Speaker 1: What's up? And welcome back to another episode of No
Speaker 1: Sealer's podcast with your host. Now, fuck that with your
Speaker 1: low glasses, Malone. He don't just crazy work. We're on
Speaker 1: now right live and in effect.
Speaker 2: I can't.
Speaker 3: I can't see anything, stretch trip me out.
Speaker 1: No, So what I'm gonna do because like I told you,
Speaker 1: I need to move. Yeah, put that monitor right there
Speaker 1: for the big comments. That's the plan.
Speaker 3: Nice.
Speaker 1: I just gotta find the right vertical monitor because that
Speaker 1: uh right vertical monitor for.
Speaker 2: The U.
Speaker 1: So it fits these pictures. Because then what I'm gonna
Speaker 1: do is, so I'm gonna I got a Tupoc that
Speaker 1: I'm gonna put right there on there pot picture that
Speaker 1: looks like these. Shout out to everybody that's at the
Speaker 1: lunch table. That's what this looked like behind me. But
Speaker 1: I got to another one that's Tupac that the honey
Speaker 1: did me. That's Tupac like that. And I'm gonna put
Speaker 1: the doctor dray one right there on the other side
Speaker 1: of the door. Everything else see Kate out the only
Speaker 1: young person up there.
Speaker 3: Indeed, like two ton Common or something like that. There yep,
Speaker 3: So it's iced tea.
Speaker 1: On the walls Kate out on the wall, Kendrick Lamar
Speaker 1: on the wall, Easye on the wall, dog Snoop Dogg
Speaker 1: on the wall, there Pussle on the wall when near Puszle,
Speaker 1: a young boy Cube on the wall, and Dre on
Speaker 1: the wall. And then I got the other one with
Speaker 1: pop pockers for my monitor. Have I ever told you
Speaker 1: the story of how I met doctor Dre Mm hmm.
Speaker 1: So it all worked together. It's just crazy. So when
Speaker 1: I first started rapping, I might have been into rapping
Speaker 1: and righting righting for like two years. I mean, I
Speaker 1: had just started rapping at this point. I'm a four
Speaker 1: fledged gag member, full fledged dope dealer, just just getting
Speaker 1: in trouble.
Speaker 3: Had you put anything out yet at that point or
Speaker 3: pre pre release?
Speaker 1: So I had put out like three songs, okay, Like
Speaker 1: we did this song me Kay and my brother Pool.
Speaker 1: We did this song called Gangster Shit. We did like
Speaker 1: three songs. We had this one song called Beg Niggas
Speaker 1: Make the World Go Around And that was like a
Speaker 1: big song in the area, like the Mona Parks. The
Speaker 1: Honey Fromona Park was playing it, themy from PJ Wisse
Speaker 1: was playing it. He was playing it certain people. So
Speaker 1: that was like we do. I probably had only recorded
Speaker 1: about twenty five songs total, but my older brother shout
Speaker 1: out to pool Pool and Doctor Poole's girl and Doctor
Speaker 1: Dre's sister, Shamika were like best friends. So he hits
Speaker 1: me one day we at the studio and he said, hey, man,
Speaker 1: you want to meet doctor Dre. And I'm like, yeah,
Speaker 1: that'ta be cool. So he's like, all right, We're gonna
Speaker 1: go hang out with them for New Years. So this
Speaker 1: two thousand and two going into two thousand and three,
Speaker 1: this New Year's Eve. That's a big year, right, So
Speaker 1: we go to this house in Calabasa's really nice house,
Speaker 1: you know what I'm saying. Really nice house. Doctor Dre's
Speaker 1: mom is cooking. This lady's a fantastic cook. She like
Speaker 1: she made soul food, chillings and all that. I was
Speaker 1: eating everything in the world, right, and she all her
Speaker 1: food was good. So this is about it. Get about
Speaker 1: ten thirty, ten forty five, I'm eating my food whatever.
Speaker 1: Doctor Dre walks in and grab me on my shoulder.
Speaker 1: Oh show with y'all. I see it's Dre, you know,
Speaker 1: And again like I didn't grow up my mom is
Speaker 1: the huge music fan.
Speaker 2: Gotcha.
Speaker 1: My mom is like every Tuesday when records would come out,
Speaker 1: she's buying them, gotcha. Like my mom used to buy
Speaker 1: so many, so much music, bro. Like, she had to
Speaker 1: start going to the one Stop to buy all the
Speaker 1: music to get a better deal. The one stops is
Speaker 1: where all the independent record stores was buying all of
Speaker 1: the music. So she bought so much music, like my
Speaker 1: mom when the fares took her, when the fest took
Speaker 1: our house when I was a you know kid, they
Speaker 1: said her they estimated her music collection to be like
Speaker 1: five or ten thousand dollars back then. Yeah, so like
Speaker 1: she had final CDs. She had so much music, man Like,
Speaker 1: So I never had to have music on my own.
Speaker 1: I didn't start buying. The first CD I bought on
Speaker 1: my own was dog Food and I was probably like fifteen.
Speaker 1: I mean that's how much music. Like, I heard so
Speaker 1: much music growing up, Bro, I didn't even want to
Speaker 1: hear music when I wasn't with my mom because when
Speaker 1: I went home after school, that shit played all through
Speaker 1: the house. And my mom had a sound system in
Speaker 1: the eighties, bro, Like a sound system, so the whole
Speaker 1: goddamn house. You just hear music. You know what I mean.
Speaker 1: I know Cameo albums by heart, I know street songs,
Speaker 1: Rick James by heart. I know so much music by
Speaker 1: heart that I was almost sick of music. I just
Speaker 1: would hear music all of goddamn time. So I say
Speaker 1: that to say I didn't really have a look towards
Speaker 1: rappers in any special life because I wasn't into trying
Speaker 1: to be a rapper, nor was I tripping off music.
Speaker 1: I heard so much music. So Drake comes grabbing my shoulder.
Speaker 1: What up, man, you know, welcome to the house, da da.
Speaker 1: So we chopping it up. He getting this food eating,
Speaker 1: we laughing at, joking, and he asking me questions, and
Speaker 1: I'm like, y'all, I'm seven Street watchd y'all sell PCP.
Speaker 1: I'm talking to doctor Drake like we know each other,
Speaker 1: and I'm just telling Cuz like, yeah, this is what
Speaker 1: it is, raped out auta. So he like this nigga
Speaker 1: is wild. So we ain't even talk about no rap shit.
Speaker 1: I'm just talking to Cuz like a nigga off the streets.
Speaker 1: And He'll be the first person to tell you that's
Speaker 1: how I talk to Cuz, like like he just like
Speaker 1: he just nigga drake from counting, So cuz is like
Speaker 1: we eating a full bush and so forth, so on.
Speaker 1: So later on, like as it gets closer to New
Speaker 1: Year's I'm like, hey, man, like, man, you should give
Speaker 1: me a beat cuz like I want to rap on
Speaker 1: one of your beats. So he started laughing. Now this
Speaker 1: is No Siblings Live to Lunch Hour every Monday, Wednesday
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Speaker 1: The No Sealans podcast executive produced by Charlottagne and God
Speaker 1: the Black Effect Network in iHeart back to the point.
Speaker 1: So I'm talking to cousin. I say, hey, man, give
Speaker 1: me your beat. Let me wrap on one of your beats.
Speaker 1: He just start laughing, cuz out loud. Now at that time,
Speaker 1: cause I didn't know why he was laughing. I almost
Speaker 1: took offense to it. You know what I'm saying. I'm like, cull,
Speaker 1: you make beats, I rap cut like this simple It's
Speaker 1: a simple connection, you know what I mean. Like, mind you,
Speaker 1: this motherfucker probably getting a quarter million dollars a beat
Speaker 1: at this point. But I'm so fucking street and ignorant
Speaker 1: that i have no motherfucking idea. Cause like so, I'm like, yeah,
Speaker 1: give me a beat, cut a rap on it. He
Speaker 1: cry and laughing, like you want to beat him? Like yeah,
Speaker 1: cause just give me. I'm a rap on it. Come
Speaker 1: he gonna put that motherfucker out. And I'm not asking
Speaker 1: doctor Dre for a record contract. I'm not asking Doctor
Speaker 1: Dre for shit, but a beat. Let me wrap on
Speaker 1: one of your beats. Cauz And I'm cousining like so,
Speaker 1: Cousin's laughing. He like wild, he said, he look, he
Speaker 1: said he said, cause he said, look, gee, I give
Speaker 1: you a beat. Just bring me a record. That's all
Speaker 1: you gotta do. Bring me a record. I'm like, all right,
Speaker 1: cull y'all make some songs. I don't know what a
Speaker 1: record is, because again, these industry like niggas that be
Speaker 1: an industry. Forgive me for a lack of better terms.
Speaker 1: I'm not gonna call cousin industry nigga, but niggas who
Speaker 1: are in the industry have these terminology, these words that
Speaker 1: you hear all the time, like a record. So you
Speaker 1: think that's a fucking song, right, you think that's a song.
Speaker 1: And so he's like, yeah, just bring me a record, glasses,
Speaker 1: and I give you a beat. So I'm like, all right,
Speaker 1: cuz I'm gonna make some songs. Gim me.
Speaker 2: I got you.
Speaker 1: I'm gonna get with you, Cousin. I'm telling Doctor Dre
Speaker 1: I'm gonna get with him. I'm gonna get with you
Speaker 1: cause I'm a press player on you. Cause you know
Speaker 1: what I mean, we in the game. It's good money.
Speaker 1: I didn't ask Cause for his number or nothing. Yeah,
Speaker 1: I just knew he was gonna look for me. This
Speaker 1: is how ignorant could you be? When you come from
Speaker 1: the corner with this shit. You know what I'm saying,
Speaker 1: Like you be hella sure like And I always been
Speaker 1: sure of myself entirely, too sure of myself. So I
Speaker 1: remember that, guse. So we politics some more that night.
Speaker 1: We bullshit out ou out out and it was a
Speaker 1: It was a dope relationship, same relationship I enjoyed because
Speaker 1: of that. He he can't he I know, he hate
Speaker 1: how Street. I am like that shit bothers him, you
Speaker 1: know what I mean? Because you know, this nigga sixty
Speaker 1: sixty one years old, so he grown and I'm still like,
Speaker 1: I'm a forty five year old man, but I'm still
Speaker 1: got that same energy that I had when he first
Speaker 1: met this twenty two, twenty three year old kid.
Speaker 2: Right.
Speaker 1: So Cub was like, okay, cool, I'm gonna get with you.
Speaker 1: So I go to the studio. I tell my nigga Guido,
Speaker 1: I say, Gueto, we gotta make you songs. This nigga
Speaker 1: drake want me to bring him a record now. Shout
Speaker 1: out to Guido. Gary Ellis, who executive produced my first
Speaker 1: CD right which is called White Lightning. This is the
Speaker 1: twentieth anniversary this year. It came out this month twenty
Speaker 1: years ago. Damn right, So it's submitted. It's my first joint,
Speaker 1: and so I go to him. Now, mind you cuz
Speaker 1: Guido has been engineering the best shit like he has mixed.
Speaker 1: He mixed Diddy Diddy is a top twenty record. Do
Speaker 1: that Diddy Diddy if you want to, because then I
Speaker 1: can see. So he mixed this. He's co producing songs
Speaker 1: with rhythm d like. He was already in the business,
Speaker 1: and he's a DJ. He went by DJ g l E, right,
Speaker 1: So Gary Wuedo aka DJ g l E. He's the
Speaker 1: one that understood records. I didn't have no fucking idea.
Speaker 1: I just thought the record was a song. So we
Speaker 1: start knocking songs out, right, we probably get about eight
Speaker 1: songs done, right, eight songs done? So now mind these
Speaker 1: eight songs become the premise of White Lightning. The title
Speaker 1: White Lightning is White Lightning because I had this really
Speaker 1: popular PCP sharn like drugs. People use it to make dust,
Speaker 1: they pour it over meat, Mitley just it's a liquid.
Speaker 1: It's a chemical combine. And the prepareddine that you used,
Speaker 1: one of the chemicals was clear instead of yellow, so
Speaker 1: it turned a whole mix clear, so instead of it
Speaker 1: being yellow like normal sherm aka PCP, this shit was clear.
Speaker 1: But it was so powerful. It was so powerful like
Speaker 1: you couldn't get past the second hit. It would make
Speaker 1: you be stuck, like you hit it twice and the
Speaker 1: second time you just couldn't even move.
Speaker 3: It would be like the same branding as like in
Speaker 3: the Denzel Washington movie Blue Magic.
Speaker 1: There You Go, There You Go, And it was like
Speaker 1: this hella powerful PCP. But I caught it White Lightning
Speaker 1: to sell it, and it made it seem like it
Speaker 1: was on purpose. Right, So I named my first CD
Speaker 1: because I knew all the street people who would want
Speaker 1: to buy my CD would know this is glasses. Gotcha,
Speaker 1: this is glasses right. That's how I named the first
Speaker 1: CD white Lightning. And it was a popular shrim in
Speaker 1: the street. Everybody was talking about it. So here go
Speaker 1: is the next evolution of White Lightning. It's the music
Speaker 1: fast forward. So so I'm working on seven Day songs
Speaker 1: that end up becoming the foundation of White Lightning. This
Speaker 1: is before I met Game and was rocking with Black
Speaker 1: Wall Street. So dra calls my older brother back. Doctor
Speaker 1: Drake calls my older brother back, Hey, you bet, bring
Speaker 1: glasses to my Fourth of July party. You know, I'm
Speaker 1: having at my house in Malibu. Shout out to everybody
Speaker 1: lost the house in Malibu because it looked his house
Speaker 1: is on the beach too, so he could have lost
Speaker 1: his too.
Speaker 3: But he is a long time. That is the longest
Speaker 3: city I have ever seen. It is long too, right,
Speaker 3: So fast forward, hopefully it's on the other side.
Speaker 1: Facts facts, So fast forward, right, Yeah, what's that? Doctor
Speaker 1: Drake tells my older brother, Hey, man, bring glasses to
Speaker 1: my beach party. I'm having it at my house in Malibu.
Speaker 1: He said, okay, so he called me, he said, hey,
Speaker 1: g man, Dre called me. He more excited. I'm more
Speaker 1: thanking this. You're supposed to call me. I'm glass look
Speaker 1: like you know what I mean, like I wrap you
Speaker 1: make beach you know. Still like this is this is naive.
Speaker 1: I'm gonna send this to doctor Dres so he can
Speaker 1: listen to this dream too, because he gonna be like
Speaker 1: this fucker was crazy. So low story shut him like okay, yeah,
Speaker 1: he hit you. When he wants to come or he
Speaker 1: wants to come to his Fourth of July, he just
Speaker 1: texts me his house to his address to his house Malleible.
Speaker 1: It's on the beach. I said, okay, cool, So we
Speaker 1: get the songs together. Fourth of July two thousand and three.
Speaker 1: Rewind back to the New Year's Eve party seven months
Speaker 1: before that. We're talking about fifty cent and I'm like, man,
Speaker 1: how big is this fifty cent shit gonna be? Like man,
Speaker 1: it's gonna be the biggest shit in the world. I'm like,
Speaker 1: how you know, He's like a man. Watch. So fast
Speaker 1: forward seven months after that. This is this is two
Speaker 1: thousand and three, July fourth, So fifty came out. He's
Speaker 1: the biggest ship in the world. So I remember at
Speaker 1: the thing, he's DJing the party, Dre DJ and his
Speaker 1: own party. He's in love with the Inspected Deck album
Speaker 1: that comes out at this time. It's a really kind
Speaker 1: of West Coast Sam got a good rhythm, but he
Speaker 1: was playing it over and up. He just loved this
Speaker 1: Deck album. Oh man, he was in love with this
Speaker 1: Inspected Deck Altum. You could not tell this man nothing
Speaker 1: about that Inspected Deck album, right, And he's at the
Speaker 1: DJ playing it for all the It's an old white
Speaker 1: lady trying to talk to me. She had to be
Speaker 1: about forty She's laying across the top of the couch
Speaker 1: like a cat in my ear, and I'm like, man,
Speaker 1: this is fine.
Speaker 4: You.
Speaker 1: I'm just a full fledged crip and adult dealer, so
Speaker 1: it feel weird to have white people talking to me.
Speaker 1: There ain't no white people living component watch like that.
Speaker 1: So it's white people at this party. It is brothers
Speaker 1: and sisters too, but it's a lot of white people.
Speaker 3: He's kind of funny that, like doctor Dre has such
Speaker 3: an ear for being able to locate and create songs, artists, whatever,
Speaker 3: that just become just obscenely huge, huge, bigger than things
Speaker 3: are supposed to even become. Sure, and the thing he
Speaker 3: wants to listen to himself and his own taste is
Speaker 3: a very niche album. It was very local, and it's
Speaker 3: acclaim and kind of the opposite of what his model
Speaker 3: result tends to usually be. That's that's that's kind of
Speaker 3: a very subtle in general, I'm gonna.
Speaker 4: Say, I don't know, because good music is gonna be
Speaker 4: good music, whether it's from the from the past, or
Speaker 4: whether it's right now, you're gonna, we're gonna you're gonna
Speaker 4: recognize when it's great.
Speaker 2: But he just pop up.
Speaker 1: Okay, So but he's he's in love with disinspected deckout.
Speaker 1: I mean, he going crazy off this deckout and cutting right.
Speaker 1: So we chopping it up, we bush it and you know,
Speaker 1: I'm laughing joking still, you know, crip cut Drake cud.
Speaker 1: It ain't hit me who Doctor Dre is yet. That
Speaker 1: don't really hit me. Into twenty thirteen when I our
Speaker 1: study in hip hop right shout out to shot Teeth.
Speaker 1: Controlled Substance was the name of the album. Must let
Speaker 1: everybody at the lunch table doing their thing, just let
Speaker 1: me get through story time, and we're gonna get to
Speaker 1: this conversation. So because this is part of the conversation.
Speaker 1: This is why the conversation is happening right, So fast forward.
Speaker 1: Because so I'm at this Doctor d party Cuz DJ
Speaker 1: in and Cuz is nice like he not no pump
Speaker 1: like cubs getting busy. This ain't no joke. He not
Speaker 1: like you know, none of these niggas who got DJ's
Speaker 1: in front of their name that don't. DJ Cuz is
Speaker 1: like for real, like he is nasty cause he got
Speaker 1: the party rocket. It's outside in the backyard, Cubs on
Speaker 1: the sand at the ocean in Malibu, so we having
Speaker 1: a good time outside of this white lady trying to
Speaker 1: talk to this to me kind of ignore, like annoying me, Like, lady,
Speaker 1: you are too old. I am way too I will
Speaker 1: hurt you, old lady, old white lady. This is not
Speaker 1: what you want. This gonna put you down, baby, This
Speaker 1: is not what you want. This is crib dig at
Speaker 1: this point. And I am a young animal. So before
Speaker 1: I get to the story about playing the music, something
Speaker 1: I remember because is this motherfucker doctor Dre has a barge.
Speaker 1: Because a ship pull a barge. A ship, not a boat.
Speaker 1: A fucking ship pull a barge into the ocean. Not
Speaker 1: that far because you can see it. But it's a
Speaker 1: ship with a barge. A barge is like a big
Speaker 1: flat bed for a ship. Open thing, pull it out.
Speaker 1: So Couz on his walkie talking, uh yep, all right,
Speaker 1: you guys ready, okay, all right, we're gonna time it.
Speaker 1: He's like, watch this, glasses, watch this. So I'm looking.
Speaker 1: He like five four three two one boom boom boom
Speaker 1: boom boom boom boom. Fucking fireworks is scoring the music,
Speaker 1: is scoring the fireworks at the same time. Now again,
Speaker 1: this is young watch crip glasses. I am not really
Speaker 1: tripping off of it. I'm like, yeah, come to fuck
Speaker 1: with the homy cup. Play this music, give me a beat,
Speaker 1: cud that. I'm finna do my thing. This motherfucker got
Speaker 1: a fireworks show and it scored with his music, and
Speaker 1: it's about ten twelve minutes.
Speaker 3: It's pretty much got the Bolagia Fountain set the fireworks.
Speaker 1: Now as an adult thinking about it, because I was like,
Speaker 1: holy shit.
Speaker 2: So you're cool.
Speaker 4: Your cool didn't come off when you've seen that shit, though, No,
Speaker 4: because that never your cool was still on, bro.
Speaker 1: My cool didn't come off with Doctor Dre until two
Speaker 1: pac Mon's Died came out and we was talking. That
Speaker 1: was the first time my cool. I ain't never not
Speaker 1: been cool with Doctor Dre. I always treated Dre like
Speaker 1: the timeter nigga who make beats. I was ignorant this fuck.
Speaker 1: I didn't know Cauz. I'm you know he make beats. Right,
Speaker 1: So fast forward cuz this is like some amazing shit.
Speaker 1: I ain't seen no shit. I didn't make me as
Speaker 1: of dollars at this point, I'd have been all around
Speaker 1: the world. I still ain't seen no shit like this.
Speaker 1: So now I'm thinking about it like that. That was crazy.
Speaker 1: So I end up we talking. I'm like, how did
Speaker 1: you know that fitty shit was gonna be big? He said, Man,
Speaker 1: this little bird told me. Talking about it, He's like, man,
Speaker 1: Eminem eminem knew it right, Like I did that for
Speaker 1: him and that shit blew up. It's like, damn, that's cool.
Speaker 1: So end of the party. We coming to the end,
Speaker 1: coming to the party, you know, cutn't end and shit.
Speaker 1: So he like, hey, glasses, look, old lady want me.
Speaker 1: This is his wife that he just you know, divorce recently, right,
Speaker 1: So he like, hey, my wife on my ass. Man, gee,
Speaker 1: I'm finna go in here.
Speaker 2: Man.
Speaker 1: Look, it's two things we could do, he said. I
Speaker 1: could play the music out love for everybody, or I
Speaker 1: could take the music with me feel me and I
Speaker 1: can call y'all. Let you know what I think. My
Speaker 1: brother is finna say pool is finna say all right?
Speaker 1: Just take it? I said, Oh, play for everybody's school.
Speaker 1: This it's out fucking crazy, I am. It's all kind
Speaker 1: of motherfucker's up in this party. That's music, execs and shit.
Speaker 1: And I'm just so sure this is real street urban culture.
Speaker 1: It make you have a false sense of security about
Speaker 1: who you are, and I mean it's false. Yeah, but
Speaker 1: I'm like, yeah, yeah, play for everybody. It's all good.
Speaker 1: So he's like, all right, cool, he laughing. This nigga's
Speaker 1: laughing at my er. It's the whole time. Don't God
Speaker 1: cut trap. He's laughing at my right because so he
Speaker 1: starts playing the music. You know, she's jamming it. It'd
Speaker 1: be like five or ten seconds when the music is playing,
Speaker 1: He's get to the next song. Oh that's not it.
Speaker 2: You were saying, that's not it.
Speaker 1: It's like five or ten seconds. Bro. He could hear
Speaker 1: it and be like, no, that's not it. So in
Speaker 1: my mind, I'm like, come with this nigga trying to
Speaker 1: play me, because like, what the fuck is up with
Speaker 1: this nigga? Now I get it. I understand how records work.
Speaker 1: I'm game like, I get it now, But at that time,
Speaker 1: I had no idea. So I'm like, that case, why
Speaker 1: do this nigga? He ain't heard the song because he
Speaker 1: ain't heard what I said. Skipping songs. He get to
Speaker 1: the fourth song. Mind you, it's only eight songs on
Speaker 1: this little thing. He get to the fourth song, four
Speaker 1: songs A song on White Light and they called all wrong.
Speaker 1: Got the traditional West Coast joint. He jamminy letting it play,
Speaker 1: so nigga stay oh he get about forty five, It's like, hey,
Speaker 1: that's cool, but that's not it. Fifth song, skip, six,
Speaker 1: gonna skip. So I'm like, oh shit, like I'm gonna
Speaker 1: have to go make eight more songs. This how crazy
Speaker 1: We're seven. So he gets to the seventh song. The
Speaker 1: seventh song, shout out to Saint Denson. Saint Denson did
Speaker 1: good time for Styles I Get High, And at that
Speaker 1: time there is no YouTube, so all your beats somebody
Speaker 1: had to make them where you had to buy it.
Speaker 1: I bought that beat for five thousand dollars. Mind you,
Speaker 1: that was a deal because Saint Dnson had good Time
Speaker 1: for Styles I Get High. This is a smash hit record.
Speaker 1: So the song comes on money Get You Some.
Speaker 2: You know exactly what sample you're talking about?
Speaker 1: Boom boom. He started rocking and ship and rap what
Speaker 1: you think all I'm grinding for what you think?
Speaker 4: All?
Speaker 1: I'm signing for money from the start of my life.
Speaker 1: The ship go off and he just like in it
Speaker 1: and he's just jamming and people have to part like hey,
Speaker 1: and he putting their hands up. He starts scratching like
Speaker 1: this it g this is it, and he clugged me.
Speaker 1: He was like, nigga, this is it. Nigga. He jammed,
Speaker 1: he started again money. He just keep playing it.
Speaker 3: You find it more than a coincidence that it was
Speaker 3: song number seven? Or is that purely a coincidence?
Speaker 1: Cuz said, yeah, so he's jamming this song. He grabbed me.
Speaker 1: He like, yeah, nigga, I'm proud of you.
Speaker 2: Nigga.
Speaker 1: This is it. Nigga. I'm like, where's my beat? But
Speaker 1: everybody in the party. He rocking a party this ship
Speaker 1: cause he gotta go and crave money, and people like, hey,
Speaker 1: they rapping this. I'm like, damn, that's cool. So he like, man,
Speaker 1: whatever you doing, you need to stop. He knew what
Speaker 1: I was doing. You stop doing what you're doing. This
Speaker 1: is what you should be doing. That's how I knew
Speaker 1: I would take raps serious. That's how I fucking knew.
Speaker 1: Well that makes sense, this fucking doctor drake. But again
Speaker 1: it made me be like and I didn't think of
Speaker 1: the magnitude because I didn't think he was gonna give
Speaker 1: me a deal. I just knew that and why if
Speaker 1: I could a press cuz it gotta be good. Gotta
Speaker 1: be good because it gotta be good if I can
Speaker 1: impress this dude. So I was like, okay, So I
Speaker 1: go back and Gary found out out the greedo he se.
Speaker 1: He was like, oh my god, like you impressed doctor Dre.
Speaker 1: I'm like, yep, cut, we just make the songs now.
Speaker 1: Long story, short cut. That's how I met That's how
Speaker 1: I knew I was gonna take this business serious. And
Speaker 1: that's how I met doctor Dre. Years and years to
Speaker 1: this day, we still fuck with each other to some degree.
Speaker 1: I always check on him, go see him. He's gonna
Speaker 1: give me ship about something whatever. But that's my man.
Speaker 1: One hundred grand you feed me out love, because he
Speaker 1: really was. He convinced me with one conversation how important
Speaker 1: like that I could do it.
Speaker 3: Do you have any idea? Like what's his house? Okay,
Speaker 3: I have to guess.
Speaker 2: Hold on, can I say? Can I say it? The call?
Speaker 4: Call you? You know when you called me called me
Speaker 4: a couple of weeks ago and told me that.
Speaker 1: No, no, don't say nothing yet. Keep that we need that,
Speaker 1: we need that. I'm gonna make him go say something
Speaker 1: about that, but that's how I started knowing. That's how
Speaker 1: so I knew I could do this. Now. The reason
Speaker 1: I tell his story is because one of my homeboys
Speaker 1: shout out to DJ Artistic. I don't think y'all really know.
Speaker 1: Artistic is like a pillar when it comes to West
Speaker 1: Coast hip hop. He's one of the most important DJs
Speaker 1: on the West Coast. He's an instrumental in my career.
Speaker 1: He gave me one of the first songs I ever
Speaker 1: had on radio. He produced it call Therapy Session. It's
Speaker 1: on White Lightning as well, and he just all around
Speaker 1: awesome guy. He did a dope thread and he was
Speaker 1: talking about hip hop, and he was talking about how
Speaker 1: the West Coast sound has changed from two thousand and
Speaker 1: three to now. So I call him we chopping it up,
Speaker 1: Say hey, man, man, it's a gold thing. But man,
Speaker 1: we got to the beginning of what we like to
Speaker 1: title Sounds of West Coast and we started talking about
Speaker 1: how funk came about and how everybody used it, so
Speaker 1: forth and so on. Where Drake changed when he pivoted
Speaker 1: you know, Dre dre initial face to me now that
Speaker 1: I'm aware, right, he was inspired by Mally Maul first,
Speaker 1: he was great ass rendition of Marlly Maul his own version.
Speaker 1: Mind you, he grew up in R and B, so
Speaker 1: he had a little bit more melody than Mal. But
Speaker 1: you could just hear the mall in his style, and
Speaker 1: I would bet money Mall is his initial inspiration. His
Speaker 1: second run, his greatest inspiration in my belief in hip
Speaker 1: hop was DJ Quick. DJ Quick when remember he's doing
Speaker 1: NWA at this time. N WA nationally is going crazy.
Speaker 1: N w A is going insane. And if y'all want
Speaker 1: to listen to White Lightning, it's on sounds on Spotify.
Speaker 1: Finally I got it up there. It's really dope. I'm
Speaker 1: going to do a concert in April for it to
Speaker 1: celebrate the twentieth release, where I perform only those songs.
Speaker 1: Check it out, but you can listen to it on Spotify.
Speaker 1: But again, fast forward. So the second one to me
Speaker 1: was inspired by Quick. NWA is going national. You know,
Speaker 1: they're a big conversation on the national scene. But when
Speaker 1: it came to the center of Compton late eighties, late eighties,
Speaker 1: eighty eight, eighty nine, ninety ninety one, DJ Quick owned
Speaker 1: every party in southern California.
Speaker 3: So in that scenario, he was Rick James to doctor
Speaker 3: JS or Doctor Dre's Michael.
Speaker 1: Jackson Jones's young Yeah for sure. So that to me
Speaker 1: like he saw the quick thing happening, not as conversation,
Speaker 1: not the biggest conversation such as NWA, which was a
Speaker 1: more prolific hip hop conversation across the whole landscape east
Speaker 1: to west. Right, This in Compton in southern California. This
Speaker 1: is the biggest thing in the world. Yes, Weitchie, I
Speaker 1: put it all together. It's sitting right there in that
Speaker 1: box is right here. So I got a Melock forgive me.
Speaker 1: I got you. You're gonna like, oh, I gave you
Speaker 1: seven CDs boom okay. So that was to me the
Speaker 1: second inspiration to where Doctor Dre was like, yeah, I
Speaker 1: know what I'm about to do. You know what I mean?
Speaker 1: And then here you get g than you get the
Speaker 1: Doctor Snoop Dogg album him doing you know, all of
Speaker 1: that stuff, And to me, the third version is where
Speaker 1: he really made his bones. Like everybody talks about his
Speaker 1: success as a Death Row producer, but him as an
Speaker 1: aftermath producer when he started to take the classical sounds
Speaker 1: that became you know, next episode and certain songs. That
Speaker 1: is the defining sound that people know Doctor dre for,
Speaker 1: you know what I mean, Like they go that piano.
Speaker 1: You know, every new producer West Coast type beat is
Speaker 1: that damn piano ping ping yo. They think it's still
Speaker 1: dr you know what I mean. So he had these
Speaker 1: really incredible runs. This album right here, in this level
Speaker 1: of production is Doctor Drake with his boys just being
Speaker 1: Doctor Drake. He's not really inspired by nothing.
Speaker 3: Wait, what is the album?
Speaker 1: The Marshall album. This is him making the elite level music,
Speaker 1: the most elicious music that he can make. Shout out
Speaker 1: to Fred Red, shout out to Shout out to them joint,
Speaker 1: Shout out to the homies that's over there doing the thing.
Speaker 1: But this is him making whatever he wants to make.
Speaker 3: It's kind a magnum opus kind of feel to it.
Speaker 1: It is it is, and it's really prolific to me.
Speaker 1: Like the songs like they can they can do a lot,
Speaker 1: you know what I mean, They can do a lot
Speaker 1: of stuff. But I also realized within this conversation why
Speaker 1: hip hop is so influenced by the young, by the youth. Yeah,
Speaker 1: and it go back to somebody's tell trap all the time.
Speaker 1: Hip hop is the movement of we not me. That's
Speaker 1: why DJ's right, who understand no different than the James
Speaker 1: Brown Band than the JB's right. They knew how people
Speaker 1: was moving. So when they were able to go in
Speaker 1: the studio, when they went to the studio to make music, right,
Speaker 1: when they went into the studio make music, they already
Speaker 1: knew how people wanted to move and how they were moving.
Speaker 1: The same thing goes to hip hop with the DJ.
Speaker 1: That's why the best producers in hip hop. Hip hop
Speaker 1: producers are DJs because they already have the pace of
Speaker 1: people happening in their minds. So doctor dre right, he
Speaker 1: used to DJ all the time. I just told you
Speaker 1: he DJed his own beach party in Malibule.
Speaker 3: I mean that is the exact same principle as like
Speaker 3: a comedian going and doing small comedy clubs all the time.
Speaker 3: You understand how to manipulate an audience, and if you
Speaker 3: can do it on a small scale intimately, you can
Speaker 3: do it on a large scale.
Speaker 1: Dig exactly. And that's the thing, right, And that's why
Speaker 1: DJs have always kicked the ass and hip hop battle
Speaker 1: cat quick. All these guys are DJ they kick ass
Speaker 1: because long as they're DJing, they're keeping a pace on
Speaker 1: where society is at. True hip hop again, is the
Speaker 1: movement of we, not the movement of me.
Speaker 3: And I think there's also like it's from a youth standpoint.
Speaker 3: Hip hop is a counterculture type of movement in the
Speaker 3: sense that it's uh rooted in a in a certain
Speaker 3: degree around pushback against the system.
Speaker 1: Well you do.
Speaker 4: God, I'm gonna say something about the hip hop thing ahead, no,
Speaker 4: because I heard I heard hip hop broken down before,
Speaker 4: and they broken down by saying hip hip is the
Speaker 4: hip is, the is the youth and what's cool, you
Speaker 4: know what I'm saying.
Speaker 2: And the hop is the movement. You know what I'm saying.
Speaker 2: That basically youth movement like.
Speaker 1: That though, and that's to catch right, because you're making
Speaker 1: music for the we mm hmm, you know what I mean.
Speaker 1: And the hip is about it's not necessarily young as
Speaker 1: much as we and we is are our most together
Speaker 1: when we're young. When we grow up and we get older. Right,
Speaker 1: when we grow up and we get older, we kind
Speaker 1: of get more into me and our families everything that's
Speaker 1: more me. But when you're young, it's just you and
Speaker 1: your boys doing whatever. Y'are doing in your neighborhood, in
Speaker 1: your section, with your city. But as you get older,
Speaker 1: you immediately start to age out of that and then
Speaker 1: guess what things start becoming more important My family, my kids,
Speaker 1: my wife, I mean, the me things. So I think
Speaker 1: that's where the ageism confusion is because I agree with
Speaker 1: trapp hip is for sure what's cool, and we decide
Speaker 1: what's cool.
Speaker 2: We.
Speaker 1: Yeah, the artist that's currently going through struggles can't gauge WE.
Speaker 1: There's a couple of artists going through struggles. There's a
Speaker 1: couple you know, there's a couple bloggers going through struggles.
Speaker 1: They can't each we. That's why it's like, we wouldn't
Speaker 1: do that. And if you start doing something outside of
Speaker 1: the WEI, you stop being cool.
Speaker 2: Mm hmm.
Speaker 1: That's my point. Everybody hit that like button real quick,
Speaker 1: you feel me? Do me that solid? No sellers live
Speaker 1: lunch hour.
Speaker 4: To give a little pushback on it. Right, So I'm
Speaker 4: gonna say like this, right, at times you get at
Speaker 4: times you'll get an artist that feels like they they're
Speaker 4: not making music for the we, They're making music for them,
Speaker 4: you know what I'm saying.
Speaker 2: And sometimes it be and at times when that happens.
Speaker 4: That's hit a miss though, like that, you know what
Speaker 4: I'm saying, So it'll be like I'm not making I'm
Speaker 4: not making the music to basically for everybody, for everybody,
Speaker 4: just like I'm making the music that I want to make.
Speaker 2: You know what I'm saying. Like that, though, I mean,
Speaker 2: it is an art.
Speaker 1: So as long as you don't want to do the business,
Speaker 1: as long as you want to do like you might
Speaker 1: don't like beef, you feel me, that ain't your that
Speaker 1: it ain't your preferred protein. That don't mean you can
Speaker 1: sell everybody the burger you want to sell them. You can't.
Speaker 1: Everybody ain't eating jack fruit tacos. Boy, that just ain't
Speaker 1: gonna happen. I tell people all the time, make the
Speaker 1: music you want to make. Shout out to DJ Head
Speaker 1: whose birthday was yesterday. Shout out to my little bro happy.
Speaker 2: See that birthday.
Speaker 1: But we also understood if we want to make music
Speaker 1: the business, we have to be in the business of we.
Speaker 1: We have to be in the business of we. So
Speaker 1: I always tell John different people, shout out to all
Speaker 1: the whole community at ADHD you feel me. I always
Speaker 1: tell the homies like you gotta meet the people where
Speaker 1: they at and lead them from there.
Speaker 3: Yea, and people you can people can only like if
Speaker 3: what's cool is here in this circle as a mass,
Speaker 3: you can be a little cooler if you're still touching
Speaker 3: the mass, you know, you start to get a little
Speaker 3: too avan Guardio, too far away. You might be cool eventually,
Speaker 3: but then they have to come to you. Yeah, I
Speaker 3: could take a very long time. You can miss your moment.
Speaker 1: And I've been a victim of that a lot of
Speaker 1: different times. I've been a victim of that, right, being
Speaker 1: ahead of cool. So again, I've always expressed based off
Speaker 1: of my studies, my research when I started to care,
Speaker 1: when I didn't feel entitled to hip hop and I
Speaker 1: really wanted to get and understanding what this thing was about.
Speaker 1: I understood it was street urban culture personified through the
Speaker 1: arts or as the New York HOMEI say, the elements.
Speaker 1: That's the way you express the culture through these things.
Speaker 1: And once you express them and these these specific through
Speaker 1: these elements, is hip hop. Right, So again, being hip
Speaker 1: is cool. Cool is the approval of weed. You can't
Speaker 1: deny that, Like, that's what's we like. As I grow older,
Speaker 1: I stay with classic. I don't do nothing that's not
Speaker 1: I'm not trying to do too much trendy like, don't
Speaker 1: get me wrong, I'm watching the groove. The groove is
Speaker 1: the low end to me of music. Trap right, the
Speaker 1: eight a way to kick the baseline. I can't attention
Speaker 1: you to the groove. The melody state the same. Shout
Speaker 1: out to the homielex people who makes records. The melody
Speaker 1: state are same. The groove changes the groove. How people
Speaker 1: want to move changes, sure, that's important. How people want
Speaker 1: to move. They don't want to move the same way,
Speaker 1: they want to move a different way. And that's where
Speaker 1: you see the we in youth coming together. That is
Speaker 1: what validates the youth claim to hip hop. The ownership
Speaker 1: is because they're still experiencing we yeah, and I mean
Speaker 1: we with all kind of strangers. They go to a
Speaker 1: club and it's a bunch of strangers up in this party.
Speaker 1: When you get grown, most of the time time you
Speaker 1: don't go to that type of shit. You're not hanging
Speaker 1: around a bunch of strangers. As you get older, you
Speaker 1: don't want to go nowhere where they know damn parking,
Speaker 1: let alone somewhere where it's a room full of strangers.
Speaker 1: So every modern DJ people talk about hip hop struggling.
Speaker 1: You know why hip hop is struggling the most because
Speaker 1: the damn people, most of the damn people making beats
Speaker 1: are not DJs.
Speaker 3: And I think with that, like commercial arts, there's no
Speaker 3: room really to hear the phrase like educate your consumer. Sure,
Speaker 3: you know what I mean. You can't do that. It's
Speaker 3: not it's not like some new computer program where you
Speaker 3: have to educate you re sers. Eventually they'll learn to
Speaker 3: use this thing for their own benefit. In this they're
Speaker 3: just going to go somewhere else entirely to where they
Speaker 3: want to be. And that's all.
Speaker 2: You know.
Speaker 3: You have to be more, You have to be rooted
Speaker 3: in touch with the consumer base.
Speaker 1: Shout out Squishy, She said, close parking because I'm not
Speaker 1: walking too far and it better be free. That's how
Speaker 1: you know, we get old. You start complaining. Yeah, you
Speaker 1: start complaining about shit like parking, the distance. And that's
Speaker 1: true because I'll be thinking to myself, like I feel
Speaker 1: like going through this, so I could feel certain ways
Speaker 1: that I could age out of hip hop. The only
Speaker 1: thing that works for me is always my street urban
Speaker 1: culture perspective has been justified. I logically understand why I'm thugging.
Speaker 1: It ain't just something I'm doing to be a part
Speaker 1: of WE, like we started it, but g gonna finish it.
Speaker 1: That's where I'm at with it. But it's a big
Speaker 1: thing that if you're not djaying the current movement of WE, right,
Speaker 1: if you're not DJing the current movement of WE, then
Speaker 1: you don't know how people want to move. You don't
Speaker 1: know and hip hop, for sure, as a party. The
Speaker 1: hot part is a party, right, So you have to
Speaker 1: gauge how people are moving. You might get lucky, but
Speaker 1: the consistency is when you can understand what's going on.
Speaker 1: Like Dre said something specifically in an interview and I
Speaker 1: checked out the interview. Now I think about how crazy
Speaker 1: I was talking to Drake. Now, I'm like, oh, this
Speaker 1: motherfucker is like some whole other world, next level shit.
Speaker 1: As far as you know what he does creatively in
Speaker 1: the space, he's out of this world. But he said
Speaker 1: something that messed me up. And he said nothing. He said,
Speaker 1: none of the hip hop is inspiring me today. I
Speaker 1: don't like that, man, I don't dislike it, But I
Speaker 1: also can understand how you could disconnect from WE if
Speaker 1: you don't see nothing and I was having this dope conversation.
Speaker 1: Shout out to artistic again, right, shout out to artistic again.
Speaker 1: I think that's what happened with Michael Jackson and bad
Speaker 1: See Thriller came out okay with Off the Wall. I
Speaker 1: can hear the Marvin Gay in it. I could tell
Speaker 1: Marvin Gagle was moving Mike. You could listen to Don't
Speaker 1: Stop Till You Get Enough and here got to give
Speaker 1: it up. It's the same song. So it didn't matter
Speaker 1: all of the pop music he was doing the disco
Speaker 1: ribs because he always kept at least a little soul
Speaker 1: in the music. Right on Thriller, when you listen to
Speaker 1: give it to Me back, excuse me, you listen to Thriller,
Speaker 1: you can hear give it to Me Baby. It's the
Speaker 1: same groove. The do Do Do Do the do Do
Speaker 1: Do Do Do Do Do. It's the first count, the
Speaker 1: d do the do Do Do Do Do Do Do.
Speaker 1: That's Thriller. That's the whole song, that's the whole groove.
Speaker 1: So why Rick was rocking a party, you know what
Speaker 1: I mean? He took the same groove and went in
Speaker 1: with the groove. And obviously Quincy Jones is such an
Speaker 1: animal as.
Speaker 5: A producer, Oh boy too without the dude naw team
Speaker 5: tempt Yeah, he's the writer of temperating like they understood
Speaker 5: the group and you can hear the haul of notes.
Speaker 5: I can't go for that in Billy Jean. So even
Speaker 5: though he had the pop records.
Speaker 1: The rerecors with Paul McCartney, blah blah whatever, right, he
Speaker 1: was anchored in enough soul to make it work when
Speaker 1: it came to bad. The biggest thing going on the
Speaker 1: urban scene in nineteen eighty six, eighty seven, eighty eight,
Speaker 1: you know pre pre pre uh.
Speaker 2: Pre about to say this again, about to say this
Speaker 2: shit again.
Speaker 1: I know we're about to see pre pre Keith sweat,
Speaker 1: you know, establishing what became New Jacks Wing with Teddy Ridley,
Speaker 1: the father of New Jackson Wing. The biggest thing was
Speaker 1: a group out of New York. They called themselves, or
Speaker 1: wanted to call themselves, the New York City Players, the
Speaker 1: Ohio Players. The regul label wouldn't go for that, so
Speaker 1: they changed their name to Cameo. And I think that's
Speaker 1: where Michael Jordan ignored the movement of we. I couldn't
Speaker 1: imagine what them dudes in Musicianshi because don't get me wrong,
Speaker 1: to us, Cameo is a superior band. They are you
Speaker 1: know again hindsight, you know you fifty years later Cameo
Speaker 1: looked like fucking up. Yeah, they look like fucking uh.
Speaker 1: What's them all white people name they used to be
Speaker 1: making that music back in the eighteen hundreds and early
Speaker 1: nineteen hundreds. Well, I'm talking about the crazy people, them
Speaker 1: crazy names and you know all them crazy symphonies and
Speaker 1: ship you know them dudes Beethoven like Betho, Like Cameo
Speaker 1: compared today's music sound like fucking Beethoven. But I couldn't
Speaker 1: imagine how he saw that at then to where he
Speaker 1: didn't embrace the movement of we in that urban space
Speaker 1: because Cameo was he back to the initial story with
Speaker 1: Olivia raising me with music. Me knowing Cameo Album by
Speaker 1: Heart Cameo was like nigga shit, Like, oh my god,
Speaker 1: you couldn't tell black people about Cameo. That's candy, that's
Speaker 1: single life, that's word up. They is popping it. Shout
Speaker 1: out to Larry Blackman and that whole thing, because that
Speaker 1: it is hella underrated. Yeah right, so Sparkle like they
Speaker 1: own the black ear they owned the black ear. When
Speaker 1: it came to that groovy space, they was running the groove.
Speaker 1: And when you're not bad, And when you listen to Bad,
Speaker 1: you don't hear that in Bad, you hear closer to pop.
Speaker 1: He did Ray Parker Jr. Right, he did take the
Speaker 1: Ghostbuster song and make Bad. You can hear the same
Speaker 1: total shout out to the La band, legendary band, Toto,
Speaker 1: you know Africa. You can hear that, and and and
Speaker 1: uh and uh the Liberian Girl. You can hear some things.
Speaker 1: But you didn't have that Rick James that you had
Speaker 1: in Thriller, or that Marvin Gay that you had in
Speaker 1: Off the Wall. You didn't have Cameo. And I think
Speaker 1: it's because he didn't see I don't know. I can't
Speaker 1: say nothing. I don't want to imagine why Mike didn't
Speaker 1: take something from Cameo and make it his at the
Speaker 1: next level. And that was like the ultimate time. So
Speaker 1: when I'm looking at with Dre or anybody else making
Speaker 1: music that is you know, definitely growing up in hip
Speaker 1: hop in the space. If they are not looking at
Speaker 1: the current landscape of how people are moving, you're doing
Speaker 1: yourself a disservice. If your goal is the weed. Now again,
Speaker 1: they goal could be something different. Them dudes probably getting
Speaker 1: their songs on FIFA. They probably made. They probably use
Speaker 1: this whole thing for the Olympic sounds. I don't know
Speaker 1: what deals d Dre and dog met them dudes. Probably
Speaker 1: they be playing this in Mars. I have no idea,
Speaker 1: but the connection to we and this is what I'm saying.
Speaker 1: Can you age out of hip hop when you stop
Speaker 1: paying attention to week or you stop putting respect on Week.
Speaker 1: That's how we could happen.
Speaker 4: Do you feel like allows approach to the force was
Speaker 4: his focus on the Wii.
Speaker 1: No Lell's attention to the force is classic. Okay, See,
Speaker 1: certain things are forever, like some parts of the culture
Speaker 1: go throughout. It don't matter what's happening that is permanent,
Speaker 1: Like we're gonna have a breakbeat hit, we have a
Speaker 1: boomback hit for sure, We're gonna have a boom back
Speaker 1: hit for the rest of our life. We gonna have
Speaker 1: you know, you gonna have Bruno Mars making some level
Speaker 1: of funk. You know it's gonna happen forever. Because some
Speaker 1: of these things are classic when done correctly. So like
Speaker 1: what LLL did and I respect it. He stayed classic. Yeah,
Speaker 1: he didn't push the envelope for popular music. He said,
Speaker 1: you know what, I'm not worried about what's popular. I'm
Speaker 1: going to do what's forever.
Speaker 3: He did the Dodge Challenger.
Speaker 1: Exactly, fucking right, fucking that's Dodgs mort stink Donys come
Speaker 1: back with the Challenger.
Speaker 2: That's a fact, Sam, It's a Camaro.
Speaker 1: Certain things about culture. We gonna always love a pair
Speaker 1: of Dickey's, gonna always be a pair of dickies. Yeah,
Speaker 1: it's gonna be polarizing. Some people like that nigga wearing dickies,
Speaker 1: But trust me, there are people around the world every
Speaker 1: day wearing Dickies, like Chucks, like all Stars. Classic can
Speaker 1: never go wrong with a fresh.
Speaker 2: Pair of Chucks, fresh pair of Ones.
Speaker 1: Same thing in New York. The ones so lll to me.
Speaker 1: Stayed classic. He didn't. He didn't try to gamble. He
Speaker 1: didn't gamble on where today's movement was. He gambled on
Speaker 1: where black people are at or where culture is at, infinitely.
Speaker 3: And he understood, like I thought, the brilliance of what
Speaker 3: Dodge did with the Challenge, understanding who Dodge is because
Speaker 3: they tried to be the Viper and it failed. They
Speaker 3: weren't gonna Dodge can't be the cyber truck. They could
Speaker 3: have made it or something like it, but their dodge.
Speaker 3: You can't come out and be that fucking energy with
Speaker 3: your Dodge. Eli can do.
Speaker 1: It because it's fucking enough, and he don't exactly. I agree.
Speaker 1: I agree.
Speaker 2: I hate that damn truck and people.
Speaker 1: Love it, but I get why, and that's cool, But
Speaker 1: that don't mean you go out and try to make
Speaker 1: the goddamn cybertruck. You don't have the brand to make that.
Speaker 1: Dude is on some ways, and I'm sure it's some
Speaker 1: something sometime that's in his design that we just don't
Speaker 1: know about. We ain't figured it out. That's like when
Speaker 1: you listen to for Real music, Forarrell could discuise for
Speaker 1: RELLI Elion the same creator. Yeah, Forrell will use some
Speaker 1: ship that feel like some shit you should know, and
Speaker 1: you swear to God that you'd be like, what the
Speaker 1: fuck is that? You can't even stare down? They ain't
Speaker 1: a same creator Elon and for Real, for Real is
Speaker 1: the Elion musk of hip hop.
Speaker 4: Now you know, I just found out the other day
Speaker 4: that that hot in here is fucking busting loose.
Speaker 1: And when you said it, I just caught it.
Speaker 2: You're right, it's crazy, straight, Wow, that shit is crazy.
Speaker 1: He's just nasty bro. He's like the Elon Musk of
Speaker 1: hip hop bro. And it's funny because when you really
Speaker 1: think about it, bro, Like even like when he first
Speaker 1: came out, we was talking about it, you know on ADHD, right,
Speaker 1: we were talking about it. Him embracing skater culture as
Speaker 1: another form of street urban culture. Not that he's a skater,
Speaker 1: he skated probably as a kid, everybody skating when he
Speaker 1: was a kid, but for him to understand that approach
Speaker 1: and a lot of people didn't know what he was
Speaker 1: doing with skateboard culture. He even called himself skateboard people,
Speaker 1: but they didn't look at him or understand that this
Speaker 1: was a culture he was representing. He looked like totally
Speaker 1: different than the normal scene. Sure, like for Real and
Speaker 1: Elon do the same thing. But for the most part,
Speaker 1: staying classic is obvious. And that's where I think LL
Speaker 1: and LL and LL and Q Tip got it correct.
Speaker 1: They stayed classic. That's like, if Juvenile comes out with
Speaker 1: an album right now produced by Manny Fresh.
Speaker 2: It's gonna work as long as.
Speaker 1: Manny Fresh, don't be trying to Matti Fresh can't be
Speaker 1: listening to too much. Like he gotta hear what mouse
Speaker 1: is doing or what the next generation is doing, but
Speaker 1: he gotta do it the Maddy Fresh way. Because as
Speaker 1: Greate as Quick was, he's one of the greatest, just
Speaker 1: an infinite, brilliant genius. What doctor Dre was able to
Speaker 1: do with the same thing, if that's his true inspiration,
Speaker 1: Like I believe look what he was able to do
Speaker 1: with the ship that shit went out of orbit. So
Speaker 1: he so for Dre if it mattered to him, or
Speaker 1: for anybody, if it mattered. And they were trying to
Speaker 1: make modern hip hop not classic modern hip hop. You
Speaker 1: have to find somebody in the current space that's inspiring you,
Speaker 1: or you gotta go out and play music and see
Speaker 1: how people moving. That's the bringing said hip hop. Hip
Speaker 1: hop is like the one thing that is not about
Speaker 1: music out of all the genres. Shout out to them
Speaker 1: New York Brothers. Man, they ain't got it right. They
Speaker 1: ain't got it right, and it's evolving because cool evolves.
Speaker 1: Right now in LA, the biggest groove is boom boom boom.
Speaker 1: That's it. Three hits if you listen to the biggest songs,
Speaker 1: they doing that same thing. Yeah, and again, it gotta
Speaker 1: be more of an information bridge between the masters of sonics,
Speaker 1: like a doctor Dre and a Fred Reck and a
Speaker 1: dim joints the masters of sonics with the rawness of culture.
Speaker 1: If hip hop wants to get back in the right space,
Speaker 1: So why do say the youth is integral in the space.
Speaker 1: That's hip hop? The art the elders is how you
Speaker 1: learn how to package this shit.
Speaker 3: They're like consultants that you bring in as an early
Speaker 3: upstart company to help you scale out. Yeah, you get
Speaker 3: a creative guy, he's the CEO. Enough money comes in,
Speaker 3: what do they do They boot that fucking guy. I'll
Speaker 3: give a fact check and bring somebody in who's an
Speaker 3: expert to take it to market. Yes, and Dre is
Speaker 3: the best at taking it to market that there has
Speaker 3: ever been. He might not be the most at the wheel,
Speaker 3: but always compare it to pitchers.
Speaker 1: There's very few producers or pictures back in pitch nine innings,
Speaker 1: I mean start to finish, make a top forty song. Yeah,
Speaker 1: that is tough. It ain't been a lot of human
Speaker 1: beings that could they can pitch nine innings, and especially
Speaker 1: in a championship situation. Nine innings, right, that's just not rare.
Speaker 1: It's a handful of guys, Teddy Riley, it's a handful
Speaker 1: of guys. Most producers are starting or closers. Doctor dra
Speaker 1: to me, doctor Drake can make a beat that he
Speaker 1: could pitch nine innings. I'm sure some of this shit
Speaker 1: he didn't pitch nine innings, but doctor dra is the
Speaker 1: best closer in the history of the music business. I
Speaker 1: mean that's like he'll take, yeah, he'll like Mariano Rivere,
Speaker 1: he'll take what you doing, that little six or five
Speaker 1: innings you could throw, and then he'll shut down the
Speaker 1: last four and you gotta win on your record.
Speaker 2: So that's that mean?
Speaker 1: Is that more?
Speaker 4: And so because of the because of the mix, because
Speaker 4: of the he'll add something to it or something like that.
Speaker 1: All of the above, d.
Speaker 4: D.
Speaker 1: All of the above, he's gonna add something, he gonna
Speaker 1: change his first off, the quality that he just has
Speaker 1: in his backpack and quality of sounds. Like Warren G.
Speaker 1: That was one of the greatest things Warren G told me.
Speaker 1: Warren G's like glasses. Most of the mixing starts in production,
Speaker 1: and I never heard that. This is why it's important
Speaker 1: to have them fucking elders like Warren and and and
Speaker 1: Dre and cat like. You know, that's why I asked them,
Speaker 1: and I know they get annoyed.
Speaker 2: You know.
Speaker 1: Hip hop does have this weird space to where people
Speaker 1: are retarded. It very much is the movement of we, right.
Speaker 1: The culture is the movement of we, but the business
Speaker 1: is the movement of them. And we all trying to
Speaker 1: make a dime or two. Bro that just come with
Speaker 1: the territory, were all trying to make some goddamn money.
Speaker 1: We ain't in this shit. We in the shit to
Speaker 1: express it, but we also in this motherfucker to make
Speaker 1: some money. So again, hip hop is the movement of
Speaker 1: the youth, but the business is the hip hop is
Speaker 1: the language of the youth, but the business is the
Speaker 1: is the movement of the wise, the elders, them, all
Speaker 1: them people who've been doing that business. That's why they
Speaker 1: have to work together every now and then. You could
Speaker 1: get some that work out, but you ain't finna keep
Speaker 1: You ain't finna win one hundred games and no baseball
Speaker 1: doing that. You eventually gonna have to plug in. And
Speaker 1: that's the brilliance of hip hop. That's the brilliance of
Speaker 1: hip hop. It is the like that's why Wu Tag
Speaker 1: is the greatest hip hop group of all time. It's
Speaker 1: nine niggas from a place that nobody else ever got
Speaker 1: on from. That's how powerful it is. Hip Hop's so powerful.
Speaker 1: And nine people broke State Ninland at once right out
Speaker 1: to Wu Tang nine. That's why I'm so polarized. That's
Speaker 1: why them motherfuckers could do the form the great the
Speaker 1: form where the Lakers playing eighties, that's almost twenty thousand people.
Speaker 1: They could do the Staple Center because it's nine of them.
Speaker 3: Well, I mean, yeah, they're half the seats in the
Speaker 3: arena are just the acting management.
Speaker 1: So when people ask me, can you age out of
Speaker 1: hip hop? You can put yourself in a position to
Speaker 1: be on your own. But it's a choice to pay
Speaker 1: attention to what everybody's doing. It's a choice.
Speaker 2: I don't know, man.
Speaker 4: I think I mean, I understand it's saying completely though,
Speaker 4: but I think if you because what I'm getting from
Speaker 4: what you're saying is that it's like a fall of
Speaker 4: the leader type thing right there, Like what's working.
Speaker 2: I'm making sure you're not saying.
Speaker 1: No, no, right now there's no wonder.
Speaker 2: I don't like cookie Cutter ship though you know what
Speaker 2: I'm saying, I don't like the.
Speaker 1: But that that's not quite what I will do. Shout
Speaker 1: out to Lex. Hip hop will always be mine. I
Speaker 1: respect your point glasses, but no, I will never age out.
Speaker 1: I didn't say that. You didn't hear what I just said.
Speaker 1: Lex That Lex Lex, Yeah, that's Lex legs. You didn't
Speaker 1: hear what I said, Lex, I said, you can't. You
Speaker 1: can only check out. You can only decide that you
Speaker 1: have no more investments into weed.
Speaker 3: Yeah, and at that point, you just.
Speaker 1: Walked out on your own. It's nothing to do with
Speaker 1: you growing up. You just decided that we don't matter anymore.
Speaker 3: So everybody's I mean, you're I'm sitting here, this is
Speaker 3: where I am. I'm in hip hop. Well everybody got
Speaker 3: up and went over there, but you stayed there. So
Speaker 3: guess what, You're not in it anymore. You're still right
Speaker 3: where you are.
Speaker 1: You could be over here and be looking at what
Speaker 1: they doing. This is the thing Premier couldn't ever do
Speaker 1: what with Cash Cobain does. Premier could never do what
Speaker 1: Cash Cobain does.
Speaker 2: But Timberland can't. But Timberland can.
Speaker 1: Well, but this is the thing Premier can make what
Speaker 1: Cash Cobain does a million times better.
Speaker 4: I don't agree, it's for sure. I don't agree it's
Speaker 4: for sure. You know I you know why Timberlin can
Speaker 4: make it and Premier can't make it. For Man per
Speaker 4: Mans cut from the from the mally cop break beats
Speaker 4: and samples. That's it right there. You know what I'm
Speaker 4: saying with Timberland. With Timberland is with Timberland's instruments, sounds
Speaker 4: and so.
Speaker 2: And so forth.
Speaker 1: It's crediting what Premier does in his knowledge in the
Speaker 1: space samples and break beats. It's way more nuanced in that.
Speaker 2: That's what he does too.
Speaker 1: No, he does his understanding. Trap you don't. You can't
Speaker 1: not the how. It's the how.
Speaker 3: Like say, it's like you're trying to scale out some
Speaker 3: new food you've invented. Some who who's like like a
Speaker 3: Wolfgang Puck's gonna come through because he can have a
Speaker 3: restaurant that's got five hundred locations and people will eat
Speaker 3: there based off of his the manner in which he cooks.
Speaker 3: And you're the hottest new Thai fusion guy in Hollywood,
Speaker 3: and you want to go from being you know, the
Speaker 3: coolest one spot niche restaurant to being big. He's gonna say, look,
Speaker 3: you need to add a little bit of cream here.
Speaker 3: We gotta we have to deviate you back to the
Speaker 3: median a little bit so that you're more consumable by
Speaker 3: the mass. So you gotta throw a little cream here.
Speaker 3: You gotta take a little bit of heat off of that,
Speaker 3: and you gotta put a little garlic there. And now
Speaker 3: the amount of people who are gonna have an appetite
Speaker 3: for your dish is gonna go from thirty thousand to
Speaker 3: five hundred thousand. That's kind of like what it seems
Speaker 3: like Premiere and Dre do.
Speaker 2: And they don't do that.
Speaker 1: You know, this is what I'm telling Trap. His understanding
Speaker 1: of sonics would take him to another level. And one
Speaker 1: thing you got to understand about Premier, he's on the
Speaker 1: heart and soul of New York's hip hop scene for
Speaker 1: thirty years. He's the core of it. He is the
Speaker 1: classic broll.
Speaker 4: He's not bro that from the outside looking at you'll
Speaker 4: like to say that right there be but we got
Speaker 4: you put him over with Pete Rock.
Speaker 1: I'm putting over. I'm not putting doctor DJ Quick. We're
Speaker 1: just using them as examples. They are all in their
Speaker 1: own lanes of what they do. It's not one of
Speaker 1: the the other. Pete hold Up. Pete is another supreme
Speaker 1: level of mastery when it comes to the heart and
Speaker 1: soul of New York Street urban culture. Same for Rizza,
Speaker 1: who I've told you off offline is probably the greatest
Speaker 1: in my mind. If we're not talking even about the
Speaker 1: boys from Brooklyn track Masters, I'm saying that. I'm saying
Speaker 1: the elder hold the wisdom of sonics in another way
Speaker 1: that young people don't have the wisdom to know consistently.
Speaker 4: See, I gotta keep a grand I gotta keep disagreeing
Speaker 4: with it because to the fact of you would have never,
Speaker 4: You'd have never for what Cash co Bain was able
Speaker 4: to do, you know what I'm saying. So that wasn't nothing,
Speaker 4: that wasn't the same, that was him. I like the youth,
Speaker 4: I like youth production, like I like the first off.
Speaker 4: I love I love old older production. I love I
Speaker 4: love Pete Rock, I love from Me all that because
Speaker 4: I like break break beats and samples like that. Right,
Speaker 4: But at the same time, though I respect the person
Speaker 4: when the instrumentation is.
Speaker 2: You know what I'm saying.
Speaker 4: They able to use the instruments and bring out different
Speaker 4: different swings, different method and I'm saying different different different
Speaker 4: break and I'm saying different breaks and all that ship
Speaker 4: like that. You know what I'm saying. That comes from
Speaker 4: the youth with the challenge themselves and not trying to
Speaker 4: be like us. You know what I'm saying, Stop doing that.
Speaker 4: It's the reason you have kids.
Speaker 1: Don't sit up here and keep talking like your kids
Speaker 1: could be somebody without you. Your kids gonna go up
Speaker 1: to be who they is, but without your guidance, they
Speaker 1: be in troubled.
Speaker 4: Listen, what I understand what they're having kids is when
Speaker 4: I first had my kids, right, what I thought was like, Yo,
Speaker 4: I'm gonna I'm gonna mold my kid to be exactly
Speaker 4: the way I want them to be.
Speaker 1: It's not. That's not that's not the same. That's not
Speaker 1: what it's not.
Speaker 3: It's not mold them to what you want to be
Speaker 3: and what they want to be.
Speaker 2: It's impossible to motioned kids to the way you want
Speaker 2: them to be.
Speaker 1: That's not even we're not even talking about that. I'm
Speaker 1: telling you what Sheerley Dray knows about it. Okay, okay,
Speaker 1: are they still using snares in Kirk Cobain's beat.
Speaker 4: Not all the time now, all the time he uses
Speaker 4: like Kirk cop band beats. He uses fucking like like
Speaker 4: little fucking like little sounds and charms.
Speaker 3: On the whole. He's using a tom instead of a snare.
Speaker 2: Yo, bro, I'm telling you, brother man.
Speaker 1: Does he use a percussion high hats and stuff like that,
Speaker 1: any percussion any.
Speaker 2: Like that?
Speaker 1: Yeah, Premier knows more about percussions. His wisdom and information.
Speaker 1: It knows more about percussions than somebody who hasn't worked
Speaker 1: with percussions.
Speaker 4: Make a beat, yes, all right, so Permier makes a beat.
Speaker 4: He simples all his drums, samples, all his drum breaks.
Speaker 4: Sample is straight simple and he gotta he got a
Speaker 4: list of drum breaks he's using right there.
Speaker 1: In the studio, so you can see what he's doing.
Speaker 2: I seen what he did.
Speaker 1: I'm talking about. I'm talking about not just from inception
Speaker 1: to finish, when they mixing the breaks.
Speaker 2: Okay, Okay, I got you, because.
Speaker 1: That's the same thing we're talking about.
Speaker 3: And this is one he means like when you say closers,
Speaker 3: it's it's refining what's already there. And and with these guys,
Speaker 3: they it's not what they did with that song was
Speaker 3: so great. It's they heard a thousand songs, they chose
Speaker 3: that song, and then they refined it that song, discarding
Speaker 3: all the others. It's a whole process.
Speaker 1: And I think and that and see, I think that's
Speaker 1: the confusion. And I think that's what's wrong with where
Speaker 1: the space is at now.
Speaker 3: It's not enough appreciation for with as well. We'll go
Speaker 3: back to the White Lightning. Sure, I'm sure you thought
Speaker 3: all eight of those songs were fired yep. Are you
Speaker 3: wanting to put them on there?
Speaker 2: Yep?
Speaker 3: He listened to all of them and said that one's
Speaker 3: the one they want.
Speaker 2: Yep.
Speaker 1: And that's three quarters of the work right there. And
Speaker 1: it makes sense that it came from Saint Danton who
Speaker 1: at that time his sound had broke through. He had
Speaker 1: figured something out. But again, whoever, whichever wisdom. So the
Speaker 1: agent out of hip hop is probably not possible if
Speaker 1: you are truly the culture itself. But I think you
Speaker 1: could check out. I think you can decide to stop
Speaker 1: paying attention to we. So it's not a follow the
Speaker 1: leader thing because at the same time Dre. Even if
Speaker 1: let's say he says Quick is his muse, Let's say
Speaker 1: here is this streaming like you know what, yeah, Glass
Speaker 1: is that true? Quick is my muse? He was doing
Speaker 1: this and that G than Dred do not sound like
Speaker 1: DJ Quick. Let's say Warren G saw what Quick was
Speaker 1: doing and Dre was doing, and he was like, man,
Speaker 1: I like that, that's his muse. Right when it came
Speaker 1: to the hip hop space outside of R and B,
Speaker 1: regulate does not sound like G thing. Let's say Slip
Speaker 1: saw all the stuff they was doing. DJ Slip from
Speaker 1: Compass most wanted right a straight up minute doesn't sound
Speaker 1: like G thing. You get what I'm saying. Primo could
Speaker 1: look Pete. Primo could have looked at Pete. I don't know,
Speaker 1: because I don't know that history of who that how
Speaker 1: they saw each other. I know this one a little more.
Speaker 1: But he could have looked at Pete and was like, man,
Speaker 1: that Pete Rock shit is crazy and made this shit
Speaker 1: his shit don't sound like Pete Rock. Q Tip could
Speaker 1: have saw whoever, they don't. It don't sound the same.
Speaker 1: The reason we feel like hip hop sounds the same
Speaker 1: right now at a level is because when everybody first starts,
Speaker 1: they're emulating somebody. For the most part, it is a couple.
Speaker 1: It is a couple guys in hip hop, you know
Speaker 1: what I mean. They come out the rip and they just.
Speaker 2: Got some They got to develop into that though.
Speaker 1: But most people start with training wheels to ride about it.
Speaker 1: It's gonna be very few human beings that just hop
Speaker 1: on the bigans, popa wheelie and go. So what we're
Speaker 1: hearing is a lot of people using beats, right that
Speaker 1: are training wheel beats the elite level. Uh, take Keith Pete.
Speaker 1: Take Keith. Don't sound like mustard.
Speaker 3: I think of like a like a good as far
Speaker 3: as how these small details are the separators, Like Manny
Speaker 3: Fresh came out of a dense environment of people creating
Speaker 3: like that same kind of sound at that time in
Speaker 3: New Orleans, right, everybody's kind of doing the same thing,
Speaker 3: the little things that he did with his sound, which
Speaker 3: was the same type of sound, using the same type
Speaker 3: of everything, because that was the sound of the city
Speaker 3: at the time, is what separated and made that Super
Speaker 3: Bowl ten million units versus we did fifty thousand. The
Speaker 3: city in Ornans they're there really were doing a lot
Speaker 3: of the same, the same style, same name. They weren't changing,
Speaker 3: like the space was that big. It was just the
Speaker 3: nature with which he did the little things that helped
Speaker 3: get it out of the city.
Speaker 1: Yeah, I agree, that's there, So I don't want to
Speaker 1: hold that against hip hop. You just have a lot
Speaker 1: more training wheel, beach trap. That's all because most people
Speaker 1: didn't have a music program, so they're only they're emulating
Speaker 1: something right there, and then those beats are being selected.
Speaker 1: But if you look at the major league pitchers and
Speaker 1: professional hip hop today, at at a professional level, none
Speaker 1: of the shit sound the same. Hit boys shit don't
Speaker 1: sound nothing like Mustard, that don't sound nothing like Take Heap,
Speaker 1: that don't sound nothing like them. Guys has placing top
Speaker 1: forty songs. None of them guys sound the same. Now,
Speaker 1: at the lower level, when you first getting into the league,
Speaker 1: yes you're gonna hear a lot of things that sound
Speaker 1: the same. But at the professional level you can clearly
Speaker 1: hear the difference. We just got a lot more amateur ball,
Speaker 1: and we have some amateur ball. We have amateur leagues
Speaker 1: that are big league things we do, and it's all
Speaker 1: kind of people getting deals that don't know much about music.
Speaker 1: So that's all I'm saying. I'm saying, you have to
Speaker 1: look at the wei. You have to look at the Wi.
Speaker 1: You have to because hip hop is the movement of we.
Speaker 1: We decide what's cool. We move together, the movement of we.
Speaker 1: So you only could age out if you stop recognizing
Speaker 1: the wei in things, the we, that culture that you
Speaker 1: grew up in, the we of that thing. That's where
Speaker 1: you disconnect.
Speaker 2: Hip hop is I agree with them that within it
Speaker 2: being the wee.
Speaker 4: And what we did was we turned, we turned so
Speaker 4: so we turned James Brown drummer, Al Green drummers, we reinvaded,
Speaker 4: we rented, we reinvaded that. Their their drum breaks they
Speaker 4: they came up with, and we made it into hip
Speaker 4: hop right there. You know what I'm saying. And that's
Speaker 4: what we did. You know what I'm saying, for the
Speaker 4: most part of every hip hop so on, you're gonna here,
Speaker 4: it's the same drum.
Speaker 2: As a Greens drummer is James Brown drummer.
Speaker 4: I forgot that. I got the dude's names right there.
Speaker 4: But those breaks they was using right there, we reinvented,
Speaker 4: we went, We reinvented that right there and made it
Speaker 4: into hip hop. You know what I'm saying, and through
Speaker 4: so much even even if you playing it at or
Speaker 4: you even sampling the ship, that's the that's the breaks
Speaker 4: that we use right there, you know what I'm saying.
Speaker 2: So we my bad.
Speaker 4: We did a bad tapping table, but we did we
Speaker 4: did like yeah, so I get the weed. You know
Speaker 4: what I'm saying. We took We took it and made
Speaker 4: it into hours. I always say hip hop is hip hop.
Speaker 4: Is the only drama that could take anything and make
Speaker 4: it to hip hop.
Speaker 2: You know what I'm saying.
Speaker 4: I can make could do it. But no, no, every
Speaker 4: every Jona can't do it. Every Jona can't do it.
Speaker 4: Every Jona can't do it. Poppa is the only Grama.
Speaker 4: We could take anything and make it to hip hop.
Speaker 4: We could take anything.
Speaker 1: I think everybody else could do that.
Speaker 2: Okay, So if you look.
Speaker 1: At what Ray Charles did with with Must Be Jesus,
Speaker 1: and he turned it into soul, I'm sure they could turn.
Speaker 2: The way he sang it, the way he sang it though.
Speaker 1: How he played it.
Speaker 3: There's cases of this in the in the like there's
Speaker 3: songs that like James Taylor did that, and he's a
Speaker 3: very folky, hippie, earthy rock and roll. I guess you
Speaker 3: want to call him that singer. And there's a honestly
Speaker 3: Brothers hit that was one of his songs that they
Speaker 3: just did. Like that has happened this president for that, but.
Speaker 1: I do I agree with But again, that goes into
Speaker 1: the movement of we. We saw us dance the dance
Speaker 1: break and we was like, Okay, we're gonna reorganize the
Speaker 1: melody of what's happening over something that makes your feet move.
Speaker 1: That's all Drake. That's all Drake Quick Warren and those
Speaker 1: guys did and Cat did you know we can freak it.
Speaker 1: It's just Ray Parker Jr. Tell Tunit and buot. It
Speaker 1: ain't nothing but the association like what people are going
Speaker 1: to move to? What is the we going to move to?
Speaker 1: How are we moving? That's all I'm saying, doog, It's
Speaker 1: just the we And and if you stay in touch
Speaker 1: with the we, You're gonna always have your posts, you
Speaker 1: know what I mean? On a heartbeat of hip hop,
Speaker 1: you always and if nothing else, shout out to ll
Speaker 1: cool J, if nothing else out out to COOLJ. You
Speaker 1: could just stay classic. You could just stay classic. No
Speaker 1: sentners Live to lunch out every Monday, Wednesday, and Friday
Speaker 1: at noon Pacific Standard time right here on Digital soap
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Speaker 2: Yeah