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Speaker 1: What up, y'all? This your main Maynor Memphis Bleak right here.

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Speaker 1: Welcome to Rock Solid, a production of iHeart Radio and

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Speaker 1: the Black Effect Network in partnership with my guys over

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Speaker 1: at Drink Champs. You should know about, know.

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Speaker 2: You shouldn't know about.

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Speaker 1: Yeah, y'all you know what it is. Back with another

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Speaker 1: exclusive rock Solid podcast, kicking off a new season with

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Speaker 1: a legend, a og, a mentor of mind, a massy staple.

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Speaker 1: Without this guy right here, I wouldn't exist, My big

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Speaker 1: homie wouldn't exist. Half this shit you even spitting, and

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Speaker 1: your young boys rapping wouldn't exist. So let's make sure

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Speaker 1: we welcome and honor the legendary jazz Oo to the building.

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Speaker 1: My brother, man, how you been?

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Speaker 2: Man? Oh? Great, man, great and.

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Speaker 1: So good to see you. My guys been vice versa,

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Speaker 1: Like Joe, I wanted to bring you here, like we

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Speaker 1: spoke on the phone and I know you was like Yo,

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Speaker 1: my partner like, Yo, what believe even what they want?

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Speaker 1: What they bring. I'm like, I just wanted to give

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Speaker 1: you your flowers, show you the respect because as a

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Speaker 1: thirteen year old kid watching you and Jay, let's go

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Speaker 1: all the way back, right, Let's go all the way back.

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Speaker 1: All right, let's go you pulling up in the projects

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Speaker 1: with two black panthers shooting the video As a twelve

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Speaker 1: thirteen year old kid, that meant everything to me to

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Speaker 1: see like you was the first guy from Marci to

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Speaker 1: have a deal coming through with Big Daddy came. You

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Speaker 1: know what I mean? You and jay I turn on

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Speaker 1: video music box. Y'all got a video the guy that

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Speaker 1: live in my next building, Chase, who out there dancing

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Speaker 1: in front of the building, is on TV. So y'all

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Speaker 1: made me, sir real. Yes, y'all made these dreams reality

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Speaker 1: to me. And it was like and then to see

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Speaker 1: y'all and the projects and able to talk to you

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Speaker 1: and be like, yo, yo, I remember seeing you in

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Speaker 1: the elevator. It was me you and jay I was like, yo, Jazz, Yo,

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Speaker 1: how you make a hook? Man? I can't write a

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Speaker 1: hook for to save my life? I remember that, yup,

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Speaker 1: And you was like, Yo, just keep writing, man, just

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Speaker 1: keep writing, and it's gonna get you. Gonna get it,

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Speaker 1: You gonna get it.

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Speaker 2: Yep.

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Speaker 1: I still can't make a hook.

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Speaker 2: I gotta put out a book.

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Speaker 1: Word up like the days are you picking me up?

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Speaker 1: In the We had the pink tracker. Yo. That felt

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Speaker 1: like me leaving my building getting in the new sprint

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Speaker 1: of here today that these kids riding in. That's how

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Speaker 1: getting in that tracker felt to me. To go to

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Speaker 1: the studio working with you, with Ski everybody, I was

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Speaker 1: just like on it to be like, yo, y'all picked me.

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Speaker 1: So what was it like for you coming out in

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Speaker 1: the eighties? Me and the first guy from Marcie basically

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Speaker 1: putting this whole movement on.

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Speaker 2: Well, the funny part about it is that you don't

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Speaker 2: realize what you've done until hindsight, you know what I'm saying.

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Speaker 2: Like even even even in your beginnings, like you were

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Speaker 2: like you geek, but at the same time you having fun, yes,

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Speaker 2: and it was just there was really no that should

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Speaker 2: I say that, There was really no precedents, you know

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Speaker 2: what I'm saying. So the experiences that I had, like

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Speaker 2: I couldn't say, like, yo, let me talk to such

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Speaker 2: and such about it because he experienced the two. There

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Speaker 2: was nobody you know, you one and only exactly so.

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Speaker 2: And I appreciate that so so dealing with that it

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Speaker 2: was just handling, handling it like a like who I was.

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Speaker 2: As far as my maturity. It was like I was geek,

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Speaker 2: but at the same time, I was like, I don't

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Speaker 2: even know where this road ends. I don't know what

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Speaker 2: this path or where this path leads to. So I'm

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Speaker 2: just like all I know is I got rhyme skills

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Speaker 2: and I could do a three sixty and not rhyme

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Speaker 2: better than everybody.

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Speaker 1: You had to have a dance move back.

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Speaker 2: Then, you know what I'm saying. You know, I had.

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Speaker 2: I had people who came to the projects. They used

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Speaker 2: to come to the projects to you know, they're like, yo,

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Speaker 2: we heard about this dude jazz and this, this, that

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Speaker 2: and the other. He ain't better than me. And you know,

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Speaker 2: I used to just be play coy and you know,

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Speaker 2: let niggas rhyme. They got the music out and they

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Speaker 2: try to put me on front, you know what I'm saying.

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Speaker 2: And I had to spank them, and that's right. So

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Speaker 2: that that's what I climbed off of, like that experience

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Speaker 2: because there was no president, there were nobody. There was

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Speaker 2: nobody really that could speak of as a rap artist

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Speaker 2: or lyricist having a record deal or career, you know

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Speaker 2: what I'm saying. The career part of it wasn't Exton Storm.

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Speaker 2: So it's like, yo, I'm just winging it.

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Speaker 1: Yes, because back then, think in the eighties, back in

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Speaker 1: those days, saying you're gonna be a rapper was equivalent

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Speaker 1: to say, Yo, I'm going to the NBA. You're looking

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Speaker 1: at you like, Okay, I'm gonna stand here and sell

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Speaker 1: these drugs while you're playing the note.

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Speaker 2: Right right right, So yeah, so it was it was

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Speaker 2: it was ill man.

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Speaker 1: Like I always wanted to know, like when did the

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Speaker 1: connection with you and Jane started? Like like that don't

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Speaker 1: even seem real that question to me, like because people

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Speaker 1: always ask me, yo, how was it working with Jay?

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Speaker 1: Like when did Jane discover you? And this and that?

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Speaker 1: And it's like I'm acting you and then you discovered

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Speaker 1: Jay's insane.

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Speaker 2: Well, first and foremost, I gotta give credit to Nike

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Speaker 2: from the shirt Cam.

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Speaker 1: Shirt came shout out night and that's crazy. He lived

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Speaker 1: in my building too.

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Speaker 2: Heard out you were in the legends.

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Speaker 1: It was legendary shit going on.

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Speaker 2: In the building, definitely. So so Nike, Nike and I

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Speaker 2: knew each other through my man, Steve kraslan Man he

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Speaker 2: wrestling in Power. We met a long time ago, and

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Speaker 2: so basically I was just coming back from I dropped

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Speaker 2: out of college. I was actually going to college and

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Speaker 2: and va at older mindon university. It wasn't for me.

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Speaker 2: You know, I still wanted to be in the street.

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Speaker 2: I wanted to rhyn you know what I'm saying. So

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Speaker 2: none of that ship fit together. So so I was like,

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Speaker 2: so I came back home, I got a job, and

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Speaker 2: amidst me getting the job, I'm like, man, fuck this job.

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Speaker 2: You know, I started doing the other thing. So basically

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Speaker 2: Nike was like, he's Nike was telling me, he said

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Speaker 2: him Johnny who also lived around your way. So him,

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Speaker 2: Johnny and somebody else they were having an argument over

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Speaker 2: like who was the best in the projects, and Nike

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Speaker 2: was saying, like, I don't know what the fuck y'all

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Speaker 2: talking about that. Nigga Jazz just came home from school.

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Speaker 2: You know what I'm saying. Jazz is better than everybody.

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Speaker 2: So you know that started like Nike became the dawn King,

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Speaker 2: putting motherfuckers together, whether they gonna battle or collaborate, you

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Speaker 2: know what I'm saying. So so night he put it

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Speaker 2: together and me and Jim we met in the not

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Speaker 2: not not as far as the lane, but on park

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Speaker 2: ave when you first when cars used to just drive

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Speaker 2: in and then you go back toward the park in

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Speaker 2: the lane on on on my side. So we met

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Speaker 2: in front of it was like between my buildings which

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Speaker 2: is the rent office building and six twenty four, so

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Speaker 2: we were staying. We was all standing right there and

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Speaker 2: just me, Knight and Jay and a couple of cats.

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Speaker 2: They probably mad at me if they see this and.

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Speaker 1: Be like, yo, you don't remember me standing there? Yo?

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Speaker 3: They always the shout out, hell yeah, so shout out

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Speaker 3: to y'all niggas, then remember exactly, you know who you

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Speaker 3: was exactly.

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Speaker 2: So so he put it together. So Jay was standing there,

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Speaker 2: you know, we introduced each other and he was like, so,

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Speaker 2: who who's gonna run first? Jay was like and I

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Speaker 2: was like, I was yeah, yeah, both quiet yea. So

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Speaker 2: I was like, you know, on my mind, and I'm

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Speaker 2: sure there was in his mind too.

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Speaker 1: It was like.

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Speaker 2: I don't I'm being nice, but I don't really give

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Speaker 2: a fuck because I know my skill level. So so

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Speaker 2: basically I said, fuck it, let me spend something. So

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Speaker 2: I run, you know, the little oohs and ahs and

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Speaker 2: then the crowd because they already knew me, I was,

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Speaker 2: and I'm not I'm not too well, I am too

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Speaker 2: my own horn fucking right if I don't do it now,

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Speaker 2: when you know, I was already a legend when I

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Speaker 2: by the time I got back from school, I was

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Speaker 2: already a legend in the projects and in Brooklyn.

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Speaker 1: Fact, everybody knew.

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Speaker 2: So so I robbed and the crowd, you know, we

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Speaker 2: built up a little crowd and then Jay Ron and

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Speaker 2: I was like, oh ship, and and I'm not even

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Speaker 2: I'm not even exaggerating, I'm like, for all, and we're

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Speaker 2: gonna put this out there for all the people who

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Speaker 2: say that Jay, you know, because you got some people

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Speaker 2: out there they say, Jay Jack my whole style and

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Speaker 2: all this type of ship. It was like, nah, we

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Speaker 2: we collaborated for so long and so much that our

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Speaker 2: styles became one style and still man exactly so, so

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Speaker 2: we need to have that out in the world, you know,

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Speaker 2: for all of the people that like drama and conflict.

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Speaker 1: Style, that's what they say, so right right, but.

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Speaker 2: Right right, you know, and and every everybody took this

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Speaker 2: or that from somewhere. You know what I'm saying.

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Speaker 1: We all learned off each other, right, and.

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Speaker 2: You just put your own your own your own signature. Yes,

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Speaker 2: so so jay Ron and I was like, damn, it's

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Speaker 2: like I ain't even finished rhymen. Like I'm like this

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Speaker 2: nigga's roming, but I'm roming, like you know what I'm saying.

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Speaker 2: I almost knew what he was gonna say, but he

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Speaker 2: was you know, he had certain aspects to his game

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Speaker 2: that that were new to me, and I'm sure vice versa.

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Speaker 2: So what started out to be a battle, you know,

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Speaker 2: it was just us rhyming. So we just you know,

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Speaker 2: we kicked about two or three more rhymes of peace

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Speaker 2: and then you know, things just went about their business.

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Speaker 2: But I mean, j we started linking up and you

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Speaker 2: know and writing together. So we started writing routines and

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Speaker 2: all that ship. And you know, like when you hear

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Speaker 2: like in certain books or you know, you hear Jay

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Speaker 2: talk about you know, or records. You know, were banging

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Speaker 2: on the table. You know, with the hogging dods ice

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Speaker 2: cream and the apple jacks and fruit loops. We just

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Speaker 2: hide as fuck on sugar. That ship was crazy, you know,

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Speaker 2: niggas Robin going back and.

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Speaker 1: And sweets is crazy.

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Speaker 2: And so that's that's how it started. We was like

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Speaker 2: you know, some like like Aria or somebody would have

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Speaker 2: the music out Rest in peace air man.

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Speaker 1: Definitely bring them speakers out. The old projects came.

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Speaker 2: Out, man, Yes, indeed, Man, indeed so not so. Me

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Speaker 2: and Jay we used to we used to come out.

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Speaker 2: We had I don't know where Jay got it from,

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Speaker 2: but yeah, this little it's a rolling drum machine. It's

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Speaker 2: called a d d M one ten. And he actually

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Speaker 2: introduced me to that because you know, I was into

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Speaker 2: the big machines. I never saw like you know, so

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Speaker 2: he's like, yeah, I got this. This drum machine is

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Speaker 2: DDM one ten and uh, long story short, we was like, yo,

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Speaker 2: were going to the music, like here he got the

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Speaker 2: music out. We going over there usually every time, and

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Speaker 2: it was crazy. Every time the music was out, niggas

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Speaker 2: would find a way to find either me or Jay

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Speaker 2: because they know if they found him, you know, he

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Speaker 2: he would come get me and vice versa, and we

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Speaker 2: go to the music and we would shut the ship down.

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Speaker 2: We was like, I don't know if you ever saw

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Speaker 2: this old bugs Bunch cartoon. He was playing like a

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Speaker 2: composer and he walks into the he walks into the

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Speaker 2: the opera house or the the auditorium and they going Leopold,

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Speaker 2: like you know what I'm saying, like here they come,

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Speaker 2: here they come. And it was like that all the time,

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Speaker 2: and we would shut ship down. I get on the

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Speaker 2: d D M one tea and he bron and then

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Speaker 2: you know, he just do one of them, you know,

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Speaker 2: and your jazz, my buddy, my age, don't you you

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Speaker 2: know what cold rock, and we gotta switch up the switch,

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Speaker 2: not just switch the mics, but we gotta switch up

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Speaker 2: the drum machine, you know what I'm saying. And we

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Speaker 2: had that ship down to science. So that's when it

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Speaker 2: that's when it started, and then it never stopped from there.

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Speaker 1: Like then, y'all. It's a rumor that y'all even once.

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Speaker 1: I don't know if it's true that y'all battle al

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Speaker 1: Aur or something.

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Speaker 2: Right, Oh, this is what happened. This involved. This involved

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Speaker 2: sauce money.

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Speaker 1: Shout out sauce money, another legend.

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Speaker 2: Shout out the sauce even though you know we don't

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Speaker 2: be speaking. You know what I'm saying, I love you,

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Speaker 2: that's right, I'm saying. Don't ever forget that.

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Speaker 1: That's right, man. Always love source money. Man.

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Speaker 2: So basically, we were at one of these uh industry parties.

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Speaker 2: So we were Outshine and Dre. I don't know why

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Speaker 2: he was carrying it, but the big ass VHS cameras,

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Speaker 2: the big the shoulder Joy remember those news reporters word

250
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Speaker 2: word you couldn't you couldn't be you couldn't be a

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Speaker 2: weak nigga car So he had that again. The other

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Speaker 2: people that were there, I don't remember, but everybody dose.

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Speaker 1: Shout out the ones that was there, you know who

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Speaker 1: was there exactly.

255
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Speaker 2: So so basically we were all standing outside, so Me

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Speaker 2: and j Sauce, Dre, I don't know v I was there.

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Speaker 2: I think v I was there too, oh g v I, Yes, indeed,

258
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Speaker 2: he's like, I don't know, so so Ll and some

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Speaker 2: other cat they walked by and around this time. Like Sauce,

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Speaker 2: he was doing that ship all the time, Like every

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Speaker 2: time we went to industry party or whatever. Sauce was

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Speaker 2: always trying to battle niggas and he would be looking

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Speaker 2: at niggas like so, you don't know if I'm putting

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Speaker 2: myself in the place of the people that he's staring

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Speaker 2: at like, I wouldn't know whether he he want a

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Speaker 2: battle or he got beats.

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Speaker 1: It's gang ship or or it's wrapped and stuff. Yeah,

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Speaker 1: his gang Sauce did have that look as like ice

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Speaker 1: Cube back in the day when he was a young dude,

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Speaker 1: like you didn't know, like yeah, you see a nigga

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Speaker 1: like Source just looking at you, like yo, what type

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Speaker 1: of time homie on. He definitely got that look exactly.

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Speaker 2: So he was so he was staring at LLLL and

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Speaker 2: you know, doing this type of ship like yeah, I'm like, man,

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Speaker 2: it's like so somebody said something and I think he

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Speaker 2: said it something something to the extent of like you

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Speaker 2: don't want it, or some ship like that like that.

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Speaker 2: That's the ship he was on. He's like, you don't

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Speaker 2: want it, and Llll was like, you know, I know,

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Speaker 2: man set He was like, nigga, I got a deal

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Speaker 2: and I'm rich. You know, you know whatever you say,

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Speaker 2: you say, but it's man's I knows. Man's told him

283
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Speaker 2: something to the effect that like it's too many people

284
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Speaker 2: looking and the nigga called you out, So you just

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Speaker 2: keep it moving, you know, it's gonna it's gonna come out. Yeah.

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Speaker 2: So so ll turned around and he came back, and

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Speaker 2: you know, sau Us explained like yo, I'm yo, what's up.

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Speaker 2: Let's do it. So Saw started rhyming. So Saw started

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Speaker 2: rhyming right, and then uh, ll Ron and the funny part,

290
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Speaker 2: I'm gonna tell you the funny it didn't happen yet,

291
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Speaker 2: but then after ll rhyme and Jay Ron and llll

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Speaker 2: was already doing what I'm about to tell you before that,

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Speaker 2: but he really got into it, like so j Ron

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Speaker 2: and then ll rhymed again. And when ll saw romen

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Speaker 2: this nigga staring at me no way way, I'm like,

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Speaker 2: I'm like, first in my head, I'm like, first, I'm surprised, Like,

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Speaker 2: first off, nigga, you already know you don't want it

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Speaker 2: with me, And second, like I didn't say nothing to you,

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Speaker 2: but you know, guilt by association, right, And he didn't

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Speaker 2: really to be honest, he didn't really know Sauce or

301
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Speaker 2: j Well, he knew he was slightly familiar with j

302
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Speaker 2: through me, and you know Jay's exploits in Queen's way

303
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Speaker 2: back when, so so basically he's rhyming. That means so

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Speaker 2: I'm like one of those. They basically drew me into

305
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Speaker 2: the whole shit. So I started rhyming, and that's basically

306
00:20:01,280 --> 00:20:06,320
Speaker 2: how I went down it. I wouldn't I wouldn't say

307
00:20:06,960 --> 00:20:10,440
Speaker 2: who won or lost. But I know that every rhyme

308
00:20:10,480 --> 00:20:14,239
Speaker 2: that we three spit was better than his ship. And

309
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Speaker 2: I'm not I'm not trying to disrespect l L. Is

310
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Speaker 2: a great lyricist and everything else. One thing I like

311
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Speaker 2: about LLL. He's in pocket. It's timing, you know what

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Speaker 2: I'm saying. But I'm just saying that that night and

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Speaker 2: I'm sure you know, I'm sure it was it was

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Speaker 2: an off night for him. You know, niggas caught him

315
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Speaker 2: off guard or whatever. But I mean me personally, like

316
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Speaker 2: I don't off guard on guard like nigga you and

317
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Speaker 2: it's me. But but it was. It was one of

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Speaker 2: those things and it was it was a battle, but

319
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Speaker 2: it wasn't a battle. And the crazy part about it

320
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Speaker 2: is Dre was recording the whole ship and I was trying.

321
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Speaker 2: I was like, damn that that VHS probably corroded about

322
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Speaker 2: twenty five years ago.

323
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Speaker 1: Gee, that shit got circulated through the hood like King

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Speaker 1: murderatement minutes.

325
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Speaker 2: You know what I'm saying. So it was wild. It

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Speaker 2: was wild.

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Speaker 1: Yeah, man, Damn, that's that's you know that you got

328
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Speaker 1: that l L, even at that level in his career,

329
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Speaker 1: would even stop and rhyme, but he wasn't.

330
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Speaker 2: He wasn't on his own, but his man's like, yo,

331
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Speaker 2: it's probably better than yeah, And I respected it. I

332
00:21:33,040 --> 00:21:37,120
Speaker 2: would have me personally. I would have respected both if

333
00:21:37,160 --> 00:21:40,240
Speaker 2: he had just kept it moving, you know. And then

334
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Speaker 2: the fact that he I kind of respected a little more.

335
00:21:43,440 --> 00:21:46,080
Speaker 2: The fact that he turned around, Yeah, got.

336
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Speaker 1: To man like because me, I ain't died on nobody

337
00:21:49,000 --> 00:21:51,159
Speaker 1: outside the club, like, man, come in the show and

338
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Speaker 1: see what they're paying me to do, exactly exactly straight up.

339
00:21:55,600 --> 00:21:59,280
Speaker 1: So back then, being like the first in the game,

340
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Speaker 1: like you, like you said, there was no president, there

341
00:22:02,280 --> 00:22:05,399
Speaker 1: was no nobody to talk to. What is some of

342
00:22:05,440 --> 00:22:09,119
Speaker 1: the early lessons you would say you learned from, you know,

343
00:22:09,200 --> 00:22:13,119
Speaker 1: being in the music industry, and.

344
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Speaker 2: It sounds it sounds so cliche, but be yourself because

345
00:22:20,400 --> 00:22:26,720
Speaker 2: and fortunately for us, we grew up in Marcy, so

346
00:22:28,240 --> 00:22:32,119
Speaker 2: it was a lot easier, especially outside of Marsy or

347
00:22:32,200 --> 00:22:36,800
Speaker 2: outside of that element, for us to be ourselves. You know,

348
00:22:37,040 --> 00:22:39,359
Speaker 2: I see a lot of I see a lot and

349
00:22:39,440 --> 00:22:44,160
Speaker 2: I've known a lot of individuals who I've known before

350
00:22:44,280 --> 00:22:48,760
Speaker 2: they had a name, and I see them years later

351
00:22:48,920 --> 00:22:51,600
Speaker 2: and it's like, who the fuck are you?

352
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Speaker 1: That's right.

353
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Speaker 2: You know what I'm saying.

354
00:22:53,600 --> 00:22:54,040
Speaker 1: It's like.

355
00:22:55,720 --> 00:22:58,480
Speaker 2: It's like me and you, like before before the cameras

356
00:22:58,520 --> 00:23:01,119
Speaker 2: came on. You know, we were on the phone. We

357
00:23:01,200 --> 00:23:05,120
Speaker 2: talked about shit that happened thirty thirty five years ago.

358
00:23:05,200 --> 00:23:08,240
Speaker 1: You know what. I'm sad Yo, nothing they never changed, bro.

359
00:23:08,359 --> 00:23:14,000
Speaker 1: Like that's the thing, like in this game, like being early,

360
00:23:14,359 --> 00:23:16,119
Speaker 1: I remember you and be how it used to be

361
00:23:16,200 --> 00:23:18,119
Speaker 1: on me. Yo. If you ain't ten minutes early, you

362
00:23:18,200 --> 00:23:20,520
Speaker 1: ten minutes late. You know what I mean? Stuff like

363
00:23:20,560 --> 00:23:23,720
Speaker 1: that being in the studio with you all at yo.

364
00:23:23,840 --> 00:23:26,679
Speaker 1: You coming to the studio to write the rhyme nigga,

365
00:23:26,680 --> 00:23:28,640
Speaker 1: I gave you the beat last night. Write the rhyme

366
00:23:28,680 --> 00:23:30,560
Speaker 1: in the house. We not here to spend money. Wa

367
00:23:30,600 --> 00:23:33,879
Speaker 1: atch you You write a rap right, like come prepared right,

368
00:23:33,920 --> 00:23:37,520
Speaker 1: don't come to the studio wasting time. Then being in

369
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Speaker 1: the studio, remember writing the rhyme in the studio, you

370
00:23:40,160 --> 00:23:43,840
Speaker 1: on me like you don't even you can't memorize a

371
00:23:43,880 --> 00:23:46,120
Speaker 1: round you just wrote. You supposed to perfect it then

372
00:23:46,119 --> 00:23:48,399
Speaker 1: come so that way we could be here fifteen minutes.

373
00:23:48,440 --> 00:23:50,280
Speaker 1: Get out of there and they charging us by the hour.

374
00:23:50,560 --> 00:23:53,280
Speaker 1: We finished the song at twenty minutes and we done.

375
00:23:53,640 --> 00:23:57,440
Speaker 1: We saved our money. Those gyms. Bro, I still go there,

376
00:23:57,480 --> 00:23:59,800
Speaker 1: like I just play and go to the studio certain times,

377
00:24:00,160 --> 00:24:03,240
Speaker 1: like I got an engineering Orlando my homie shop and

378
00:24:03,359 --> 00:24:05,879
Speaker 1: he say all the time, Yo, bro, you need this.

379
00:24:06,160 --> 00:24:10,080
Speaker 1: You need to shoot your studio sessions because other artists

380
00:24:10,119 --> 00:24:13,240
Speaker 1: need to learn. Wow, you doing this, This is not

381
00:24:13,400 --> 00:24:16,200
Speaker 1: normal ration. Yeah, he like, I never seen somebody come

382
00:24:16,440 --> 00:24:18,800
Speaker 1: and do two three songs in an hour.

383
00:24:20,160 --> 00:24:21,640
Speaker 2: That's that's regular shit.

384
00:24:21,880 --> 00:24:23,919
Speaker 1: Just what I'm saying, And I learned that from you,

385
00:24:24,320 --> 00:24:27,679
Speaker 1: Like you be high Jay, y'are the ones who taught

386
00:24:27,680 --> 00:24:33,200
Speaker 1: me adequette business, being a man, integrity and number one

387
00:24:33,600 --> 00:24:37,480
Speaker 1: anything I ever asked you about rapp be yourself, stop

388
00:24:37,560 --> 00:24:40,040
Speaker 1: rapping like that's effects. However, I spent a rap.

389
00:24:41,720 --> 00:24:45,159
Speaker 3: Stop rapping like thatts I was like, all right, I

390
00:24:45,200 --> 00:24:48,200
Speaker 3: got you, and I'm thinking I'm killing it, But those

391
00:24:48,400 --> 00:24:52,520
Speaker 3: was gems that, like you said, man, be yourself definitely,

392
00:24:52,640 --> 00:24:53,440
Speaker 3: you know what I'm saying.

393
00:24:53,520 --> 00:24:56,879
Speaker 1: So that's that's you. Was the first too, Like the

394
00:24:57,000 --> 00:25:01,520
Speaker 1: game is switched. Everybody in the bro you was doing

395
00:25:01,640 --> 00:25:06,440
Speaker 1: independent in the early nineties, pressing up wasn't even CDs

396
00:25:06,640 --> 00:25:11,199
Speaker 1: was pressing up Vinyl tapes really running around. What was

397
00:25:11,280 --> 00:25:14,840
Speaker 1: that like to be like the pioneer of that that

398
00:25:14,840 --> 00:25:15,680
Speaker 1: that gang bro.

399
00:25:18,280 --> 00:25:23,720
Speaker 2: I mean I could sit here and talk like it

400
00:25:23,800 --> 00:25:27,320
Speaker 2: was so methodical and all this other shit and strategies

401
00:25:27,400 --> 00:25:30,720
Speaker 2: and Shitnah, I was just doing what I felt needed

402
00:25:30,720 --> 00:25:33,600
Speaker 2: to be done, you know what I'm saying. You know,

403
00:25:35,440 --> 00:25:43,920
Speaker 2: in eighty eighty five, me j KG and Spanks, Cousins

404
00:25:45,240 --> 00:25:49,560
Speaker 2: l D and and Joy you know, Erwin Jason from

405
00:25:49,600 --> 00:25:52,840
Speaker 2: Long Island, we did a song called HP Gets Busy,

406
00:25:53,800 --> 00:26:00,159
Speaker 2: you know what I'm saying. And fortunately I had uh,

407
00:26:01,240 --> 00:26:05,600
Speaker 2: somebody who was really pushing for that, you know, pushing

408
00:26:05,640 --> 00:26:09,400
Speaker 2: for for me as an artist to be successful, and

409
00:26:11,119 --> 00:26:14,760
Speaker 2: he came up with the idea like, yo, let's let's

410
00:26:14,800 --> 00:26:17,480
Speaker 2: do a vinyl. I mean that was all wasn't the CDs,

411
00:26:17,920 --> 00:26:21,639
Speaker 2: So it was vinyls And so we did a we

412
00:26:21,680 --> 00:26:25,840
Speaker 2: did a vinyl, and it just so happened that he

413
00:26:26,000 --> 00:26:29,679
Speaker 2: was my manager at the time, and he was also

414
00:26:30,600 --> 00:26:34,040
Speaker 2: the father of April Walker and Walkerware.

415
00:26:34,560 --> 00:26:39,680
Speaker 1: Oh walk aware that was that back in the day.

416
00:26:39,920 --> 00:26:43,840
Speaker 2: Yeah yeah, I think yeah, she she brought it back out.

417
00:26:44,640 --> 00:26:45,600
Speaker 2: She brought it back out.

418
00:26:46,359 --> 00:26:46,639
Speaker 1: Yeah.

419
00:26:46,680 --> 00:26:53,160
Speaker 2: So so shout out to Jack Walker, April Walker, Jackie Walker, Tahira.

420
00:26:54,800 --> 00:27:00,200
Speaker 2: You know they that's family, know what I'm saying. So

421
00:27:00,200 --> 00:27:05,359
Speaker 2: so yeah, so so we circulated, We circulated that. Even

422
00:27:05,440 --> 00:27:11,320
Speaker 2: before that, I had done some work with Fresh Gordon, you.

423
00:27:11,280 --> 00:27:16,400
Speaker 1: Know legends man Gordon.

424
00:27:16,600 --> 00:27:19,240
Speaker 2: Yeah, so Gordon used to do you know, he used

425
00:27:19,240 --> 00:27:24,040
Speaker 2: to do work with the Fat Boys. I called him

426
00:27:24,080 --> 00:27:28,880
Speaker 2: and asked him before another interview I was having, could

427
00:27:28,920 --> 00:27:33,639
Speaker 2: I tell the story about about the song push It.

428
00:27:34,000 --> 00:27:39,840
Speaker 2: I saw it in Pepper Gordon produced that Gordon Gordon.

429
00:27:40,240 --> 00:27:44,040
Speaker 2: Gordon made that beat and he made it so quick

430
00:27:44,080 --> 00:27:46,640
Speaker 2: and easy. And I'm not belittling the song. The song

431
00:27:46,760 --> 00:27:50,879
Speaker 2: is a big, big song, but he did it so

432
00:27:51,040 --> 00:27:55,399
Speaker 2: quick that he was like, uh, you know, he told,

433
00:27:55,520 --> 00:27:59,560
Speaker 2: he told, He told Herbie love Boy. He was like,

434
00:28:00,640 --> 00:28:02,320
Speaker 2: just give me, you know, just give me a couple

435
00:28:02,359 --> 00:28:08,480
Speaker 2: of grand you know what I'm saying, to take it. JP,

436
00:28:08,760 --> 00:28:11,760
Speaker 2: who was his manager at the Times, got JP Edmond.

437
00:28:12,480 --> 00:28:16,760
Speaker 2: He was like, Yo, he's offering you some publishing. Take

438
00:28:16,800 --> 00:28:22,000
Speaker 2: the publishing. Gordon. That's just how he was. He's like, Yo,

439
00:28:22,560 --> 00:28:25,040
Speaker 2: just give me the money, and y'all niggas just get

440
00:28:25,040 --> 00:28:28,040
Speaker 2: out of my face so I could go do other

441
00:28:28,080 --> 00:28:31,000
Speaker 2: shit that I'm doing. And me and Jazz could get

442
00:28:31,320 --> 00:28:35,240
Speaker 2: back to working on songs and shit. So what happened

443
00:28:35,400 --> 00:28:41,000
Speaker 2: was he did that be And I talked to him

444
00:28:41,040 --> 00:28:43,920
Speaker 2: a few times. I said, I know you, I know,

445
00:28:44,040 --> 00:28:46,240
Speaker 2: you be punching yourself in the face.

446
00:28:48,960 --> 00:28:55,440
Speaker 1: Hell yeah, because that's some cultural classic, like exactly, like

447
00:28:55,640 --> 00:28:59,160
Speaker 1: it's in movies, commercials, like they got it in the

448
00:28:59,200 --> 00:29:02,160
Speaker 1: New Peloton much if I'm not missaying it. Yeah, like

449
00:29:02,240 --> 00:29:06,440
Speaker 1: it's insane. And you sold that for two thousand dollars.

450
00:29:07,280 --> 00:29:09,920
Speaker 1: But you know, and then back then, two thousand was

451
00:29:09,920 --> 00:29:11,840
Speaker 1: like twenty grand to that, right man.

452
00:29:11,960 --> 00:29:14,240
Speaker 2: And then, you know, in his defense, it was like

453
00:29:15,840 --> 00:29:20,120
Speaker 2: we back then, we never really saw any publishing money,

454
00:29:20,720 --> 00:29:24,240
Speaker 2: and we had limited knowledge of what publishing was all

455
00:29:24,280 --> 00:29:30,280
Speaker 2: about and and how these record companies would actually take

456
00:29:30,320 --> 00:29:33,600
Speaker 2: the publishing, you know what I'm saying. And they were

457
00:29:33,600 --> 00:29:37,440
Speaker 2: making money, but publishing was a big secret, you know

458
00:29:37,440 --> 00:29:40,040
Speaker 2: what I'm saying. They you know that the record companies

459
00:29:40,160 --> 00:29:44,240
Speaker 2: used to tell you back then that oh, don't worry

460
00:29:44,240 --> 00:29:46,240
Speaker 2: about it, you know, publishing, don't worry about it. You're

461
00:29:46,240 --> 00:29:49,840
Speaker 2: gonna make all your money doing shows, going on tour,

462
00:29:50,280 --> 00:29:53,640
Speaker 2: And I mean they I've seen it. I don't want

463
00:29:53,680 --> 00:29:55,800
Speaker 2: to say the names. But they've said it.

464
00:29:56,440 --> 00:29:59,000
Speaker 1: You know, no, I believe it because so many artists

465
00:29:59,040 --> 00:30:02,080
Speaker 1: from back then. You hear the same story, man, and

466
00:30:02,120 --> 00:30:05,160
Speaker 1: it's not It's not just a coincidence. Everybody got the

467
00:30:05,200 --> 00:30:06,640
Speaker 1: same story, right.

468
00:30:07,320 --> 00:30:12,680
Speaker 2: Right, Yeah, it is hell like so dah, I forgot

469
00:30:12,760 --> 00:30:14,000
Speaker 2: what the fun we was talking about.

470
00:30:14,240 --> 00:30:16,720
Speaker 1: No, I was. I was just saying, like the Independent

471
00:30:16,800 --> 00:30:19,760
Speaker 1: pressing up the music, and and like I said, you

472
00:30:19,840 --> 00:30:22,880
Speaker 1: was pressing up vinyl. These guys out here find it

473
00:30:22,960 --> 00:30:25,920
Speaker 1: difficult to hit sin. Now I think about it. All

474
00:30:25,920 --> 00:30:27,600
Speaker 1: you gotta do is hit sin and it goes on

475
00:30:27,680 --> 00:30:30,720
Speaker 1: every platform. And these guys act like they're doing hard work.

476
00:30:31,480 --> 00:30:33,640
Speaker 1: I still don't know where to press up a vinyl

477
00:30:33,720 --> 00:30:37,440
Speaker 1: act like. And I was in the vinyl era, right.

478
00:30:38,680 --> 00:30:43,800
Speaker 2: You know what's funny. There's a what was that ship?

479
00:30:43,880 --> 00:30:45,800
Speaker 2: I think it was on South fourth Street on the

480
00:30:45,880 --> 00:30:50,320
Speaker 2: South Side and Brooklyn. They had this this spot that

481
00:30:50,600 --> 00:30:53,720
Speaker 2: used to do all of the They used to make

482
00:30:53,760 --> 00:30:56,520
Speaker 2: the dub plates for all of the you know, all

483
00:30:56,560 --> 00:30:59,520
Speaker 2: the I don't want to say Jamaican, but I'll say

484
00:31:00,160 --> 00:31:05,160
Speaker 2: reggae and everything calypso related to that. They used to

485
00:31:05,240 --> 00:31:11,800
Speaker 2: do all the dub plays for that but yeah, and

486
00:31:11,800 --> 00:31:16,280
Speaker 2: and and another way that the music circulated, Like I

487
00:31:16,400 --> 00:31:20,600
Speaker 2: found like me and Gordon, we found out that we

488
00:31:20,640 --> 00:31:24,720
Speaker 2: had done a couple of songs and we put it

489
00:31:24,760 --> 00:31:29,160
Speaker 2: on cassette tape, and people was copying it, copying it,

490
00:31:29,240 --> 00:31:32,320
Speaker 2: copying it, and this shit got as far down to

491
00:31:32,440 --> 00:31:35,160
Speaker 2: like Florida, you know what I'm saying. They was like,

492
00:31:35,680 --> 00:31:38,080
Speaker 2: they was like, yeah, I heard Luke Scott Walker got

493
00:31:38,120 --> 00:31:39,320
Speaker 2: your cassette.

494
00:31:39,800 --> 00:31:43,680
Speaker 1: Damn. That's major back then, because there was no distribution,

495
00:31:44,960 --> 00:31:48,840
Speaker 1: no YouTube, no Instagram. So to get a tape a

496
00:31:49,000 --> 00:31:52,000
Speaker 1: record from New York to Florida, I mean that was

497
00:31:52,560 --> 00:31:57,960
Speaker 1: hand delivered exactly, straight, exactly, Like that's insane. And I

498
00:31:58,000 --> 00:32:00,960
Speaker 1: don't think these kids even understand them magnitude on how

499
00:32:01,000 --> 00:32:04,680
Speaker 1: hard it was to promote music. Back then. It was

500
00:32:04,760 --> 00:32:09,080
Speaker 1: not as easy, and you could just say, like music

501
00:32:09,200 --> 00:32:11,960
Speaker 1: is just is everywhere. You can't even escape it anymore.

502
00:32:12,040 --> 00:32:14,640
Speaker 1: You like it's in your face. Back then, if you

503
00:32:15,000 --> 00:32:17,240
Speaker 1: if you walk by the music store, you didn't think

504
00:32:17,280 --> 00:32:21,360
Speaker 1: about music for the rest of the day, think about it.

505
00:32:21,520 --> 00:32:23,440
Speaker 1: If you went in the sneaker store and bought it

506
00:32:23,440 --> 00:32:25,120
Speaker 1: and say, y'all, I'm gonna spend my last on these

507
00:32:25,240 --> 00:32:28,200
Speaker 1: Jays records didn't matter. You're like, Okay, I go down

508
00:32:28,240 --> 00:32:30,520
Speaker 1: to watch video music Box and after that this is

509
00:32:30,560 --> 00:32:37,600
Speaker 1: whatever I watch NBA. But today music, TV, cable phone, iPad,

510
00:32:37,880 --> 00:32:44,920
Speaker 1: like anywhere you look, music is so accessible today. Do

511
00:32:44,960 --> 00:32:48,760
Speaker 1: you feel like, what's one moment or record you feel

512
00:32:48,960 --> 00:32:52,800
Speaker 1: proves your legacy better than headlines could ever do?

513
00:32:58,720 --> 00:33:05,440
Speaker 2: The Originators classic and and the thing about it is

514
00:33:05,520 --> 00:33:15,520
Speaker 2: that I had done something that nobody else did. And

515
00:33:15,600 --> 00:33:23,400
Speaker 2: the history on that was shout to David Gregory a

516
00:33:23,560 --> 00:33:30,200
Speaker 2: ka cool KG DJ from from Marcie. Shout out to

517
00:33:30,280 --> 00:33:34,240
Speaker 2: him because he used to let us come in the crib.

518
00:33:35,800 --> 00:33:37,520
Speaker 2: You know, he had the eight a weight that was

519
00:33:37,840 --> 00:33:41,320
Speaker 2: the first machine he had. He had the eight aweight

520
00:33:41,520 --> 00:33:45,960
Speaker 2: and he was DJing, you know, you know Gregory family, Nate,

521
00:33:47,640 --> 00:33:51,120
Speaker 2: Dave spank On down was always out with the music.

522
00:33:53,920 --> 00:33:57,280
Speaker 2: So we used to go a few of us, like

523
00:33:58,560 --> 00:34:01,840
Speaker 2: going in and in Rome. You know I actually met

524
00:34:02,280 --> 00:34:05,600
Speaker 2: I actually met Gordon Fresh Gorton through KG.

525
00:34:06,080 --> 00:34:08,200
Speaker 1: Damn. That's crazy.

526
00:34:08,280 --> 00:34:13,920
Speaker 2: And so yeah, I lost my thought.

527
00:34:14,520 --> 00:34:18,800
Speaker 1: No, no, no, you good, I got you. I said,

528
00:34:18,440 --> 00:34:22,120
Speaker 1: the record defining your moment better than headlines as you

529
00:34:22,160 --> 00:34:24,040
Speaker 1: said the originator.

530
00:34:23,560 --> 00:34:28,720
Speaker 2: Right, So what happens is the history behind the Originators

531
00:34:30,000 --> 00:34:33,960
Speaker 2: was that I was, you know, me and KG. We

532
00:34:34,040 --> 00:34:37,600
Speaker 2: used to do what was really called a mixtape. That

533
00:34:37,680 --> 00:34:40,239
Speaker 2: was the original meaning of a mixtape back then. It

534
00:34:40,280 --> 00:34:43,080
Speaker 2: wasn't like a bunch of songs. It was like a

535
00:34:43,160 --> 00:34:47,960
Speaker 2: DJ cutting shit up, cutting up beats and mc raymen. Yeah,

536
00:34:48,000 --> 00:34:51,200
Speaker 2: that was a mixtape and it was literally a tape.

537
00:34:51,719 --> 00:34:56,880
Speaker 2: So so I was I was going up the KG

538
00:34:57,040 --> 00:35:02,080
Speaker 2: crib and we was doing tapes. So one day I

539
00:35:02,120 --> 00:35:05,839
Speaker 2: had this rhyme that I wrote and it was too

540
00:35:05,920 --> 00:35:10,680
Speaker 2: many syllables to fit in sixteen you know, like one

541
00:35:10,840 --> 00:35:13,719
Speaker 2: six teams, you know, like for four to fourth for

542
00:35:13,800 --> 00:35:17,600
Speaker 2: a measure, and so I had to squeeze the word

543
00:35:17,640 --> 00:35:20,560
Speaker 2: in and you know, I ain't want to be off beat,

544
00:35:20,760 --> 00:35:24,160
Speaker 2: so I kind of I kind of doubled it up

545
00:35:25,120 --> 00:35:30,440
Speaker 2: and kind of tripled it up. So so after we

546
00:35:30,480 --> 00:35:34,640
Speaker 2: would make a tape a lot of times, you know,

547
00:35:34,680 --> 00:35:36,919
Speaker 2: and I used to drink beer back then. We would

548
00:35:36,960 --> 00:35:39,480
Speaker 2: get it was before to forty ounce, it was the

549
00:35:39,480 --> 00:35:40,719
Speaker 2: thirty two ounce.

550
00:35:43,000 --> 00:35:43,200
Speaker 1: Two.

551
00:35:43,560 --> 00:35:46,480
Speaker 2: Yes, we would go. We would go to to ninety

552
00:35:46,520 --> 00:35:48,680
Speaker 2: seven Park and sit on the bench.

553
00:35:48,400 --> 00:35:52,720
Speaker 1: In to nine. That's it's still there, man, yeah.

554
00:35:52,719 --> 00:35:59,200
Speaker 2: With the with the JVC. KG had a couple of jvcs.

555
00:35:59,640 --> 00:36:03,360
Speaker 2: One remember the one JVC with the one big Wolfer.

556
00:36:03,800 --> 00:36:05,719
Speaker 1: So that was the Black Party specialist.

557
00:36:07,320 --> 00:36:10,560
Speaker 2: So we was we would sit there, we would sit

558
00:36:10,640 --> 00:36:17,320
Speaker 2: there and listen to our work. And KG kept rewinding

559
00:36:17,360 --> 00:36:23,040
Speaker 2: the part where I doubled up on a word and

560
00:36:23,080 --> 00:36:24,920
Speaker 2: he was like, Yo, how'd you do that? I was like,

561
00:36:25,800 --> 00:36:29,040
Speaker 2: I just did it, you know, And he was like, yo,

562
00:36:30,800 --> 00:36:35,359
Speaker 2: you should do that more. And then incidentally, and they

563
00:36:35,360 --> 00:36:39,560
Speaker 2: didn't hear. They didn't hear, like Jay didn't hear KG

564
00:36:39,760 --> 00:36:45,200
Speaker 2: say that. But Jay said the same thing. He was like, Yo,

565
00:36:45,280 --> 00:36:48,520
Speaker 2: you should do that more. And I was like interesting

566
00:36:48,840 --> 00:36:51,360
Speaker 2: and me and you gotta understand me. At the time

567
00:36:52,800 --> 00:36:57,279
Speaker 2: I was at I was the I was the apex

568
00:36:57,560 --> 00:37:03,440
Speaker 2: predator MC, not only in Marsie but in Brooklyn. So

569
00:37:03,520 --> 00:37:07,520
Speaker 2: I didn't really give a shit about like, yo, you know,

570
00:37:07,680 --> 00:37:10,920
Speaker 2: like I feel like I felt like I already impressed everybody.

571
00:37:10,960 --> 00:37:14,360
Speaker 2: So the only person left for me to impress is myself.

572
00:37:14,960 --> 00:37:17,799
Speaker 2: And I know that sounds it is, what the fuck

573
00:37:17,840 --> 00:37:20,279
Speaker 2: it is you mean, you know.

574
00:37:20,480 --> 00:37:23,520
Speaker 1: But as you're right, you do got to impress yourself. Man,

575
00:37:24,239 --> 00:37:26,520
Speaker 1: if you want to happy. If you ain't impressed by

576
00:37:26,560 --> 00:37:30,040
Speaker 1: your own work, then you can't be writing rhymes just

577
00:37:30,040 --> 00:37:31,480
Speaker 1: for the people around you.

578
00:37:31,280 --> 00:37:32,360
Speaker 2: Right, it's a problem.

579
00:37:32,520 --> 00:37:32,719
Speaker 1: Yes.

580
00:37:32,880 --> 00:37:35,480
Speaker 2: And I do the same thing with beats, Like a

581
00:37:35,560 --> 00:37:38,800
Speaker 2: beat that I make and I don't I'm not crazy

582
00:37:38,840 --> 00:37:41,799
Speaker 2: about it, Like you'll never hear it. You'll never hear

583
00:37:41,840 --> 00:37:44,480
Speaker 2: a beat that I made that I didn't like because

584
00:37:44,560 --> 00:37:49,920
Speaker 2: I turned the machine off race everything. So so to

585
00:37:50,040 --> 00:37:57,759
Speaker 2: get to get back to to that, like Jay was like, yo,

586
00:37:58,400 --> 00:38:02,279
Speaker 2: you should do that more. And then in our routines

587
00:38:02,360 --> 00:38:07,839
Speaker 2: we started doing this shit and all around. And this

588
00:38:07,920 --> 00:38:10,319
Speaker 2: was a pivotal time because this was around the time

589
00:38:11,280 --> 00:38:16,400
Speaker 2: that I had eventually got a record deal, like a

590
00:38:16,440 --> 00:38:20,160
Speaker 2: single deal with Tommy Boy Records, and it was for

591
00:38:20,360 --> 00:38:24,680
Speaker 2: R and B. It was damn yeah. So I did

592
00:38:24,719 --> 00:38:31,080
Speaker 2: this song called I'm in Love and I had featured

593
00:38:31,320 --> 00:38:36,200
Speaker 2: on a B side because Gordon had a deal with

594
00:38:36,239 --> 00:38:38,160
Speaker 2: Tommy Boy too. He's the one to put me on

595
00:38:38,239 --> 00:38:43,680
Speaker 2: the Tommy Boy or I should say he put them

596
00:38:43,719 --> 00:38:48,000
Speaker 2: on to me. And we did this song called My

597
00:38:48,160 --> 00:38:53,920
Speaker 2: Felot which was an answer to my Adidas Yeah, and

598
00:38:53,960 --> 00:38:58,600
Speaker 2: that went over real well. And so to get back

599
00:38:58,640 --> 00:39:02,760
Speaker 2: to Jayson saying like yo, should do should do that more.

600
00:39:03,840 --> 00:39:06,319
Speaker 2: Around this time was the time that you know, the

601
00:39:06,400 --> 00:39:11,239
Speaker 2: single deal was over with and me and Gordon we

602
00:39:11,239 --> 00:39:18,440
Speaker 2: were still doing music together. And this cat Marlon Prescott,

603
00:39:19,280 --> 00:39:22,480
Speaker 2: I know, I know you probably know who Steve Prescott was.

604
00:39:24,840 --> 00:39:25,080
Speaker 1: Yeah.

605
00:39:25,160 --> 00:39:30,759
Speaker 2: Yeah, So so Marlin he started coming through, you know,

606
00:39:30,840 --> 00:39:33,040
Speaker 2: the Gordon's crib. He heard me. He was like, Yo,

607
00:39:33,880 --> 00:39:36,960
Speaker 2: you need to be on a major record company. It

608
00:39:37,120 --> 00:39:41,600
Speaker 2: was like yeah, okay, because you know we're young. It's like, yo,

609
00:39:41,680 --> 00:39:45,640
Speaker 2: we do records. I'm getting money out here about no

610
00:39:45,800 --> 00:39:52,040
Speaker 2: record company. So long story short, he set up a

611
00:39:52,120 --> 00:39:55,600
Speaker 2: meeting and I'm I'm gonna kind of kill it there

612
00:39:55,640 --> 00:40:00,799
Speaker 2: because that shit goes into a whole intertwine. When I

613
00:40:00,840 --> 00:40:05,239
Speaker 2: got the deal, I told JAYD that I got the deal,

614
00:40:06,760 --> 00:40:12,000
Speaker 2: and I asked Jay like, yo, they sent me out

615
00:40:12,040 --> 00:40:16,640
Speaker 2: to London. It's like you with it. He was like yeah,

616
00:40:16,800 --> 00:40:18,560
Speaker 2: and he had to get you know, he had to

617
00:40:18,560 --> 00:40:23,520
Speaker 2: get consent because he was under eighteen. And that's around

618
00:40:23,560 --> 00:40:28,720
Speaker 2: the time they my management introduced us to IRV Gotti.

619
00:40:30,640 --> 00:40:32,359
Speaker 1: God bless IRV Gotti.

620
00:40:32,560 --> 00:40:37,080
Speaker 2: Invested in Power, so we so that's what that's what happened.

621
00:40:37,200 --> 00:40:43,080
Speaker 2: So Earth was reluctant to go, but he came. He

622
00:40:43,160 --> 00:40:50,520
Speaker 2: came with us, and then that happened. So then so

623
00:40:50,640 --> 00:40:55,840
Speaker 2: then the second album, I wanted to get Jay more involved,

624
00:40:56,719 --> 00:40:59,000
Speaker 2: you know, on the creative and because Jay was for

625
00:40:59,040 --> 00:41:02,480
Speaker 2: the most part he was doing he was doing like

626
00:41:02,560 --> 00:41:05,600
Speaker 2: little ad libs, one liners and ship on my on

627
00:41:05,680 --> 00:41:09,440
Speaker 2: my because I wanted to associate him or you know, yes,

628
00:41:10,080 --> 00:41:11,360
Speaker 2: in some kind of way.

629
00:41:11,560 --> 00:41:13,719
Speaker 1: Not it was funny than him falling out the sky

630
00:41:13,760 --> 00:41:14,920
Speaker 1: in Hawaiian Sophie.

631
00:41:15,120 --> 00:41:19,439
Speaker 2: That's crazy out y'all. If you see this, I apologize, man,

632
00:41:19,520 --> 00:41:24,080
Speaker 2: I apologize it. It was not mintent to how you

633
00:41:24,160 --> 00:41:25,479
Speaker 2: looking crazy like that?

634
00:41:26,120 --> 00:41:29,160
Speaker 1: You know, yo? For that time, it wasn't it was

635
00:41:29,719 --> 00:41:32,840
Speaker 1: It wasn't. That was fly. We was in the projects,

636
00:41:32,920 --> 00:41:35,600
Speaker 1: hype from growing up and getting older, and the way

637
00:41:35,640 --> 00:41:39,000
Speaker 1: the world went is like, yeah, angle yo jok where

638
00:41:39,000 --> 00:41:39,680
Speaker 1: you came from.

639
00:41:41,719 --> 00:41:45,919
Speaker 2: But you can't. That's that's because he he created such

640
00:41:45,920 --> 00:41:50,160
Speaker 2: a brand where unless you see it on video, you

641
00:41:50,200 --> 00:41:55,040
Speaker 2: can't even imagine that it started from that point.

642
00:41:54,840 --> 00:41:59,600
Speaker 1: Yes, and he was like what sixteen seventeen in that video.

643
00:41:59,400 --> 00:42:03,200
Speaker 2: It was like, let me see shit, I don't even remember.

644
00:42:03,239 --> 00:42:06,799
Speaker 2: He was like, He's like she was like, let me see,

645
00:42:06,840 --> 00:42:09,920
Speaker 2: we had already gone to London. I think he was

646
00:42:10,280 --> 00:42:11,520
Speaker 2: seventeen or eighteen.

647
00:42:11,880 --> 00:42:17,719
Speaker 1: D Look, that's crazy, man, that's insane. Yeah, that's insane.

648
00:42:17,920 --> 00:42:21,680
Speaker 1: That was fire. Like that video the Originator song man,

649
00:42:21,800 --> 00:42:25,120
Speaker 1: y'all doing that song? Who produced that record? I did

650
00:42:25,640 --> 00:42:27,359
Speaker 1: you made the originator beat too?

651
00:42:28,200 --> 00:42:30,040
Speaker 2: You're talking about the first one, the original?

652
00:42:30,239 --> 00:42:30,439
Speaker 1: Yes?

653
00:42:30,600 --> 00:42:32,160
Speaker 2: Yeah, yeah, I made that beat you did?

654
00:42:32,400 --> 00:42:33,680
Speaker 1: Ain't no nigga too? Right?

655
00:42:33,960 --> 00:42:34,240
Speaker 2: Yes?

656
00:42:34,600 --> 00:42:37,000
Speaker 1: And a rap game crack game.

657
00:42:37,160 --> 00:42:37,359
Speaker 2: Yes.

658
00:42:37,480 --> 00:42:39,560
Speaker 1: I don't think you get enough credit for your for

659
00:42:39,600 --> 00:42:42,920
Speaker 1: your drum pads, dog like your air on these beats.

660
00:42:42,960 --> 00:42:45,160
Speaker 1: You made classics and just chill.

661
00:42:45,400 --> 00:42:50,360
Speaker 2: But yeah, yeah, you know, And I have to. I

662
00:42:50,400 --> 00:42:54,279
Speaker 2: have to be accountable for that shit because a part

663
00:42:54,320 --> 00:42:59,040
Speaker 2: of me regrets it because I'm like, yo, like the

664
00:42:59,080 --> 00:43:01,240
Speaker 2: fuck is wrong with you? Like you should keep going?

665
00:43:01,280 --> 00:43:04,160
Speaker 2: You talk about you know, you know what they say,

666
00:43:04,280 --> 00:43:08,560
Speaker 2: like you can't. You can't complain about something that you're

667
00:43:08,560 --> 00:43:11,200
Speaker 2: not gonna do anything about, you know what I'm saying?

668
00:43:11,440 --> 00:43:11,560
Speaker 1: Right?

669
00:43:12,040 --> 00:43:15,720
Speaker 2: So I was guilty of that. You know, I would

670
00:43:15,719 --> 00:43:22,439
Speaker 2: complain about how how fucked up the industry was becoming, well,

671
00:43:22,560 --> 00:43:26,600
Speaker 2: the hip hop part, I mean entertainment. We didn't go

672
00:43:26,719 --> 00:43:29,840
Speaker 2: into that started out fucked up.

673
00:43:30,040 --> 00:43:30,200
Speaker 1: But.

674
00:43:33,040 --> 00:43:38,000
Speaker 2: I couldn't. I couldn't rightfully say anything about it and

675
00:43:38,040 --> 00:43:43,160
Speaker 2: not respond in a way or to become the counterbalance

676
00:43:43,560 --> 00:43:45,640
Speaker 2: to the to the bull or at least what I

677
00:43:45,640 --> 00:43:49,319
Speaker 2: saw is bullshit. So that's kind of this is kind

678
00:43:49,320 --> 00:43:54,800
Speaker 2: of like a this is kind of like a re

679
00:43:54,800 --> 00:44:00,879
Speaker 2: rehashing of jazz, oh, you know, because you know, don't

680
00:44:00,960 --> 00:44:02,680
Speaker 2: let the gray hairs fool you.

681
00:44:02,719 --> 00:44:06,400
Speaker 1: No, man, that's that wisdom boy, like some men putting

682
00:44:06,400 --> 00:44:09,719
Speaker 1: it down forever. Bro, Like, think about it. Those three records,

683
00:44:10,040 --> 00:44:15,000
Speaker 1: the originator, Ain't No Nigga, Rap Game, Crack Game, those

684
00:44:15,040 --> 00:44:19,920
Speaker 1: three records that changed any producer or artists, rappers life

685
00:44:20,200 --> 00:44:26,520
Speaker 1: like it didj Yeah, yeah, straight up because everything changed

686
00:44:26,560 --> 00:44:27,680
Speaker 1: after it Ain't No Nigga.

687
00:44:28,080 --> 00:44:29,120
Speaker 2: Yeah, that's a fact.

688
00:44:29,400 --> 00:44:33,000
Speaker 1: Straight up. Everything changed after Ain't No Nigga.

689
00:44:33,480 --> 00:44:37,319
Speaker 2: You know, and I knew shit was different. I'm like

690
00:44:39,520 --> 00:44:44,759
Speaker 2: it was like in the beginning, I'm bringing erv and

691
00:44:45,000 --> 00:44:52,440
Speaker 2: Jay out and Ain't No Nigga was really the time

692
00:44:54,080 --> 00:44:58,160
Speaker 2: where Jay was like we going to Miami, m and

693
00:44:58,239 --> 00:45:02,560
Speaker 2: I was like, and it was bigger because it was

694
00:45:02,600 --> 00:45:07,840
Speaker 2: no it was no record label budget that was appropriated

695
00:45:08,040 --> 00:45:11,839
Speaker 2: for that. It was like him saying like, Yo, this

696
00:45:11,920 --> 00:45:13,960
Speaker 2: is what we're doing. That's right, you know what I'm saying.

697
00:45:13,960 --> 00:45:17,759
Speaker 2: And we out. I was like, oh shit, this shit

698
00:45:17,880 --> 00:45:18,239
Speaker 2: is real.

699
00:45:18,400 --> 00:45:26,360
Speaker 1: Word up. So yeah, man, we're not seeing it change

700
00:45:26,440 --> 00:45:30,680
Speaker 1: jazz like me when they hit when I knew, oh shit,

701
00:45:30,760 --> 00:45:34,360
Speaker 1: it's different. We was in VA. I had some type

702
00:45:34,400 --> 00:45:37,520
Speaker 1: of I think it was an in store or a show.

703
00:45:38,520 --> 00:45:40,719
Speaker 1: And the limo we was in the limo. We pull

704
00:45:40,800 --> 00:45:44,520
Speaker 1: up in a limo and everybody just rushed the limo. Bro, like,

705
00:45:44,600 --> 00:45:46,800
Speaker 1: they rushed the limo. It's so crazy. They dn it

706
00:45:46,880 --> 00:45:49,040
Speaker 1: the limo. The side of the limo was don it.

707
00:45:49,320 --> 00:45:51,640
Speaker 1: That's how many people was trying to bum rush to

708
00:45:51,719 --> 00:45:54,400
Speaker 1: get to the limo. And we all in the car

709
00:45:54,520 --> 00:45:56,520
Speaker 1: j telling we pull off, pull off, and we looking

710
00:45:56,520 --> 00:45:59,879
Speaker 1: at each other like yo, is this real? Like right,

711
00:46:00,120 --> 00:46:02,399
Speaker 1: this is like is it real? I remember everybody looking

712
00:46:02,400 --> 00:46:05,200
Speaker 1: at it like is this really happening?

713
00:46:05,560 --> 00:46:09,440
Speaker 2: Like this is shit you see in the movie? Yeah,

714
00:46:09,520 --> 00:46:13,680
Speaker 2: video video teams running behind the cock stars. Yeah, see,

715
00:46:13,840 --> 00:46:14,959
Speaker 2: DC is some shit.

716
00:46:15,080 --> 00:46:17,520
Speaker 1: You know. They was pulling the boobies out and everything.

717
00:46:17,840 --> 00:46:20,520
Speaker 1: Remember I'm fourteen at this time, so you know I'm

718
00:46:20,560 --> 00:46:25,040
Speaker 1: sitting there like open the door right's running to.

719
00:46:25,040 --> 00:46:29,080
Speaker 2: The light knowing you're gonna get half kill, just.

720
00:46:29,000 --> 00:46:34,560
Speaker 1: Like both the Knights come to the light Clarice right, yea, whoa.

721
00:46:35,000 --> 00:46:39,680
Speaker 1: So with all that that, man, you're a goat man. Seriously,

722
00:46:39,760 --> 00:46:41,759
Speaker 1: if no one ever told you, bro, I'll be the

723
00:46:41,800 --> 00:46:44,600
Speaker 1: one to tell you your goat man. They definitely one

724
00:46:44,640 --> 00:46:48,120
Speaker 1: of the goats. And with that being said, how do

725
00:46:48,160 --> 00:46:53,160
Speaker 1: you feel where Brooklyn's placed in hip hop is today?

726
00:46:53,440 --> 00:47:00,239
Speaker 2: From where we started. It's definitely not the same and

727
00:47:00,560 --> 00:47:10,000
Speaker 2: it runs universally across New York period because of the

728
00:47:10,040 --> 00:47:16,520
Speaker 2: influence of the media, it sort of compromised the creativity.

729
00:47:16,920 --> 00:47:24,080
Speaker 2: And what I mean by that is radio commercial radio

730
00:47:24,160 --> 00:47:29,279
Speaker 2: at that time, before even before digital radio. Radio at

731
00:47:29,320 --> 00:47:36,719
Speaker 2: that time started playing the same music nationwide. So if

732
00:47:36,719 --> 00:47:42,480
Speaker 2: you see the program list for New York, you could

733
00:47:42,520 --> 00:47:45,759
Speaker 2: go to Detroit and it'd be the same program list.

734
00:47:46,120 --> 00:47:48,719
Speaker 2: And that's you know. Of course, they say that's what

735
00:47:48,880 --> 00:47:52,839
Speaker 2: really monetized and this, that and the other with hip hop,

736
00:47:52,880 --> 00:47:58,800
Speaker 2: but it really added or contributed to the enslavement of

737
00:47:59,280 --> 00:48:04,280
Speaker 2: the the people who's actually spending the marketing, spending the money,

738
00:48:04,480 --> 00:48:11,960
Speaker 2: you know. And so I think that like when you

739
00:48:12,080 --> 00:48:17,239
Speaker 2: hear artists Now it's not new, it's not new hip hop.

740
00:48:17,320 --> 00:48:23,239
Speaker 2: It's it's like you from you from Best Star and

741
00:48:23,360 --> 00:48:28,480
Speaker 2: you Roman, like you from Louisiana. Now I ain't. I'm

742
00:48:28,520 --> 00:48:33,600
Speaker 2: not taking a jab at Castle Rama like rom and

743
00:48:33,640 --> 00:48:37,040
Speaker 2: they sound like they're from Louisiana. If they from Louisiana,

744
00:48:37,200 --> 00:48:43,080
Speaker 2: that's right, you know. But we lost our identity, you

745
00:48:43,120 --> 00:48:48,680
Speaker 2: know what I'm saying. And and it was a it

746
00:48:48,880 --> 00:48:55,319
Speaker 2: was a. It was actually playing that way. It was

747
00:48:55,400 --> 00:49:01,040
Speaker 2: actually playing that way. It's like nah, because these motherfuckers

748
00:49:01,040 --> 00:49:05,239
Speaker 2: in the city, meaning New York, they're too progressive. And

749
00:49:05,400 --> 00:49:10,160
Speaker 2: especially around the time where you had you had groups

750
00:49:10,239 --> 00:49:17,560
Speaker 2: like Brand Nubian myself. There are a few, a few other

751
00:49:17,640 --> 00:49:24,320
Speaker 2: cats I don't come to mind right now. But the

752
00:49:24,520 --> 00:49:27,000
Speaker 2: Castle made Peach Fuzz.

753
00:49:28,080 --> 00:49:32,040
Speaker 1: Damn peach Fuzz. Who's that? I was thinking the rest

754
00:49:32,080 --> 00:49:35,120
Speaker 1: of development. You had Daylat Soul, You.

755
00:49:35,160 --> 00:49:37,839
Speaker 2: Had day La Soul, you had Yeah, it was more,

756
00:49:38,200 --> 00:49:42,560
Speaker 2: it was more conscious, even even PM doing.

757
00:49:42,400 --> 00:49:48,360
Speaker 1: That African band Bader public enemy definitely public and the

758
00:49:48,600 --> 00:49:52,359
Speaker 1: arrest one he heard. But when he turned into the philosopher,

759
00:49:52,440 --> 00:49:54,000
Speaker 1: because at first he was an.

760
00:49:53,920 --> 00:49:56,839
Speaker 2: Assassin, right right right.

761
00:49:57,560 --> 00:50:01,080
Speaker 1: The first k R restaurant wasn't a sas right then

762
00:50:01,160 --> 00:50:02,920
Speaker 1: he became the philosopher for.

763
00:50:02,920 --> 00:50:06,120
Speaker 2: KRS one point one.

764
00:50:08,280 --> 00:50:13,160
Speaker 1: As a fact Hers one point one. So what advice

765
00:50:13,320 --> 00:50:17,120
Speaker 1: would you give young artists coming out today, no matter

766
00:50:17,160 --> 00:50:21,840
Speaker 1: being from wherever they're from, New York, Louisiana, as you said, like,

767
00:50:21,960 --> 00:50:25,239
Speaker 1: what advice would you give them on how important ownership

768
00:50:25,320 --> 00:50:27,359
Speaker 1: and longevity is?

769
00:50:29,160 --> 00:50:37,360
Speaker 2: Firstly, to recognize your creativity for what it is is creativity. Second,

770
00:50:38,400 --> 00:50:41,879
Speaker 2: recognize the business and learn the business for what it is.

771
00:50:42,400 --> 00:50:47,000
Speaker 2: Because one thing that we did back then, we got

772
00:50:47,520 --> 00:50:51,239
Speaker 2: we got them intertwined, so we were being creative. And

773
00:50:51,280 --> 00:50:54,879
Speaker 2: I still I still hear people say it today is like, Yo,

774
00:50:55,719 --> 00:50:58,520
Speaker 2: that song right there is crazy, Like you put this out,

775
00:50:58,960 --> 00:51:01,920
Speaker 2: it's gonna It's like it ain't gonna do nothing without

776
00:51:02,040 --> 00:51:05,080
Speaker 2: marketing dollars, without a strategy, you know what I'm saying.

777
00:51:05,120 --> 00:51:09,640
Speaker 2: So it's still people to this very day who get

778
00:51:09,640 --> 00:51:14,640
Speaker 2: it mixed with a song that they personally think is

779
00:51:14,640 --> 00:51:18,320
Speaker 2: a hot song on a creative level, thinking that it's good,

780
00:51:18,960 --> 00:51:22,439
Speaker 2: they think that it should be successful. But in order

781
00:51:22,480 --> 00:51:25,799
Speaker 2: for a song to be successful, it has to be exploited.

782
00:51:25,320 --> 00:51:27,240
Speaker 1: That's right, and it has to be playing a real

783
00:51:27,360 --> 00:51:30,840
Speaker 1: plan fucking in everything has to go into it. And

784
00:51:30,920 --> 00:51:34,560
Speaker 1: there's a lot of moving parts too. That's racket moving.

785
00:51:34,600 --> 00:51:39,080
Speaker 2: That's right, a lot of trickery now you got ai whoa.

786
00:51:40,320 --> 00:51:46,520
Speaker 2: It's a whole menagerie of things that contribute to the

787
00:51:46,560 --> 00:51:49,800
Speaker 2: success of a song, because I mean, we've all heard

788
00:51:50,960 --> 00:51:54,239
Speaker 2: songs that when it hit our ear drums, it's like

789
00:51:54,440 --> 00:52:00,400
Speaker 2: this shit is jarbag. But after about three four thousand plays,

790
00:52:00,920 --> 00:52:05,879
Speaker 2: this heavy rotation is shit fire Like even if even

791
00:52:05,920 --> 00:52:08,880
Speaker 2: if you still don't like it, you find yourself singing

792
00:52:08,960 --> 00:52:09,880
Speaker 2: in song.

793
00:52:09,760 --> 00:52:14,160
Speaker 1: It ron yep yep, A hundred percent agree, man, Like,

794
00:52:14,640 --> 00:52:17,160
Speaker 1: that's what I would say to these kids, man, definitely

795
00:52:17,840 --> 00:52:23,319
Speaker 1: one hundred percent be yourself and originality is something that's lost. Man. Like,

796
00:52:23,400 --> 00:52:26,680
Speaker 1: I feel like we're in a copy and paste world, definitely,

797
00:52:26,719 --> 00:52:29,040
Speaker 1: you know what I mean? We living in a is

798
00:52:29,200 --> 00:52:32,719
Speaker 1: major like. So like the legacy of jazz o, man,

799
00:52:32,760 --> 00:52:35,759
Speaker 1: when people say your name jazz zo, when they think

800
00:52:35,800 --> 00:52:41,239
Speaker 1: about jazz and everything that you contributed, Like, what's the

801
00:52:41,320 --> 00:52:44,480
Speaker 1: picture you want them to paint of you beyond the

802
00:52:44,560 --> 00:52:47,560
Speaker 1: guy who they say just put jay z on, Because

803
00:52:47,560 --> 00:52:50,720
Speaker 1: it's more than jazz o than just j is larger

804
00:52:50,760 --> 00:52:54,840
Speaker 1: than life you know, everybody, I can't do nothing anything

805
00:52:54,920 --> 00:52:56,960
Speaker 1: I do. He did it, I go on vacation, he

806
00:52:57,040 --> 00:53:01,239
Speaker 1: paid for it, right, yo, Hey, so I get it.

807
00:53:01,840 --> 00:53:04,520
Speaker 1: That's why I need you to say it yourself so

808
00:53:04,560 --> 00:53:06,480
Speaker 1: they can get it, because I have to say it

809
00:53:06,480 --> 00:53:08,439
Speaker 1: four million times a day. Right.

810
00:53:08,880 --> 00:53:12,880
Speaker 2: And what's crazy is that I, you know, believe it

811
00:53:12,960 --> 00:53:16,120
Speaker 2: or not, I fall under that category often. It's well,

812
00:53:17,040 --> 00:53:21,240
Speaker 2: so I would want or I would like for people

813
00:53:21,280 --> 00:53:29,920
Speaker 2: to remember the thought and my sincerity, like regardless of

814
00:53:30,360 --> 00:53:35,279
Speaker 2: whatever music I put out, that it was all from

815
00:53:35,320 --> 00:53:42,240
Speaker 2: the heart.

816
00:53:39,520 --> 00:53:39,719
Speaker 1: You know.

817
00:53:39,760 --> 00:53:41,640
Speaker 2: And of course, you know a lot of artists would

818
00:53:41,640 --> 00:53:43,680
Speaker 2: be like, well why would you say it? You know,

819
00:53:44,800 --> 00:53:50,040
Speaker 2: I didn't say things just to impress people. And this

820
00:53:50,120 --> 00:53:54,880
Speaker 2: may be like a this may be the worst selling

821
00:53:55,000 --> 00:54:00,000
Speaker 2: tool that I could use, but shit, I'll into this minute.

822
00:54:00,680 --> 00:54:05,239
Speaker 2: I'm still trying to keep impressing myself, right because I

823
00:54:05,480 --> 00:54:08,680
Speaker 2: feel like to me, and it may sound a little narcissistic,

824
00:54:09,280 --> 00:54:15,720
Speaker 2: but to me, I'm the highest intellect, I'm the best.

825
00:54:16,400 --> 00:54:22,920
Speaker 2: I'm the best reference to to as far as judging

826
00:54:23,600 --> 00:54:26,160
Speaker 2: what a good song is, what a good rhyme is,

827
00:54:27,040 --> 00:54:30,000
Speaker 2: you know, what an excellent rhyme is, What the best

828
00:54:30,040 --> 00:54:33,680
Speaker 2: thing is like I go back and forth, like I

829
00:54:33,800 --> 00:54:37,040
Speaker 2: still dabble on my drum machine, and like I still

830
00:54:37,080 --> 00:54:41,239
Speaker 2: go back and forth in my own head. It's like that,

831
00:54:41,280 --> 00:54:44,680
Speaker 2: ain't it, you know what I'm saying. So, so that's

832
00:54:44,760 --> 00:54:49,520
Speaker 2: what and and and I kind of wanted. I'm you know,

833
00:54:49,560 --> 00:54:52,480
Speaker 2: I'm right. I'm in the process of writing books. So

834
00:54:54,800 --> 00:54:57,440
Speaker 2: that's the main thing I want to impress upon people

835
00:54:57,680 --> 00:55:05,279
Speaker 2: is that this wasn't always how many strings you could

836
00:55:05,320 --> 00:55:10,160
Speaker 2: get or how many billboards you on, you know, for

837
00:55:10,239 --> 00:55:13,759
Speaker 2: some of us out here, it was about this is

838
00:55:13,800 --> 00:55:17,680
Speaker 2: something we did because we enjoyed it. We wasn't getting

839
00:55:17,719 --> 00:55:20,439
Speaker 2: paid for it at the time. We were just doing

840
00:55:20,480 --> 00:55:23,279
Speaker 2: it and places we had to go, you know, me

841
00:55:23,320 --> 00:55:26,000
Speaker 2: and Jay, we traveled, we went through you know, before

842
00:55:26,040 --> 00:55:29,319
Speaker 2: the deals and stuff like that. Me and Jay used

843
00:55:29,360 --> 00:55:34,200
Speaker 2: to go after we heard about we heard about Dougie Fresh.

844
00:55:34,520 --> 00:55:36,279
Speaker 2: Guess what we were. We were in all of them,

845
00:55:36,239 --> 00:55:38,600
Speaker 2: That's right, you know what I'm saying. We went to

846
00:55:38,640 --> 00:55:42,520
Speaker 2: where the action was and that's what it was about.

847
00:55:42,640 --> 00:55:46,239
Speaker 2: And it wasn't about getting paid all like that. And

848
00:55:46,280 --> 00:55:49,320
Speaker 2: then you know, my shit, my first taste of getting

849
00:55:49,360 --> 00:55:56,360
Speaker 2: bred was like a MC contest and I was like

850
00:55:57,200 --> 00:56:00,279
Speaker 2: I could just go on the stage and do what

851
00:56:00,360 --> 00:56:04,680
Speaker 2: I do in my sleep. Damn there and you know,

852
00:56:05,560 --> 00:56:09,000
Speaker 2: y'all gonna give me some money. Word but you know,

853
00:56:09,080 --> 00:56:12,839
Speaker 2: and the and the crazy part about it. All right,

854
00:56:13,640 --> 00:56:16,520
Speaker 2: I'm trying to think which club this was. It was

855
00:56:18,719 --> 00:56:21,839
Speaker 2: it was Broadway International and.

856
00:56:21,960 --> 00:56:23,800
Speaker 1: Young I don't remember that spot.

857
00:56:23,960 --> 00:56:28,720
Speaker 2: Yeah, yeah, so it's cool. It's cool. So Broadway International.

858
00:56:30,520 --> 00:56:34,800
Speaker 2: We used to go up there, and you know, it

859
00:56:35,200 --> 00:56:36,719
Speaker 2: was a lot of it was a lot of us.

860
00:56:36,840 --> 00:56:41,239
Speaker 2: It was. I ain't gonna miss anybody name, y'all know

861
00:56:41,239 --> 00:56:48,439
Speaker 2: what you know, salute exactly, exactly exactly. But I gotta

862
00:56:48,640 --> 00:56:51,759
Speaker 2: I got a shout out. I got a shout out,

863
00:56:51,800 --> 00:56:57,160
Speaker 2: my man slide, you know, scared, I got I can

864
00:56:57,360 --> 00:57:02,760
Speaker 2: hear that name and forever, right, I got a shout out, kiddo,

865
00:57:03,760 --> 00:57:10,839
Speaker 2: his brother Poe Pony, who else is it? Moo Moo

866
00:57:10,920 --> 00:57:15,560
Speaker 2: used to come out with us sometime. Uh, shout out

867
00:57:15,560 --> 00:57:18,280
Speaker 2: to all y'all. It was other things with us, but

868
00:57:18,360 --> 00:57:23,280
Speaker 2: you know, and Jay was definitely there. Oh l d

869
00:57:24,160 --> 00:57:28,080
Speaker 2: Errol kg cousin, you know, he was with us a lot.

870
00:57:28,760 --> 00:57:38,400
Speaker 2: Uh and and and on that occasion too. So it's

871
00:57:38,400 --> 00:57:41,360
Speaker 2: so much ship man like I get like a flood.

872
00:57:42,720 --> 00:57:46,120
Speaker 1: I know what what you start going is like all

873
00:57:46,120 --> 00:57:47,560
Speaker 1: the memory start coming.

874
00:57:47,640 --> 00:57:53,080
Speaker 2: Like it's like a tree with brandrand Sorry, I know

875
00:57:53,200 --> 00:57:56,400
Speaker 2: exactly what you're going through. Branch got a brand, and

876
00:57:57,080 --> 00:58:02,840
Speaker 2: then the leaves and then the Yeah, so it's a lot.

877
00:58:03,080 --> 00:58:12,640
Speaker 2: So back then, they had this MC contest and I'm

878
00:58:12,680 --> 00:58:17,600
Speaker 2: trying to think, what's his nigga name, mister mister song.

879
00:58:19,040 --> 00:58:24,520
Speaker 2: But he was the manager, right if I don't remember

880
00:58:24,600 --> 00:58:27,920
Speaker 2: your name, like hit my social media and remind me

881
00:58:27,960 --> 00:58:32,200
Speaker 2: of something if you see this of course. But yeah,

882
00:58:32,280 --> 00:58:35,680
Speaker 2: he was like, yeah, we're doing We're doing a rap contest.

883
00:58:35,760 --> 00:58:41,840
Speaker 2: You know, the winner get one thousand dollars. I was like, word,

884
00:58:43,720 --> 00:58:48,520
Speaker 2: so I got in it. Let me tell you who

885
00:58:48,600 --> 00:58:53,000
Speaker 2: was in the car? Who the finalists were? Uh Dana

886
00:58:53,080 --> 00:59:04,800
Speaker 2: daan Chi and what's what's my man? Just Ice? Just

887
00:59:05,000 --> 00:59:08,600
Speaker 2: Ice was he was rhyming with this other kid, I

888
00:59:08,640 --> 00:59:12,400
Speaker 2: think his name was. He called himself Triple Ta or

889
00:59:12,400 --> 00:59:16,560
Speaker 2: something or Tricky Tea or something. And just Ice, you know,

890
00:59:16,760 --> 00:59:18,960
Speaker 2: just Ice was a bully from a long time AFO.

891
00:59:19,080 --> 00:59:23,480
Speaker 2: He got mad at the nigga. Change yah, just Ice,

892
00:59:24,240 --> 00:59:26,440
Speaker 2: he got mad at the nigga and he was like,

893
00:59:27,120 --> 00:59:31,920
Speaker 2: I'm gonna just do this ship myself, and and the

894
00:59:31,920 --> 00:59:38,520
Speaker 2: same thing happened. Like me Errol and Jason we were

895
00:59:39,760 --> 00:59:43,360
Speaker 2: we we entered the contest together, but it really just

896
00:59:43,480 --> 00:59:46,520
Speaker 2: ended up being me like and no disrespect to them

897
00:59:46,600 --> 00:59:52,320
Speaker 2: or nothing, but they ran out of rhoms that ship word,

898
00:59:52,960 --> 00:59:55,080
Speaker 2: you know what I'm saying. They ran out of rhyms,

899
00:59:55,080 --> 00:59:59,800
Speaker 2: and they were like, fucking you got it. And so

900
00:59:59,800 --> 01:00:02,440
Speaker 2: so we were the finalists. It was me, just Ice

901
01:00:03,160 --> 01:00:07,960
Speaker 2: and Danna Dane and the prize was one thousand dollars

902
01:00:08,560 --> 01:00:13,680
Speaker 2: and you know I won smoked Danga Dane and just

903
01:00:13,840 --> 01:00:18,560
Speaker 2: Ice legendary ship. Come on, man, Danna Dane put the

904
01:00:18,600 --> 01:00:23,439
Speaker 2: ballet's on right right from you know, they.

905
01:00:25,040 --> 01:00:25,200
Speaker 1: Yo.

906
01:00:25,800 --> 01:00:27,760
Speaker 2: You know, they was the what's the name they was?

907
01:00:28,280 --> 01:00:36,280
Speaker 2: They were the Him Him, Slick, Rick and somebody else Crush.

908
01:00:36,840 --> 01:00:38,520
Speaker 2: They would call it the Kingo Crew.

909
01:00:38,760 --> 01:00:41,640
Speaker 1: Oh the Cano crew. See I was I didn't even

910
01:00:41,680 --> 01:00:42,680
Speaker 1: know about that crew.

911
01:00:42,840 --> 01:00:47,760
Speaker 2: Yeah, funny little tipbit though. You know they were taking

912
01:00:47,760 --> 01:00:51,120
Speaker 2: the rece We were taking the recess, and I was

913
01:00:51,120 --> 01:00:53,040
Speaker 2: going to use the bathroom. So when I went in

914
01:00:53,080 --> 01:00:59,520
Speaker 2: the bathroom, Dana, i mean Rick was was coaching Dana

915
01:01:00,600 --> 01:01:01,520
Speaker 2: on hot.

916
01:01:01,280 --> 01:01:04,840
Speaker 1: And chill, and he still went out there and got smoked.

917
01:01:04,880 --> 01:01:09,360
Speaker 2: See yo, let me tell you something now. And I

918
01:01:09,360 --> 01:01:12,840
Speaker 2: don't know, I don't know why, but it seemed like

919
01:01:12,960 --> 01:01:16,960
Speaker 2: Rick didn't like me for a long time. Every time

920
01:01:17,040 --> 01:01:19,800
Speaker 2: my song he had this look. I don't know if

921
01:01:19,840 --> 01:01:25,200
Speaker 2: it was the respect or he's like, I just don't

922
01:01:25,320 --> 01:01:26,200
Speaker 2: like this man.

923
01:01:26,560 --> 01:01:27,560
Speaker 1: Respect. Yeah.

924
01:01:27,640 --> 01:01:31,400
Speaker 2: Yeah, And I've seen him recently. I mean, we were kids,

925
01:01:31,440 --> 01:01:33,800
Speaker 2: to be honest, we were kids, and I don't I

926
01:01:33,800 --> 01:01:36,360
Speaker 2: don't take offense to it. And I hope if he

927
01:01:36,360 --> 01:01:39,000
Speaker 2: hears this that he doesn't take offense to it because

928
01:01:39,040 --> 01:01:41,680
Speaker 2: I didn't even back then. I didn't take offense to it.

929
01:01:41,720 --> 01:01:45,480
Speaker 2: I knew how people responded to me for whatever reason.

930
01:01:45,640 --> 01:01:47,000
Speaker 2: And it was great.

931
01:01:47,400 --> 01:01:50,160
Speaker 1: Man. He was too nice, man, That's what it was,

932
01:01:50,320 --> 01:01:53,600
Speaker 1: Jazz was you was ahead of your time. Man. That's

933
01:01:53,720 --> 01:01:55,640
Speaker 1: that's a lot of I say that about a few

934
01:01:55,680 --> 01:01:58,280
Speaker 1: people in the game like you.

935
01:01:58,280 --> 01:01:59,120
Speaker 2: You You were.

936
01:01:59,000 --> 01:02:02,160
Speaker 1: One of the ones that was just so nice that

937
01:02:02,200 --> 01:02:06,360
Speaker 1: people didn't catch on until later to where they like, oh,

938
01:02:07,080 --> 01:02:09,919
Speaker 1: this way he was talking about, this is this ship

939
01:02:10,040 --> 01:02:12,280
Speaker 1: he was doing, you know what I mean? Like, think

940
01:02:12,320 --> 01:02:14,560
Speaker 1: about it, bro, Like I said, you brought panthers to

941
01:02:14,640 --> 01:02:17,880
Speaker 1: the projects. Yeah, niggas can't even bring black cars to

942
01:02:17,920 --> 01:02:20,640
Speaker 1: the projects. Certain people, stay, haven't even brought a black car.

943
01:02:20,760 --> 01:02:24,840
Speaker 1: You brought a black panther the projects. So let's clear

944
01:02:24,960 --> 01:02:25,320
Speaker 1: that up.

945
01:02:25,640 --> 01:02:27,760
Speaker 2: And another baby the baby line.

946
01:02:28,040 --> 01:02:33,480
Speaker 1: Yeah, like in this industry, you built numerous entities. You

947
01:02:34,080 --> 01:02:39,040
Speaker 1: taught you evolve. What's the next chapter of Jazzo's life

948
01:02:39,120 --> 01:02:41,520
Speaker 1: that's being written? You know you said you got a

949
01:02:41,520 --> 01:02:42,320
Speaker 1: book coming out.

950
01:02:42,520 --> 01:02:49,000
Speaker 2: Yeah, I'm I'm doing I'm doing several books, and it's

951
01:02:49,040 --> 01:02:56,800
Speaker 2: really about you know, it's kind of like the it's

952
01:02:56,880 --> 01:03:01,120
Speaker 2: kind of like a pleasurable pressure, like to always do

953
01:03:01,160 --> 01:03:08,600
Speaker 2: stuff that's original. So so for me, it's like I'm

954
01:03:08,640 --> 01:03:14,680
Speaker 2: doing sort of like a you know, background like it's

955
01:03:14,760 --> 01:03:19,120
Speaker 2: it's a it's a it's an autobiography, but it's done

956
01:03:19,160 --> 01:03:26,240
Speaker 2: in pieces. But amidst excuse me, amidst the the pieces

957
01:03:26,240 --> 01:03:32,440
Speaker 2: of different errors in my life, there is there are

958
01:03:32,520 --> 01:03:36,600
Speaker 2: lessons like the first like the first volume of seven

959
01:03:37,480 --> 01:03:42,720
Speaker 2: is gonna be about you know, poetic what they call

960
01:03:42,800 --> 01:03:48,200
Speaker 2: poetic license was but the different uh what do you

961
01:03:48,280 --> 01:03:50,680
Speaker 2: call them? Can't come up with the word right now,

962
01:03:50,960 --> 01:03:55,400
Speaker 2: but they're different, like you know, auto monopia. Similarly, pros

963
01:03:57,120 --> 01:04:03,680
Speaker 2: the different you know, uh, double entendres, you know, and

964
01:04:03,920 --> 01:04:09,240
Speaker 2: I list a certain amount and just teaching people what

965
01:04:09,480 --> 01:04:15,600
Speaker 2: these things are and how I utilize them, and basically

966
01:04:15,640 --> 01:04:19,640
Speaker 2: coming to the point of creative writing, and that everything

967
01:04:19,760 --> 01:04:23,640
Speaker 2: you write to an extent is creative writing, from a

968
01:04:23,640 --> 01:04:28,600
Speaker 2: book report to a business plan. You know, there's creativity

969
01:04:28,680 --> 01:04:31,520
Speaker 2: involved because if there isn't, guess what, nobody's gonna pay

970
01:04:31,520 --> 01:04:36,400
Speaker 2: any attention to it. You gotta have a flair. You

971
01:04:36,480 --> 01:04:39,840
Speaker 2: gotta have a flair for something different, like what's outstanding

972
01:04:40,040 --> 01:04:44,320
Speaker 2: in this that's gonna make me spend some money on

973
01:04:44,400 --> 01:04:51,720
Speaker 2: you or whatever the case. So my my legacy is

974
01:04:52,000 --> 01:05:03,560
Speaker 2: to impart in part not information, but u physical, experiential,

975
01:05:03,720 --> 01:05:15,400
Speaker 2: and spiritual. I guess you could call it anecdotes, you

976
01:05:15,440 --> 01:05:19,480
Speaker 2: know what I'm saying of what of what shit is about?

977
01:05:19,760 --> 01:05:23,280
Speaker 2: Like from from my perspective, I don't think because I

978
01:05:23,560 --> 01:05:25,480
Speaker 2: to be honest with you, I mean, we all have

979
01:05:25,600 --> 01:05:29,160
Speaker 2: our own perspective and none is exactly a light. But

980
01:05:29,280 --> 01:05:35,600
Speaker 2: I think that in certain things, mine is more contrasting

981
01:05:35,720 --> 01:05:38,280
Speaker 2: than a lot of other people and I and that's

982
01:05:38,640 --> 01:05:41,160
Speaker 2: what I that's what I want to share with the

983
01:05:41,200 --> 01:05:46,240
Speaker 2: world and make that my legacy that's what's up.

984
01:05:46,280 --> 01:05:50,080
Speaker 1: Man. I can't wait. I know, I'm tune in. I'm tuning.

985
01:05:50,120 --> 01:05:52,680
Speaker 1: I'm buying all seven. We said you got seven different

986
01:05:52,720 --> 01:05:55,720
Speaker 1: chapters with seven different books, when I'm buying all seven

987
01:05:56,040 --> 01:06:02,640
Speaker 1: because it's my mentor jazz ze man, Like what, how

988
01:06:02,680 --> 01:06:06,480
Speaker 1: can I say this? Because it's almost like me asking

989
01:06:06,520 --> 01:06:10,240
Speaker 1: myself this question, me asking you this question, right, what

990
01:06:10,440 --> 01:06:14,240
Speaker 1: do you feel like you still want to accomplish? That

991
01:06:14,280 --> 01:06:18,480
Speaker 1: will be like the full circle closure to everything for you.

992
01:06:22,200 --> 01:06:26,920
Speaker 2: I know it sounds general, but to balance, like I

993
01:06:27,000 --> 01:06:30,640
Speaker 2: was talking about earlier, to counterbalance a lot of the

994
01:06:30,680 --> 01:06:38,280
Speaker 2: things that grieve artists and and the music audience in

995
01:06:38,840 --> 01:06:42,000
Speaker 2: hip hop in particular. You know what I'm saying, like

996
01:06:42,040 --> 01:06:44,240
Speaker 2: the stuff you have to deal with, like oh I can't,

997
01:06:45,440 --> 01:06:48,240
Speaker 2: I can't do this because this is stopping me or

998
01:06:48,280 --> 01:06:51,240
Speaker 2: they make you pay for this, and I mean it's

999
01:06:51,240 --> 01:06:54,880
Speaker 2: coming around to that. But at the same time, there's

1000
01:06:54,920 --> 01:06:58,680
Speaker 2: a price to pay because what you were talking about ownership,

1001
01:06:59,640 --> 01:07:02,640
Speaker 2: and I think that is of course, it's gonna put

1002
01:07:02,680 --> 01:07:08,560
Speaker 2: a big fucking red flag next to my name and

1003
01:07:09,520 --> 01:07:14,320
Speaker 2: you know, a target on me. But it's like that's

1004
01:07:14,320 --> 01:07:18,120
Speaker 2: the key to bring back ownership because if you made it,

1005
01:07:18,600 --> 01:07:22,320
Speaker 2: you created it, you should own it. That's a fact

1006
01:07:22,400 --> 01:07:24,800
Speaker 2: and the only and and it's and the crazy part

1007
01:07:24,840 --> 01:07:30,120
Speaker 2: about it is that there's nobody stopping anybody from owning it.

1008
01:07:30,120 --> 01:07:34,080
Speaker 2: It's just that the information is not out there. And

1009
01:07:34,560 --> 01:07:37,360
Speaker 2: then they and then they use this other ship, the

1010
01:07:37,440 --> 01:07:42,560
Speaker 2: streaming as a distractions like why own Why own your

1011
01:07:42,600 --> 01:07:48,560
Speaker 2: ship when you could just create it, publish it and

1012
01:07:48,600 --> 01:07:52,080
Speaker 2: put it on our dsp Yeah, you come to my

1013
01:07:52,160 --> 01:07:53,080
Speaker 2: app and listen to it.

1014
01:07:53,160 --> 01:07:54,640
Speaker 1: You don't have to own it. You don't have to

1015
01:07:54,680 --> 01:07:57,480
Speaker 1: bring this home with you and own it. No, it

1016
01:07:57,520 --> 01:07:59,960
Speaker 1: don't have to be like your couch. You can just

1017
01:08:01,560 --> 01:08:04,440
Speaker 1: like having a virtue couch Like yeah, I'm opened my

1018
01:08:04,480 --> 01:08:08,080
Speaker 1: eye and lay on my couch. Yah, that's what yo.

1019
01:08:08,320 --> 01:08:12,200
Speaker 1: So I totally agree. Ownership is everything to me, man,

1020
01:08:12,280 --> 01:08:14,320
Speaker 1: Like I was taught that by y'all.

1021
01:08:14,400 --> 01:08:18,559
Speaker 2: Like and I and I gotta say this too. Maybe

1022
01:08:18,600 --> 01:08:22,800
Speaker 2: I'm saying too much, but fuck it when I say

1023
01:08:22,880 --> 01:08:29,760
Speaker 2: ownership as a as an individual, you're not supposed to

1024
01:08:29,880 --> 01:08:33,960
Speaker 2: own anything. You're supposed to control it. And then the problem.

1025
01:08:34,000 --> 01:08:40,680
Speaker 2: But the problem is like like say, for instance, my

1026
01:08:40,800 --> 01:08:44,679
Speaker 2: name is Jonathan Burks, right, But that's that's what they

1027
01:08:44,720 --> 01:08:50,920
Speaker 2: told me. I'm not Jonathan Burks. My name is Jonathan Burks.

1028
01:08:51,280 --> 01:08:53,599
Speaker 2: And that's what they use when they send you to court.

1029
01:08:54,040 --> 01:08:56,360
Speaker 2: That's what they use when they put in all caps

1030
01:08:56,360 --> 01:09:01,560
Speaker 2: and they send you bills. That's not me. Jonathan Burks

1031
01:09:02,280 --> 01:09:05,880
Speaker 2: is the hoodie that I put on, you know what

1032
01:09:05,880 --> 01:09:08,880
Speaker 2: I'm saying, and go out into the world and conduct

1033
01:09:09,760 --> 01:09:14,400
Speaker 2: business in commerce. It's not it's not you, Like your

1034
01:09:14,479 --> 01:09:17,600
Speaker 2: name is not right, it's not you and and and

1035
01:09:17,760 --> 01:09:24,360
Speaker 2: in all actuality, uh, a living breathing soul cannot do

1036
01:09:24,439 --> 01:09:31,080
Speaker 2: business with a corporation or corporate entity. Period. So when

1037
01:09:31,120 --> 01:09:35,000
Speaker 2: I say ownership, like, I'm not going to go into

1038
01:09:35,000 --> 01:09:39,840
Speaker 2: the whole whole spiel, but you put it in a

1039
01:09:39,920 --> 01:09:46,439
Speaker 2: place where a document owns all your stuff. But you

1040
01:09:46,680 --> 01:09:51,440
Speaker 2: are the controller, the controller and grant and the soul controller.

1041
01:09:51,640 --> 01:09:55,639
Speaker 2: That's the key because owning, owning it doesn't mean anything

1042
01:09:56,120 --> 01:09:56,639
Speaker 2: but but.

1043
01:09:58,760 --> 01:10:00,519
Speaker 1: Me and you can lose it. It's some mighty comes

1044
01:10:00,520 --> 01:10:02,800
Speaker 1: to few they could take it from you. Well, you know,

1045
01:10:02,920 --> 01:10:06,800
Speaker 1: it's opening up companies and putting intellectual property under this

1046
01:10:07,080 --> 01:10:10,559
Speaker 1: you know, corporation, this asset. Yeah, but a lot of

1047
01:10:10,600 --> 01:10:13,920
Speaker 1: these guys got it like you said, you have to

1048
01:10:13,960 --> 01:10:16,200
Speaker 1: have It's almost like in a publishing game. You have

1049
01:10:16,280 --> 01:10:19,800
Speaker 1: to have enough music out to generate publishing. You can

1050
01:10:19,960 --> 01:10:22,599
Speaker 1: make an ass kap of be in my account today,

1051
01:10:22,680 --> 01:10:25,320
Speaker 1: But if you have records, you don't have enough music

1052
01:10:25,360 --> 01:10:28,400
Speaker 1: out generate in a certain amount of dollars, you're just

1053
01:10:28,439 --> 01:10:30,799
Speaker 1: gonna have an empty ass cap of count.

1054
01:10:30,760 --> 01:10:33,200
Speaker 2: You spend it, right, you're spending more money.

1055
01:10:33,360 --> 01:10:36,719
Speaker 1: So with the intellectual property owner ship what you told about,

1056
01:10:36,720 --> 01:10:38,960
Speaker 1: it has to be enough for you to you know,

1057
01:10:39,120 --> 01:10:43,439
Speaker 1: control it like that like but that's definitely a major

1058
01:10:43,600 --> 01:10:46,880
Speaker 1: gem drop. And I just want to say thank you

1059
01:10:47,000 --> 01:10:50,640
Speaker 1: Jazzo for pulling up. I want to tell you that

1060
01:10:50,840 --> 01:10:53,680
Speaker 1: as a brother, as a little homie of yours, I

1061
01:10:53,800 --> 01:10:56,120
Speaker 1: love you as a big homie. Everything you love you

1062
01:10:56,200 --> 01:11:00,439
Speaker 1: to contribute it to my life. Every good and bad

1063
01:11:00,560 --> 01:11:05,439
Speaker 1: day we ever have all gladded up. That is soul. Yes, man,

1064
01:11:05,680 --> 01:11:08,000
Speaker 1: and I appreciate you, and I thank you for coming

1065
01:11:08,040 --> 01:11:11,600
Speaker 1: through man. And trust me, the world loves jazz O

1066
01:11:12,080 --> 01:11:16,320
Speaker 1: and the world needs more jazz O's because if it

1067
01:11:16,400 --> 01:11:20,240
Speaker 1: wasn't for you looking inside and knowing, because you could

1068
01:11:20,240 --> 01:11:23,599
Speaker 1: have been selfish, bro, and a person that's being selfish

1069
01:11:23,600 --> 01:11:26,920
Speaker 1: can stop so many other dreams, by you, by you

1070
01:11:27,240 --> 01:11:31,719
Speaker 1: helping Jay helped me, and I'm helping so many other people.

1071
01:11:32,040 --> 01:11:34,559
Speaker 1: That's all from your branch. Like you said, every branch

1072
01:11:34,600 --> 01:11:37,920
Speaker 1: has a different branch, and we still growing leaves on ours. Yes,

1073
01:11:38,240 --> 01:11:40,680
Speaker 1: I just want to say thank you, my brother, and

1074
01:11:40,880 --> 01:11:45,080
Speaker 1: stay blessed and keep doing your thing. Jazz O the Legend,

1075
01:11:45,560 --> 01:11:53,320
Speaker 1: Rock Solid Baby Yeh. For more podcasts from our Heart Radio,

1076
01:11:53,680 --> 01:11:57,160
Speaker 1: visit our Heart Radio app, Apple Podcasts or wherever you

1077
01:11:57,200 --> 01:11:59,719
Speaker 1: listen to your favorite shows app and you could follow

1078
01:11:59,760 --> 01:12:03,360
Speaker 1: me on any social media platform under the name Memphis Bleach.

1079
01:12:03,479 --> 01:12:08,480
Speaker 1: You see anybody fraud in, flag him,