,120 --> 00:30:59,600
Speaker 4: It was vibe. You know, streaming? Now, where are you

610
00:30:59,600 --> 00:31:04,160
Speaker 4: on stream? Me? You cool with it? Well?

611
00:31:04,160 --> 00:31:06,120
Speaker 2: I mean I don't new music out, you know, so

612
00:31:06,920 --> 00:31:10,520
Speaker 2: you know, it is what it is. I wish it

613
00:31:10,600 --> 00:31:15,600
Speaker 2: was different because I understand that, you know, artists are

614
00:31:15,880 --> 00:31:19,280
Speaker 2: not getting the money that they're opposed to, and they're

615
00:31:19,320 --> 00:31:23,040
Speaker 2: being paid less for streams.

616
00:31:23,120 --> 00:31:25,960
Speaker 4: Than they would have had hard yeah physical, you.

617
00:31:25,920 --> 00:31:29,960
Speaker 2: Know, so I mean I I I'm sympathetic you know

618
00:31:30,080 --> 00:31:32,840
Speaker 2: for the younger generation that's coming out trying to make

619
00:31:32,920 --> 00:31:36,959
Speaker 2: music if that's what they plan to do for their livelihood, right,

620
00:31:37,480 --> 00:31:39,360
Speaker 2: you know, because it's going to be very difficult, you know,

621
00:31:39,920 --> 00:31:41,120
Speaker 2: depending on streams.

622
00:31:41,360 --> 00:31:41,600
Speaker 4: Right.

623
00:31:41,960 --> 00:31:44,560
Speaker 1: You know, came when you sold five hundred thousand copies,

624
00:31:44,600 --> 00:31:48,120
Speaker 1: Did you realize what a feat what what you had accomplished?

625
00:31:48,160 --> 00:31:51,480
Speaker 1: Did you understand at that moment what you had done?

626
00:31:51,840 --> 00:31:53,240
Speaker 1: I mean, yeah, they gave me to God record, so

627
00:31:53,240 --> 00:31:54,800
Speaker 1: I knew what I did. But it's it's just that

628
00:31:55,360 --> 00:32:01,280
Speaker 1: that's never been my mentality. You know, my Grammy, I

629
00:32:01,320 --> 00:32:05,240
Speaker 1: didn't let me see. I got it in ninety maybe

630
00:32:05,320 --> 00:32:07,480
Speaker 1: ninety one. I can't remember what year it was. I mean,

631
00:32:07,720 --> 00:32:11,520
Speaker 1: I never put it up until like two thousand. You know,

632
00:32:13,640 --> 00:32:14,720
Speaker 1: my whole thing was this.

633
00:32:15,240 --> 00:32:17,719
Speaker 2: What meant the most to me was someone coming up

634
00:32:17,760 --> 00:32:21,200
Speaker 2: to me saying, yo, man, your music got me through

635
00:32:21,280 --> 00:32:21,840
Speaker 2: high school.

636
00:32:22,520 --> 00:32:25,440
Speaker 1: Your music got me through college. Your music got me

637
00:32:25,480 --> 00:32:29,680
Speaker 1: through Desert Storm. That's what meant. Those were the rewards

638
00:32:30,520 --> 00:32:33,000
Speaker 1: that those were the most important things to me because

639
00:32:33,120 --> 00:32:35,040
Speaker 1: I'm doing this for my fans. You know what I'm saying,

640
00:32:35,040 --> 00:32:37,600
Speaker 1: not not not for a Grammy or a Soul Train

641
00:32:37,680 --> 00:32:40,920
Speaker 1: Award or you know, if I get it or you

642
00:32:40,960 --> 00:32:43,120
Speaker 1: appreciative of it. But yeah, yeah, yeah, I'm appreciated. But

643
00:32:43,160 --> 00:32:45,040
Speaker 1: that's not what you know, what I set out to day.

644
00:32:45,160 --> 00:32:46,320
Speaker 1: That's not why I made music.

645
00:32:46,680 --> 00:32:50,520
Speaker 4: Your catalog you own your catalog, not yet, but you're

646
00:32:50,520 --> 00:32:53,720
Speaker 4: gonna get It's Will, I mean a lord Will and

647
00:32:53,760 --> 00:32:54,920
Speaker 4: I oh soul man. You know.

648
00:32:56,840 --> 00:32:59,800
Speaker 1: Prince he really he never let anybody sample his songs,

649
00:33:00,360 --> 00:33:06,600
Speaker 1: but you got one. How I don't know. Somebody told me.

650
00:33:06,640 --> 00:33:10,680
Speaker 1: Somebody told me the Prince liked me, you know, I

651
00:33:10,720 --> 00:33:17,040
Speaker 1: mean musically. Yeah, somebody told me that because we met

652
00:33:17,760 --> 00:33:22,880
Speaker 1: and you know, he was cool and uh, when I

653
00:33:22,920 --> 00:33:25,040
Speaker 1: wanted to use pop life, you know, he was with it.

654
00:33:25,520 --> 00:33:25,720
Speaker 4: You know.

655
00:33:26,360 --> 00:33:29,760
Speaker 2: Even other than that, when he did the Batman soundtrack,

656
00:33:30,920 --> 00:33:33,600
Speaker 2: he did a song called bat Dance, and he asked

657
00:33:33,600 --> 00:33:36,000
Speaker 2: Benny Medina, you know, to have me, you know, rap

658
00:33:36,080 --> 00:33:39,280
Speaker 2: on it, and I put a verse on it. And

659
00:33:39,360 --> 00:33:41,240
Speaker 2: with us both being Warner Brothers, you know that we

660
00:33:41,240 --> 00:33:43,400
Speaker 2: thought everything was cool because Batman was coming out on

661
00:33:43,480 --> 00:33:46,200
Speaker 2: Warner Films. Yeah, but even though in nineteen eighty nine

662
00:33:46,240 --> 00:33:49,120
Speaker 2: wasn't it I can't I can't miss yet. But even

663
00:33:49,160 --> 00:33:52,280
Speaker 2: though Warner Brothers Records had rap artists won his film,

664
00:33:52,320 --> 00:33:53,719
Speaker 2: didn't want nothing to do with hip hop, so they

665
00:33:53,720 --> 00:33:54,600
Speaker 2: took my verse off.

666
00:33:54,960 --> 00:33:59,200
Speaker 4: Oh but Prince had me on the song. You know, yeah, wow,

667
00:34:00,680 --> 00:34:02,040
Speaker 4: what are you? Where are you on sampling?

668
00:34:02,120 --> 00:34:04,680
Speaker 1: You let people say, because I ask LLL, I ask

669
00:34:04,760 --> 00:34:07,160
Speaker 1: a lot of people, a lot of people say, yeah,

670
00:34:06,240 --> 00:34:09,600
Speaker 1: I'm not really big on sampling. To talk to Bobby

671
00:34:09,600 --> 00:34:12,120
Speaker 1: Brown had him on. He's like, I don't really I

672
00:34:12,120 --> 00:34:13,719
Speaker 1: don't really want to mess it up, but you know what,

673
00:34:13,840 --> 00:34:16,280
Speaker 1: if it's the right person and I hear it first

674
00:34:16,440 --> 00:34:18,279
Speaker 1: somebody comes to Cane and says, hey, you know, they

675
00:34:18,280 --> 00:34:20,520
Speaker 1: want to sample something. Do you need to hear it

676
00:34:20,560 --> 00:34:21,960
Speaker 1: before you let them put it out or you just

677
00:34:22,000 --> 00:34:27,200
Speaker 1: sign up on it. I'm gonna be honest with you.

678
00:34:27,840 --> 00:34:30,480
Speaker 1: I think I would probably rather.

679
00:34:30,360 --> 00:34:30,880
Speaker 4: Not hear it.

680
00:34:31,880 --> 00:34:34,279
Speaker 1: Really, I would rather not hear it. Yeah, because you

681
00:34:34,280 --> 00:34:35,640
Speaker 1: heard it, don't like it, you aint gonna little put

682
00:34:35,640 --> 00:34:35,879
Speaker 1: it out.

683
00:34:36,120 --> 00:34:36,359
Speaker 3: Yeah.

684
00:34:36,640 --> 00:34:39,279
Speaker 1: I wouldn't want to not like it and then be like, nah,

685
00:34:39,440 --> 00:34:42,880
Speaker 1: I don't don't you know. It's like, if this is

686
00:34:42,920 --> 00:34:46,319
Speaker 1: an opportunity for you to shine and you know, become successful,

687
00:34:46,960 --> 00:34:49,040
Speaker 1: I'd rather you know you you just do you because

688
00:34:49,360 --> 00:34:50,160
Speaker 1: I'm from that era.

689
00:34:50,880 --> 00:34:52,200
Speaker 4: That's that's all we did.

690
00:34:53,040 --> 00:34:55,080
Speaker 1: You know, Because you have to understand, Shannon, you know

691
00:34:55,360 --> 00:34:59,160
Speaker 1: when hip hop started? You know, you can't say so

692
00:35:00,280 --> 00:35:03,279
Speaker 1: the origin of hip hop music. People can ask that

693
00:35:03,400 --> 00:35:04,120
Speaker 1: about country.

694
00:35:04,160 --> 00:35:06,840
Speaker 2: People can ask that about rock, people can ask that

695
00:35:06,880 --> 00:35:10,800
Speaker 2: about jazz. You can't ask that about hip hop because

696
00:35:10,840 --> 00:35:14,240
Speaker 2: the origin of hip hop music is a DJ cutting

697
00:35:14,320 --> 00:35:17,560
Speaker 2: up somebody else's music. You see what I'm saying. So

698
00:35:17,640 --> 00:35:22,479
Speaker 2: there is no origin. Like grand Master Kaz, he said

699
00:35:22,480 --> 00:35:27,440
Speaker 2: it best. Hip hop didn't invent anything. It reinvented everything.

700
00:35:27,640 --> 00:35:29,280
Speaker 2: Those are the words of Grand Master Kaz.

701
00:35:30,360 --> 00:35:33,080
Speaker 1: You know. So the musically, you know, that's all we

702
00:35:33,120 --> 00:35:35,279
Speaker 1: did was rhyme over other people the break part of

703
00:35:35,320 --> 00:35:36,200
Speaker 1: other people's songs.

704
00:35:36,920 --> 00:35:39,640
Speaker 4: So somebody young, that's what they want to do. Yo,

705
00:35:39,719 --> 00:35:41,399
Speaker 4: that's hip hop to me. You know? Do you.

706
00:35:42,960 --> 00:35:47,799
Speaker 1: It's Mama Wilde Music Publishing. But do you you know

707
00:35:49,880 --> 00:35:53,280
Speaker 1: studio when you're going when you're going in there, like okay,

708
00:35:54,280 --> 00:35:56,479
Speaker 1: I'm just trying to figure out how I came got

709
00:35:56,560 --> 00:35:59,799
Speaker 1: himself because like before a game, I'm getting myself, I'm

710
00:35:59,800 --> 00:36:01,480
Speaker 1: get ain't inn a train of thought. Okay, I'm gonna

711
00:36:01,520 --> 00:36:03,239
Speaker 1: play and go play and these say they call this

712
00:36:03,320 --> 00:36:05,799
Speaker 1: playing this down in distance. We get this defense, I

713
00:36:05,840 --> 00:36:08,680
Speaker 1: need to be ready blah blah blah. What's going through

714
00:36:08,719 --> 00:36:12,680
Speaker 1: when you go into the studio? What is cane thinking? What?

715
00:36:12,800 --> 00:36:16,160
Speaker 1: It depends on what what I'm trying to do musically, okay,

716
00:36:16,640 --> 00:36:19,880
Speaker 1: cause I'll sit and listen to a beat, come up

717
00:36:19,920 --> 00:36:23,560
Speaker 1: with a concept meaning what I want to talk about,

718
00:36:23,719 --> 00:36:26,480
Speaker 1: and then I shut the beat off and go somewhere

719
00:36:26,480 --> 00:36:29,440
Speaker 1: else with it. Like if it's something I want to

720
00:36:29,440 --> 00:36:32,560
Speaker 1: talk about, something sad, I turn the beat off and

721
00:36:32,680 --> 00:36:35,239
Speaker 1: throw some otis Redden on or some David Ruffing and

722
00:36:35,360 --> 00:36:39,600
Speaker 1: zone out, zone out, like, you know, how can I,

723
00:36:39,680 --> 00:36:43,520
Speaker 1: you know, interpret this in today's slang, like what OLDI

724
00:36:43,600 --> 00:36:46,080
Speaker 1: is saying, what David Ruffing is saying. How can I,

725
00:36:46,160 --> 00:36:48,439
Speaker 1: you know, say that today's slang. I want to say

726
00:36:48,440 --> 00:36:50,960
Speaker 1: something sexy, turn it off, throw some Marvin Gaye on,

727
00:36:51,000 --> 00:36:52,160
Speaker 1: throw some Asley Brothers on.

728
00:36:52,600 --> 00:36:57,399
Speaker 4: You know mmmmm yeah smooth. You know are you a rider?

729
00:36:57,520 --> 00:36:59,759
Speaker 1: Because you know, listen to people say like like O

730
00:37:00,120 --> 00:37:01,919
Speaker 1: with Lil Wayne, and there are guys that don't write

731
00:37:01,960 --> 00:37:05,120
Speaker 1: down anything and they tell the great story like hold

732
00:37:05,360 --> 00:37:07,320
Speaker 1: hear a beat and he bobbing his head up in

733
00:37:07,360 --> 00:37:11,839
Speaker 1: the corner and then he'll go in there and he'll

734
00:37:11,880 --> 00:37:15,759
Speaker 1: just lay us track. Are you a writer? Do you

735
00:37:15,840 --> 00:37:22,000
Speaker 1: like a write? Yeah? I love to think of myself

736
00:37:22,640 --> 00:37:25,919
Speaker 1: as an artist. When I say artists, I don't mean

737
00:37:26,360 --> 00:37:31,160
Speaker 1: musical artists. I mean an artist. Like I'm painting, So

738
00:37:31,200 --> 00:37:35,640
Speaker 1: it's like I like to take my time and paint

739
00:37:35,640 --> 00:37:38,919
Speaker 1: a portrait just right, even if I have to walk

740
00:37:38,960 --> 00:37:41,839
Speaker 1: away from it for a couple of days and come

741
00:37:41,880 --> 00:37:44,799
Speaker 1: back and finish. Then I like to take my time

742
00:37:44,880 --> 00:37:47,160
Speaker 1: so I can paint it just right. Because from that

743
00:37:47,280 --> 00:37:50,239
Speaker 1: first line to the very last one. I want it

744
00:37:50,239 --> 00:37:52,680
Speaker 1: all to make sense and connect.

745
00:37:52,520 --> 00:37:55,440
Speaker 4: Tied up, everything ties together. It has to have a meaning.

746
00:37:55,640 --> 00:37:59,680
Speaker 1: Yeah, I'm you've been in the studio with Teddy, Riley,

747
00:37:59,719 --> 00:38:03,120
Speaker 1: Patty La Belle, Barry White, Q Hammer Buffs the Rhydes

748
00:38:03,239 --> 00:38:06,839
Speaker 1: UGK three six month for you the game like when

749
00:38:06,840 --> 00:38:10,200
Speaker 1: you go in the studio, is there a different kine?

750
00:38:10,280 --> 00:38:13,040
Speaker 1: Is there a different mindset according to who you're going

751
00:38:13,080 --> 00:38:18,200
Speaker 1: in studio with? No, no, no, no, are you trying?

752
00:38:18,280 --> 00:38:21,000
Speaker 1: Let's just say I'm one of the dope rappers. I'm

753
00:38:21,040 --> 00:38:22,960
Speaker 1: one of the top five rappers out right now. And

754
00:38:23,000 --> 00:38:24,720
Speaker 1: I say, Caine, I want to get you on this track.

755
00:38:25,520 --> 00:38:27,560
Speaker 1: You coming to that. You try to destroy Melius to

756
00:38:27,600 --> 00:38:29,160
Speaker 1: say the man inbody be on the track. Let me

757
00:38:29,200 --> 00:38:30,640
Speaker 1: do my thing and get up out of here. You try

758
00:38:30,719 --> 00:38:32,640
Speaker 1: to you trying to. You try not shine me.

759
00:38:33,840 --> 00:38:38,080
Speaker 2: It depends on you know how you address me. You know,

760
00:38:38,719 --> 00:38:41,040
Speaker 2: if you you asked me to do the song with

761
00:38:41,120 --> 00:38:45,920
Speaker 2: you A spread love, then I want you to shine.

762
00:38:46,000 --> 00:38:46,320
Speaker 4: Okay.

763
00:38:46,440 --> 00:38:49,040
Speaker 2: I'm gonna do something to make my presence felt right.

764
00:38:49,120 --> 00:38:51,640
Speaker 2: I'm not gonna overdo it. I want you to shine, Okay.

765
00:38:52,239 --> 00:38:54,520
Speaker 2: If you like a right.

766
00:38:54,680 --> 00:38:57,560
Speaker 1: You know, Caine, I need you to be spitting hard.

767
00:38:57,719 --> 00:38:58,920
Speaker 1: You know what I'm saying. Don't come up here none

768
00:38:58,960 --> 00:38:59,680
Speaker 1: of that sexy shit.

769
00:38:59,760 --> 00:39:02,480
Speaker 4: Man. You A word.

770
00:39:03,880 --> 00:39:07,680
Speaker 2: Got you, that's what you own, got you, no problem. Yeah,

771
00:39:08,480 --> 00:39:09,359
Speaker 2: now I'm gonna eat you up.

772
00:39:12,320 --> 00:39:13,840
Speaker 4: Yeah.

773
00:39:13,880 --> 00:39:17,600
Speaker 1: But when we were talking about to go back, when

774
00:39:17,600 --> 00:39:20,000
Speaker 1: we talk about the lyricists, and you mentioned like some

775
00:39:20,080 --> 00:39:24,600
Speaker 1: of the lyricists now came Bro, It's like every other

776
00:39:24,920 --> 00:39:29,160
Speaker 1: artist was a lyricist in your time. I mean they

777
00:39:29,160 --> 00:39:33,359
Speaker 1: were tremendous with words. They did not play. I mean

778
00:39:33,400 --> 00:39:36,320
Speaker 1: you look at KRS one, you look at Cool Mo D,

779
00:39:36,520 --> 00:39:38,320
Speaker 1: you look at you like yourself, you look at Molly

780
00:39:38,440 --> 00:39:40,120
Speaker 1: mal I mean, you get shit.

781
00:39:40,600 --> 00:39:40,759
Speaker 4: Bro.

782
00:39:42,520 --> 00:39:48,200
Speaker 2: Back then, it was very very you know, important, and

783
00:39:48,600 --> 00:39:52,319
Speaker 2: I feel like people that were getting an understanding of

784
00:39:52,400 --> 00:39:55,680
Speaker 2: hip hop, that's what they were looking for, right, you know,

785
00:39:56,160 --> 00:39:59,760
Speaker 2: they were looking for lyrical MC and then especially after

786
00:40:00,800 --> 00:40:05,719
Speaker 2: like eighty six when when when when Rock Kim came out. Yeah,

787
00:40:05,960 --> 00:40:08,280
Speaker 2: I think that like a lot of labels were really

788
00:40:08,320 --> 00:40:13,000
Speaker 2: starting to look for livercal EMCs because.

789
00:40:12,680 --> 00:40:15,520
Speaker 4: Proud of that. Where they looking for that. I think that.

790
00:40:17,160 --> 00:40:21,040
Speaker 1: During the run DMC on up to the Salt and

791
00:40:21,080 --> 00:40:23,719
Speaker 1: Pepper era, they were looking for people that could have

792
00:40:23,880 --> 00:40:27,440
Speaker 1: party songs, okay, you know yeah, party songs and the

793
00:40:27,480 --> 00:40:29,520
Speaker 1: songs that bang in the club and you know, you

794
00:40:29,520 --> 00:40:31,399
Speaker 1: could you know, dance to. I think that they were

795
00:40:31,440 --> 00:40:35,880
Speaker 1: looking more for that, right, you know. But then eighty six,

796
00:40:36,040 --> 00:40:39,480
Speaker 1: you know, uh, you had Rock Kim, you had KRS one,

797
00:40:40,920 --> 00:40:42,279
Speaker 1: and I think they started.

798
00:40:41,960 --> 00:40:43,719
Speaker 4: Really looking for more lyrical stuff, right.

799
00:40:43,760 --> 00:40:47,279
Speaker 2: And then eighty seven you had Myself Coolgie rap, you know,

800
00:40:47,360 --> 00:40:50,200
Speaker 2: and that was just pretty much. Yeah, you got to

801
00:40:50,360 --> 00:40:53,439
Speaker 2: be like this to get to get to get a deal.

802
00:40:54,040 --> 00:40:56,560
Speaker 1: But did you but uh, did you guys come from

803
00:40:56,640 --> 00:41:00,000
Speaker 1: battling backgrounds that were the lyricists, the real the truth

804
00:41:00,200 --> 00:41:02,719
Speaker 1: because they have a little bit of it now, but

805
00:41:02,800 --> 00:41:06,000
Speaker 1: not like then, because you guys had like groups and

806
00:41:06,080 --> 00:41:09,879
Speaker 1: you guys would go and you guys would battle. Yeah,

807
00:41:09,920 --> 00:41:13,120
Speaker 1: and and that. And I was doing research for this thing.

808
00:41:13,239 --> 00:41:17,120
Speaker 1: Came man, y'all beef all the time. It wasn't everything

809
00:41:17,280 --> 00:41:17,759
Speaker 1: was a beef.

810
00:41:20,080 --> 00:41:22,320
Speaker 4: I heard. I Am thinking, like, man, these guys beefing

811
00:41:22,400 --> 00:41:27,080
Speaker 4: ou No no, uh a jewe Crew and the buget

812
00:41:27,080 --> 00:41:31,120
Speaker 4: and the buget out. Damn. Yeah, there was there was,

813
00:41:31,560 --> 00:41:35,560
Speaker 4: you know, there was yeah. Mc shannon Carris one.

814
00:41:35,680 --> 00:41:37,879
Speaker 2: You know, they had you know, the Juice crew, pull

815
00:41:37,920 --> 00:41:43,400
Speaker 2: you down productions, beef MC light and answering that yeah,

816
00:41:43,960 --> 00:41:44,799
Speaker 2: ll cool J and.

817
00:41:46,239 --> 00:41:50,120
Speaker 4: You know, yeah, yeah, it was so this thing.

818
00:41:50,480 --> 00:41:53,080
Speaker 1: People look at it now and think, okay, and obviously

819
00:41:53,200 --> 00:41:57,640
Speaker 1: the big one, uh Drake and and and and Kendrick Lamar.

820
00:41:58,360 --> 00:42:01,400
Speaker 1: But then you know people forgot like, okay, well Biggie

821
00:42:01,400 --> 00:42:04,200
Speaker 1: and Tupac had a thing going. Yeah, and then nwa

822
00:42:04,360 --> 00:42:06,480
Speaker 1: ice Q when he left, he came out with no

823
00:42:06,600 --> 00:42:09,560
Speaker 1: vasiline and they were going back and forth jay Z

824
00:42:09,640 --> 00:42:14,120
Speaker 1: and jay Z and nas even even though LLL and

825
00:42:14,200 --> 00:42:16,239
Speaker 1: CuMo cool L and Kumo D.

826
00:42:16,320 --> 00:42:17,560
Speaker 4: But he had one with faub.

827
00:42:19,800 --> 00:42:22,880
Speaker 1: When you go back and look, say like from eighty

828
00:42:22,920 --> 00:42:25,000
Speaker 1: five to like ninety.

829
00:42:25,600 --> 00:42:30,040
Speaker 4: Bro y'all stayed into it. Yeah, y'all stay y'all stayed it.

830
00:42:30,239 --> 00:42:32,640
Speaker 1: I mean when you gotta keep in mind, we were

831
00:42:32,680 --> 00:42:37,480
Speaker 1: all very very competitive, Yes, very very competitive. Yes, you know,

832
00:42:38,000 --> 00:42:46,479
Speaker 1: I mean like I've had like I've had run Reverend run.

833
00:42:46,600 --> 00:42:50,160
Speaker 2: Yes, come to me in my dressing room and tell

834
00:42:50,200 --> 00:42:53,520
Speaker 2: me how dopele for them, c I am, how much

835
00:42:53,560 --> 00:42:57,239
Speaker 2: he loved me. I go on stage, do my thing,

836
00:42:58,000 --> 00:43:02,879
Speaker 2: rip it down, come on after me run like.

837
00:43:02,880 --> 00:43:05,839
Speaker 4: You know, like you know, so Kin came up here

838
00:43:05,840 --> 00:43:08,239
Speaker 4: and did this thing. You know, Well, we had a

839
00:43:08,239 --> 00:43:11,000
Speaker 4: lot of superstars in this house tonight. But I want

840
00:43:11,040 --> 00:43:14,400
Speaker 4: you to know this is my MF in the house,

841
00:43:15,040 --> 00:43:18,120
Speaker 4: you know, like whoa whoa bros.

842
00:43:18,160 --> 00:43:20,279
Speaker 1: Like you know, I mean, this is stuff I've seen,

843
00:43:20,440 --> 00:43:23,960
Speaker 1: you know, stuff where like Eric b is at my

844
00:43:24,040 --> 00:43:27,200
Speaker 1: house on a Thursday night. Right, We're sitting there laughing

845
00:43:27,239 --> 00:43:30,759
Speaker 1: at our fathers. He brought his pops over and we're

846
00:43:30,800 --> 00:43:33,319
Speaker 1: sitting there laughing at our fathers, trying to look at

847
00:43:33,360 --> 00:43:35,600
Speaker 1: Luke Skywalker videos and what I mean, Eric sitting there

848
00:43:35,640 --> 00:43:36,920
Speaker 1: like look at him play dirty.

849
00:43:36,600 --> 00:43:39,920
Speaker 4: Old asses man. We laughing. Friday night we got to

850
00:43:39,920 --> 00:43:40,400
Speaker 4: show together.

851
00:43:40,520 --> 00:43:42,080
Speaker 1: Erica walk right past me like you don't know me,

852
00:43:43,280 --> 00:43:46,120
Speaker 1: you know, because I mean we were very competitive like that.

853
00:43:46,200 --> 00:43:49,239
Speaker 4: You know. It's kind of lock in now. Yeah, yeah,

854
00:43:49,400 --> 00:43:51,560
Speaker 4: you know, but it was love. It was love.

855
00:43:51,600 --> 00:43:54,000
Speaker 2: It wasn't a real beef, right, it was like I

856
00:43:54,000 --> 00:43:55,759
Speaker 2: got to have it tonight, That's all.

857
00:43:55,800 --> 00:43:56,800
Speaker 4: I got to have it tonight.

858
00:43:57,600 --> 00:44:00,840
Speaker 1: You wanted to Grammy with Quincy Jernes, the greatest producer

859
00:44:00,840 --> 00:44:05,839
Speaker 1: of all time? What made Quincy so special? Quincy man

860
00:44:06,320 --> 00:44:11,640
Speaker 1: like Quincy is one hell of a producer. Quincy has

861
00:44:12,239 --> 00:44:14,080
Speaker 1: an amazing vision.

862
00:44:14,080 --> 00:44:17,120
Speaker 4: That ear man. You know they go Ray Charles or

863
00:44:17,160 --> 00:44:22,920
Speaker 4: Frank Sinatra to Michael Jackson to yeah, nah, I mean.

864
00:44:24,800 --> 00:44:28,120
Speaker 1: With me knowing this dude don't really know hip hop

865
00:44:28,239 --> 00:44:29,759
Speaker 1: like that, I'm like, yeah, you made the dude, but

866
00:44:29,840 --> 00:44:32,919
Speaker 1: you know, okay, you know what you know? I'm I'm

867
00:44:32,960 --> 00:44:36,280
Speaker 1: in the studio and he's like, what you know about

868
00:44:36,280 --> 00:44:36,920
Speaker 1: Sarah Vaughan?

869
00:44:38,680 --> 00:44:39,000
Speaker 4: Nothing?

870
00:44:40,280 --> 00:44:43,720
Speaker 1: You know what you know about elphiz Jerald, she'd be scatting,

871
00:44:44,520 --> 00:44:47,839
Speaker 1: you know. You know, he's asking that he had someone

872
00:44:47,920 --> 00:44:50,880
Speaker 1: bring I didn't even know this existed. Did you know

873
00:44:50,960 --> 00:44:54,080
Speaker 1: that back in the nineties they had black encyclopedias? No,

874
00:44:55,040 --> 00:44:58,359
Speaker 1: neither did I. They brought like about twenty twenty thirty

875
00:44:58,400 --> 00:45:00,840
Speaker 1: books in black encyclopedias and going through and looking up

876
00:45:00,880 --> 00:45:04,960
Speaker 1: Sarah Vaughan, Jesse Gillespie, Ella Fitzgerald, and as I'm looking,

877
00:45:05,160 --> 00:45:07,880
Speaker 1: he's like, oh, you know, me and Miles Davis, we

878
00:45:07,920 --> 00:45:10,680
Speaker 1: used to call each other such and such arm you know,

879
00:45:11,280 --> 00:45:14,680
Speaker 1: Ella arm. And he's telling me all these his stories

880
00:45:15,080 --> 00:45:18,760
Speaker 1: and he's like that real fasting, can you keep it going?

881
00:45:18,960 --> 00:45:21,239
Speaker 1: Because like it reminds me of Ella Fitzgerald when she

882
00:45:21,280 --> 00:45:23,840
Speaker 1: does her scatting. When you do that real fast rapping,

883
00:45:23,840 --> 00:45:26,000
Speaker 1: and I think it will really compliment the track. Like

884
00:45:26,040 --> 00:45:28,680
Speaker 1: this is Quincy talking to me, and I'm like, yeah, right,

885
00:45:28,719 --> 00:45:30,919
Speaker 1: whatever you want. And so, I mean it's like he's

886
00:45:30,960 --> 00:45:34,360
Speaker 1: given me direction as a hip hop artist, how to

887
00:45:34,440 --> 00:45:36,080
Speaker 1: rhyme on a jazz record.

888
00:45:36,880 --> 00:45:38,640
Speaker 4: That's how bad he was. Wow.

889
00:45:38,920 --> 00:45:42,840
Speaker 1: Yeah, do we appreciate him properly, Quincy?

890
00:45:42,960 --> 00:45:47,479
Speaker 4: Yeah? I think that real music fans do. Real music

891
00:45:47,560 --> 00:45:50,799
Speaker 4: fans know the importance of him, you know, know the

892
00:45:50,840 --> 00:45:55,960
Speaker 4: impact that he's had, What he's done for people, you know,

893
00:45:56,200 --> 00:45:56,800
Speaker 4: like myself.

894
00:45:57,600 --> 00:45:59,560
Speaker 2: I'll be sure, Barry White, you know what he's done

895
00:45:59,600 --> 00:46:02,200
Speaker 2: for Michael Jackson, what he's done for Ray, Charles, Frank

896
00:46:02,239 --> 00:46:04,680
Speaker 2: Sinatra and so many of them, so many soundtracks. I

897
00:46:04,680 --> 00:46:06,440
Speaker 2: think that, you know, people that really appreciate music that.

898
00:46:06,600 --> 00:46:10,279
Speaker 1: Yeah, And I mean he uh, I think he did

899
00:46:10,320 --> 00:46:12,480
Speaker 1: the thing for Samford and Son, so many of the

900
00:46:12,480 --> 00:46:15,200
Speaker 1: the jingles, for the uh, the the sitcoms.

901
00:46:15,400 --> 00:46:19,360
Speaker 4: Yeah, he wrote he wrote those. Oh yeah, no amazing.

902
00:46:20,320 --> 00:46:21,480
Speaker 4: Have you ever been starstruck?

903
00:46:22,280 --> 00:46:24,440
Speaker 1: And you're for in your thirty thirty seven years, I

904
00:46:24,480 --> 00:46:26,760
Speaker 1: said forty in your thirty seven years.

905
00:46:26,880 --> 00:46:33,160
Speaker 4: Have you ever been starstruck by someone? Hmmm?

906
00:46:34,080 --> 00:46:36,120
Speaker 1: Maybe in the earlier days. I mean, now you you

907
00:46:36,200 --> 00:46:38,120
Speaker 1: came everybody know who? You know what, you're one of

908
00:46:38,160 --> 00:46:39,279
Speaker 1: the greatest lyricists ever.

909
00:46:42,040 --> 00:46:42,239
Speaker 4: Yeah.

910
00:46:42,239 --> 00:46:45,120
Speaker 2: I think the first time I met Barry White, first

911
00:46:45,160 --> 00:46:47,040
Speaker 2: time I met Barry White, they caught me on card.

912
00:46:47,120 --> 00:46:54,680
Speaker 2: I was like, oh, yeah, you know yeah, uh Barry White, Yeah,

913
00:46:55,719 --> 00:46:57,600
Speaker 2: yeah that that that one you know, really had caught

914
00:46:57,600 --> 00:47:00,000
Speaker 2: me on card And that was at Quincy Jones house.

915
00:47:00,280 --> 00:47:05,399
Speaker 4: Really, yeah, a cookout. Yeah. How do you determine who

916
00:47:05,400 --> 00:47:06,239
Speaker 4: you're gonna collab with?

917
00:47:06,560 --> 00:47:08,640
Speaker 1: People come in, they tell you like, okay, we you know,

918
00:47:08,680 --> 00:47:10,239
Speaker 1: we want to ride, we want to we want to

919
00:47:10,320 --> 00:47:10,960
Speaker 1: jump on something.

920
00:47:10,960 --> 00:47:13,040
Speaker 4: Where do you want you to jump on something with us?

921
00:47:13,160 --> 00:47:16,040
Speaker 4: How do you determine? Have you ever said no? Would

922
00:47:16,080 --> 00:47:18,640
Speaker 4: you say no? No? I said no. I've said no

923
00:47:20,239 --> 00:47:24,080
Speaker 4: to a lot of people. Sometimes it's like.

924
00:47:25,840 --> 00:47:28,400
Speaker 2: I don't like the direction of the song, okay, And

925
00:47:28,440 --> 00:47:31,080
Speaker 2: there's been times where it's like I don't I don't

926
00:47:31,080 --> 00:47:33,840
Speaker 2: really see how I can sit in this right, you know.

927
00:47:34,040 --> 00:47:36,359
Speaker 4: And I mean that happens with with stuff that I do.

928
00:47:36,760 --> 00:47:37,680
Speaker 4: I attract it.

929
00:47:37,719 --> 00:47:40,120
Speaker 2: I'm trying to do just by myself, I write something

930
00:47:40,160 --> 00:47:42,640
Speaker 2: to it and once I say it, it ain't sitting right.

931
00:47:42,840 --> 00:47:45,560
Speaker 4: Nah. You know. So you know there's there's been situations

932
00:47:45,640 --> 00:47:49,040
Speaker 4: like that. Is it hard? Is it hard for you

933
00:47:49,080 --> 00:47:51,680
Speaker 4: to turn somebody down? Nah? Nah?

934
00:47:51,719 --> 00:47:53,200
Speaker 1: Because I mean in the end, you want it to

935
00:47:53,200 --> 00:47:55,239
Speaker 1: be right right, And even though you know in your

936
00:47:55,280 --> 00:47:56,880
Speaker 1: mind you may think that it's gonna be right, just

937
00:47:56,880 --> 00:47:58,640
Speaker 1: because I'm on it, I'm telling you this ain't gonna

938
00:47:58,640 --> 00:47:58,879
Speaker 1: be right.

939
00:47:58,960 --> 00:48:03,120
Speaker 4: This ain't it. Yeah. You know you did a song

940
00:48:03,160 --> 00:48:07,080
Speaker 4: with Tito Jackson. How did you? How does can't do

941
00:48:07,120 --> 00:48:09,560
Speaker 4: a song with Tito Jackson? Well?

942
00:48:09,560 --> 00:48:12,800
Speaker 2: That came through my management, you know, like my manager

943
00:48:12,840 --> 00:48:15,040
Speaker 2: Saquan had told me about it.

944
00:48:15,160 --> 00:48:15,319
Speaker 4: You know.

945
00:48:15,360 --> 00:48:17,360
Speaker 2: I was like, you know, I'm grew up listening to

946
00:48:17,400 --> 00:48:20,080
Speaker 2: Jackson five. I'd love to So then they sent the

947
00:48:20,080 --> 00:48:22,719
Speaker 2: song and I heard the singing and I called my

948
00:48:22,760 --> 00:48:24,760
Speaker 2: manager back and I'm like, man, this ain't no goddamn

949
00:48:24,800 --> 00:48:26,880
Speaker 2: Tito Jackson. Man, this is they trying to get us,

950
00:48:27,360 --> 00:48:29,560
Speaker 2: see if we can get Tito on the phone. And

951
00:48:29,600 --> 00:48:31,799
Speaker 2: then he set up a call and Tito got on

952
00:48:31,840 --> 00:48:34,040
Speaker 2: the phone. He's like, hey, hey, hey, what's happening the baby?

953
00:48:34,040 --> 00:48:36,080
Speaker 4: What's having man? Yeah? I said, yeah, that's him.

954
00:48:37,120 --> 00:48:40,680
Speaker 1: I was like, yeah, what you want, right, because because

955
00:48:41,560 --> 00:48:43,640
Speaker 1: if you didn't know, because the only really voice you

956
00:48:43,680 --> 00:48:46,839
Speaker 1: ever heard was Michael's. Well, now I've heard Tito sing, right,

957
00:48:46,880 --> 00:48:50,480
Speaker 1: and he has more of a blues feel. So like

958
00:48:50,600 --> 00:48:52,759
Speaker 1: when I heard this with the whole it had that

959
00:48:53,320 --> 00:48:55,080
Speaker 1: popish justin Timberlake feel.

960
00:48:55,360 --> 00:48:57,560
Speaker 2: So I'm like, this ain't no damn Tito Jackson. Right,

961
00:48:57,640 --> 00:48:59,560
Speaker 2: there's somebody trying to use his name. You know, this

962
00:48:59,640 --> 00:49:03,239
Speaker 2: ain't Jackson. But then when I talked him on the phone,

963
00:49:03,239 --> 00:49:04,520
Speaker 2: I'm like, nah, that's definitely t Tho.

964
00:49:04,920 --> 00:49:05,120
Speaker 4: Right.

965
00:49:06,360 --> 00:49:09,960
Speaker 1: You've culmulated a lot of relationships in this business. You

966
00:49:10,400 --> 00:49:15,959
Speaker 1: O dB, how did you guys? How did you guys meet?

967
00:49:17,600 --> 00:49:19,440
Speaker 2: I had a show with Wu Tang and knew it

968
00:49:19,440 --> 00:49:23,359
Speaker 2: at Newark Symphony Hall in New Jersey, Okay, And that's

969
00:49:23,400 --> 00:49:24,080
Speaker 2: my first time.

970
00:49:23,960 --> 00:49:27,440
Speaker 4: Ever seeing them, so you know, I stood up.

971
00:49:27,400 --> 00:49:30,399
Speaker 2: In the balcony and watched them, and then I told

972
00:49:30,440 --> 00:49:34,600
Speaker 2: my road manager, Yo, do me a favor. Get the

973
00:49:34,680 --> 00:49:37,960
Speaker 2: old dirty bassed dude and get the girl with half

974
00:49:37,960 --> 00:49:39,920
Speaker 2: her hair braided and bring them upstairs.

975
00:49:40,719 --> 00:49:42,080
Speaker 4: I want to meet them.

976
00:49:42,440 --> 00:49:46,360
Speaker 2: And then he brought them up and because I couldn't

977
00:49:46,360 --> 00:49:48,920
Speaker 2: really see see because I was way way up. So

978
00:49:49,120 --> 00:49:51,359
Speaker 2: when he brought them up, he was like, yo, yeah yeah,

979
00:49:51,360 --> 00:49:53,359
Speaker 2: but he's like that, yeah, that's not a girl. That's

980
00:49:53,400 --> 00:49:57,280
Speaker 2: a little kid dude named Shaheen. I'm like, oh okay,

981
00:49:57,440 --> 00:50:00,319
Speaker 2: my bad. And they came in and I'm I told

982
00:50:00,360 --> 00:50:02,600
Speaker 2: them how dope they was. And from that moment we

983
00:50:02,680 --> 00:50:05,480
Speaker 2: clicked and old dirty and Shahim hung out with me

984
00:50:05,560 --> 00:50:07,480
Speaker 2: that night. Right, we went to a party in Queen's

985
00:50:07,560 --> 00:50:09,799
Speaker 2: and we hung out and we was tight ever since then.

986
00:50:11,000 --> 00:50:18,239
Speaker 4: How soon can you tell somebody is really good? You know?

987
00:50:18,360 --> 00:50:23,120
Speaker 1: Sometimes you can meet someone and it just you know,

988
00:50:23,200 --> 00:50:26,400
Speaker 1: it just feel that way, you know, like off the cuff.

989
00:50:26,800 --> 00:50:29,160
Speaker 1: You meet them and it's like, you know, like I

990
00:50:29,200 --> 00:50:32,400
Speaker 1: love this person energy. Sometimes you can meet someone and

991
00:50:32,440 --> 00:50:34,160
Speaker 1: you can't really figure them out. You have to really

992
00:50:34,160 --> 00:50:37,520
Speaker 1: get to know each other because it's like you've seen

993
00:50:37,560 --> 00:50:38,200
Speaker 1: them on TV.

994
00:50:39,400 --> 00:50:41,480
Speaker 4: That image that you know you created a pers that's

995
00:50:41,520 --> 00:50:42,600
Speaker 4: not a great representation.

996
00:50:42,680 --> 00:50:44,399
Speaker 1: You need to you need to see somebody in their

997
00:50:44,480 --> 00:50:47,400
Speaker 1: natural element to get a real sense or a true

998
00:50:47,440 --> 00:50:50,799
Speaker 1: feel of who and what they really are. Yeah, so

999
00:50:50,840 --> 00:50:53,680
Speaker 1: you figure you hey, let's go break bread. You come

1000
00:50:53,719 --> 00:50:55,399
Speaker 1: to my house, I come to your house, we get

1001
00:50:55,400 --> 00:50:58,000
Speaker 1: into the studio and to get a sense of who

1002
00:50:58,040 --> 00:50:59,160
Speaker 1: you are as an individual.

1003
00:50:59,280 --> 00:51:02,600
Speaker 2: Yeah, like I've done that with a lot of people,

1004
00:51:03,280 --> 00:51:05,080
Speaker 2: you know, because you.

1005
00:51:05,040 --> 00:51:09,600
Speaker 4: Know, sometimes people trying to read me. So you know,

1006
00:51:09,719 --> 00:51:10,120
Speaker 4: it's like.

1007
00:51:12,040 --> 00:51:13,520
Speaker 1: Let me talk, you know, let me let me vibe

1008
00:51:13,560 --> 00:51:15,960
Speaker 1: with you first. Let's see where we at, you know,

1009
00:51:17,400 --> 00:51:19,319
Speaker 1: and you know, I mean I think that's important. I

1010
00:51:19,320 --> 00:51:22,759
Speaker 1: mean I felt like Quincy Jones did that. Okay, we

1011
00:51:22,800 --> 00:51:23,360
Speaker 1: worked together.

1012
00:51:23,920 --> 00:51:25,640
Speaker 2: I felt like he did that when we worked together,

1013
00:51:26,200 --> 00:51:31,840
Speaker 2: because it was like me, Mellie Melkumo.

1014
00:51:30,040 --> 00:51:31,319
Speaker 4: D and iced tea.

1015
00:51:31,760 --> 00:51:35,719
Speaker 2: We all in the studio and then he like, what

1016
00:51:35,800 --> 00:51:40,759
Speaker 2: you doing tomorrow? Can you come by? Like, yeah, I

1017
00:51:40,880 --> 00:51:46,440
Speaker 2: come by and we're just talking. We're just sitting there talking.

1018
00:51:46,480 --> 00:51:50,319
Speaker 4: And we went in and he was doing something to

1019
00:51:50,640 --> 00:51:55,239
Speaker 4: the Secret Gardens track, yeah, James Ingram and the barge.

1020
00:51:55,719 --> 00:51:57,520
Speaker 4: But he was it was just I didn't I didn't

1021
00:51:57,520 --> 00:51:59,680
Speaker 4: hear nobody vocals. It was just to be playing. Okay.

1022
00:51:59,719 --> 00:52:02,000
Speaker 2: He was messing with some eqes or something to look

1023
00:52:02,040 --> 00:52:04,680
Speaker 2: to that. And then we talking about this and that,

1024
00:52:05,320 --> 00:52:07,600
Speaker 2: and he was feeling me out. And then that's when

1025
00:52:07,640 --> 00:52:09,880
Speaker 2: he asked me, what do I know about you know,

1026
00:52:10,320 --> 00:52:13,480
Speaker 2: Sarah vaugh you know, you know he has all these

1027
00:52:13,480 --> 00:52:16,400
Speaker 2: black encyclopedias and we chopping it up.

1028
00:52:16,560 --> 00:52:20,040
Speaker 1: Ralph, you mentioned something earlier about Bobby Brown. Did you

1029
00:52:20,080 --> 00:52:23,120
Speaker 1: a solid and there was really at that point in time,

1030
00:52:23,160 --> 00:52:24,680
Speaker 1: there was not a whole lot of mixing. I mean,

1031
00:52:24,719 --> 00:52:26,080
Speaker 1: he was an R and B and he brought a

1032
00:52:26,160 --> 00:52:29,680
Speaker 1: rap artist on and gave you five, ten, fifteen minutes

1033
00:52:29,800 --> 00:52:30,600
Speaker 1: to do your thing.

1034
00:52:31,000 --> 00:52:32,200
Speaker 4: Yeah, like ten minutes. Yeah.

1035
00:52:33,280 --> 00:52:36,239
Speaker 1: Did you realize how impactful that was and how that

1036
00:52:36,320 --> 00:52:37,360
Speaker 1: was going to change your life?

1037
00:52:37,719 --> 00:52:37,959
Speaker 4: Yeah?

1038
00:52:38,160 --> 00:52:40,720
Speaker 2: I mean, I mean I dreamed of playing the Garden

1039
00:52:41,880 --> 00:52:45,400
Speaker 2: and you know it was like if I never get to,

1040
00:52:46,480 --> 00:52:49,280
Speaker 2: I did it that one time. Yeah, you know, yeah,

1041
00:52:49,480 --> 00:52:52,319
Speaker 2: And you know Bobby, Bobby, Bobby was my boy, Like

1042
00:52:52,360 --> 00:52:55,640
Speaker 2: that was my dude. Like I'll never forget back in

1043
00:52:55,840 --> 00:53:01,799
Speaker 2: I want to say, hmm, maybe early two thousands, I

1044
00:53:01,880 --> 00:53:07,239
Speaker 2: was hanging out in Saint Louis with Bobby Womack, okay,

1045
00:53:07,320 --> 00:53:10,480
Speaker 2: and he was telling me these stories about what him

1046
00:53:10,520 --> 00:53:13,839
Speaker 2: and Wilson Pickett used to do, and you know, I'm

1047
00:53:13,840 --> 00:53:17,160
Speaker 2: taking it in, absorbing it and I'm laughing. But the

1048
00:53:17,160 --> 00:53:20,920
Speaker 2: whole time I'm listening to the stories saying to myself. Ya,

1049
00:53:21,000 --> 00:53:23,920
Speaker 2: he's sitting here describing me and Bobby right like everything

1050
00:53:23,960 --> 00:53:26,480
Speaker 2: he's saying. It's the crazy shit me and Bobby that

1051
00:53:26,560 --> 00:53:27,080
Speaker 2: did together.

1052
00:53:27,480 --> 00:53:30,120
Speaker 4: You know, I'm like, Wow, this is amazing, Dad.

1053
00:53:32,000 --> 00:53:36,160
Speaker 1: Another lyricists will slick Rick, But you all didn't always

1054
00:53:36,160 --> 00:53:41,800
Speaker 1: have the best relationship. How does beef develop between artists?

1055
00:53:43,880 --> 00:53:46,480
Speaker 1: If we were to take women out of the equation

1056
00:53:46,560 --> 00:53:49,200
Speaker 1: because we know women, can you know he was datinger

1057
00:53:49,239 --> 00:53:51,480
Speaker 1: and blah blah, whatever the case may be, But how

1058
00:53:51,520 --> 00:53:53,840
Speaker 1: do beef develop between artists?

1059
00:53:54,040 --> 00:53:59,040
Speaker 2: Sometimes beef can develop, you know, over you know, you know,

1060
00:53:59,600 --> 00:54:00,760
Speaker 2: status ranking.

1061
00:54:01,520 --> 00:54:04,000
Speaker 4: I'm better than you, you better than me for it's all. Yeah,

1062
00:54:04,160 --> 00:54:06,239
Speaker 4: sometimes it can. You know, it can be because of that,

1063
00:54:06,600 --> 00:54:07,960
Speaker 4: you know my claim.

1064
00:54:08,120 --> 00:54:11,160
Speaker 1: Look, if you got something that I want and I

1065
00:54:11,200 --> 00:54:12,879
Speaker 1: need to get it, I need to get at you there.

1066
00:54:14,160 --> 00:54:16,719
Speaker 4: Yeah have you ever have you ever done that? Like?

1067
00:54:16,760 --> 00:54:18,360
Speaker 1: Okay, he on top of the mountain, so let me

1068
00:54:18,760 --> 00:54:21,120
Speaker 1: let me go at him, and then even if I

1069
00:54:21,160 --> 00:54:24,879
Speaker 1: don't get him, at least I'll get his audience's here

1070
00:54:25,640 --> 00:54:28,279
Speaker 1: and now they know about me because I tell people

1071
00:54:28,280 --> 00:54:29,880
Speaker 1: that all the time a lot of time in this industry,

1072
00:54:29,880 --> 00:54:33,080
Speaker 1: in the podcasting industry, Sometimes when you're higher up. People

1073
00:54:33,160 --> 00:54:35,040
Speaker 1: that are a little lower on the podcast as far

1074
00:54:35,080 --> 00:54:38,399
Speaker 1: as subscription views, whatever the case may be, they might

1075
00:54:38,440 --> 00:54:42,880
Speaker 1: take a shot at you just so if you respond,

1076
00:54:43,880 --> 00:54:45,359
Speaker 1: your listener's here.

1077
00:54:46,400 --> 00:54:48,920
Speaker 2: Now they got it. Yeah, No, that's what a lot

1078
00:54:48,920 --> 00:54:51,640
Speaker 2: of people do. A lot of people do that. I

1079
00:54:51,680 --> 00:54:54,160
Speaker 2: mean me, it was never that type of situation.

1080
00:54:54,239 --> 00:54:58,640
Speaker 4: Okay, So you ain't have no be with with slick

1081
00:55:00,320 --> 00:55:01,000
Speaker 4: Me and Slickwick.

1082
00:55:01,040 --> 00:55:03,960
Speaker 1: We had an issue during the LL tour, but we

1083
00:55:04,040 --> 00:55:05,920
Speaker 1: resolved it, you know, right, Yeah, we resolved.

1084
00:55:06,000 --> 00:55:09,359
Speaker 4: Y'all don tour together? Is an LL Nitrol tour? How

1085
00:55:09,360 --> 00:55:11,160
Speaker 4: to hell that go with? Y'all got to get along

1086
00:55:11,200 --> 00:55:13,839
Speaker 4: cause y'all gonna be on that thing every night exactly. So,

1087
00:55:13,920 --> 00:55:17,360
Speaker 4: like I said, we resolved, resolved and continue to finish

1088
00:55:17,360 --> 00:55:18,360
Speaker 4: the tour and make money.

1089
00:55:18,360 --> 00:55:25,120
Speaker 1: Man Cohen, I mean, he was a big prominent during

1090
00:55:25,160 --> 00:55:25,600
Speaker 1: that time.

1091
00:55:25,719 --> 00:55:26,120
Speaker 4: He was.

1092
00:55:26,360 --> 00:55:28,640
Speaker 1: I'm trying to think, who's the equivalent of him now

1093
00:55:28,680 --> 00:55:34,840
Speaker 1: in today's industry? Lord who, Lord coin Leo. Who is

1094
00:55:34,880 --> 00:55:36,280
Speaker 1: the equivalent of him right now?

1095
00:55:39,600 --> 00:55:42,520
Speaker 4: Mm hmm. I don't know.

1096
00:55:44,280 --> 00:55:47,080
Speaker 1: I don't know, because in the eighties and nineties that's

1097
00:55:47,120 --> 00:55:52,759
Speaker 1: the only name that you really heard. Maybe maybe the

1098
00:55:52,840 --> 00:55:55,319
Speaker 1: Steve style cat. But you know he's I think that

1099
00:55:55,400 --> 00:55:58,759
Speaker 1: he do it. He moved more quietly. Yes, yes, you

1100
00:55:58,800 --> 00:56:02,440
Speaker 1: had a Mike Tyson story. Uh uh, you and Mike

1101
00:56:02,600 --> 00:56:11,040
Speaker 1: was cool? Oh yeah, I love Mike, man, because how long?

1102
00:56:11,200 --> 00:56:12,319
Speaker 4: How long have you known Mike?

1103
00:56:15,040 --> 00:56:17,640
Speaker 1: I knew Mike, you know, since you know, the late

1104
00:56:17,680 --> 00:56:20,120
Speaker 1: late ladies when I came out. We met, you know,

1105
00:56:20,160 --> 00:56:20,560
Speaker 1: we just.

1106
00:56:20,560 --> 00:56:23,640
Speaker 2: Bonded and we was cool, saying it was like anytime

1107
00:56:24,600 --> 00:56:27,080
Speaker 2: we see each other, we pretty much hanging the rest

1108
00:56:27,120 --> 00:56:29,600
Speaker 2: of the night, right, you know, Mike.

1109
00:56:29,440 --> 00:56:31,160
Speaker 1: Tell the story that you you know, you you good

1110
00:56:31,200 --> 00:56:33,600
Speaker 1: with you good with these things though. Okay, that was

1111
00:56:33,640 --> 00:56:36,919
Speaker 1: that what Mike saying. I mean, I'm fifty six years old. Man,

1112
00:56:37,239 --> 00:56:39,640
Speaker 1: I ain't fighting nobody now.

1113
00:56:39,840 --> 00:56:41,560
Speaker 4: He ain't talking about now. He talked about back there.

1114
00:56:42,239 --> 00:56:45,520
Speaker 4: I mean, you know, people, people tried the young Kinge.

1115
00:56:46,440 --> 00:56:50,640
Speaker 1: People try everybody. Shy people try everybody, you know, you know,

1116
00:56:51,000 --> 00:56:52,239
Speaker 1: I try to stay out there way cane.

1117
00:56:52,400 --> 00:56:52,600
Speaker 3: Yeah.

1118
00:56:52,680 --> 00:56:55,080
Speaker 4: Yeah, yeah, that's that's that's the that's the best thing

1119
00:56:55,120 --> 00:56:58,280
Speaker 4: to do, you know. Yeah, man, yeah, because.

1120
00:56:58,120 --> 00:57:00,920
Speaker 1: You don't move somewhere nice and quiet and rumblin's. I mean,

1121
00:57:00,960 --> 00:57:05,680
Speaker 1: you hear the birds chirping, cricket and the way rustling

1122
00:57:05,800 --> 00:57:08,879
Speaker 1: that's all you hear, now, yeah, I.

1123
00:57:08,840 --> 00:57:12,400
Speaker 2: Mean, but you know, in all actuality, it's like, I

1124
00:57:12,760 --> 00:57:16,680
Speaker 2: don't think that even when I was younger, that's what

1125
00:57:16,880 --> 00:57:22,840
Speaker 2: I wanted, you know, because I mean I'm from the hood,

1126
00:57:23,320 --> 00:57:28,080
Speaker 2: and through my career you never really heard me glorifying

1127
00:57:28,160 --> 00:57:31,360
Speaker 2: it or talking much about it.

1128
00:57:31,960 --> 00:57:34,520
Speaker 4: I talk about to come up, you know.

1129
00:57:35,920 --> 00:57:38,120
Speaker 2: So it was type of thing where I wanted a

1130
00:57:38,160 --> 00:57:42,360
Speaker 2: better life, right and when I became successful, I went

1131
00:57:42,400 --> 00:57:46,320
Speaker 2: back to the hood. Grab cats from you know, from

1132
00:57:46,360 --> 00:57:49,280
Speaker 2: more for Lewis Avenue from where I live, Grab cats

1133
00:57:49,280 --> 00:57:53,360
Speaker 2: from you know on Brookline projects, Briefoard projects, LG projects.

1134
00:57:53,480 --> 00:57:56,320
Speaker 2: Took them on the road with me, you know, not

1135
00:57:56,480 --> 00:58:00,000
Speaker 2: to show off, but so they can see what I'm doing.

1136
00:58:00,080 --> 00:58:03,080
Speaker 4: Went to be inspired right right right, you know see

1137
00:58:03,080 --> 00:58:03,600
Speaker 4: what I'm saying.

1138
00:58:03,760 --> 00:58:05,560
Speaker 1: I want to try to help them, try to figure

1139
00:58:05,560 --> 00:58:07,160
Speaker 1: out a way to get out the hood. What you're

1140
00:58:07,160 --> 00:58:08,960
Speaker 1: thinking about, what you're feeling, what you want to do.

1141
00:58:09,600 --> 00:58:12,080
Speaker 1: But you know, sometimes when you do that, cane, people

1142
00:58:12,120 --> 00:58:13,760
Speaker 1: be thinking you'll be trying to show you be trying

1143
00:58:13,760 --> 00:58:15,960
Speaker 1: to help somebody, and people think you trying to show out,

1144
00:58:16,000 --> 00:58:18,840
Speaker 1: trying you trying to shine on them. That's the motherfucker

1145
00:58:18,960 --> 00:58:22,360
Speaker 1: get you left on the block. Yeah, I say that,

1146
00:58:22,520 --> 00:58:26,160
Speaker 1: you know what I mean, the one that you took.

1147
00:58:26,400 --> 00:58:29,360
Speaker 1: He get it, he appreciate it. Yeah, yeah yeah.

1148
00:58:29,680 --> 00:58:31,560
Speaker 4: What do you think the dopest song you ever wrote?

1149
00:58:37,560 --> 00:58:43,480
Speaker 1: I would say the dopest rhyme I ever wrote was

1150
00:58:43,760 --> 00:58:47,240
Speaker 1: on a song called Mortal Kombat, where I said none

1151
00:58:47,280 --> 00:58:49,360
Speaker 1: of her in front of because every one of my

1152
00:58:49,520 --> 00:58:53,240
Speaker 1: adversaries lack your little son of obituary columns of read

1153
00:58:53,320 --> 00:58:55,040
Speaker 1: your name if you ever try to step to the

1154
00:58:55,040 --> 00:58:55,400
Speaker 1: big dack.

1155
00:58:55,600 --> 00:58:58,400
Speaker 2: I think that was my dopest line, right. My dopest song,

1156
00:58:58,480 --> 00:59:01,680
Speaker 2: I believe. For the song on I Forget the album,

1157
00:59:01,680 --> 00:59:04,600
Speaker 2: I think it might be Taste of Chocolate called Mister

1158
00:59:04,680 --> 00:59:07,920
Speaker 2: Pitiful because it was heartfelt. It was me talking about

1159
00:59:08,960 --> 00:59:11,760
Speaker 2: personal stuff that I was going through at the time.

1160
00:59:12,640 --> 00:59:14,840
Speaker 4: You know what I'm saying, and I'm not used to

1161
00:59:14,880 --> 00:59:15,080
Speaker 4: doing that.

1162
00:59:15,160 --> 00:59:18,160
Speaker 2: I'm not comfortable doing that, So I think that's the

1163
00:59:18,160 --> 00:59:21,479
Speaker 2: dopest song I ever wrote. But my most motivational song

1164
00:59:22,360 --> 00:59:26,680
Speaker 2: is for my first album, set it Off. I normally

1165
00:59:26,720 --> 00:59:29,400
Speaker 2: perform at first or second in my stage show because

1166
00:59:29,440 --> 00:59:31,400
Speaker 2: you know, could it could be nights where you know,

1167
00:59:32,880 --> 00:59:36,000
Speaker 2: ankle hurting. You know, I have authrit this on my back,

1168
00:59:36,400 --> 00:59:38,000
Speaker 2: my back, you know, messed up.

1169
00:59:38,680 --> 00:59:42,400
Speaker 1: As soon as I hear that out, all the pangs

1170
00:59:42,440 --> 00:59:42,800
Speaker 1: go away.

1171
00:59:43,240 --> 00:59:45,280
Speaker 4: I'm you know, I'm twenty years old again. I'm nineteen

1172
00:59:45,360 --> 00:59:46,040
Speaker 4: years old again.

1173
00:59:46,480 --> 00:59:49,280
Speaker 2: You know everything is back to normal, right that just

1174
00:59:49,280 --> 00:59:50,680
Speaker 2: just that song just motivates me.

1175
00:59:51,280 --> 00:59:57,800
Speaker 4: Yeah. Do you still write today? Absolutely? You writing for

1176
00:59:57,880 --> 01:00:02,400
Speaker 4: you or you writing for someone else? For me? Mainly

1177
01:00:02,560 --> 01:00:06,280
Speaker 4: for me mainly. Yeah, you're looking to put something You're

1178
01:00:06,280 --> 01:00:08,200
Speaker 4: looking to put something out. You're gonna do? Are you?

1179
01:00:08,320 --> 01:00:11,840
Speaker 4: Just like? Yeah, I let.

1180
01:00:12,600 --> 01:00:15,680
Speaker 1: I let ll cool J and Q Tip convinced me

1181
01:00:15,720 --> 01:00:19,760
Speaker 1: to do new music. So yeah, EL excuse me. I

1182
01:00:19,800 --> 01:00:21,520
Speaker 1: had LLL long about a year ago. LL say he

1183
01:00:21,560 --> 01:00:24,960
Speaker 1: gonna be on the stage like mut Jagger. EL say,

1184
01:00:25,120 --> 01:00:27,000
Speaker 1: EL say he gonna be out there like seventy eighty.

1185
01:00:27,640 --> 01:00:30,360
Speaker 1: I mean I think he can do it. You know

1186
01:00:30,920 --> 01:00:33,960
Speaker 1: that title, that that title, the Goat. I think he

1187
01:00:34,040 --> 01:00:37,200
Speaker 1: deserves it and he wears it well, you know, because

1188
01:00:37,240 --> 01:00:37,919
Speaker 1: I mean I don't.

1189
01:00:38,280 --> 01:00:39,560
Speaker 4: I don't.

1190
01:00:39,880 --> 01:00:43,280
Speaker 2: I don't see nobody else that can actually say that.

1191
01:00:43,440 --> 01:00:48,919
Speaker 2: You know, they've charted for what is it, like four

1192
01:00:48,960 --> 01:00:54,280
Speaker 2: different decades eighty nineties, two and five five five, Yeah,

1193
01:00:54,560 --> 01:00:57,720
Speaker 2: charted for five decades. You know, nobody else in hip

1194
01:00:57,760 --> 01:00:59,840
Speaker 2: hop can say that his longevity.

1195
01:01:00,560 --> 01:01:01,920
Speaker 4: It's like, yeah, he is.

1196
01:01:01,960 --> 01:01:05,800
Speaker 1: He re appreciated, is respected as he needs to be

1197
01:01:05,800 --> 01:01:08,560
Speaker 1: because LLL really LLL brought the women because he was

1198
01:01:08,600 --> 01:01:10,240
Speaker 1: the first one to start rapping about women.

1199
01:01:10,480 --> 01:01:16,640
Speaker 4: When I'm alone in my room, I think that, you know,

1200
01:01:17,080 --> 01:01:21,480
Speaker 4: I think that true hip hop fans understand and respect L.

1201
01:01:21,840 --> 01:01:24,880
Speaker 4: It's just that he's become such a big movie.

1202
01:01:24,600 --> 01:01:28,520
Speaker 1: Star outside of music. It's kind of like ho Hove

1203
01:01:28,640 --> 01:01:31,440
Speaker 1: got his started music, but hole they really do anything.

1204
01:01:31,480 --> 01:01:34,280
Speaker 1: He's a mobile he doing. Yeah, but I think.

1205
01:01:34,120 --> 01:01:39,800
Speaker 4: They still respect jay Z as a lyricist as in MC.

1206
01:01:40,120 --> 01:01:42,480
Speaker 4: You know what I'm saying, It's like he's recent because

1207
01:01:42,520 --> 01:01:45,200
Speaker 4: it's like everything that he does outside of music is business.

1208
01:01:45,360 --> 01:01:51,760
Speaker 1: Yes, L Queen Latifa what they do is film Hollywood. Yes,

1209
01:01:52,240 --> 01:01:56,560
Speaker 1: so they're seeing more as movie stars than MC. Yes,

1210
01:01:56,560 --> 01:02:00,280
Speaker 1: but you know, you can sleep if he wants youll

1211
01:02:00,320 --> 01:02:03,800
Speaker 1: COOJ and Queen Latifa will drop a high sixteen on

1212
01:02:03,920 --> 01:02:05,960
Speaker 1: you and murder the mic any given night.

1213
01:02:07,560 --> 01:02:09,400
Speaker 4: Latifa definitely don't get what she deserved.

1214
01:02:09,680 --> 01:02:12,040
Speaker 1: Yeah, because where they start talking about women in rap

1215
01:02:12,080 --> 01:02:13,600
Speaker 1: and they go to all these and that's not to

1216
01:02:14,040 --> 01:02:17,000
Speaker 1: minimize anybody name that they mentioned, but y'all forget about

1217
01:02:17,000 --> 01:02:20,360
Speaker 1: the Queen. Yeah, and it's like you you can't do

1218
01:02:20,400 --> 01:02:23,520
Speaker 1: that because she did so much for the culture, yes,

1219
01:02:23,800 --> 01:02:27,520
Speaker 1: and for a female. MC's right, she broke down so

1220
01:02:27,640 --> 01:02:31,240
Speaker 1: many doors. Your song wraw did you take? Because Eddie

1221
01:02:31,280 --> 01:02:32,480
Speaker 1: Murphy had a tour?

1222
01:02:33,560 --> 01:02:35,320
Speaker 4: Raw? Is that where you got the tiele from? And

1223
01:02:35,440 --> 01:02:36,480
Speaker 4: you just did that on your.

1224
01:02:36,600 --> 01:02:39,800
Speaker 2: No, just some just some own, you're some my own,

1225
01:02:40,680 --> 01:02:45,920
Speaker 2: you know, you know it's it was just really just slang,

1226
01:02:46,480 --> 01:02:48,680
Speaker 2: you know, you know, like you know, oh, nah, this's

1227
01:02:48,680 --> 01:02:50,840
Speaker 2: gonna be raw. Right, We're gonna write now, it's gonna

1228
01:02:50,840 --> 01:02:53,560
Speaker 2: be something raw because it was. When we did that song,

1229
01:02:53,680 --> 01:02:57,520
Speaker 2: it was like I had been fiending for months to

1230
01:02:58,000 --> 01:03:00,680
Speaker 2: put a song out by myself. Okay, my very first

1231
01:03:00,680 --> 01:03:03,440
Speaker 2: song was me and Bizz or just rhyming with Bizz,

1232
01:03:04,280 --> 01:03:06,720
Speaker 2: and it was getting airplay.

1233
01:03:06,920 --> 01:03:09,080
Speaker 4: The problem was, no one.

1234
01:03:09,000 --> 01:03:12,280
Speaker 1: Was booking me for shows because all the promoters thought

1235
01:03:12,280 --> 01:03:13,520
Speaker 1: it was a new biz song.

1236
01:03:13,760 --> 01:03:14,040
Speaker 4: Right.

1237
01:03:14,680 --> 01:03:16,200
Speaker 2: So even though I have a song out and it's

1238
01:03:16,240 --> 01:03:18,360
Speaker 2: playing on the radio, I'm not making no money.

1239
01:03:18,360 --> 01:03:19,280
Speaker 4: I'm sitting at home broke.

1240
01:03:20,400 --> 01:03:21,840
Speaker 2: You know what I'm saying, right, Like, we had to

1241
01:03:22,000 --> 01:03:26,120
Speaker 2: walk to the walk to the corner Bodegga and steal

1242
01:03:26,240 --> 01:03:29,320
Speaker 2: canned shrimp and Missus Paul's fish sticks to for dinner

1243
01:03:30,080 --> 01:03:32,760
Speaker 2: while my song is playing on the radio. You know,

1244
01:03:32,800 --> 01:03:35,600
Speaker 2: we're stealing food to eat for the night. So I'm

1245
01:03:35,600 --> 01:03:37,840
Speaker 2: going to the person that owned the label, Fly Todd Williams,

1246
01:03:37,880 --> 01:03:40,240
Speaker 2: and like, Yo, can I please put something out with

1247
01:03:40,360 --> 01:03:42,280
Speaker 2: just me? And He's like, Yo, we still got life

1248
01:03:42,280 --> 01:03:42,680
Speaker 2: in this song.

1249
01:03:42,760 --> 01:03:43,400
Speaker 4: We need to let it.

1250
01:03:44,120 --> 01:03:46,520
Speaker 1: Yeah, but I ain't got no food in my stomach. Yeah, yeah,

1251
01:03:47,120 --> 01:03:48,320
Speaker 1: there wasn'ty in my pocket.

1252
01:03:48,920 --> 01:03:49,240
Speaker 4: Yeah.

1253
01:03:49,400 --> 01:03:51,200
Speaker 1: Then finally I guess he got tired of me ass

1254
01:03:51,240 --> 01:03:53,040
Speaker 1: and then you know he was like you know, you know, yeah,

1255
01:03:53,040 --> 01:03:56,000
Speaker 1: a gouvernmentcord something we'll see. That's why the very first

1256
01:03:56,000 --> 01:03:57,760
Speaker 1: thing I say on the song is here I am

1257
01:03:58,080 --> 01:04:01,560
Speaker 1: or aw because I felt like, Okay, finally I get

1258
01:04:01,600 --> 01:04:06,000
Speaker 1: to be me to do me. When you get that opportunity,

1259
01:04:06,320 --> 01:04:08,040
Speaker 1: you know, you got to come where they can you

1260
01:04:08,120 --> 01:04:10,520
Speaker 1: know you got the murder this because this is your

1261
01:04:10,560 --> 01:04:13,120
Speaker 1: opportunity because like you said, you got a song on there,

1262
01:04:13,120 --> 01:04:15,480
Speaker 1: but they think it's an ODB song and not you,

1263
01:04:15,840 --> 01:04:19,320
Speaker 1: And so now this is your opportunity. And like EM said, hey,

1264
01:04:19,480 --> 01:04:23,000
Speaker 1: if you had one chance, one opportunity, would you capture it?

1265
01:04:23,720 --> 01:04:28,160
Speaker 4: Did you know? This was my opportunity? And I got

1266
01:04:28,200 --> 01:04:29,640
Speaker 4: to do this with rou absolutely.

1267
01:04:30,200 --> 01:04:32,600
Speaker 1: Like I said, I was home broke with a song

1268
01:04:32,640 --> 01:04:35,440
Speaker 1: playing on the radio, so I knew that this is

1269
01:04:35,840 --> 01:04:38,280
Speaker 1: this is it, right, this is it, this is.

1270
01:04:38,320 --> 01:04:39,880
Speaker 4: Do a die? You know?

1271
01:04:40,520 --> 01:04:44,160
Speaker 1: Was that common cane to have guys had songs on

1272
01:04:44,200 --> 01:04:46,360
Speaker 1: the radio and they still ain't really got no money

1273
01:04:46,360 --> 01:04:46,920
Speaker 1: in their pocket?

1274
01:04:47,000 --> 01:04:50,840
Speaker 4: Yeah? Yeah, yeah, how is that possible?

1275
01:04:51,360 --> 01:04:54,160
Speaker 1: Well, I mean I want to say that my first

1276
01:04:54,200 --> 01:04:58,680
Speaker 1: show I ever did was probably for seven hundred and.

1277
01:04:58,680 --> 01:05:01,880
Speaker 4: Fifty dollars, seven hundred and fifty dollars, seven hundred and

1278
01:05:01,920 --> 01:05:05,640
Speaker 4: fifty dollars. I think my first, very first performance was

1279
01:05:05,640 --> 01:05:08,680
Speaker 4: for seven hundred and fifty dollars. Did you have to

1280
01:05:08,680 --> 01:05:12,920
Speaker 4: pay to get to the show? I don't remember. No.

1281
01:05:13,400 --> 01:05:15,600
Speaker 4: We probably used the well, we probably used the limit. Yeah.

1282
01:05:15,840 --> 01:05:17,400
Speaker 4: We probably used a limo and I had to pay

1283
01:05:17,400 --> 01:05:18,400
Speaker 4: the limo driver. Yeah.

1284
01:05:18,680 --> 01:05:23,840
Speaker 1: So yeah, well damn yeah. So you guys, I think

1285
01:05:23,880 --> 01:05:25,400
Speaker 1: the thing is because a lot of people do this.

1286
01:05:26,480 --> 01:05:28,400
Speaker 1: You look at and you look at the athletes back

1287
01:05:28,400 --> 01:05:30,880
Speaker 1: in the forty and fifty sixty seven days, and they're like, damn,

1288
01:05:31,040 --> 01:05:33,960
Speaker 1: they made good money by standard. But now they look

1289
01:05:34,000 --> 01:05:36,440
Speaker 1: at the athletes in today's time and they see guys

1290
01:05:36,440 --> 01:05:39,640
Speaker 1: got sixty million, seventy million, eighty million dollar contracts. They

1291
01:05:39,720 --> 01:05:43,640
Speaker 1: making thirty forty fifty million off. You looking at right, Like, man,

1292
01:05:43,680 --> 01:05:46,720
Speaker 1: I did my first show seven hundred fifty dollars and

1293
01:05:46,760 --> 01:05:50,040
Speaker 1: you see Kendrick making thirteen forteen million dollars show.

1294
01:05:50,520 --> 01:05:52,240
Speaker 4: Yeah, Like, damn.

1295
01:05:53,440 --> 01:05:55,080
Speaker 1: I used to tell my mom, said, Mom, you couldn't

1296
01:05:55,080 --> 01:05:57,560
Speaker 1: wait ten years. That's thought to do your wait ten years?

1297
01:05:57,600 --> 01:05:59,680
Speaker 1: You were dad, wait ten years and your boy in

1298
01:05:59,680 --> 01:06:00,000
Speaker 1: the money?

1299
01:06:00,960 --> 01:06:03,720
Speaker 4: You know. I mean, I'm gonna be honest with you.

1300
01:06:03,880 --> 01:06:09,560
Speaker 2: Man, It's like, had it happen that way, financially, I

1301
01:06:09,560 --> 01:06:15,040
Speaker 2: would probably be so much more better. But would the

1302
01:06:15,080 --> 01:06:18,480
Speaker 2: legacy be the same, you know what I'm saying? Would

1303
01:06:18,480 --> 01:06:21,880
Speaker 2: the legacy be the same? Like I believe that the

1304
01:06:21,880 --> 01:06:24,840
Speaker 2: Big Daddy Kane legacy will be here when I'm long gone.

1305
01:06:25,320 --> 01:06:26,000
Speaker 4: You know, yep.

1306
01:06:27,400 --> 01:06:32,120
Speaker 1: And you what you rapped about then versus what they

1307
01:06:32,200 --> 01:06:36,120
Speaker 1: rap about now. I think what you rapped about then

1308
01:06:36,240 --> 01:06:38,880
Speaker 1: has stay in power because it wasn't girls or getting

1309
01:06:38,920 --> 01:06:40,560
Speaker 1: the bed or what x Y and Z.

1310
01:06:41,040 --> 01:06:46,840
Speaker 4: Well raped a little about the girl, but I looked.

1311
01:06:46,960 --> 01:06:49,640
Speaker 1: I'm thinking can, I'm like what damn? How did you

1312
01:06:49,640 --> 01:06:51,200
Speaker 1: come up with the name Big Daddy Kane? Where did

1313
01:06:51,200 --> 01:06:53,680
Speaker 1: that come from?

1314
01:06:53,800 --> 01:06:53,960
Speaker 4: Well?

1315
01:06:54,000 --> 01:06:57,400
Speaker 2: It was really just mc kane, okay, Like, yeah, it

1316
01:06:57,440 --> 01:07:02,320
Speaker 2: was just mc kan And I used the name Kane

1317
01:07:02,360 --> 01:07:08,680
Speaker 2: from the Kung Puu, Yeah, David Carridy and Kung Fuu

1318
01:07:08,480 --> 01:07:10,439
Speaker 2: because you know we're outside, you know we're playing tag

1319
01:07:10,520 --> 01:07:12,800
Speaker 2: or Coco Levy or Red Light Green Light, you know,

1320
01:07:14,840 --> 01:07:20,000
Speaker 2: three o'clock on Saturday. I'm gone, came over. I gotta

1321
01:07:20,040 --> 01:07:22,760
Speaker 2: go watch, you know, Kung Fu theater mouth. So they'd

1322
01:07:22,760 --> 01:07:24,920
Speaker 2: be like, all right, we just lost Bruce Lee. I

1323
01:07:25,200 --> 01:07:27,840
Speaker 2: just lost Young Grasshopper. We just lost Kane.

1324
01:07:28,120 --> 01:07:31,560
Speaker 1: So when I decided to change my rap name, I

1325
01:07:31,720 --> 01:07:34,600
Speaker 1: was like, yeah, I like Kane better Young Grasshopper.

1326
01:07:35,000 --> 01:07:36,640
Speaker 4: You know, So I just mc kane.

1327
01:07:37,160 --> 01:07:39,480
Speaker 1: But I would use the term big Daddy a lot

1328
01:07:39,520 --> 01:07:42,040
Speaker 1: in the rhyme, right, And this was the one that

1329
01:07:42,160 --> 01:07:43,960
Speaker 1: told me, now you need to just put that on,

1330
01:07:44,200 --> 01:07:47,760
Speaker 1: put that together and be big daddy came not king. Yeah,

1331
01:07:48,040 --> 01:07:50,240
Speaker 1: because there are a lot of EMC's back there too though.

1332
01:07:50,760 --> 01:07:54,520
Speaker 4: Oh yeah, so you and now Big Daddy Kane stands apart.

1333
01:07:55,000 --> 01:08:01,640
Speaker 2: Yeah yeah, I mean that's like, it's it's funny to

1334
01:08:01,680 --> 01:08:03,680
Speaker 2: me because like to see that a name like that

1335
01:08:03,720 --> 01:08:07,640
Speaker 2: could actually have state power, because it's very few names

1336
01:08:07,640 --> 01:08:12,760
Speaker 2: that really have that. Big Daddy, Camee, Dougie Fresh, you know,

1337
01:08:12,960 --> 01:08:17,160
Speaker 2: you know, Scarface, you know, because like there's some names

1338
01:08:17,160 --> 01:08:19,920
Speaker 2: like like like like if.

1339
01:08:19,840 --> 01:08:23,600
Speaker 4: Your rap name would have been Shannon Dee. You know

1340
01:08:23,600 --> 01:08:26,519
Speaker 4: what I'm saying, That thing ain't nobody an It's like

1341
01:08:26,600 --> 01:08:31,240
Speaker 4: certain names, remember that. Yeah, you know, it's certain names

1342
01:08:31,280 --> 01:08:34,360
Speaker 4: that you know didn't have that state state power, you know.

1343
01:08:34,439 --> 01:08:36,479
Speaker 4: So I mean that's definitely a blessing that you know,

1344
01:08:36,800 --> 01:08:39,000
Speaker 4: it don't sound corny today.

1345
01:08:39,160 --> 01:08:41,760
Speaker 1: You're riding around in your car today. Who you listening to?

1346
01:08:42,560 --> 01:08:46,320
Speaker 1: Same person? I always been listening to Willie Hutch or

1347
01:08:46,439 --> 01:08:47,080
Speaker 1: David Ruffin.

1348
01:08:47,280 --> 01:08:50,080
Speaker 4: Oh so you don't listen to you listen you listen

1349
01:08:50,120 --> 01:08:50,799
Speaker 4: to old school.

1350
01:08:51,680 --> 01:08:54,719
Speaker 1: Yeah, but I mean as far as the new artists.

1351
01:08:55,720 --> 01:08:58,000
Speaker 4: When I do listen, I listen to new artists.

1352
01:08:58,040 --> 01:09:06,120
Speaker 2: Mainly in the House, Lady London, Lady London, Conway, the Machine,

1353
01:09:06,720 --> 01:09:10,120
Speaker 2: those are probably the main two new artists I love.

1354
01:09:10,240 --> 01:09:13,880
Speaker 2: I love the the new Tiler to create at my

1355
01:09:13,880 --> 01:09:16,080
Speaker 2: son turned me onto Okay Tiler.

1356
01:09:15,880 --> 01:09:16,799
Speaker 4: New album is Wire.

1357
01:09:16,960 --> 01:09:22,439
Speaker 1: Okay, Yeah, when you listen, I give example, when I

1358
01:09:22,479 --> 01:09:25,000
Speaker 1: watch a football game or I watching a sporting event,

1359
01:09:25,040 --> 01:09:28,760
Speaker 1: I'm critiquing, I'm analyzing. Okay, man, they're in this coverage. Oh,

1360
01:09:28,840 --> 01:09:31,680
Speaker 1: they're in this formation. It's just down and distance this

1361
01:09:31,800 --> 01:09:34,360
Speaker 1: area of the field. This is what I think they

1362
01:09:34,360 --> 01:09:36,240
Speaker 1: should be doing. This is what I think the defense

1363
01:09:36,280 --> 01:09:38,599
Speaker 1: should be doing. When you listen to a new artist,

1364
01:09:38,600 --> 01:09:41,120
Speaker 1: when you listen to rap, are you dissecting it like that?

1365
01:09:41,200 --> 01:09:46,599
Speaker 1: Are you just the boys? I've always done that. I've

1366
01:09:46,680 --> 01:09:47,320
Speaker 1: always done that.

1367
01:09:48,200 --> 01:09:51,680
Speaker 2: And not only have I always done that, Sometimes I

1368
01:09:51,840 --> 01:09:55,800
Speaker 2: linger around the artists hoping, you know that they asked me.

1369
01:09:55,880 --> 01:09:58,280
Speaker 2: That's my point of view, you know, like I hear

1370
01:09:58,400 --> 01:10:00,719
Speaker 2: something that I could have took it to the next level,

1371
01:10:01,280 --> 01:10:03,760
Speaker 2: you know, while everybody else zoning.

1372
01:10:03,520 --> 01:10:05,680
Speaker 4: Out like yeah, that's fire, that's fire. I'll be up

1373
01:10:05,720 --> 01:10:07,960
Speaker 4: close to the artists like this here, like just waiting,

1374
01:10:08,040 --> 01:10:10,760
Speaker 4: you know, it's patiently waiting, like you just.

1375
01:10:10,720 --> 01:10:14,800
Speaker 1: Ask me, just yeah, just hask me, you know, because

1376
01:10:14,840 --> 01:10:17,280
Speaker 1: I mean, you know, I want to see everybody shine, man,

1377
01:10:17,320 --> 01:10:21,679
Speaker 1: I want to see everybody shine. If you could jump

1378
01:10:21,680 --> 01:10:23,360
Speaker 1: on the track with somebody today, give me, give me

1379
01:10:23,360 --> 01:10:24,839
Speaker 1: four or five artists you'd like to jump.

1380
01:10:24,680 --> 01:10:30,880
Speaker 4: On the track with today. Uh, right now today, I'm.

1381
01:10:32,280 --> 01:10:43,240
Speaker 2: Uh Jake Cole, of course, Jake Cole, Lady London, Sheelo Green,

1382
01:10:43,960 --> 01:10:44,920
Speaker 2: Anthony Hamilton.

1383
01:10:48,720 --> 01:10:50,320
Speaker 1: I would have never put you. I'd never put you

1384
01:10:50,320 --> 01:10:53,000
Speaker 1: in Anthony Hamilton and then Sealow together. I'd have thought

1385
01:10:53,000 --> 01:10:55,400
Speaker 1: you to like, you know, okay, obviously Jake Cole because

1386
01:10:55,439 --> 01:10:58,000
Speaker 1: you say he's he's your favorite today, because he's a

1387
01:10:58,200 --> 01:11:00,200
Speaker 1: you know, he's a lyricist. I would have thinked talk

1388
01:11:00,240 --> 01:11:03,519
Speaker 1: you to say, maybe somebody like Wayne or or you

1389
01:11:03,560 --> 01:11:06,800
Speaker 1: know whoever. You know, I would I would have never.

1390
01:11:06,840 --> 01:11:08,840
Speaker 1: I would have never put you with ce Loo and

1391
01:11:08,960 --> 01:11:09,719
Speaker 1: Anthony Hamilton.

1392
01:11:09,760 --> 01:11:12,400
Speaker 4: See Low is slect talker man. He is is slect

1393
01:11:12,400 --> 01:11:16,559
Speaker 4: talker man. Yeah. The Dungeon, Yeah, yeah, he he is

1394
01:11:16,600 --> 01:11:19,479
Speaker 4: select talker. You know what you want to do? You

1395
01:11:19,479 --> 01:11:21,200
Speaker 4: want me to run through with my gun Drew This

1396
01:11:21,320 --> 01:11:23,320
Speaker 4: nigga don do something that he can undo. And anybody's

1397
01:11:23,320 --> 01:11:27,040
Speaker 4: with him they deserve one too. Yeah. I love man.

1398
01:11:27,360 --> 01:11:30,160
Speaker 4: People don't realize, but he has a tremendous voice also.

1399
01:11:30,120 --> 01:11:33,200
Speaker 2: Yeah, yeah, yeah, and Anthony Hamilton. You know it's like

1400
01:11:33,280 --> 01:11:35,639
Speaker 2: it's like I love soul music, yes, and.

1401
01:11:35,600 --> 01:11:41,880
Speaker 4: We don't have too many arms, you know, soul singers left, no,

1402
01:11:42,280 --> 01:11:46,040
Speaker 4: you know, you know, I mean we we have, you know,

1403
01:11:46,200 --> 01:11:50,559
Speaker 4: we still got Al Green, the Old Jays, Ronald Eisley,

1404
01:11:50,800 --> 01:11:53,240
Speaker 4: but I mean like from the younger Yeah, well, I

1405
01:11:53,280 --> 01:11:58,679
Speaker 4: mean from our generation, you know, you know, Anthony Hamilton,

1406
01:11:58,920 --> 01:12:03,720
Speaker 4: Casey Haley, Dave Hollist, Fantasia, Jennifer Hudson. Right, you know,

1407
01:12:03,840 --> 01:12:06,840
Speaker 4: it's you know, not too many soul singers, you know left.

1408
01:12:07,400 --> 01:12:09,280
Speaker 1: It's a different time, and I don't know if it's

1409
01:12:09,320 --> 01:12:11,439
Speaker 1: ever gonna be like what it was was with the

1410
01:12:11,479 --> 01:12:14,840
Speaker 1: soul singers when you get to you mentioned you had

1411
01:12:15,520 --> 01:12:18,840
Speaker 1: Barry White, and you had Marvin gay and you had Halfaway,

1412
01:12:18,880 --> 01:12:21,680
Speaker 1: and you had Freddie Jackson, and you had Teddy Pendergrass

1413
01:12:21,680 --> 01:12:23,760
Speaker 1: and you had Marvin Gaye and you had this one.

1414
01:12:24,439 --> 01:12:28,000
Speaker 1: You had ten fifteen twenty oh yeah, and you had

1415
01:12:28,120 --> 01:12:34,000
Speaker 1: ten fifteen twenty women. Oh yeah, absolutely because and a

1416
01:12:34,000 --> 01:12:37,519
Speaker 1: lot of times I've asked artists that I've been fortunate

1417
01:12:37,600 --> 01:12:39,960
Speaker 1: enough to sit down and it's hip hop is hip

1418
01:12:40,000 --> 01:12:45,400
Speaker 1: hop dead, it's R and B dead. Maybe in that format,

1419
01:12:45,640 --> 01:12:48,240
Speaker 1: maybe as we saw it when we were growing up came.

1420
01:12:48,720 --> 01:12:49,439
Speaker 4: I think that.

1421
01:12:51,240 --> 01:12:55,519
Speaker 2: It's it doesn't have a strong presence in mainstream, okay.

1422
01:12:55,000 --> 01:12:55,880
Speaker 4: But it's still there.

1423
01:12:56,520 --> 01:13:02,679
Speaker 1: It's still there because you you you gotta think, even

1424
01:13:02,720 --> 01:13:08,040
Speaker 1: when we had artists like the Old Jay's Brothers, Teddy Pendergrass,

1425
01:13:08,520 --> 01:13:13,160
Speaker 1: Patti la Bell in main stream.

1426
01:13:11,960 --> 01:13:14,240
Speaker 4: Steffand in to Steffan, the Mills, and we had all

1427
01:13:14,320 --> 01:13:15,080
Speaker 4: them in main stream.

1428
01:13:15,200 --> 01:13:20,400
Speaker 1: Yes, we still was able to find artists like Lenny Williams.

1429
01:13:20,600 --> 01:13:22,200
Speaker 4: Yes, you know what I'm saying.

1430
01:13:22,439 --> 01:13:25,280
Speaker 1: We still was able to you know, find artists like

1431
01:13:25,960 --> 01:13:28,840
Speaker 1: you know, Sam and Dave, like there was artists that

1432
01:13:29,320 --> 01:13:32,120
Speaker 1: wasn't you know, like in the mainstream like that, you.

1433
01:13:32,000 --> 01:13:34,120
Speaker 4: Know, but soulful artists.

1434
01:13:34,200 --> 01:13:35,880
Speaker 1: Right, you know what I'm saying that we had to

1435
01:13:35,880 --> 01:13:39,160
Speaker 1: search for right, you know, And that's what it is today.

1436
01:13:39,200 --> 01:13:41,479
Speaker 4: You just have to search for them, you know.

1437
01:13:41,640 --> 01:13:44,519
Speaker 2: Only thing is just that there's not any in the

1438
01:13:44,600 --> 01:13:46,679
Speaker 2: main stream like there was then.

1439
01:13:47,240 --> 01:13:49,720
Speaker 1: Are we ever gonna get another Sam Cook? Are we

1440
01:13:49,760 --> 01:13:51,880
Speaker 1: ever gonna get another Marvin Gaye? Are we gonna ever

1441
01:13:51,920 --> 01:13:54,679
Speaker 1: get another you know, Barry White? Are we ever gonna

1442
01:13:54,680 --> 01:13:58,559
Speaker 1: get another I hope Aretha. I hope not Whitney. I

1443
01:13:58,600 --> 01:14:02,559
Speaker 1: hope not damn come on, no, no, I want them

1444
01:14:02,600 --> 01:14:03,719
Speaker 1: to be in a class by themselves.

1445
01:14:03,720 --> 01:14:04,960
Speaker 4: I don't want another Sam Cook.

1446
01:14:05,439 --> 01:14:08,360
Speaker 1: I want to hear someone that might remind me of

1447
01:14:08,439 --> 01:14:11,519
Speaker 1: Sam Cook, but got their own lane, right, got their

1448
01:14:11,560 --> 01:14:15,120
Speaker 1: own style. Okay, you know what I'm saying, because now,

1449
01:14:15,200 --> 01:14:17,680
Speaker 1: because I don't want nobody trying to.

1450
01:14:17,600 --> 01:14:20,680
Speaker 2: Replace Sam cook legacy or Marvin Gaye legacy. You know,

1451
01:14:20,840 --> 01:14:26,840
Speaker 2: I mean like I like October London. Okay, you know

1452
01:14:26,880 --> 01:14:29,040
Speaker 2: what he does in the Marvin flavor, but you know

1453
01:14:29,120 --> 01:14:30,000
Speaker 2: he got his own.

1454
01:14:29,840 --> 01:14:31,960
Speaker 4: Thing, his own thing. Yeah, you know what I'm saying.

1455
01:14:32,120 --> 01:14:35,800
Speaker 1: Yeah, So I mean, let man j Cole there is

1456
01:14:35,880 --> 01:14:38,080
Speaker 1: I guess it started out his moother and Kendrick said

1457
01:14:38,360 --> 01:14:40,160
Speaker 1: they talk about the big three is just big me

1458
01:14:40,680 --> 01:14:42,400
Speaker 1: and Cole started on this.

1459
01:14:42,400 --> 01:14:43,400
Speaker 4: Journey like nah, I'm off.

1460
01:14:43,920 --> 01:14:46,519
Speaker 1: And I've talked to a lot of people that say, look,

1461
01:14:46,840 --> 01:14:48,559
Speaker 1: if somebody call you out, you got to jump off

1462
01:14:48,560 --> 01:14:48,920
Speaker 1: the porch.

1463
01:14:49,760 --> 01:14:51,280
Speaker 4: I know Cain would have jumped off the porch.

1464
01:14:51,400 --> 01:14:59,160
Speaker 2: God damn right, I'm gonna tell you something. I remember

1465
01:15:00,240 --> 01:15:07,080
Speaker 2: talking to Pappoose about it and then Cole pulled the

1466
01:15:07,160 --> 01:15:09,240
Speaker 2: song back and said, did he not there?

1467
01:15:10,080 --> 01:15:14,120
Speaker 1: And I was mad, Really, I was mad. I'm like, no,

1468
01:15:14,320 --> 01:15:17,120
Speaker 1: come on, brother man, call you out. You got to

1469
01:15:17,160 --> 01:15:20,280
Speaker 1: come back. Yeah, I was mad. But then as I

1470
01:15:20,400 --> 01:15:25,920
Speaker 1: watched the Drake and Kendrick battle unfold, I had so

1471
01:15:26,040 --> 01:15:27,479
Speaker 1: much respect for cold decision.

1472
01:15:28,400 --> 01:15:30,639
Speaker 4: I respected his decisions so much more.

1473
01:15:32,160 --> 01:15:35,519
Speaker 2: Because it was like, I don't feel like the fans

1474
01:15:35,520 --> 01:15:40,759
Speaker 2: were enjoying the battle. I think the fans were taking

1475
01:15:40,760 --> 01:15:44,080
Speaker 2: too much time trying to fact check what they're saying, right,

1476
01:15:44,560 --> 01:15:48,479
Speaker 2: you know, it's like it's a battle right the way,

1477
01:15:48,479 --> 01:15:51,439
Speaker 2: whether it's true or not. Well, I mean, if you

1478
01:15:51,720 --> 01:15:55,439
Speaker 2: dissing someone, yeah, it's a fifty to seventy five percent

1479
01:15:55,520 --> 01:15:57,000
Speaker 2: chance that you're gonna lie about some shit.

1480
01:15:57,080 --> 01:15:57,679
Speaker 4: You know what I'm saying.

1481
01:15:58,760 --> 01:16:03,400
Speaker 1: I mean, when Ll wined Hammer my old gym teaching

1482
01:16:03,479 --> 01:16:07,320
Speaker 1: supposed to rap. When was Hammer ever LL's gym teacher.

1483
01:16:09,920 --> 01:16:11,759
Speaker 1: You know it ain't true, but the line was funny

1484
01:16:11,800 --> 01:16:13,400
Speaker 1: as well, exactly see what I'm saying.

1485
01:16:13,479 --> 01:16:16,639
Speaker 4: Yes, So I mean it's like, you know, just enjoy

1486
01:16:16,720 --> 01:16:19,000
Speaker 4: the battle, and I don't think. I just feel like,

1487
01:16:19,080 --> 01:16:21,120
Speaker 4: I don't think. I don't think the fans would have

1488
01:16:21,160 --> 01:16:22,240
Speaker 4: really appreciated it.

1489
01:16:22,280 --> 01:16:25,040
Speaker 2: I don't think that it would have had the impact

1490
01:16:25,400 --> 01:16:29,400
Speaker 2: that the jay Z and Nas battle had, that the

1491
01:16:30,360 --> 01:16:31,760
Speaker 2: Tupac Biggie.

1492
01:16:31,520 --> 01:16:33,800
Speaker 1: Yeah, Shan, Yeah, Shan and Kas or not. I don't

1493
01:16:33,800 --> 01:16:36,080
Speaker 1: think it would have had the type of impact you know.

1494
01:16:36,360 --> 01:16:36,920
Speaker 4: Yeah right.

1495
01:16:37,439 --> 01:16:40,320
Speaker 1: This concludes the first half of my conversation. Part two

1496
01:16:40,439 --> 01:16:42,639
Speaker 1: is also posted and you can access it to whichever

1497
01:16:42,960 --> 01:16:46,160
Speaker 1: podcast platform you just listened to part one on. Just

1498
01:16:46,200 --> 01:16:49,040
Speaker 1: simply go back to Club Sha profile and I'll see

1499
01:16:49,080 --> 01:16:49,400
Speaker 1: you there.