WEBVTT - More Conversations About Ageism In Hip Hop

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<v Speaker 1>What's up? And welcome back to another episode of No

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<v Speaker 1>Sealer's podcast with your host. Now, fuck that with your

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<v Speaker 1>low glasses, Malone. He don't just crazy work. We're on

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<v Speaker 1>now right live and in effect.

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<v Speaker 2>I can't.

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<v Speaker 3>I can't see anything, stretch trip me out.

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<v Speaker 1>No, So what I'm gonna do because like I told you,

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<v Speaker 1>I need to move. Yeah, put that monitor right there

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<v Speaker 1>for the big comments. That's the plan.

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<v Speaker 3>Nice.

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<v Speaker 1>I just gotta find the right vertical monitor because that

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<v Speaker 1>uh right vertical monitor for.

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<v Speaker 2>The U.

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<v Speaker 1>So it fits these pictures. Because then what I'm gonna

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<v Speaker 1>do is, so I'm gonna I got a Tupoc that

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<v Speaker 1>I'm gonna put right there on there pot picture that

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<v Speaker 1>looks like these. Shout out to everybody that's at the

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<v Speaker 1>lunch table. That's what this looked like behind me. But

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<v Speaker 1>I got to another one that's Tupac that the honey

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<v Speaker 1>did me. That's Tupac like that. And I'm gonna put

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<v Speaker 1>the doctor dray one right there on the other side

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<v Speaker 1>of the door. Everything else see Kate out the only

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<v Speaker 1>young person up there.

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<v Speaker 3>Indeed, like two ton Common or something like that. There yep,

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<v Speaker 3>So it's iced tea.

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<v Speaker 1>On the walls Kate out on the wall, Kendrick Lamar

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<v Speaker 1>on the wall, Easye on the wall, dog Snoop Dogg

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<v Speaker 1>on the wall, there Pussle on the wall when near Puszle,

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<v Speaker 1>a young boy Cube on the wall, and Dre on

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<v Speaker 1>the wall. And then I got the other one with

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<v Speaker 1>pop pockers for my monitor. Have I ever told you

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<v Speaker 1>the story of how I met doctor Dre Mm hmm.

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<v Speaker 1>So it all worked together. It's just crazy. So when

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<v Speaker 1>I first started rapping, I might have been into rapping

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<v Speaker 1>and righting righting for like two years. I mean, I

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<v Speaker 1>had just started rapping at this point. I'm a four

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<v Speaker 1>fledged gag member, full fledged dope dealer, just just getting

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<v Speaker 1>in trouble.

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<v Speaker 3>Had you put anything out yet at that point or

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<v Speaker 3>pre pre release?

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<v Speaker 1>So I had put out like three songs, okay, Like

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<v Speaker 1>we did this song me Kay and my brother Pool.

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<v Speaker 1>We did this song called Gangster Shit. We did like

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<v Speaker 1>three songs. We had this one song called Beg Niggas

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<v Speaker 1>Make the World Go Around And that was like a

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<v Speaker 1>big song in the area, like the Mona Parks. The

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<v Speaker 1>Honey Fromona Park was playing it, themy from PJ Wisse

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<v Speaker 1>was playing it. He was playing it certain people. So

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<v Speaker 1>that was like we do. I probably had only recorded

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<v Speaker 1>about twenty five songs total, but my older brother shout

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<v Speaker 1>out to pool Pool and Doctor Poole's girl and Doctor

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<v Speaker 1>Dre's sister, Shamika were like best friends. So he hits

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<v Speaker 1>me one day we at the studio and he said, hey, man,

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<v Speaker 1>you want to meet doctor Dre. And I'm like, yeah,

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<v Speaker 1>that'ta be cool. So he's like, all right, We're gonna

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<v Speaker 1>go hang out with them for New Years. So this

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<v Speaker 1>two thousand and two going into two thousand and three,

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<v Speaker 1>this New Year's Eve. That's a big year, right, So

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<v Speaker 1>we go to this house in Calabasa's really nice house,

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<v Speaker 1>you know what I'm saying. Really nice house. Doctor Dre's

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<v Speaker 1>mom is cooking. This lady's a fantastic cook. She like

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<v Speaker 1>she made soul food, chillings and all that. I was

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<v Speaker 1>eating everything in the world, right, and she all her

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<v Speaker 1>food was good. So this is about it. Get about

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<v Speaker 1>ten thirty, ten forty five, I'm eating my food whatever.

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<v Speaker 1>Doctor Dre walks in and grab me on my shoulder.

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<v Speaker 1>Oh show with y'all. I see it's Dre, you know,

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<v Speaker 1>And again like I didn't grow up my mom is

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<v Speaker 1>the huge music fan.

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<v Speaker 2>Gotcha.

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<v Speaker 1>My mom is like every Tuesday when records would come out,

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<v Speaker 1>she's buying them, gotcha. Like my mom used to buy

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<v Speaker 1>so many, so much music, bro. Like, she had to

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<v Speaker 1>start going to the one Stop to buy all the

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<v Speaker 1>music to get a better deal. The one stops is

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<v Speaker 1>where all the independent record stores was buying all of

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<v Speaker 1>the music. So she bought so much music, like my

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<v Speaker 1>mom when the fares took her, when the fest took

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<v Speaker 1>our house when I was a you know kid, they

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<v Speaker 1>said her they estimated her music collection to be like

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<v Speaker 1>five or ten thousand dollars back then. Yeah, so like

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<v Speaker 1>she had final CDs. She had so much music, man Like,

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<v Speaker 1>So I never had to have music on my own.

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<v Speaker 1>I didn't start buying. The first CD I bought on

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<v Speaker 1>my own was dog Food and I was probably like fifteen.

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<v Speaker 1>I mean that's how much music. Like, I heard so

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<v Speaker 1>much music growing up, Bro, I didn't even want to

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<v Speaker 1>hear music when I wasn't with my mom because when

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<v Speaker 1>I went home after school, that shit played all through

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<v Speaker 1>the house. And my mom had a sound system in

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<v Speaker 1>the eighties, bro, Like a sound system, so the whole

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<v Speaker 1>goddamn house. You just hear music. You know what I mean.

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<v Speaker 1>I know Cameo albums by heart, I know street songs,

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<v Speaker 1>Rick James by heart. I know so much music by

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<v Speaker 1>heart that I was almost sick of music. I just

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<v Speaker 1>would hear music all of goddamn time. So I say

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<v Speaker 1>that to say I didn't really have a look towards

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<v Speaker 1>rappers in any special life because I wasn't into trying

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<v Speaker 1>to be a rapper, nor was I tripping off music.

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<v Speaker 1>I heard so much music. So Drake comes grabbing my shoulder.

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<v Speaker 1>What up, man, you know, welcome to the house, da da.

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<v Speaker 1>So we chopping it up. He getting this food eating,

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<v Speaker 1>we laughing at, joking, and he asking me questions, and

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<v Speaker 1>I'm like, y'all, I'm seven Street watchd y'all sell PCP.

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<v Speaker 1>I'm talking to doctor Drake like we know each other,

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<v Speaker 1>and I'm just telling Cuz like, yeah, this is what

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<v Speaker 1>it is, raped out auta. So he like this nigga

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<v Speaker 1>is wild. So we ain't even talk about no rap shit.

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<v Speaker 1>I'm just talking to Cuz like a nigga off the streets.

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<v Speaker 1>And He'll be the first person to tell you that's

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<v Speaker 1>how I talk to Cuz, like like he just like

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<v Speaker 1>he just nigga drake from counting, So cuz is like

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<v Speaker 1>we eating a full bush and so forth, so on.

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<v Speaker 1>So later on, like as it gets closer to New

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<v Speaker 1>Year's I'm like, hey, man, like, man, you should give

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<v Speaker 1>me a beat cuz like I want to rap on

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<v Speaker 1>one of your beats. So he started laughing. Now this

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<v Speaker 1>is No Siblings Live to Lunch Hour every Monday, Wednesday

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<v Speaker 1>on Digital soul Box. Click them thumbs up. Shout out

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<v Speaker 1>to everybody at the lunch table. Squishy Fats, Joey, west

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<v Speaker 1>Side Teeth, what's the deal? Kboy, what's up? Andre Montaga, Smizzy,

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<v Speaker 1>what's hadding it? Lex, what's the deal. It's all craze,

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<v Speaker 1>We do the stream and support the No Sellans podcast.

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<v Speaker 1>we just dropped the fresh episode. We dropping a fresh

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<v Speaker 1>one tomorrow. We're dropping the fresh one tomorrow, but this

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<v Speaker 1>now on Apple podcasts, Ieheart Podcasts, anywhere you get your podcasts.

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<v Speaker 1>The No Sealans podcast executive produced by Charlottagne and God

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<v Speaker 1>the Black Effect Network in iHeart back to the point.

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<v Speaker 1>So I'm talking to cousin. I say, hey, man, give

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<v Speaker 1>me your beat. Let me wrap on one of your beats.

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<v Speaker 1>He just start laughing, cuz out loud. Now at that time,

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<v Speaker 1>cause I didn't know why he was laughing. I almost

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<v Speaker 1>took offense to it. You know what I'm saying. I'm like, cull,

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<v Speaker 1>you make beats, I rap cut like this simple It's

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<v Speaker 1>a simple connection, you know what I mean. Like, mind you,

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<v Speaker 1>this motherfucker probably getting a quarter million dollars a beat

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<v Speaker 1>at this point. But I'm so fucking street and ignorant

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<v Speaker 1>that i have no motherfucking idea. Cause like so, I'm like, yeah,

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<v Speaker 1>give me a beat, cut a rap on it. He

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<v Speaker 1>cry and laughing, like you want to beat him? Like yeah,

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<v Speaker 1>cause just give me. I'm a rap on it. Come

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<v Speaker 1>he gonna put that motherfucker out. And I'm not asking

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<v Speaker 1>doctor Dre for a record contract. I'm not asking Doctor

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<v Speaker 1>Dre for shit, but a beat. Let me wrap on

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<v Speaker 1>one of your beats. Cauz And I'm cousining like so,

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<v Speaker 1>Cousin's laughing. He like wild, he said, he look, he

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<v Speaker 1>said he said, cause he said, look, gee, I give

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<v Speaker 1>you a beat. Just bring me a record. That's all

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<v Speaker 1>you gotta do. Bring me a record. I'm like, all right,

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<v Speaker 1>cull y'all make some songs. I don't know what a

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<v Speaker 1>record is, because again, these industry like niggas that be

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<v Speaker 1>an industry. Forgive me for a lack of better terms.

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<v Speaker 1>I'm not gonna call cousin industry nigga, but niggas who

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<v Speaker 1>are in the industry have these terminology, these words that

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<v Speaker 1>you hear all the time, like a record. So you

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<v Speaker 1>think that's a fucking song, right, you think that's a song.

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<v Speaker 1>And so he's like, yeah, just bring me a record, glasses,

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<v Speaker 1>and I give you a beat. So I'm like, all right,

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<v Speaker 1>cuz I'm gonna make some songs. Gim me.

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<v Speaker 2>I got you.

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<v Speaker 1>I'm gonna get with you, Cousin. I'm telling Doctor Dre

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<v Speaker 1>I'm gonna get with him. I'm gonna get with you

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<v Speaker 1>cause I'm a press player on you. Cause you know

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<v Speaker 1>what I mean, we in the game. It's good money.

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<v Speaker 1>I didn't ask Cause for his number or nothing. Yeah,

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<v Speaker 1>I just knew he was gonna look for me. This

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<v Speaker 1>is how ignorant could you be? When you come from

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<v Speaker 1>the corner with this shit. You know what I'm saying,

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<v Speaker 1>Like you be hella sure like And I always been

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<v Speaker 1>sure of myself entirely, too sure of myself. So I

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<v Speaker 1>remember that, guse. So we politics some more that night.

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<v Speaker 1>We bullshit out ou out out and it was a

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<v Speaker 1>It was a dope relationship, same relationship I enjoyed because

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<v Speaker 1>of that. He he can't he I know, he hate

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<v Speaker 1>how Street. I am like that shit bothers him, you

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<v Speaker 1>know what I mean? Because you know, this nigga sixty

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<v Speaker 1>sixty one years old, so he grown and I'm still like,

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<v Speaker 1>I'm a forty five year old man, but I'm still

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<v Speaker 1>got that same energy that I had when he first

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<v Speaker 1>met this twenty two, twenty three year old kid.

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<v Speaker 2>Right.

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<v Speaker 1>So Cub was like, okay, cool, I'm gonna get with you.

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<v Speaker 1>So I go to the studio. I tell my nigga Guido,

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<v Speaker 1>I say, Gueto, we gotta make you songs. This nigga

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<v Speaker 1>drake want me to bring him a record now. Shout

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<v Speaker 1>out to Guido. Gary Ellis, who executive produced my first

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<v Speaker 1>CD right which is called White Lightning. This is the

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<v Speaker 1>twentieth anniversary this year. It came out this month twenty

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<v Speaker 1>years ago. Damn right, So it's submitted. It's my first joint,

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<v Speaker 1>and so I go to him. Now, mind you cuz

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<v Speaker 1>Guido has been engineering the best shit like he has mixed.

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<v Speaker 1>He mixed Diddy Diddy is a top twenty record. Do

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<v Speaker 1>that Diddy Diddy if you want to, because then I

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<v Speaker 1>can see. So he mixed this. He's co producing songs

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<v Speaker 1>with rhythm d like. He was already in the business,

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<v Speaker 1>and he's a DJ. He went by DJ g l E, right,

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<v Speaker 1>So Gary Wuedo aka DJ g l E. He's the

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<v Speaker 1>one that understood records. I didn't have no fucking idea.

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<v Speaker 1>I just thought the record was a song. So we

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<v Speaker 1>start knocking songs out, right, we probably get about eight

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<v Speaker 1>songs done, right, eight songs done? So now mind these

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<v Speaker 1>eight songs become the premise of White Lightning. The title

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<v Speaker 1>White Lightning is White Lightning because I had this really

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<v Speaker 1>popular PCP sharn like drugs. People use it to make dust,

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<v Speaker 1>they pour it over meat, Mitley just it's a liquid.

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<v Speaker 1>It's a chemical combine. And the prepareddine that you used,

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<v Speaker 1>one of the chemicals was clear instead of yellow, so

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<v Speaker 1>it turned a whole mix clear, so instead of it

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<v Speaker 1>being yellow like normal sherm aka PCP, this shit was clear.

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<v Speaker 1>But it was so powerful. It was so powerful like

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<v Speaker 1>you couldn't get past the second hit. It would make

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<v Speaker 1>you be stuck, like you hit it twice and the

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<v Speaker 1>second time you just couldn't even move.

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<v Speaker 3>It would be like the same branding as like in

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<v Speaker 3>the Denzel Washington movie Blue Magic.

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<v Speaker 1>There You Go, There You Go, And it was like

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<v Speaker 1>this hella powerful PCP. But I caught it White Lightning

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<v Speaker 1>to sell it, and it made it seem like it

0:11:37.559 --> 0:11:42.000
<v Speaker 1>was on purpose. Right, So I named my first CD

0:11:42.040 --> 0:11:44.520
<v Speaker 1>because I knew all the street people who would want

0:11:44.520 --> 0:11:47.800
<v Speaker 1>to buy my CD would know this is glasses. Gotcha,

0:11:48.440 --> 0:11:51.000
<v Speaker 1>this is glasses right. That's how I named the first

0:11:51.000 --> 0:11:53.520
<v Speaker 1>CD white Lightning. And it was a popular shrim in

0:11:53.520 --> 0:11:55.880
<v Speaker 1>the street. Everybody was talking about it. So here go

0:11:56.080 --> 0:11:58.800
<v Speaker 1>is the next evolution of White Lightning. It's the music

0:11:59.360 --> 0:12:01.840
<v Speaker 1>fast forward. So so I'm working on seven Day songs

0:12:01.880 --> 0:12:04.559
<v Speaker 1>that end up becoming the foundation of White Lightning. This

0:12:04.600 --> 0:12:07.360
<v Speaker 1>is before I met Game and was rocking with Black

0:12:07.400 --> 0:12:10.880
<v Speaker 1>Wall Street. So dra calls my older brother back. Doctor

0:12:10.920 --> 0:12:13.720
<v Speaker 1>Drake calls my older brother back, Hey, you bet, bring

0:12:13.720 --> 0:12:16.920
<v Speaker 1>glasses to my Fourth of July party. You know, I'm

0:12:16.920 --> 0:12:20.600
<v Speaker 1>having at my house in Malibu. Shout out to everybody

0:12:20.600 --> 0:12:23.400
<v Speaker 1>lost the house in Malibu because it looked his house

0:12:23.440 --> 0:12:25.000
<v Speaker 1>is on the beach too, so he could have lost

0:12:25.040 --> 0:12:25.440
<v Speaker 1>his too.

0:12:25.480 --> 0:12:27.960
<v Speaker 3>But he is a long time. That is the longest

0:12:27.960 --> 0:12:31.360
<v Speaker 3>city I have ever seen. It is long too, right,

0:12:31.440 --> 0:12:33.520
<v Speaker 3>So fast forward, hopefully it's on the other side.

0:12:33.760 --> 0:12:44.559
<v Speaker 1>Facts facts, So fast forward, right, Yeah, what's that? Doctor

0:12:44.640 --> 0:12:47.640
<v Speaker 1>Drake tells my older brother, Hey, man, bring glasses to

0:12:47.760 --> 0:12:51.520
<v Speaker 1>my beach party. I'm having it at my house in Malibu.

0:12:52.120 --> 0:12:54.839
<v Speaker 1>He said, okay, so he called me, he said, hey,

0:12:54.840 --> 0:12:57.760
<v Speaker 1>g man, Dre called me. He more excited. I'm more

0:12:57.840 --> 0:13:00.320
<v Speaker 1>thanking this. You're supposed to call me. I'm glass look

0:13:00.400 --> 0:13:01.800
<v Speaker 1>like you know what I mean, like I wrap you

0:13:01.880 --> 0:13:07.640
<v Speaker 1>make beach you know. Still like this is this is naive.

0:13:08.200 --> 0:13:09.920
<v Speaker 1>I'm gonna send this to doctor Dres so he can

0:13:10.000 --> 0:13:13.319
<v Speaker 1>listen to this dream too, because he gonna be like

0:13:13.360 --> 0:13:17.319
<v Speaker 1>this fucker was crazy. So low story shut him like okay, yeah,

0:13:17.320 --> 0:13:18.839
<v Speaker 1>he hit you. When he wants to come or he

0:13:18.880 --> 0:13:20.640
<v Speaker 1>wants to come to his Fourth of July, he just

0:13:20.679 --> 0:13:23.959
<v Speaker 1>texts me his house to his address to his house Malleible.

0:13:24.280 --> 0:13:26.400
<v Speaker 1>It's on the beach. I said, okay, cool, So we

0:13:26.440 --> 0:13:29.560
<v Speaker 1>get the songs together. Fourth of July two thousand and three.

0:13:30.520 --> 0:13:33.600
<v Speaker 1>Rewind back to the New Year's Eve party seven months

0:13:33.640 --> 0:13:38.079
<v Speaker 1>before that. We're talking about fifty cent and I'm like, man,

0:13:38.120 --> 0:13:40.080
<v Speaker 1>how big is this fifty cent shit gonna be? Like man,

0:13:40.080 --> 0:13:42.080
<v Speaker 1>it's gonna be the biggest shit in the world. I'm like,

0:13:42.080 --> 0:13:45.920
<v Speaker 1>how you know, He's like a man. Watch. So fast

0:13:45.960 --> 0:13:49.280
<v Speaker 1>forward seven months after that. This is this is two

0:13:49.360 --> 0:13:53.680
<v Speaker 1>thousand and three, July fourth, So fifty came out. He's

0:13:53.679 --> 0:13:56.920
<v Speaker 1>the biggest ship in the world. So I remember at

0:13:56.920 --> 0:14:00.720
<v Speaker 1>the thing, he's DJing the party, Dre DJ and his

0:14:00.760 --> 0:14:03.120
<v Speaker 1>own party. He's in love with the Inspected Deck album

0:14:03.120 --> 0:14:06.280
<v Speaker 1>that comes out at this time. It's a really kind

0:14:06.280 --> 0:14:08.839
<v Speaker 1>of West Coast Sam got a good rhythm, but he

0:14:08.880 --> 0:14:10.599
<v Speaker 1>was playing it over and up. He just loved this

0:14:10.720 --> 0:14:13.000
<v Speaker 1>Deck album. Oh man, he was in love with this

0:14:13.160 --> 0:14:16.440
<v Speaker 1>Inspected Deck Altum. You could not tell this man nothing

0:14:16.800 --> 0:14:20.840
<v Speaker 1>about that Inspected Deck album, right, And he's at the

0:14:20.920 --> 0:14:23.120
<v Speaker 1>DJ playing it for all the It's an old white

0:14:23.200 --> 0:14:24.680
<v Speaker 1>lady trying to talk to me. She had to be

0:14:24.720 --> 0:14:27.000
<v Speaker 1>about forty She's laying across the top of the couch

0:14:27.120 --> 0:14:28.760
<v Speaker 1>like a cat in my ear, and I'm like, man,

0:14:28.800 --> 0:14:29.920
<v Speaker 1>this is fine.

0:14:29.960 --> 0:14:30.040
<v Speaker 4>You.

0:14:30.120 --> 0:14:32.920
<v Speaker 1>I'm just a full fledged crip and adult dealer, so

0:14:32.960 --> 0:14:34.880
<v Speaker 1>it feel weird to have white people talking to me.

0:14:35.240 --> 0:14:37.120
<v Speaker 1>There ain't no white people living component watch like that.

0:14:37.240 --> 0:14:40.080
<v Speaker 1>So it's white people at this party. It is brothers

0:14:40.120 --> 0:14:41.960
<v Speaker 1>and sisters too, but it's a lot of white people.

0:14:42.960 --> 0:14:47.040
<v Speaker 3>He's kind of funny that, like doctor Dre has such

0:14:47.040 --> 0:14:54.960
<v Speaker 3>an ear for being able to locate and create songs, artists, whatever,

0:14:55.640 --> 0:15:01.600
<v Speaker 3>that just become just obscenely huge, huge, bigger than things

0:15:01.640 --> 0:15:04.440
<v Speaker 3>are supposed to even become. Sure, and the thing he

0:15:04.480 --> 0:15:07.240
<v Speaker 3>wants to listen to himself and his own taste is

0:15:07.320 --> 0:15:10.400
<v Speaker 3>a very niche album. It was very local, and it's

0:15:10.400 --> 0:15:14.840
<v Speaker 3>acclaim and kind of the opposite of what his model

0:15:14.920 --> 0:15:18.320
<v Speaker 3>result tends to usually be. That's that's that's kind of

0:15:18.440 --> 0:15:24.440
<v Speaker 3>a very subtle in general, I'm gonna.

0:15:24.240 --> 0:15:26.240
<v Speaker 4>Say, I don't know, because good music is gonna be

0:15:26.280 --> 0:15:29.520
<v Speaker 4>good music, whether it's from the from the past, or

0:15:29.520 --> 0:15:31.280
<v Speaker 4>whether it's right now, you're gonna, we're gonna you're gonna

0:15:31.280 --> 0:15:32.320
<v Speaker 4>recognize when it's great.

0:15:32.760 --> 0:15:40.800
<v Speaker 2>But he just pop up.

0:15:40.000 --> 0:15:43.960
<v Speaker 1>Okay, So but he's he's in love with disinspected deckout.

0:15:44.400 --> 0:15:47.760
<v Speaker 1>I mean, he going crazy off this deckout and cutting right.

0:15:47.840 --> 0:15:49.880
<v Speaker 1>So we chopping it up, we bush it and you know,

0:15:49.920 --> 0:15:52.960
<v Speaker 1>I'm laughing joking still, you know, crip cut Drake cud.

0:15:54.600 --> 0:15:57.120
<v Speaker 1>It ain't hit me who Doctor Dre is yet. That

0:15:57.280 --> 0:16:00.160
<v Speaker 1>don't really hit me. Into twenty thirteen when I our

0:16:00.200 --> 0:16:03.760
<v Speaker 1>study in hip hop right shout out to shot Teeth.

0:16:03.760 --> 0:16:06.040
<v Speaker 1>Controlled Substance was the name of the album. Must let

0:16:06.080 --> 0:16:08.200
<v Speaker 1>everybody at the lunch table doing their thing, just let

0:16:08.200 --> 0:16:10.320
<v Speaker 1>me get through story time, and we're gonna get to

0:16:10.360 --> 0:16:14.000
<v Speaker 1>this conversation. So because this is part of the conversation.

0:16:14.080 --> 0:16:18.080
<v Speaker 1>This is why the conversation is happening right, So fast forward.

0:16:18.120 --> 0:16:20.960
<v Speaker 1>Because so I'm at this Doctor d party Cuz DJ

0:16:21.040 --> 0:16:23.520
<v Speaker 1>in and Cuz is nice like he not no pump

0:16:24.040 --> 0:16:26.320
<v Speaker 1>like cubs getting busy. This ain't no joke. He not

0:16:26.560 --> 0:16:28.560
<v Speaker 1>like you know, none of these niggas who got DJ's

0:16:28.560 --> 0:16:30.440
<v Speaker 1>in front of their name that don't. DJ Cuz is

0:16:30.480 --> 0:16:33.640
<v Speaker 1>like for real, like he is nasty cause he got

0:16:33.640 --> 0:16:36.840
<v Speaker 1>the party rocket. It's outside in the backyard, Cubs on

0:16:36.920 --> 0:16:40.760
<v Speaker 1>the sand at the ocean in Malibu, so we having

0:16:40.800 --> 0:16:42.800
<v Speaker 1>a good time outside of this white lady trying to

0:16:42.800 --> 0:16:46.920
<v Speaker 1>talk to this to me kind of ignore, like annoying me, Like, lady,

0:16:46.920 --> 0:16:48.720
<v Speaker 1>you are too old. I am way too I will

0:16:48.760 --> 0:16:50.840
<v Speaker 1>hurt you, old lady, old white lady. This is not

0:16:50.920 --> 0:16:56.680
<v Speaker 1>what you want. This gonna put you down, baby, This

0:16:56.760 --> 0:16:59.080
<v Speaker 1>is not what you want. This is crib dig at

0:16:59.080 --> 0:17:03.560
<v Speaker 1>this point. And I am a young animal. So before

0:17:03.600 --> 0:17:05.959
<v Speaker 1>I get to the story about playing the music, something

0:17:06.000 --> 0:17:10.680
<v Speaker 1>I remember because is this motherfucker doctor Dre has a barge.

0:17:10.680 --> 0:17:14.760
<v Speaker 1>Because a ship pull a barge. A ship, not a boat.

0:17:15.160 --> 0:17:20.600
<v Speaker 1>A fucking ship pull a barge into the ocean. Not

0:17:20.720 --> 0:17:23.200
<v Speaker 1>that far because you can see it. But it's a

0:17:23.240 --> 0:17:26.119
<v Speaker 1>ship with a barge. A barge is like a big

0:17:26.240 --> 0:17:30.480
<v Speaker 1>flat bed for a ship. Open thing, pull it out.

0:17:30.680 --> 0:17:33.800
<v Speaker 1>So Couz on his walkie talking, uh yep, all right,

0:17:34.040 --> 0:17:36.919
<v Speaker 1>you guys ready, okay, all right, we're gonna time it.

0:17:37.320 --> 0:17:40.040
<v Speaker 1>He's like, watch this, glasses, watch this. So I'm looking.

0:17:40.840 --> 0:17:51.280
<v Speaker 1>He like five four three two one boom boom boom

0:17:51.320 --> 0:17:58.040
<v Speaker 1>boom boom boom boom. Fucking fireworks is scoring the music,

0:17:58.160 --> 0:18:03.159
<v Speaker 1>is scoring the fireworks at the same time. Now again,

0:18:03.720 --> 0:18:07.520
<v Speaker 1>this is young watch crip glasses. I am not really

0:18:07.600 --> 0:18:09.520
<v Speaker 1>tripping off of it. I'm like, yeah, come to fuck

0:18:09.520 --> 0:18:11.440
<v Speaker 1>with the homy cup. Play this music, give me a beat,

0:18:11.520 --> 0:18:15.120
<v Speaker 1>cud that. I'm finna do my thing. This motherfucker got

0:18:15.240 --> 0:18:21.000
<v Speaker 1>a fireworks show and it scored with his music, and

0:18:21.080 --> 0:18:22.719
<v Speaker 1>it's about ten twelve minutes.

0:18:22.960 --> 0:18:28.160
<v Speaker 3>It's pretty much got the Bolagia Fountain set the fireworks.

0:18:28.200 --> 0:18:31.119
<v Speaker 1>Now as an adult thinking about it, because I was like,

0:18:31.359 --> 0:18:32.400
<v Speaker 1>holy shit.

0:18:32.760 --> 0:18:34.520
<v Speaker 2>So you're cool.

0:18:34.600 --> 0:18:37.040
<v Speaker 4>Your cool didn't come off when you've seen that shit, though, No,

0:18:37.240 --> 0:18:40.560
<v Speaker 4>because that never your cool was still on, bro.

0:18:40.800 --> 0:18:43.080
<v Speaker 1>My cool didn't come off with Doctor Dre until two

0:18:43.119 --> 0:18:45.560
<v Speaker 1>pac Mon's Died came out and we was talking. That

0:18:45.640 --> 0:18:47.960
<v Speaker 1>was the first time my cool. I ain't never not

0:18:48.040 --> 0:18:51.359
<v Speaker 1>been cool with Doctor Dre. I always treated Dre like

0:18:51.400 --> 0:18:55.960
<v Speaker 1>the timeter nigga who make beats. I was ignorant this fuck.

0:18:56.040 --> 0:18:59.480
<v Speaker 1>I didn't know Cauz. I'm you know he make beats. Right,

0:18:59.560 --> 0:19:03.840
<v Speaker 1>So fast forward cuz this is like some amazing shit.

0:19:04.000 --> 0:19:06.320
<v Speaker 1>I ain't seen no shit. I didn't make me as

0:19:06.320 --> 0:19:07.960
<v Speaker 1>of dollars at this point, I'd have been all around

0:19:08.000 --> 0:19:09.680
<v Speaker 1>the world. I still ain't seen no shit like this.

0:19:10.520 --> 0:19:12.440
<v Speaker 1>So now I'm thinking about it like that. That was crazy.

0:19:12.840 --> 0:19:16.320
<v Speaker 1>So I end up we talking. I'm like, how did

0:19:16.320 --> 0:19:17.959
<v Speaker 1>you know that fitty shit was gonna be big? He said, Man,

0:19:18.000 --> 0:19:21.920
<v Speaker 1>this little bird told me. Talking about it, He's like, man,

0:19:21.960 --> 0:19:25.800
<v Speaker 1>Eminem eminem knew it right, Like I did that for

0:19:25.880 --> 0:19:27.920
<v Speaker 1>him and that shit blew up. It's like, damn, that's cool.

0:19:28.320 --> 0:19:30.880
<v Speaker 1>So end of the party. We coming to the end,

0:19:31.560 --> 0:19:33.720
<v Speaker 1>coming to the party, you know, cutn't end and shit.

0:19:34.560 --> 0:19:37.800
<v Speaker 1>So he like, hey, glasses, look, old lady want me.

0:19:37.840 --> 0:19:41.120
<v Speaker 1>This is his wife that he just you know, divorce recently, right,

0:19:41.240 --> 0:19:43.760
<v Speaker 1>So he like, hey, my wife on my ass. Man, gee,

0:19:43.760 --> 0:19:44.520
<v Speaker 1>I'm finna go in here.

0:19:44.560 --> 0:19:44.720
<v Speaker 2>Man.

0:19:44.720 --> 0:19:46.399
<v Speaker 1>Look, it's two things we could do, he said. I

0:19:46.400 --> 0:19:49.359
<v Speaker 1>could play the music out love for everybody, or I

0:19:49.359 --> 0:19:52.280
<v Speaker 1>could take the music with me feel me and I

0:19:52.320 --> 0:19:54.520
<v Speaker 1>can call y'all. Let you know what I think. My

0:19:54.560 --> 0:19:57.080
<v Speaker 1>brother is finna say pool is finna say all right?

0:19:57.119 --> 0:19:58.879
<v Speaker 1>Just take it? I said, Oh, play for everybody's school.

0:19:59.720 --> 0:20:02.000
<v Speaker 1>This it's out fucking crazy, I am. It's all kind

0:20:02.000 --> 0:20:04.760
<v Speaker 1>of motherfucker's up in this party. That's music, execs and shit.

0:20:04.880 --> 0:20:09.080
<v Speaker 1>And I'm just so sure this is real street urban culture.

0:20:09.119 --> 0:20:11.720
<v Speaker 1>It make you have a false sense of security about

0:20:11.720 --> 0:20:15.720
<v Speaker 1>who you are, and I mean it's false. Yeah, but

0:20:15.800 --> 0:20:18.000
<v Speaker 1>I'm like, yeah, yeah, play for everybody. It's all good.

0:20:19.560 --> 0:20:22.639
<v Speaker 1>So he's like, all right, cool, he laughing. This nigga's

0:20:22.680 --> 0:20:25.840
<v Speaker 1>laughing at my er. It's the whole time. Don't God

0:20:25.920 --> 0:20:30.480
<v Speaker 1>cut trap. He's laughing at my right because so he

0:20:30.600 --> 0:20:36.200
<v Speaker 1>starts playing the music. You know, she's jamming it. It'd

0:20:36.200 --> 0:20:38.959
<v Speaker 1>be like five or ten seconds when the music is playing,

0:20:39.680 --> 0:20:42.320
<v Speaker 1>He's get to the next song. Oh that's not it.

0:20:44.240 --> 0:20:45.360
<v Speaker 2>You were saying, that's not it.

0:20:46.240 --> 0:20:48.080
<v Speaker 1>It's like five or ten seconds. Bro. He could hear

0:20:48.080 --> 0:20:49.560
<v Speaker 1>it and be like, no, that's not it. So in

0:20:49.600 --> 0:20:51.080
<v Speaker 1>my mind, I'm like, come with this nigga trying to

0:20:51.160 --> 0:20:52.720
<v Speaker 1>play me, because like, what the fuck is up with

0:20:52.720 --> 0:20:57.359
<v Speaker 1>this nigga? Now I get it. I understand how records work.

0:20:57.400 --> 0:21:00.920
<v Speaker 1>I'm game like, I get it now, But at that time,

0:21:00.960 --> 0:21:02.520
<v Speaker 1>I had no idea. So I'm like, that case, why

0:21:02.520 --> 0:21:04.040
<v Speaker 1>do this nigga? He ain't heard the song because he

0:21:04.080 --> 0:21:07.320
<v Speaker 1>ain't heard what I said. Skipping songs. He get to

0:21:07.359 --> 0:21:10.000
<v Speaker 1>the fourth song. Mind you, it's only eight songs on

0:21:10.040 --> 0:21:12.680
<v Speaker 1>this little thing. He get to the fourth song, four

0:21:12.840 --> 0:21:15.160
<v Speaker 1>songs A song on White Light and they called all wrong.

0:21:16.400 --> 0:21:19.920
<v Speaker 1>Got the traditional West Coast joint. He jamminy letting it play,

0:21:20.000 --> 0:21:25.240
<v Speaker 1>so nigga stay oh he get about forty five, It's like, hey,

0:21:25.240 --> 0:21:30.720
<v Speaker 1>that's cool, but that's not it. Fifth song, skip, six,

0:21:30.840 --> 0:21:33.240
<v Speaker 1>gonna skip. So I'm like, oh shit, like I'm gonna

0:21:33.240 --> 0:21:36.760
<v Speaker 1>have to go make eight more songs. This how crazy

0:21:37.960 --> 0:21:42.760
<v Speaker 1>We're seven. So he gets to the seventh song. The

0:21:42.840 --> 0:21:46.040
<v Speaker 1>seventh song, shout out to Saint Denson. Saint Denson did

0:21:46.240 --> 0:21:49.359
<v Speaker 1>good time for Styles I Get High, And at that

0:21:49.480 --> 0:21:52.080
<v Speaker 1>time there is no YouTube, so all your beats somebody

0:21:52.080 --> 0:21:53.399
<v Speaker 1>had to make them where you had to buy it.

0:21:54.040 --> 0:21:57.359
<v Speaker 1>I bought that beat for five thousand dollars. Mind you,

0:21:57.560 --> 0:22:00.000
<v Speaker 1>that was a deal because Saint Dnson had good Time

0:22:00.240 --> 0:22:02.960
<v Speaker 1>for Styles I Get High. This is a smash hit record.

0:22:03.840 --> 0:22:08.760
<v Speaker 1>So the song comes on money Get You Some.

0:22:11.240 --> 0:22:12.960
<v Speaker 2>You know exactly what sample you're talking about?

0:22:14.119 --> 0:22:19.119
<v Speaker 1>Boom boom. He started rocking and ship and rap what

0:22:19.280 --> 0:22:21.400
<v Speaker 1>you think all I'm grinding for what you think?

0:22:21.440 --> 0:22:21.560
<v Speaker 4>All?

0:22:21.640 --> 0:22:23.920
<v Speaker 1>I'm signing for money from the start of my life.

0:22:23.920 --> 0:22:26.119
<v Speaker 1>The ship go off and he just like in it

0:22:28.040 --> 0:22:30.080
<v Speaker 1>and he's just jamming and people have to part like hey,

0:22:30.119 --> 0:22:32.040
<v Speaker 1>and he putting their hands up. He starts scratching like

0:22:32.080 --> 0:22:35.760
<v Speaker 1>this it g this is it, and he clugged me.

0:22:36.280 --> 0:22:39.320
<v Speaker 1>He was like, nigga, this is it. Nigga. He jammed,

0:22:39.440 --> 0:22:43.880
<v Speaker 1>he started again money. He just keep playing it.

0:22:44.920 --> 0:22:50.040
<v Speaker 3>You find it more than a coincidence that it was

0:22:50.160 --> 0:22:52.960
<v Speaker 3>song number seven? Or is that purely a coincidence?

0:22:53.280 --> 0:23:02.560
<v Speaker 1>Cuz said, yeah, so he's jamming this song. He grabbed me.

0:23:02.760 --> 0:23:04.960
<v Speaker 1>He like, yeah, nigga, I'm proud of you.

0:23:05.040 --> 0:23:05.320
<v Speaker 2>Nigga.

0:23:05.359 --> 0:23:11.080
<v Speaker 1>This is it. Nigga. I'm like, where's my beat? But

0:23:11.359 --> 0:23:13.920
<v Speaker 1>everybody in the party. He rocking a party this ship

0:23:14.040 --> 0:23:17.359
<v Speaker 1>cause he gotta go and crave money, and people like, hey,

0:23:17.400 --> 0:23:22.160
<v Speaker 1>they rapping this. I'm like, damn, that's cool. So he like, man,

0:23:22.200 --> 0:23:24.560
<v Speaker 1>whatever you doing, you need to stop. He knew what

0:23:24.600 --> 0:23:27.480
<v Speaker 1>I was doing. You stop doing what you're doing. This

0:23:27.520 --> 0:23:31.800
<v Speaker 1>is what you should be doing. That's how I knew

0:23:31.840 --> 0:23:36.879
<v Speaker 1>I would take raps serious. That's how I fucking knew.

0:23:38.960 --> 0:23:42.720
<v Speaker 1>Well that makes sense, this fucking doctor drake. But again

0:23:43.160 --> 0:23:44.879
<v Speaker 1>it made me be like and I didn't think of

0:23:44.920 --> 0:23:46.880
<v Speaker 1>the magnitude because I didn't think he was gonna give

0:23:46.920 --> 0:23:49.840
<v Speaker 1>me a deal. I just knew that and why if

0:23:49.840 --> 0:23:53.720
<v Speaker 1>I could a press cuz it gotta be good. Gotta

0:23:53.840 --> 0:23:55.479
<v Speaker 1>be good because it gotta be good if I can

0:23:55.480 --> 0:23:57.639
<v Speaker 1>impress this dude. So I was like, okay, So I

0:23:57.760 --> 0:24:00.840
<v Speaker 1>go back and Gary found out out the greedo he se.

0:24:00.960 --> 0:24:03.320
<v Speaker 1>He was like, oh my god, like you impressed doctor Dre.

0:24:03.440 --> 0:24:05.199
<v Speaker 1>I'm like, yep, cut, we just make the songs now.

0:24:06.880 --> 0:24:09.600
<v Speaker 1>Long story, short cut. That's how I met That's how

0:24:09.600 --> 0:24:11.359
<v Speaker 1>I knew I was gonna take this business serious. And

0:24:11.400 --> 0:24:13.879
<v Speaker 1>that's how I met doctor Dre. Years and years to

0:24:13.920 --> 0:24:16.320
<v Speaker 1>this day, we still fuck with each other to some degree.

0:24:16.359 --> 0:24:18.600
<v Speaker 1>I always check on him, go see him. He's gonna

0:24:18.600 --> 0:24:21.800
<v Speaker 1>give me ship about something whatever. But that's my man.

0:24:21.840 --> 0:24:23.840
<v Speaker 1>One hundred grand you feed me out love, because he

0:24:23.960 --> 0:24:29.119
<v Speaker 1>really was. He convinced me with one conversation how important

0:24:30.080 --> 0:24:32.880
<v Speaker 1>like that I could do it.

0:24:33.680 --> 0:24:35.639
<v Speaker 3>Do you have any idea? Like what's his house? Okay,

0:24:35.960 --> 0:24:38.600
<v Speaker 3>I have to guess.

0:24:39.320 --> 0:24:42.520
<v Speaker 2>Hold on, can I say? Can I say it? The call?

0:24:44.119 --> 0:24:46.560
<v Speaker 4>Call you? You know when you called me called me

0:24:46.600 --> 0:24:48.040
<v Speaker 4>a couple of weeks ago and told me that.

0:24:48.160 --> 0:24:50.680
<v Speaker 1>No, no, don't say nothing yet. Keep that we need that,

0:24:51.119 --> 0:24:53.560
<v Speaker 1>we need that. I'm gonna make him go say something

0:24:53.560 --> 0:24:59.920
<v Speaker 1>about that, but that's how I started knowing. That's how

0:25:00.000 --> 0:25:04.600
<v Speaker 1>so I knew I could do this. Now. The reason

0:25:04.680 --> 0:25:07.880
<v Speaker 1>I tell his story is because one of my homeboys

0:25:07.880 --> 0:25:10.720
<v Speaker 1>shout out to DJ Artistic. I don't think y'all really know.

0:25:10.880 --> 0:25:13.480
<v Speaker 1>Artistic is like a pillar when it comes to West

0:25:13.480 --> 0:25:16.000
<v Speaker 1>Coast hip hop. He's one of the most important DJs

0:25:16.000 --> 0:25:19.320
<v Speaker 1>on the West Coast. He's an instrumental in my career.

0:25:19.359 --> 0:25:21.720
<v Speaker 1>He gave me one of the first songs I ever

0:25:21.760 --> 0:25:24.760
<v Speaker 1>had on radio. He produced it call Therapy Session. It's

0:25:24.840 --> 0:25:30.159
<v Speaker 1>on White Lightning as well, and he just all around

0:25:30.200 --> 0:25:33.000
<v Speaker 1>awesome guy. He did a dope thread and he was

0:25:33.000 --> 0:25:35.120
<v Speaker 1>talking about hip hop, and he was talking about how

0:25:35.160 --> 0:25:38.040
<v Speaker 1>the West Coast sound has changed from two thousand and

0:25:38.040 --> 0:25:41.520
<v Speaker 1>three to now. So I call him we chopping it up,

0:25:41.840 --> 0:25:43.920
<v Speaker 1>Say hey, man, man, it's a gold thing. But man,

0:25:43.960 --> 0:25:46.080
<v Speaker 1>we got to the beginning of what we like to

0:25:46.160 --> 0:25:49.120
<v Speaker 1>title Sounds of West Coast and we started talking about

0:25:49.119 --> 0:25:51.199
<v Speaker 1>how funk came about and how everybody used it, so

0:25:51.280 --> 0:25:53.960
<v Speaker 1>forth and so on. Where Drake changed when he pivoted

0:25:54.480 --> 0:25:58.240
<v Speaker 1>you know, Dre dre initial face to me now that

0:25:58.280 --> 0:26:02.320
<v Speaker 1>I'm aware, right, he was inspired by Mally Maul first,

0:26:02.640 --> 0:26:06.600
<v Speaker 1>he was great ass rendition of Marlly Maul his own version.

0:26:06.640 --> 0:26:08.400
<v Speaker 1>Mind you, he grew up in R and B, so

0:26:08.440 --> 0:26:10.919
<v Speaker 1>he had a little bit more melody than Mal. But

0:26:10.960 --> 0:26:12.800
<v Speaker 1>you could just hear the mall in his style, and

0:26:13.080 --> 0:26:16.439
<v Speaker 1>I would bet money Mall is his initial inspiration. His

0:26:16.560 --> 0:26:20.080
<v Speaker 1>second run, his greatest inspiration in my belief in hip

0:26:20.119 --> 0:26:25.120
<v Speaker 1>hop was DJ Quick. DJ Quick when remember he's doing

0:26:25.240 --> 0:26:29.200
<v Speaker 1>NWA at this time. N WA nationally is going crazy.

0:26:30.080 --> 0:26:32.920
<v Speaker 1>N w A is going insane. And if y'all want

0:26:32.920 --> 0:26:37.240
<v Speaker 1>to listen to White Lightning, it's on sounds on Spotify.

0:26:37.320 --> 0:26:40.040
<v Speaker 1>Finally I got it up there. It's really dope. I'm

0:26:40.080 --> 0:26:42.679
<v Speaker 1>going to do a concert in April for it to

0:26:42.760 --> 0:26:45.320
<v Speaker 1>celebrate the twentieth release, where I perform only those songs.

0:26:45.560 --> 0:26:48.680
<v Speaker 1>Check it out, but you can listen to it on Spotify.

0:26:48.760 --> 0:26:54.879
<v Speaker 1>But again, fast forward. So the second one to me

0:26:54.960 --> 0:26:58.280
<v Speaker 1>was inspired by Quick. NWA is going national. You know,

0:26:58.400 --> 0:27:02.280
<v Speaker 1>they're a big conversation on the national scene. But when

0:27:02.359 --> 0:27:07.320
<v Speaker 1>it came to the center of Compton late eighties, late eighties,

0:27:07.359 --> 0:27:10.760
<v Speaker 1>eighty eight, eighty nine, ninety ninety one, DJ Quick owned

0:27:10.960 --> 0:27:14.120
<v Speaker 1>every party in southern California.

0:27:14.760 --> 0:27:18.320
<v Speaker 3>So in that scenario, he was Rick James to doctor

0:27:18.400 --> 0:27:20.159
<v Speaker 3>JS or Doctor Dre's Michael.

0:27:19.920 --> 0:27:25.240
<v Speaker 1>Jackson Jones's young Yeah for sure. So that to me

0:27:25.600 --> 0:27:29.280
<v Speaker 1>like he saw the quick thing happening, not as conversation,

0:27:29.400 --> 0:27:33.080
<v Speaker 1>not the biggest conversation such as NWA, which was a

0:27:33.119 --> 0:27:36.840
<v Speaker 1>more prolific hip hop conversation across the whole landscape east

0:27:36.840 --> 0:27:41.840
<v Speaker 1>to west. Right, This in Compton in southern California. This

0:27:42.000 --> 0:27:45.919
<v Speaker 1>is the biggest thing in the world. Yes, Weitchie, I

0:27:45.920 --> 0:27:47.600
<v Speaker 1>put it all together. It's sitting right there in that

0:27:47.600 --> 0:27:49.760
<v Speaker 1>box is right here. So I got a Melock forgive me.

0:27:49.840 --> 0:27:51.399
<v Speaker 1>I got you. You're gonna like, oh, I gave you

0:27:51.480 --> 0:27:56.919
<v Speaker 1>seven CDs boom okay. So that was to me the

0:27:57.040 --> 0:28:00.320
<v Speaker 1>second inspiration to where Doctor Dre was like, yeah, I

0:28:00.359 --> 0:28:02.280
<v Speaker 1>know what I'm about to do. You know what I mean?

0:28:02.280 --> 0:28:04.600
<v Speaker 1>And then here you get g than you get the

0:28:04.640 --> 0:28:08.119
<v Speaker 1>Doctor Snoop Dogg album him doing you know, all of

0:28:08.119 --> 0:28:10.920
<v Speaker 1>that stuff, And to me, the third version is where

0:28:10.960 --> 0:28:14.280
<v Speaker 1>he really made his bones. Like everybody talks about his

0:28:14.320 --> 0:28:16.560
<v Speaker 1>success as a Death Row producer, but him as an

0:28:16.600 --> 0:28:19.680
<v Speaker 1>aftermath producer when he started to take the classical sounds

0:28:20.200 --> 0:28:24.080
<v Speaker 1>that became you know, next episode and certain songs. That

0:28:24.280 --> 0:28:26.879
<v Speaker 1>is the defining sound that people know Doctor dre for,

0:28:27.880 --> 0:28:30.200
<v Speaker 1>you know what I mean, Like they go that piano.

0:28:30.359 --> 0:28:33.320
<v Speaker 1>You know, every new producer West Coast type beat is

0:28:33.359 --> 0:28:36.320
<v Speaker 1>that damn piano ping ping yo. They think it's still

0:28:36.400 --> 0:28:39.160
<v Speaker 1>dr you know what I mean. So he had these

0:28:39.240 --> 0:28:44.160
<v Speaker 1>really incredible runs. This album right here, in this level

0:28:44.200 --> 0:28:47.480
<v Speaker 1>of production is Doctor Drake with his boys just being

0:28:47.520 --> 0:28:51.160
<v Speaker 1>Doctor Drake. He's not really inspired by nothing.

0:28:51.760 --> 0:28:54.120
<v Speaker 3>Wait, what is the album?

0:28:54.320 --> 0:29:00.440
<v Speaker 1>The Marshall album. This is him making the elite level music,

0:29:00.880 --> 0:29:05.920
<v Speaker 1>the most elicious music that he can make. Shout out

0:29:05.920 --> 0:29:08.160
<v Speaker 1>to Fred Red, shout out to Shout out to them joint,

0:29:08.200 --> 0:29:10.120
<v Speaker 1>Shout out to the homies that's over there doing the thing.

0:29:10.520 --> 0:29:13.440
<v Speaker 1>But this is him making whatever he wants to make.

0:29:13.640 --> 0:29:17.000
<v Speaker 3>It's kind a magnum opus kind of feel to it.

0:29:17.000 --> 0:29:19.640
<v Speaker 1>It is it is, and it's really prolific to me.

0:29:19.800 --> 0:29:23.320
<v Speaker 1>Like the songs like they can they can do a lot,

0:29:23.400 --> 0:29:24.480
<v Speaker 1>you know what I mean, They can do a lot

0:29:24.520 --> 0:29:28.920
<v Speaker 1>of stuff. But I also realized within this conversation why

0:29:29.080 --> 0:29:35.560
<v Speaker 1>hip hop is so influenced by the young, by the youth. Yeah,

0:29:35.640 --> 0:29:38.240
<v Speaker 1>and it go back to somebody's tell trap all the time.

0:29:38.600 --> 0:29:44.600
<v Speaker 1>Hip hop is the movement of we not me. That's

0:29:44.640 --> 0:29:48.440
<v Speaker 1>why DJ's right, who understand no different than the James

0:29:48.440 --> 0:29:52.160
<v Speaker 1>Brown Band than the JB's right. They knew how people

0:29:52.280 --> 0:29:54.360
<v Speaker 1>was moving. So when they were able to go in

0:29:54.400 --> 0:29:58.760
<v Speaker 1>the studio, when they went to the studio to make music, right,

0:29:58.840 --> 0:30:01.280
<v Speaker 1>when they went into the studio make music, they already

0:30:01.360 --> 0:30:04.120
<v Speaker 1>knew how people wanted to move and how they were moving.

0:30:04.880 --> 0:30:07.280
<v Speaker 1>The same thing goes to hip hop with the DJ.

0:30:07.720 --> 0:30:10.920
<v Speaker 1>That's why the best producers in hip hop. Hip hop

0:30:10.960 --> 0:30:15.920
<v Speaker 1>producers are DJs because they already have the pace of

0:30:16.040 --> 0:30:20.560
<v Speaker 1>people happening in their minds. So doctor dre right, he

0:30:20.680 --> 0:30:22.760
<v Speaker 1>used to DJ all the time. I just told you

0:30:22.800 --> 0:30:25.320
<v Speaker 1>he DJed his own beach party in Malibule.

0:30:25.960 --> 0:30:30.440
<v Speaker 3>I mean that is the exact same principle as like

0:30:32.400 --> 0:30:35.480
<v Speaker 3>a comedian going and doing small comedy clubs all the time.

0:30:36.680 --> 0:30:41.000
<v Speaker 3>You understand how to manipulate an audience, and if you

0:30:41.000 --> 0:30:43.240
<v Speaker 3>can do it on a small scale intimately, you can

0:30:43.240 --> 0:30:44.240
<v Speaker 3>do it on a large scale.

0:30:44.440 --> 0:30:48.320
<v Speaker 1>Dig exactly. And that's the thing, right, And that's why

0:30:48.400 --> 0:30:51.280
<v Speaker 1>DJs have always kicked the ass and hip hop battle

0:30:51.320 --> 0:30:54.400
<v Speaker 1>cat quick. All these guys are DJ they kick ass

0:30:54.800 --> 0:30:58.360
<v Speaker 1>because long as they're DJing, they're keeping a pace on

0:30:58.400 --> 0:31:02.760
<v Speaker 1>where society is at. True hip hop again, is the

0:31:02.800 --> 0:31:05.280
<v Speaker 1>movement of we, not the movement of me.

0:31:06.360 --> 0:31:09.520
<v Speaker 3>And I think there's also like it's from a youth standpoint.

0:31:10.160 --> 0:31:14.160
<v Speaker 3>Hip hop is a counterculture type of movement in the

0:31:14.200 --> 0:31:17.760
<v Speaker 3>sense that it's uh rooted in a in a certain

0:31:17.840 --> 0:31:21.000
<v Speaker 3>degree around pushback against the system.

0:31:22.240 --> 0:31:23.400
<v Speaker 1>Well you do.

0:31:24.760 --> 0:31:28.320
<v Speaker 4>God, I'm gonna say something about the hip hop thing ahead, no,

0:31:28.480 --> 0:31:32.040
<v Speaker 4>because I heard I heard hip hop broken down before,

0:31:32.680 --> 0:31:36.120
<v Speaker 4>and they broken down by saying hip hip is the

0:31:36.280 --> 0:31:38.920
<v Speaker 4>hip is, the is the youth and what's cool, you

0:31:38.920 --> 0:31:39.520
<v Speaker 4>know what I'm saying.

0:31:39.880 --> 0:31:41.760
<v Speaker 2>And the hop is the movement. You know what I'm saying.

0:31:41.760 --> 0:31:43.960
<v Speaker 2>That basically youth movement like.

0:31:43.960 --> 0:31:47.360
<v Speaker 1>That though, and that's to catch right, because you're making

0:31:47.440 --> 0:31:50.600
<v Speaker 1>music for the we mm hmm, you know what I mean.

0:31:50.680 --> 0:31:55.720
<v Speaker 1>And the hip is about it's not necessarily young as

0:31:55.800 --> 0:31:59.800
<v Speaker 1>much as we and we is are our most together

0:32:00.040 --> 0:32:04.800
<v Speaker 1>when we're young. When we grow up and we get older. Right,

0:32:04.840 --> 0:32:08.040
<v Speaker 1>when we grow up and we get older, we kind

0:32:08.040 --> 0:32:11.400
<v Speaker 1>of get more into me and our families everything that's

0:32:11.440 --> 0:32:14.520
<v Speaker 1>more me. But when you're young, it's just you and

0:32:14.560 --> 0:32:17.959
<v Speaker 1>your boys doing whatever. Y'are doing in your neighborhood, in

0:32:18.000 --> 0:32:22.320
<v Speaker 1>your section, with your city. But as you get older,

0:32:22.800 --> 0:32:24.920
<v Speaker 1>you immediately start to age out of that and then

0:32:24.960 --> 0:32:29.560
<v Speaker 1>guess what things start becoming more important My family, my kids,

0:32:29.680 --> 0:32:36.120
<v Speaker 1>my wife, I mean, the me things. So I think

0:32:36.280 --> 0:32:39.640
<v Speaker 1>that's where the ageism confusion is because I agree with

0:32:39.680 --> 0:32:43.880
<v Speaker 1>trapp hip is for sure what's cool, and we decide

0:32:43.920 --> 0:32:44.480
<v Speaker 1>what's cool.

0:32:45.720 --> 0:32:45.760
<v Speaker 2>We.

0:32:47.480 --> 0:32:51.800
<v Speaker 1>Yeah, the artist that's currently going through struggles can't gauge WE.

0:32:53.520 --> 0:32:55.600
<v Speaker 1>There's a couple of artists going through struggles. There's a

0:32:55.640 --> 0:32:59.160
<v Speaker 1>couple you know, there's a couple bloggers going through struggles.

0:32:59.280 --> 0:33:04.440
<v Speaker 1>They can't each we. That's why it's like, we wouldn't

0:33:04.480 --> 0:33:08.200
<v Speaker 1>do that. And if you start doing something outside of

0:33:08.240 --> 0:33:10.240
<v Speaker 1>the WEI, you stop being cool.

0:33:11.040 --> 0:33:11.480
<v Speaker 2>Mm hmm.

0:33:14.080 --> 0:33:16.600
<v Speaker 1>That's my point. Everybody hit that like button real quick,

0:33:16.720 --> 0:33:19.040
<v Speaker 1>you feel me? Do me that solid? No sellers live

0:33:19.160 --> 0:33:19.880
<v Speaker 1>lunch hour.

0:33:22.040 --> 0:33:23.760
<v Speaker 4>To give a little pushback on it. Right, So I'm

0:33:23.760 --> 0:33:26.520
<v Speaker 4>gonna say like this, right, at times you get at

0:33:26.560 --> 0:33:30.440
<v Speaker 4>times you'll get an artist that feels like they they're

0:33:30.440 --> 0:33:34.200
<v Speaker 4>not making music for the we, They're making music for them,

0:33:34.240 --> 0:33:34.880
<v Speaker 4>you know what I'm saying.

0:33:34.880 --> 0:33:37.600
<v Speaker 2>And sometimes it be and at times when that happens.

0:33:37.600 --> 0:33:38.880
<v Speaker 4>That's hit a miss though, like that, you know what

0:33:38.880 --> 0:33:41.640
<v Speaker 4>I'm saying, So it'll be like I'm not making I'm

0:33:41.640 --> 0:33:45.680
<v Speaker 4>not making the music to basically for everybody, for everybody,

0:33:45.920 --> 0:33:47.480
<v Speaker 4>just like I'm making the music that I want to make.

0:33:47.600 --> 0:33:49.640
<v Speaker 2>You know what I'm saying. Like that, though, I mean,

0:33:50.240 --> 0:33:51.040
<v Speaker 2>it is an art.

0:33:51.160 --> 0:33:53.720
<v Speaker 1>So as long as you don't want to do the business,

0:33:54.760 --> 0:33:56.640
<v Speaker 1>as long as you want to do like you might

0:33:56.720 --> 0:33:59.920
<v Speaker 1>don't like beef, you feel me, that ain't your that

0:34:00.000 --> 0:34:04.240
<v Speaker 1>it ain't your preferred protein. That don't mean you can

0:34:04.320 --> 0:34:06.600
<v Speaker 1>sell everybody the burger you want to sell them. You can't.

0:34:06.880 --> 0:34:10.399
<v Speaker 1>Everybody ain't eating jack fruit tacos. Boy, that just ain't

0:34:10.440 --> 0:34:13.640
<v Speaker 1>gonna happen. I tell people all the time, make the

0:34:13.719 --> 0:34:15.759
<v Speaker 1>music you want to make. Shout out to DJ Head

0:34:15.760 --> 0:34:18.240
<v Speaker 1>whose birthday was yesterday. Shout out to my little bro happy.

0:34:18.000 --> 0:34:18.960
<v Speaker 2>See that birthday.

0:34:23.080 --> 0:34:27.000
<v Speaker 1>But we also understood if we want to make music

0:34:27.239 --> 0:34:32.520
<v Speaker 1>the business, we have to be in the business of we.

0:34:32.520 --> 0:34:35.719
<v Speaker 1>We have to be in the business of we. So

0:34:36.040 --> 0:34:38.839
<v Speaker 1>I always tell John different people, shout out to all

0:34:38.840 --> 0:34:42.440
<v Speaker 1>the whole community at ADHD you feel me. I always

0:34:42.480 --> 0:34:45.240
<v Speaker 1>tell the homies like you gotta meet the people where

0:34:45.239 --> 0:34:46.800
<v Speaker 1>they at and lead them from there.

0:34:47.600 --> 0:34:52.600
<v Speaker 3>Yea, and people you can people can only like if

0:34:53.400 --> 0:34:56.759
<v Speaker 3>what's cool is here in this circle as a mass,

0:34:57.239 --> 0:35:00.760
<v Speaker 3>you can be a little cooler if you're still touching

0:35:00.800 --> 0:35:04.080
<v Speaker 3>the mass, you know, you start to get a little

0:35:04.120 --> 0:35:08.239
<v Speaker 3>too avan Guardio, too far away. You might be cool eventually,

0:35:08.600 --> 0:35:11.000
<v Speaker 3>but then they have to come to you. Yeah, I

0:35:11.040 --> 0:35:13.000
<v Speaker 3>could take a very long time. You can miss your moment.

0:35:13.360 --> 0:35:14.920
<v Speaker 1>And I've been a victim of that a lot of

0:35:14.920 --> 0:35:18.399
<v Speaker 1>different times. I've been a victim of that, right, being

0:35:18.440 --> 0:35:22.839
<v Speaker 1>ahead of cool. So again, I've always expressed based off

0:35:22.840 --> 0:35:25.479
<v Speaker 1>of my studies, my research when I started to care,

0:35:25.920 --> 0:35:28.160
<v Speaker 1>when I didn't feel entitled to hip hop and I

0:35:28.360 --> 0:35:31.800
<v Speaker 1>really wanted to get and understanding what this thing was about.

0:35:32.120 --> 0:35:35.640
<v Speaker 1>I understood it was street urban culture personified through the

0:35:35.760 --> 0:35:38.720
<v Speaker 1>arts or as the New York HOMEI say, the elements.

0:35:39.200 --> 0:35:42.280
<v Speaker 1>That's the way you express the culture through these things.

0:35:42.320 --> 0:35:45.719
<v Speaker 1>And once you express them and these these specific through

0:35:45.760 --> 0:35:51.520
<v Speaker 1>these elements, is hip hop. Right, So again, being hip

0:35:51.680 --> 0:35:56.320
<v Speaker 1>is cool. Cool is the approval of weed. You can't

0:35:56.360 --> 0:36:00.760
<v Speaker 1>deny that, Like, that's what's we like. As I grow older,

0:36:01.640 --> 0:36:04.800
<v Speaker 1>I stay with classic. I don't do nothing that's not

0:36:04.920 --> 0:36:08.000
<v Speaker 1>I'm not trying to do too much trendy like, don't

0:36:08.000 --> 0:36:10.440
<v Speaker 1>get me wrong, I'm watching the groove. The groove is

0:36:10.440 --> 0:36:12.440
<v Speaker 1>the low end to me of music. Trap right, the

0:36:13.160 --> 0:36:16.320
<v Speaker 1>eight a way to kick the baseline. I can't attention

0:36:16.360 --> 0:36:20.920
<v Speaker 1>you to the groove. The melody state the same. Shout

0:36:20.920 --> 0:36:24.440
<v Speaker 1>out to the homielex people who makes records. The melody

0:36:24.480 --> 0:36:29.560
<v Speaker 1>state are same. The groove changes the groove. How people

0:36:29.600 --> 0:36:33.640
<v Speaker 1>want to move changes, sure, that's important. How people want

0:36:33.680 --> 0:36:36.600
<v Speaker 1>to move. They don't want to move the same way,

0:36:37.320 --> 0:36:39.759
<v Speaker 1>they want to move a different way. And that's where

0:36:39.800 --> 0:36:43.200
<v Speaker 1>you see the we in youth coming together. That is

0:36:43.239 --> 0:36:47.560
<v Speaker 1>what validates the youth claim to hip hop. The ownership

0:36:47.960 --> 0:36:52.120
<v Speaker 1>is because they're still experiencing we yeah, and I mean

0:36:52.200 --> 0:36:54.719
<v Speaker 1>we with all kind of strangers. They go to a

0:36:54.760 --> 0:36:57.400
<v Speaker 1>club and it's a bunch of strangers up in this party.

0:36:58.360 --> 0:37:00.480
<v Speaker 1>When you get grown, most of the time time you

0:37:00.520 --> 0:37:03.400
<v Speaker 1>don't go to that type of shit. You're not hanging

0:37:03.400 --> 0:37:05.400
<v Speaker 1>around a bunch of strangers. As you get older, you

0:37:05.480 --> 0:37:07.560
<v Speaker 1>don't want to go nowhere where they know damn parking,

0:37:08.960 --> 0:37:13.680
<v Speaker 1>let alone somewhere where it's a room full of strangers.

0:37:14.719 --> 0:37:18.560
<v Speaker 1>So every modern DJ people talk about hip hop struggling.

0:37:18.680 --> 0:37:21.320
<v Speaker 1>You know why hip hop is struggling the most because

0:37:21.400 --> 0:37:24.120
<v Speaker 1>the damn people, most of the damn people making beats

0:37:24.320 --> 0:37:25.560
<v Speaker 1>are not DJs.

0:37:27.600 --> 0:37:32.439
<v Speaker 3>And I think with that, like commercial arts, there's no

0:37:32.760 --> 0:37:38.560
<v Speaker 3>room really to hear the phrase like educate your consumer. Sure,

0:37:38.680 --> 0:37:40.200
<v Speaker 3>you know what I mean. You can't do that. It's

0:37:40.239 --> 0:37:43.600
<v Speaker 3>not it's not like some new computer program where you

0:37:43.640 --> 0:37:46.719
<v Speaker 3>have to educate you re sers. Eventually they'll learn to

0:37:46.920 --> 0:37:50.960
<v Speaker 3>use this thing for their own benefit. In this they're

0:37:51.000 --> 0:37:53.560
<v Speaker 3>just going to go somewhere else entirely to where they

0:37:53.560 --> 0:37:54.399
<v Speaker 3>want to be. And that's all.

0:37:54.880 --> 0:37:55.080
<v Speaker 2>You know.

0:37:55.960 --> 0:37:58.040
<v Speaker 3>You have to be more, You have to be rooted

0:37:58.080 --> 0:37:59.319
<v Speaker 3>in touch with the consumer base.

0:37:59.520 --> 0:38:03.480
<v Speaker 1>Shout out Squishy, She said, close parking because I'm not

0:38:03.560 --> 0:38:06.319
<v Speaker 1>walking too far and it better be free. That's how

0:38:06.400 --> 0:38:10.440
<v Speaker 1>you know, we get old. You start complaining. Yeah, you

0:38:10.480 --> 0:38:14.560
<v Speaker 1>start complaining about shit like parking, the distance. And that's

0:38:14.560 --> 0:38:16.560
<v Speaker 1>true because I'll be thinking to myself, like I feel

0:38:16.560 --> 0:38:19.360
<v Speaker 1>like going through this, so I could feel certain ways

0:38:19.719 --> 0:38:21.759
<v Speaker 1>that I could age out of hip hop. The only

0:38:21.840 --> 0:38:24.279
<v Speaker 1>thing that works for me is always my street urban

0:38:24.320 --> 0:38:29.200
<v Speaker 1>culture perspective has been justified. I logically understand why I'm thugging.

0:38:30.600 --> 0:38:32.680
<v Speaker 1>It ain't just something I'm doing to be a part

0:38:32.680 --> 0:38:36.880
<v Speaker 1>of WE, like we started it, but g gonna finish it.

0:38:39.400 --> 0:38:42.160
<v Speaker 1>That's where I'm at with it. But it's a big

0:38:42.239 --> 0:38:47.719
<v Speaker 1>thing that if you're not djaying the current movement of WE, right,

0:38:47.800 --> 0:38:50.960
<v Speaker 1>if you're not DJing the current movement of WE, then

0:38:50.960 --> 0:38:56.360
<v Speaker 1>you don't know how people want to move. You don't

0:38:56.400 --> 0:38:59.719
<v Speaker 1>know and hip hop, for sure, as a party. The

0:38:59.760 --> 0:39:03.440
<v Speaker 1>hot part is a party, right, So you have to

0:39:03.520 --> 0:39:06.480
<v Speaker 1>gauge how people are moving. You might get lucky, but

0:39:06.560 --> 0:39:09.440
<v Speaker 1>the consistency is when you can understand what's going on.

0:39:09.960 --> 0:39:12.680
<v Speaker 1>Like Dre said something specifically in an interview and I

0:39:12.800 --> 0:39:16.160
<v Speaker 1>checked out the interview. Now I think about how crazy

0:39:16.160 --> 0:39:18.000
<v Speaker 1>I was talking to Drake. Now, I'm like, oh, this

0:39:18.040 --> 0:39:20.560
<v Speaker 1>motherfucker is like some whole other world, next level shit.

0:39:20.600 --> 0:39:23.040
<v Speaker 1>As far as you know what he does creatively in

0:39:23.040 --> 0:39:26.400
<v Speaker 1>the space, he's out of this world. But he said

0:39:26.440 --> 0:39:30.640
<v Speaker 1>something that messed me up. And he said nothing. He said,

0:39:30.640 --> 0:39:36.000
<v Speaker 1>none of the hip hop is inspiring me today. I

0:39:36.000 --> 0:39:39.200
<v Speaker 1>don't like that, man, I don't dislike it, But I

0:39:39.239 --> 0:39:44.319
<v Speaker 1>also can understand how you could disconnect from WE if

0:39:44.360 --> 0:39:47.240
<v Speaker 1>you don't see nothing and I was having this dope conversation.

0:39:47.320 --> 0:39:51.200
<v Speaker 1>Shout out to artistic again, right, shout out to artistic again.

0:39:52.880 --> 0:39:55.920
<v Speaker 1>I think that's what happened with Michael Jackson and bad

0:39:59.320 --> 0:40:03.719
<v Speaker 1>See Thriller came out okay with Off the Wall. I

0:40:03.719 --> 0:40:07.520
<v Speaker 1>can hear the Marvin Gay in it. I could tell

0:40:07.560 --> 0:40:10.560
<v Speaker 1>Marvin Gagle was moving Mike. You could listen to Don't

0:40:10.560 --> 0:40:13.239
<v Speaker 1>Stop Till You Get Enough and here got to give

0:40:13.239 --> 0:40:16.240
<v Speaker 1>it up. It's the same song. So it didn't matter

0:40:16.360 --> 0:40:18.600
<v Speaker 1>all of the pop music he was doing the disco

0:40:18.760 --> 0:40:21.680
<v Speaker 1>ribs because he always kept at least a little soul

0:40:21.800 --> 0:40:25.480
<v Speaker 1>in the music. Right on Thriller, when you listen to

0:40:26.080 --> 0:40:28.200
<v Speaker 1>give it to Me back, excuse me, you listen to Thriller,

0:40:28.239 --> 0:40:30.200
<v Speaker 1>you can hear give it to Me Baby. It's the

0:40:30.280 --> 0:40:35.359
<v Speaker 1>same groove. The do Do Do Do the do Do

0:40:35.360 --> 0:40:38.120
<v Speaker 1>Do Do Do Do Do. It's the first count, the

0:40:38.160 --> 0:40:42.279
<v Speaker 1>d do the do Do Do Do Do Do Do.

0:40:42.600 --> 0:40:45.000
<v Speaker 1>That's Thriller. That's the whole song, that's the whole groove.

0:40:45.600 --> 0:40:48.360
<v Speaker 1>So why Rick was rocking a party, you know what

0:40:48.360 --> 0:40:51.040
<v Speaker 1>I mean? He took the same groove and went in

0:40:51.080 --> 0:40:55.000
<v Speaker 1>with the groove. And obviously Quincy Jones is such an

0:40:55.040 --> 0:40:55.880
<v Speaker 1>animal as.

0:40:55.719 --> 0:41:02.640
<v Speaker 5>A producer, Oh boy too without the dude naw team

0:41:02.920 --> 0:41:07.400
<v Speaker 5>tempt Yeah, he's the writer of temperating like they understood

0:41:07.440 --> 0:41:10.160
<v Speaker 5>the group and you can hear the haul of notes.

0:41:10.200 --> 0:41:14.120
<v Speaker 5>I can't go for that in Billy Jean. So even

0:41:14.200 --> 0:41:15.759
<v Speaker 5>though he had the pop records.

0:41:15.400 --> 0:41:18.360
<v Speaker 1>The rerecors with Paul McCartney, blah blah whatever, right, he

0:41:18.480 --> 0:41:23.560
<v Speaker 1>was anchored in enough soul to make it work when

0:41:23.600 --> 0:41:27.799
<v Speaker 1>it came to bad. The biggest thing going on the

0:41:27.920 --> 0:41:31.319
<v Speaker 1>urban scene in nineteen eighty six, eighty seven, eighty eight,

0:41:32.320 --> 0:41:35.640
<v Speaker 1>you know pre pre pre uh.

0:41:37.480 --> 0:41:40.800
<v Speaker 2>Pre about to say this again, about to say this

0:41:40.840 --> 0:41:41.319
<v Speaker 2>shit again.

0:41:41.360 --> 0:41:44.440
<v Speaker 1>I know we're about to see pre pre Keith sweat,

0:41:44.880 --> 0:41:48.200
<v Speaker 1>you know, establishing what became New Jacks Wing with Teddy Ridley,

0:41:48.239 --> 0:41:51.560
<v Speaker 1>the father of New Jackson Wing. The biggest thing was

0:41:51.600 --> 0:41:55.600
<v Speaker 1>a group out of New York. They called themselves, or

0:41:55.680 --> 0:42:00.319
<v Speaker 1>wanted to call themselves, the New York City Players, the

0:42:00.360 --> 0:42:03.160
<v Speaker 1>Ohio Players. The regul label wouldn't go for that, so

0:42:03.200 --> 0:42:08.520
<v Speaker 1>they changed their name to Cameo. And I think that's

0:42:08.560 --> 0:42:14.640
<v Speaker 1>where Michael Jordan ignored the movement of we. I couldn't

0:42:14.640 --> 0:42:17.399
<v Speaker 1>imagine what them dudes in Musicianshi because don't get me wrong,

0:42:17.440 --> 0:42:20.600
<v Speaker 1>to us, Cameo is a superior band. They are you

0:42:20.600 --> 0:42:23.920
<v Speaker 1>know again hindsight, you know you fifty years later Cameo

0:42:24.360 --> 0:42:27.840
<v Speaker 1>looked like fucking up. Yeah, they look like fucking uh.

0:42:27.920 --> 0:42:29.759
<v Speaker 1>What's them all white people name they used to be

0:42:29.840 --> 0:42:32.279
<v Speaker 1>making that music back in the eighteen hundreds and early

0:42:32.360 --> 0:42:37.160
<v Speaker 1>nineteen hundreds. Well, I'm talking about the crazy people, them

0:42:37.160 --> 0:42:40.040
<v Speaker 1>crazy names and you know all them crazy symphonies and

0:42:40.040 --> 0:42:45.960
<v Speaker 1>ship you know them dudes Beethoven like Betho, Like Cameo

0:42:46.040 --> 0:42:51.400
<v Speaker 1>compared today's music sound like fucking Beethoven. But I couldn't

0:42:51.440 --> 0:42:54.200
<v Speaker 1>imagine how he saw that at then to where he

0:42:54.239 --> 0:42:57.880
<v Speaker 1>didn't embrace the movement of we in that urban space

0:42:57.880 --> 0:43:01.279
<v Speaker 1>because Cameo was he back to the initial story with

0:43:01.360 --> 0:43:04.279
<v Speaker 1>Olivia raising me with music. Me knowing Cameo Album by

0:43:04.320 --> 0:43:09.520
<v Speaker 1>Heart Cameo was like nigga shit, Like, oh my god,

0:43:09.680 --> 0:43:15.200
<v Speaker 1>you couldn't tell black people about Cameo. That's candy, that's

0:43:15.239 --> 0:43:18.640
<v Speaker 1>single life, that's word up. They is popping it. Shout

0:43:18.680 --> 0:43:21.080
<v Speaker 1>out to Larry Blackman and that whole thing, because that

0:43:21.600 --> 0:43:26.759
<v Speaker 1>it is hella underrated. Yeah right, so Sparkle like they

0:43:26.920 --> 0:43:30.160
<v Speaker 1>own the black ear they owned the black ear. When

0:43:30.160 --> 0:43:33.080
<v Speaker 1>it came to that groovy space, they was running the groove.

0:43:34.719 --> 0:43:39.640
<v Speaker 1>And when you're not bad, And when you listen to Bad,

0:43:39.880 --> 0:43:45.279
<v Speaker 1>you don't hear that in Bad, you hear closer to pop.

0:43:45.640 --> 0:43:48.120
<v Speaker 1>He did Ray Parker Jr. Right, he did take the

0:43:48.120 --> 0:43:50.680
<v Speaker 1>Ghostbuster song and make Bad. You can hear the same

0:43:50.760 --> 0:43:53.160
<v Speaker 1>total shout out to the La band, legendary band, Toto,

0:43:53.640 --> 0:43:55.959
<v Speaker 1>you know Africa. You can hear that, and and and

0:43:56.200 --> 0:44:00.480
<v Speaker 1>uh and uh the Liberian Girl. You can hear some things.

0:44:00.520 --> 0:44:05.279
<v Speaker 1>But you didn't have that Rick James that you had

0:44:05.280 --> 0:44:08.080
<v Speaker 1>in Thriller, or that Marvin Gay that you had in

0:44:08.520 --> 0:44:11.480
<v Speaker 1>Off the Wall. You didn't have Cameo. And I think

0:44:11.520 --> 0:44:14.040
<v Speaker 1>it's because he didn't see I don't know. I can't

0:44:14.080 --> 0:44:16.920
<v Speaker 1>say nothing. I don't want to imagine why Mike didn't

0:44:16.960 --> 0:44:19.440
<v Speaker 1>take something from Cameo and make it his at the

0:44:19.480 --> 0:44:23.480
<v Speaker 1>next level. And that was like the ultimate time. So

0:44:23.560 --> 0:44:26.200
<v Speaker 1>when I'm looking at with Dre or anybody else making

0:44:26.280 --> 0:44:29.399
<v Speaker 1>music that is you know, definitely growing up in hip

0:44:29.440 --> 0:44:32.120
<v Speaker 1>hop in the space. If they are not looking at

0:44:32.160 --> 0:44:37.080
<v Speaker 1>the current landscape of how people are moving, you're doing

0:44:37.120 --> 0:44:41.720
<v Speaker 1>yourself a disservice. If your goal is the weed. Now again,

0:44:41.960 --> 0:44:44.640
<v Speaker 1>they goal could be something different. Them dudes probably getting

0:44:44.640 --> 0:44:48.239
<v Speaker 1>their songs on FIFA. They probably made. They probably use

0:44:48.280 --> 0:44:50.239
<v Speaker 1>this whole thing for the Olympic sounds. I don't know

0:44:50.280 --> 0:44:53.400
<v Speaker 1>what deals d Dre and dog met them dudes. Probably

0:44:53.560 --> 0:44:57.000
<v Speaker 1>they be playing this in Mars. I have no idea,

0:44:58.520 --> 0:45:01.640
<v Speaker 1>but the connection to we and this is what I'm saying.

0:45:02.239 --> 0:45:04.880
<v Speaker 1>Can you age out of hip hop when you stop

0:45:04.960 --> 0:45:08.120
<v Speaker 1>paying attention to week or you stop putting respect on Week.

0:45:08.560 --> 0:45:09.760
<v Speaker 1>That's how we could happen.

0:45:11.520 --> 0:45:16.040
<v Speaker 4>Do you feel like allows approach to the force was

0:45:16.120 --> 0:45:17.160
<v Speaker 4>his focus on the Wii.

0:45:17.960 --> 0:45:23.640
<v Speaker 1>No Lell's attention to the force is classic. Okay, See,

0:45:23.680 --> 0:45:29.080
<v Speaker 1>certain things are forever, like some parts of the culture

0:45:29.560 --> 0:45:32.920
<v Speaker 1>go throughout. It don't matter what's happening that is permanent,

0:45:33.280 --> 0:45:37.360
<v Speaker 1>Like we're gonna have a breakbeat hit, we have a

0:45:37.360 --> 0:45:40.080
<v Speaker 1>boomback hit for sure, We're gonna have a boom back

0:45:40.120 --> 0:45:43.440
<v Speaker 1>hit for the rest of our life. We gonna have

0:45:43.960 --> 0:45:47.000
<v Speaker 1>you know, you gonna have Bruno Mars making some level

0:45:47.040 --> 0:45:51.040
<v Speaker 1>of funk. You know it's gonna happen forever. Because some

0:45:51.080 --> 0:45:54.640
<v Speaker 1>of these things are classic when done correctly. So like

0:45:54.680 --> 0:46:00.160
<v Speaker 1>what LLL did and I respect it. He stayed classic. Yeah,

0:46:00.520 --> 0:46:03.160
<v Speaker 1>he didn't push the envelope for popular music. He said,

0:46:03.200 --> 0:46:05.959
<v Speaker 1>you know what, I'm not worried about what's popular. I'm

0:46:05.960 --> 0:46:07.320
<v Speaker 1>going to do what's forever.

0:46:09.160 --> 0:46:11.120
<v Speaker 3>He did the Dodge Challenger.

0:46:11.680 --> 0:46:16.160
<v Speaker 1>Exactly, fucking right, fucking that's Dodgs mort stink Donys come

0:46:16.200 --> 0:46:17.000
<v Speaker 1>back with the Challenger.

0:46:17.280 --> 0:46:19.600
<v Speaker 2>That's a fact, Sam, It's a Camaro.

0:46:21.680 --> 0:46:25.920
<v Speaker 1>Certain things about culture. We gonna always love a pair

0:46:25.960 --> 0:46:27.839
<v Speaker 1>of Dickey's, gonna always be a pair of dickies. Yeah,

0:46:27.840 --> 0:46:30.360
<v Speaker 1>it's gonna be polarizing. Some people like that nigga wearing dickies,

0:46:30.640 --> 0:46:33.000
<v Speaker 1>But trust me, there are people around the world every

0:46:33.040 --> 0:46:36.200
<v Speaker 1>day wearing Dickies, like Chucks, like all Stars. Classic can

0:46:36.280 --> 0:46:37.600
<v Speaker 1>never go wrong with a fresh.

0:46:37.360 --> 0:46:39.759
<v Speaker 2>Pair of Chucks, fresh pair of Ones.

0:46:40.160 --> 0:46:42.920
<v Speaker 1>Same thing in New York. The ones so lll to me.

0:46:42.960 --> 0:46:46.600
<v Speaker 1>Stayed classic. He didn't. He didn't try to gamble. He

0:46:46.640 --> 0:46:49.920
<v Speaker 1>didn't gamble on where today's movement was. He gambled on

0:46:49.960 --> 0:46:54.920
<v Speaker 1>where black people are at or where culture is at, infinitely.

0:46:55.480 --> 0:46:59.040
<v Speaker 3>And he understood, like I thought, the brilliance of what

0:46:59.080 --> 0:47:03.080
<v Speaker 3>Dodge did with the Challenge, understanding who Dodge is because

0:47:03.120 --> 0:47:06.000
<v Speaker 3>they tried to be the Viper and it failed. They

0:47:06.000 --> 0:47:09.640
<v Speaker 3>weren't gonna Dodge can't be the cyber truck. They could

0:47:09.640 --> 0:47:13.120
<v Speaker 3>have made it or something like it, but their dodge.

0:47:13.640 --> 0:47:16.239
<v Speaker 3>You can't come out and be that fucking energy with

0:47:16.320 --> 0:47:18.480
<v Speaker 3>your Dodge. Eli can do.

0:47:18.440 --> 0:47:22.680
<v Speaker 1>It because it's fucking enough, and he don't exactly. I agree.

0:47:22.760 --> 0:47:23.240
<v Speaker 1>I agree.

0:47:23.320 --> 0:47:25.960
<v Speaker 2>I hate that damn truck and people.

0:47:25.680 --> 0:47:27.640
<v Speaker 1>Love it, but I get why, and that's cool, But

0:47:27.680 --> 0:47:29.200
<v Speaker 1>that don't mean you go out and try to make

0:47:29.200 --> 0:47:33.000
<v Speaker 1>the goddamn cybertruck. You don't have the brand to make that.

0:47:33.120 --> 0:47:35.680
<v Speaker 1>Dude is on some ways, and I'm sure it's some

0:47:35.880 --> 0:47:38.960
<v Speaker 1>something sometime that's in his design that we just don't

0:47:38.960 --> 0:47:40.759
<v Speaker 1>know about. We ain't figured it out. That's like when

0:47:40.760 --> 0:47:43.120
<v Speaker 1>you listen to for Real music, Forarrell could discuise for

0:47:43.280 --> 0:47:47.560
<v Speaker 1>RELLI Elion the same creator. Yeah, Forrell will use some

0:47:47.600 --> 0:47:49.719
<v Speaker 1>ship that feel like some shit you should know, and

0:47:49.800 --> 0:47:51.560
<v Speaker 1>you swear to God that you'd be like, what the

0:47:51.560 --> 0:47:53.960
<v Speaker 1>fuck is that? You can't even stare down? They ain't

0:47:53.960 --> 0:47:57.960
<v Speaker 1>a same creator Elon and for Real, for Real is

0:47:57.960 --> 0:47:59.439
<v Speaker 1>the Elion musk of hip hop.

0:48:00.120 --> 0:48:02.080
<v Speaker 4>Now you know, I just found out the other day

0:48:03.040 --> 0:48:07.759
<v Speaker 4>that that hot in here is fucking busting loose.

0:48:08.480 --> 0:48:10.319
<v Speaker 1>And when you said it, I just caught it.

0:48:10.440 --> 0:48:16.400
<v Speaker 2>You're right, it's crazy, straight, Wow, that shit is crazy.

0:48:16.719 --> 0:48:19.239
<v Speaker 1>He's just nasty bro. He's like the Elon Musk of

0:48:19.320 --> 0:48:23.280
<v Speaker 1>hip hop bro. And it's funny because when you really

0:48:23.320 --> 0:48:26.839
<v Speaker 1>think about it, bro, Like even like when he first

0:48:26.920 --> 0:48:30.759
<v Speaker 1>came out, we was talking about it, you know on ADHD, right,

0:48:30.800 --> 0:48:34.600
<v Speaker 1>we were talking about it. Him embracing skater culture as

0:48:34.680 --> 0:48:37.720
<v Speaker 1>another form of street urban culture. Not that he's a skater,

0:48:37.800 --> 0:48:39.880
<v Speaker 1>he skated probably as a kid, everybody skating when he

0:48:39.960 --> 0:48:42.720
<v Speaker 1>was a kid, but for him to understand that approach

0:48:43.000 --> 0:48:44.400
<v Speaker 1>and a lot of people didn't know what he was

0:48:44.440 --> 0:48:47.680
<v Speaker 1>doing with skateboard culture. He even called himself skateboard people,

0:48:47.680 --> 0:48:49.880
<v Speaker 1>but they didn't look at him or understand that this

0:48:50.000 --> 0:48:53.280
<v Speaker 1>was a culture he was representing. He looked like totally

0:48:53.320 --> 0:48:58.160
<v Speaker 1>different than the normal scene. Sure, like for Real and

0:48:58.200 --> 0:49:00.319
<v Speaker 1>Elon do the same thing. But for the most part,

0:49:00.680 --> 0:49:03.840
<v Speaker 1>staying classic is obvious. And that's where I think LL

0:49:04.719 --> 0:49:10.440
<v Speaker 1>and LL and LL and Q Tip got it correct.

0:49:10.480 --> 0:49:14.040
<v Speaker 1>They stayed classic. That's like, if Juvenile comes out with

0:49:14.080 --> 0:49:17.080
<v Speaker 1>an album right now produced by Manny Fresh.

0:49:18.040 --> 0:49:19.640
<v Speaker 2>It's gonna work as long as.

0:49:19.480 --> 0:49:22.719
<v Speaker 1>Manny Fresh, don't be trying to Matti Fresh can't be

0:49:22.800 --> 0:49:25.600
<v Speaker 1>listening to too much. Like he gotta hear what mouse

0:49:25.680 --> 0:49:27.799
<v Speaker 1>is doing or what the next generation is doing, but

0:49:27.880 --> 0:49:31.719
<v Speaker 1>he gotta do it the Maddy Fresh way. Because as

0:49:31.760 --> 0:49:35.480
<v Speaker 1>Greate as Quick was, he's one of the greatest, just

0:49:35.560 --> 0:49:38.920
<v Speaker 1>an infinite, brilliant genius. What doctor Dre was able to

0:49:38.920 --> 0:49:41.400
<v Speaker 1>do with the same thing, if that's his true inspiration,

0:49:41.520 --> 0:49:43.600
<v Speaker 1>Like I believe look what he was able to do

0:49:43.680 --> 0:49:48.239
<v Speaker 1>with the ship that shit went out of orbit. So

0:49:48.440 --> 0:49:51.480
<v Speaker 1>he so for Dre if it mattered to him, or

0:49:51.520 --> 0:49:53.759
<v Speaker 1>for anybody, if it mattered. And they were trying to

0:49:53.840 --> 0:49:59.040
<v Speaker 1>make modern hip hop not classic modern hip hop. You

0:49:59.200 --> 0:50:02.799
<v Speaker 1>have to find somebody in the current space that's inspiring you,

0:50:02.960 --> 0:50:05.439
<v Speaker 1>or you gotta go out and play music and see

0:50:05.440 --> 0:50:10.120
<v Speaker 1>how people moving. That's the bringing said hip hop. Hip

0:50:10.160 --> 0:50:13.320
<v Speaker 1>hop is like the one thing that is not about

0:50:13.600 --> 0:50:17.400
<v Speaker 1>music out of all the genres. Shout out to them

0:50:17.440 --> 0:50:21.799
<v Speaker 1>New York Brothers. Man, they ain't got it right. They

0:50:21.800 --> 0:50:25.480
<v Speaker 1>ain't got it right, and it's evolving because cool evolves.

0:50:26.600 --> 0:50:32.560
<v Speaker 1>Right now in LA, the biggest groove is boom boom boom.

0:50:32.760 --> 0:50:38.359
<v Speaker 1>That's it. Three hits if you listen to the biggest songs,

0:50:38.400 --> 0:50:45.400
<v Speaker 1>they doing that same thing. Yeah, and again, it gotta

0:50:45.480 --> 0:50:51.359
<v Speaker 1>be more of an information bridge between the masters of sonics,

0:50:51.400 --> 0:50:53.840
<v Speaker 1>like a doctor Dre and a Fred Reck and a

0:50:53.960 --> 0:50:59.600
<v Speaker 1>dim joints the masters of sonics with the rawness of culture.

0:51:02.880 --> 0:51:05.480
<v Speaker 1>If hip hop wants to get back in the right space,

0:51:05.719 --> 0:51:09.560
<v Speaker 1>So why do say the youth is integral in the space.

0:51:09.600 --> 0:51:14.719
<v Speaker 1>That's hip hop? The art the elders is how you

0:51:14.920 --> 0:51:16.560
<v Speaker 1>learn how to package this shit.

0:51:19.640 --> 0:51:21.879
<v Speaker 3>They're like consultants that you bring in as an early

0:51:21.960 --> 0:51:25.600
<v Speaker 3>upstart company to help you scale out. Yeah, you get

0:51:25.600 --> 0:51:28.399
<v Speaker 3>a creative guy, he's the CEO. Enough money comes in,

0:51:28.560 --> 0:51:31.080
<v Speaker 3>what do they do They boot that fucking guy. I'll

0:51:31.080 --> 0:51:33.040
<v Speaker 3>give a fact check and bring somebody in who's an

0:51:33.080 --> 0:51:36.560
<v Speaker 3>expert to take it to market. Yes, and Dre is

0:51:36.600 --> 0:51:39.319
<v Speaker 3>the best at taking it to market that there has

0:51:39.360 --> 0:51:43.560
<v Speaker 3>ever been. He might not be the most at the wheel,

0:51:43.600 --> 0:51:45.400
<v Speaker 3>but always compare it to pitchers.

0:51:46.920 --> 0:51:51.880
<v Speaker 1>There's very few producers or pictures back in pitch nine innings,

0:51:51.920 --> 0:51:55.960
<v Speaker 1>I mean start to finish, make a top forty song. Yeah,

0:51:56.280 --> 0:51:59.280
<v Speaker 1>that is tough. It ain't been a lot of human

0:51:59.280 --> 0:52:03.720
<v Speaker 1>beings that could they can pitch nine innings, and especially

0:52:03.719 --> 0:52:09.839
<v Speaker 1>in a championship situation. Nine innings, right, that's just not rare.

0:52:10.080 --> 0:52:13.440
<v Speaker 1>It's a handful of guys, Teddy Riley, it's a handful

0:52:13.480 --> 0:52:20.719
<v Speaker 1>of guys. Most producers are starting or closers. Doctor dra

0:52:20.960 --> 0:52:23.360
<v Speaker 1>to me, doctor Drake can make a beat that he

0:52:23.400 --> 0:52:25.279
<v Speaker 1>could pitch nine innings. I'm sure some of this shit

0:52:25.320 --> 0:52:28.640
<v Speaker 1>he didn't pitch nine innings, but doctor dra is the

0:52:28.680 --> 0:52:32.560
<v Speaker 1>best closer in the history of the music business. I

0:52:32.560 --> 0:52:38.400
<v Speaker 1>mean that's like he'll take, yeah, he'll like Mariano Rivere,

0:52:38.440 --> 0:52:42.000
<v Speaker 1>he'll take what you doing, that little six or five

0:52:42.040 --> 0:52:45.160
<v Speaker 1>innings you could throw, and then he'll shut down the

0:52:45.200 --> 0:52:48.320
<v Speaker 1>last four and you gotta win on your record.

0:52:48.960 --> 0:52:49.919
<v Speaker 2>So that's that mean?

0:52:51.080 --> 0:52:51.600
<v Speaker 1>Is that more?

0:52:51.600 --> 0:52:54.439
<v Speaker 4>And so because of the because of the mix, because

0:52:54.480 --> 0:52:56.680
<v Speaker 4>of the he'll add something to it or something like that.

0:52:57.040 --> 0:52:58.040
<v Speaker 1>All of the above, d.

0:53:00.120 --> 0:53:00.160
<v Speaker 4>D.

0:53:00.920 --> 0:53:04.359
<v Speaker 1>All of the above, he's gonna add something, he gonna

0:53:04.440 --> 0:53:08.080
<v Speaker 1>change his first off, the quality that he just has

0:53:08.080 --> 0:53:12.840
<v Speaker 1>in his backpack and quality of sounds. Like Warren G.

0:53:13.080 --> 0:53:15.680
<v Speaker 1>That was one of the greatest things Warren G told me.

0:53:15.920 --> 0:53:19.520
<v Speaker 1>Warren G's like glasses. Most of the mixing starts in production,

0:53:20.360 --> 0:53:23.160
<v Speaker 1>and I never heard that. This is why it's important

0:53:23.160 --> 0:53:27.000
<v Speaker 1>to have them fucking elders like Warren and and and

0:53:27.280 --> 0:53:30.439
<v Speaker 1>Dre and cat like. You know, that's why I asked them,

0:53:30.560 --> 0:53:31.960
<v Speaker 1>and I know they get annoyed.

0:53:33.640 --> 0:53:33.840
<v Speaker 2>You know.

0:53:33.960 --> 0:53:36.920
<v Speaker 1>Hip hop does have this weird space to where people

0:53:36.960 --> 0:53:41.160
<v Speaker 1>are retarded. It very much is the movement of we, right.

0:53:41.239 --> 0:53:44.120
<v Speaker 1>The culture is the movement of we, but the business

0:53:44.239 --> 0:53:48.120
<v Speaker 1>is the movement of them. And we all trying to

0:53:48.120 --> 0:53:50.160
<v Speaker 1>make a dime or two. Bro that just come with

0:53:50.200 --> 0:53:53.280
<v Speaker 1>the territory, were all trying to make some goddamn money.

0:53:54.320 --> 0:53:56.080
<v Speaker 1>We ain't in this shit. We in the shit to

0:53:56.120 --> 0:53:58.359
<v Speaker 1>express it, but we also in this motherfucker to make

0:53:58.440 --> 0:54:02.200
<v Speaker 1>some money. So again, hip hop is the movement of

0:54:02.239 --> 0:54:05.640
<v Speaker 1>the youth, but the business is the hip hop is

0:54:05.680 --> 0:54:09.080
<v Speaker 1>the language of the youth, but the business is the

0:54:09.400 --> 0:54:12.719
<v Speaker 1>is the movement of the wise, the elders, them, all

0:54:12.840 --> 0:54:17.279
<v Speaker 1>them people who've been doing that business. That's why they

0:54:17.360 --> 0:54:22.160
<v Speaker 1>have to work together every now and then. You could

0:54:22.160 --> 0:54:24.279
<v Speaker 1>get some that work out, but you ain't finna keep

0:54:24.360 --> 0:54:26.800
<v Speaker 1>You ain't finna win one hundred games and no baseball

0:54:26.880 --> 0:54:32.359
<v Speaker 1>doing that. You eventually gonna have to plug in. And

0:54:32.400 --> 0:54:36.239
<v Speaker 1>that's the brilliance of hip hop. That's the brilliance of

0:54:36.320 --> 0:54:39.040
<v Speaker 1>hip hop. It is the like that's why Wu Tag

0:54:39.120 --> 0:54:42.399
<v Speaker 1>is the greatest hip hop group of all time. It's

0:54:42.560 --> 0:54:45.239
<v Speaker 1>nine niggas from a place that nobody else ever got

0:54:45.239 --> 0:54:50.360
<v Speaker 1>on from. That's how powerful it is. Hip Hop's so powerful.

0:54:51.320 --> 0:54:57.120
<v Speaker 1>And nine people broke State Ninland at once right out

0:54:57.120 --> 0:55:01.200
<v Speaker 1>to Wu Tang nine. That's why I'm so polarized. That's

0:55:01.200 --> 0:55:04.560
<v Speaker 1>why them motherfuckers could do the form the great the

0:55:04.680 --> 0:55:08.600
<v Speaker 1>form where the Lakers playing eighties, that's almost twenty thousand people.

0:55:09.440 --> 0:55:14.680
<v Speaker 1>They could do the Staple Center because it's nine of them.

0:55:14.920 --> 0:55:17.239
<v Speaker 3>Well, I mean, yeah, they're half the seats in the

0:55:17.280 --> 0:55:21.719
<v Speaker 3>arena are just the acting management.

0:55:23.160 --> 0:55:26.160
<v Speaker 1>So when people ask me, can you age out of

0:55:26.239 --> 0:55:30.200
<v Speaker 1>hip hop? You can put yourself in a position to

0:55:30.239 --> 0:55:33.439
<v Speaker 1>be on your own. But it's a choice to pay

0:55:33.480 --> 0:55:39.359
<v Speaker 1>attention to what everybody's doing. It's a choice.

0:55:41.160 --> 0:55:41.920
<v Speaker 2>I don't know, man.

0:55:41.960 --> 0:55:45.040
<v Speaker 4>I think I mean, I understand it's saying completely though,

0:55:45.920 --> 0:55:48.640
<v Speaker 4>but I think if you because what I'm getting from

0:55:48.680 --> 0:55:51.279
<v Speaker 4>what you're saying is that it's like a fall of

0:55:51.320 --> 0:55:54.160
<v Speaker 4>the leader type thing right there, Like what's working.

0:55:54.880 --> 0:55:56.600
<v Speaker 2>I'm making sure you're not saying.

0:55:56.360 --> 0:55:59.840
<v Speaker 1>No, no, right now there's no wonder.

0:56:00.320 --> 0:56:01.960
<v Speaker 2>I don't like cookie Cutter ship though you know what

0:56:01.960 --> 0:56:02.920
<v Speaker 2>I'm saying, I don't like the.

0:56:03.239 --> 0:56:08.560
<v Speaker 1>But that that's not quite what I will do. Shout

0:56:08.560 --> 0:56:11.400
<v Speaker 1>out to Lex. Hip hop will always be mine. I

0:56:11.440 --> 0:56:14.040
<v Speaker 1>respect your point glasses, but no, I will never age out.

0:56:14.200 --> 0:56:16.279
<v Speaker 1>I didn't say that. You didn't hear what I just said.

0:56:16.360 --> 0:56:20.839
<v Speaker 1>Lex That Lex Lex, Yeah, that's Lex legs. You didn't

0:56:20.840 --> 0:56:23.239
<v Speaker 1>hear what I said, Lex, I said, you can't. You

0:56:23.280 --> 0:56:28.640
<v Speaker 1>can only check out. You can only decide that you

0:56:28.800 --> 0:56:30.719
<v Speaker 1>have no more investments into weed.

0:56:33.440 --> 0:56:35.799
<v Speaker 3>Yeah, and at that point, you just.

0:56:35.760 --> 0:56:38.480
<v Speaker 1>Walked out on your own. It's nothing to do with

0:56:38.560 --> 0:56:43.000
<v Speaker 1>you growing up. You just decided that we don't matter anymore.

0:56:43.520 --> 0:56:47.880
<v Speaker 3>So everybody's I mean, you're I'm sitting here, this is

0:56:47.920 --> 0:56:50.399
<v Speaker 3>where I am. I'm in hip hop. Well everybody got

0:56:50.440 --> 0:56:52.160
<v Speaker 3>up and went over there, but you stayed there. So

0:56:52.360 --> 0:56:54.120
<v Speaker 3>guess what, You're not in it anymore. You're still right

0:56:54.200 --> 0:56:54.680
<v Speaker 3>where you are.

0:56:56.440 --> 0:56:58.239
<v Speaker 1>You could be over here and be looking at what

0:56:58.280 --> 0:57:06.680
<v Speaker 1>they doing. This is the thing Premier couldn't ever do

0:57:06.880 --> 0:57:12.960
<v Speaker 1>what with Cash Cobain does. Premier could never do what

0:57:13.000 --> 0:57:14.320
<v Speaker 1>Cash Cobain does.

0:57:15.719 --> 0:57:17.439
<v Speaker 2>But Timberland can't. But Timberland can.

0:57:17.880 --> 0:57:21.880
<v Speaker 1>Well, but this is the thing Premier can make what

0:57:22.000 --> 0:57:25.920
<v Speaker 1>Cash Cobain does a million times better.

0:57:27.520 --> 0:57:31.800
<v Speaker 4>I don't agree, it's for sure. I don't agree it's

0:57:31.840 --> 0:57:36.040
<v Speaker 4>for sure. You know I you know why Timberlin can

0:57:36.120 --> 0:57:39.320
<v Speaker 4>make it and Premier can't make it. For Man per

0:57:39.400 --> 0:57:43.520
<v Speaker 4>Mans cut from the from the mally cop break beats

0:57:43.520 --> 0:57:45.360
<v Speaker 4>and samples. That's it right there. You know what I'm

0:57:45.360 --> 0:57:50.440
<v Speaker 4>saying with Timberland. With Timberland is with Timberland's instruments, sounds

0:57:50.800 --> 0:57:51.160
<v Speaker 4>and so.

0:57:51.160 --> 0:57:51.720
<v Speaker 2>And so forth.

0:57:53.240 --> 0:57:57.160
<v Speaker 1>It's crediting what Premier does in his knowledge in the

0:57:57.240 --> 0:58:04.720
<v Speaker 1>space samples and break beats. It's way more nuanced in that.

0:58:04.720 --> 0:58:05.640
<v Speaker 2>That's what he does too.

0:58:05.880 --> 0:58:10.400
<v Speaker 1>No, he does his understanding. Trap you don't. You can't

0:58:10.520 --> 0:58:17.400
<v Speaker 1>not the how. It's the how.

0:58:17.480 --> 0:58:20.760
<v Speaker 3>Like say, it's like you're trying to scale out some

0:58:20.880 --> 0:58:25.960
<v Speaker 3>new food you've invented. Some who who's like like a

0:58:26.040 --> 0:58:29.280
<v Speaker 3>Wolfgang Puck's gonna come through because he can have a

0:58:29.320 --> 0:58:32.120
<v Speaker 3>restaurant that's got five hundred locations and people will eat

0:58:32.160 --> 0:58:35.520
<v Speaker 3>there based off of his the manner in which he cooks.

0:58:36.080 --> 0:58:41.120
<v Speaker 3>And you're the hottest new Thai fusion guy in Hollywood,

0:58:41.360 --> 0:58:45.200
<v Speaker 3>and you want to go from being you know, the

0:58:45.240 --> 0:58:49.400
<v Speaker 3>coolest one spot niche restaurant to being big. He's gonna say, look,

0:58:50.840 --> 0:58:52.680
<v Speaker 3>you need to add a little bit of cream here.

0:58:52.760 --> 0:58:54.880
<v Speaker 3>We gotta we have to deviate you back to the

0:58:54.920 --> 0:58:59.560
<v Speaker 3>median a little bit so that you're more consumable by

0:58:59.600 --> 0:59:01.919
<v Speaker 3>the mass. So you gotta throw a little cream here.

0:59:02.560 --> 0:59:04.800
<v Speaker 3>You gotta take a little bit of heat off of that,

0:59:05.120 --> 0:59:07.720
<v Speaker 3>and you gotta put a little garlic there. And now

0:59:08.120 --> 0:59:09.920
<v Speaker 3>the amount of people who are gonna have an appetite

0:59:09.920 --> 0:59:12.960
<v Speaker 3>for your dish is gonna go from thirty thousand to

0:59:13.040 --> 0:59:15.760
<v Speaker 3>five hundred thousand. That's kind of like what it seems

0:59:15.760 --> 0:59:16.800
<v Speaker 3>like Premiere and Dre do.

0:59:17.520 --> 0:59:18.280
<v Speaker 2>And they don't do that.

0:59:18.320 --> 0:59:22.320
<v Speaker 1>You know, this is what I'm telling Trap. His understanding

0:59:22.360 --> 0:59:25.520
<v Speaker 1>of sonics would take him to another level. And one

0:59:25.560 --> 0:59:28.760
<v Speaker 1>thing you got to understand about Premier, he's on the

0:59:28.800 --> 0:59:31.280
<v Speaker 1>heart and soul of New York's hip hop scene for

0:59:31.400 --> 0:59:35.240
<v Speaker 1>thirty years. He's the core of it. He is the

0:59:35.440 --> 0:59:38.560
<v Speaker 1>classic broll.

0:59:38.600 --> 0:59:42.080
<v Speaker 4>He's not bro that from the outside looking at you'll

0:59:42.080 --> 0:59:44.320
<v Speaker 4>like to say that right there be but we got

0:59:44.600 --> 0:59:45.880
<v Speaker 4>you put him over with Pete Rock.

0:59:46.960 --> 0:59:54.680
<v Speaker 1>I'm putting over. I'm not putting doctor DJ Quick. We're

0:59:54.720 --> 0:59:57.840
<v Speaker 1>just using them as examples. They are all in their

0:59:57.880 --> 0:59:59.840
<v Speaker 1>own lanes of what they do. It's not one of

0:59:59.880 --> 1:00:05.440
<v Speaker 1>the the other. Pete hold Up. Pete is another supreme

1:00:06.200 --> 1:00:09.200
<v Speaker 1>level of mastery when it comes to the heart and

1:00:09.240 --> 1:00:12.720
<v Speaker 1>soul of New York Street urban culture. Same for Rizza,

1:00:12.800 --> 1:00:16.440
<v Speaker 1>who I've told you off offline is probably the greatest

1:00:16.440 --> 1:00:20.000
<v Speaker 1>in my mind. If we're not talking even about the

1:00:20.040 --> 1:00:25.160
<v Speaker 1>boys from Brooklyn track Masters, I'm saying that. I'm saying

1:00:25.200 --> 1:00:29.680
<v Speaker 1>the elder hold the wisdom of sonics in another way

1:00:30.000 --> 1:00:34.280
<v Speaker 1>that young people don't have the wisdom to know consistently.

1:00:34.760 --> 1:00:37.280
<v Speaker 4>See, I gotta keep a grand I gotta keep disagreeing

1:00:37.280 --> 1:00:41.880
<v Speaker 4>with it because to the fact of you would have never,

1:00:42.000 --> 1:00:44.680
<v Speaker 4>You'd have never for what Cash co Bain was able

1:00:44.720 --> 1:00:48.600
<v Speaker 4>to do, you know what I'm saying. So that wasn't nothing,

1:00:48.640 --> 1:00:50.840
<v Speaker 4>that wasn't the same, that was him. I like the youth,

1:00:50.920 --> 1:00:53.080
<v Speaker 4>I like youth production, like I like the first off.

1:00:53.200 --> 1:00:57.040
<v Speaker 4>I love I love old older production. I love I

1:00:57.040 --> 1:01:00.800
<v Speaker 4>love Pete Rock, I love from Me all that because

1:01:00.800 --> 1:01:03.240
<v Speaker 4>I like break break beats and samples like that. Right,

1:01:03.840 --> 1:01:07.280
<v Speaker 4>But at the same time, though I respect the person

1:01:07.640 --> 1:01:09.040
<v Speaker 4>when the instrumentation is.

1:01:09.120 --> 1:01:09.680
<v Speaker 2>You know what I'm saying.

1:01:09.720 --> 1:01:12.320
<v Speaker 4>They able to use the instruments and bring out different

1:01:12.520 --> 1:01:16.200
<v Speaker 4>different swings, different method and I'm saying different different different

1:01:16.200 --> 1:01:18.280
<v Speaker 4>break and I'm saying different breaks and all that ship

1:01:18.360 --> 1:01:19.800
<v Speaker 4>like that. You know what I'm saying. That comes from

1:01:19.800 --> 1:01:21.920
<v Speaker 4>the youth with the challenge themselves and not trying to

1:01:21.920 --> 1:01:25.600
<v Speaker 4>be like us. You know what I'm saying, Stop doing that.

1:01:25.960 --> 1:01:27.760
<v Speaker 4>It's the reason you have kids.

1:01:28.200 --> 1:01:30.240
<v Speaker 1>Don't sit up here and keep talking like your kids

1:01:30.240 --> 1:01:32.360
<v Speaker 1>could be somebody without you. Your kids gonna go up

1:01:32.400 --> 1:01:34.760
<v Speaker 1>to be who they is, but without your guidance, they

1:01:34.880 --> 1:01:35.600
<v Speaker 1>be in troubled.

1:01:36.440 --> 1:01:38.760
<v Speaker 4>Listen, what I understand what they're having kids is when

1:01:38.800 --> 1:01:41.120
<v Speaker 4>I first had my kids, right, what I thought was like, Yo,

1:01:41.240 --> 1:01:43.800
<v Speaker 4>I'm gonna I'm gonna mold my kid to be exactly

1:01:43.840 --> 1:01:44.800
<v Speaker 4>the way I want them to be.

1:01:44.880 --> 1:01:47.320
<v Speaker 1>It's not. That's not that's not the same. That's not

1:01:47.400 --> 1:01:50.880
<v Speaker 1>what it's not.

1:01:51.040 --> 1:01:53.520
<v Speaker 3>It's not mold them to what you want to be

1:01:54.040 --> 1:01:56.000
<v Speaker 3>and what they want to be.

1:01:56.280 --> 1:01:58.080
<v Speaker 2>It's impossible to motioned kids to the way you want

1:01:58.080 --> 1:01:58.360
<v Speaker 2>them to be.

1:01:59.080 --> 1:02:02.800
<v Speaker 1>That's not even we're not even talking about that. I'm

1:02:02.840 --> 1:02:07.640
<v Speaker 1>telling you what Sheerley Dray knows about it. Okay, okay,

1:02:08.440 --> 1:02:11.960
<v Speaker 1>are they still using snares in Kirk Cobain's beat.

1:02:14.480 --> 1:02:22.360
<v Speaker 4>Not all the time now, all the time he uses

1:02:22.520 --> 1:02:25.320
<v Speaker 4>like Kirk cop band beats. He uses fucking like like

1:02:25.440 --> 1:02:28.840
<v Speaker 4>little fucking like little sounds and charms.

1:02:28.520 --> 1:02:31.080
<v Speaker 3>On the whole. He's using a tom instead of a snare.

1:02:31.680 --> 1:02:33.160
<v Speaker 2>Yo, bro, I'm telling you, brother man.

1:02:34.040 --> 1:02:38.680
<v Speaker 1>Does he use a percussion high hats and stuff like that,

1:02:39.080 --> 1:02:40.560
<v Speaker 1>any percussion any.

1:02:42.240 --> 1:02:42.560
<v Speaker 2>Like that?

1:02:42.840 --> 1:02:48.120
<v Speaker 1>Yeah, Premier knows more about percussions. His wisdom and information.

1:02:48.640 --> 1:02:52.320
<v Speaker 1>It knows more about percussions than somebody who hasn't worked

1:02:52.360 --> 1:02:53.440
<v Speaker 1>with percussions.

1:02:54.480 --> 1:02:58.760
<v Speaker 4>Make a beat, yes, all right, so Permier makes a beat.

1:02:59.000 --> 1:03:03.040
<v Speaker 4>He simples all his drums, samples, all his drum breaks.

1:03:03.040 --> 1:03:06.920
<v Speaker 4>Sample is straight simple and he gotta he got a

1:03:07.000 --> 1:03:09.800
<v Speaker 4>list of drum breaks he's using right there.

1:03:11.160 --> 1:03:13.600
<v Speaker 1>In the studio, so you can see what he's doing.

1:03:14.960 --> 1:03:15.919
<v Speaker 2>I seen what he did.

1:03:16.040 --> 1:03:20.240
<v Speaker 1>I'm talking about. I'm talking about not just from inception

1:03:20.720 --> 1:03:23.040
<v Speaker 1>to finish, when they mixing the breaks.

1:03:23.040 --> 1:03:25.000
<v Speaker 2>Okay, Okay, I got you, because.

1:03:24.720 --> 1:03:26.720
<v Speaker 1>That's the same thing we're talking about.

1:03:27.280 --> 1:03:30.200
<v Speaker 3>And this is one he means like when you say closers,

1:03:30.760 --> 1:03:34.360
<v Speaker 3>it's it's refining what's already there. And and with these guys,

1:03:35.160 --> 1:03:38.760
<v Speaker 3>they it's not what they did with that song was

1:03:38.800 --> 1:03:43.400
<v Speaker 3>so great. It's they heard a thousand songs, they chose

1:03:43.480 --> 1:03:46.560
<v Speaker 3>that song, and then they refined it that song, discarding

1:03:46.640 --> 1:03:49.440
<v Speaker 3>all the others. It's a whole process.

1:03:50.280 --> 1:03:52.200
<v Speaker 1>And I think and that and see, I think that's

1:03:52.240 --> 1:03:55.080
<v Speaker 1>the confusion. And I think that's what's wrong with where

1:03:55.080 --> 1:03:56.240
<v Speaker 1>the space is at now.

1:03:57.720 --> 1:04:02.600
<v Speaker 3>It's not enough appreciation for with as well. We'll go

1:04:02.680 --> 1:04:06.680
<v Speaker 3>back to the White Lightning. Sure, I'm sure you thought

1:04:07.000 --> 1:04:09.480
<v Speaker 3>all eight of those songs were fired yep. Are you

1:04:09.480 --> 1:04:10.400
<v Speaker 3>wanting to put them on there?

1:04:10.480 --> 1:04:10.720
<v Speaker 2>Yep?

1:04:11.200 --> 1:04:13.840
<v Speaker 3>He listened to all of them and said that one's

1:04:13.880 --> 1:04:14.720
<v Speaker 3>the one they want.

1:04:14.920 --> 1:04:15.080
<v Speaker 2>Yep.

1:04:16.160 --> 1:04:19.760
<v Speaker 1>And that's three quarters of the work right there. And

1:04:19.840 --> 1:04:22.479
<v Speaker 1>it makes sense that it came from Saint Danton who

1:04:22.520 --> 1:04:24.720
<v Speaker 1>at that time his sound had broke through. He had

1:04:24.760 --> 1:04:31.560
<v Speaker 1>figured something out. But again, whoever, whichever wisdom. So the

1:04:31.640 --> 1:04:34.760
<v Speaker 1>agent out of hip hop is probably not possible if

1:04:34.800 --> 1:04:37.920
<v Speaker 1>you are truly the culture itself. But I think you

1:04:37.960 --> 1:04:41.520
<v Speaker 1>could check out. I think you can decide to stop

1:04:41.560 --> 1:04:44.640
<v Speaker 1>paying attention to we. So it's not a follow the

1:04:44.720 --> 1:04:48.400
<v Speaker 1>leader thing because at the same time Dre. Even if

1:04:48.480 --> 1:04:50.800
<v Speaker 1>let's say he says Quick is his muse, Let's say

1:04:50.840 --> 1:04:52.680
<v Speaker 1>here is this streaming like you know what, yeah, Glass

1:04:52.720 --> 1:04:54.880
<v Speaker 1>is that true? Quick is my muse? He was doing

1:04:54.880 --> 1:04:58.680
<v Speaker 1>this and that G than Dred do not sound like

1:04:58.760 --> 1:05:03.080
<v Speaker 1>DJ Quick. Let's say Warren G saw what Quick was

1:05:03.080 --> 1:05:05.160
<v Speaker 1>doing and Dre was doing, and he was like, man,

1:05:05.200 --> 1:05:07.800
<v Speaker 1>I like that, that's his muse. Right when it came

1:05:07.840 --> 1:05:09.720
<v Speaker 1>to the hip hop space outside of R and B,

1:05:11.200 --> 1:05:14.960
<v Speaker 1>regulate does not sound like G thing. Let's say Slip

1:05:15.080 --> 1:05:17.560
<v Speaker 1>saw all the stuff they was doing. DJ Slip from

1:05:17.560 --> 1:05:25.560
<v Speaker 1>Compass most wanted right a straight up minute doesn't sound

1:05:25.600 --> 1:05:30.520
<v Speaker 1>like G thing. You get what I'm saying. Primo could

1:05:30.680 --> 1:05:33.760
<v Speaker 1>look Pete. Primo could have looked at Pete. I don't know,

1:05:33.800 --> 1:05:35.800
<v Speaker 1>because I don't know that history of who that how

1:05:35.840 --> 1:05:37.800
<v Speaker 1>they saw each other. I know this one a little more.

1:05:38.080 --> 1:05:39.960
<v Speaker 1>But he could have looked at Pete and was like, man,

1:05:39.960 --> 1:05:42.440
<v Speaker 1>that Pete Rock shit is crazy and made this shit

1:05:42.560 --> 1:05:45.520
<v Speaker 1>his shit don't sound like Pete Rock. Q Tip could

1:05:45.520 --> 1:05:48.360
<v Speaker 1>have saw whoever, they don't. It don't sound the same.

1:05:49.560 --> 1:05:51.919
<v Speaker 1>The reason we feel like hip hop sounds the same

1:05:53.080 --> 1:05:57.000
<v Speaker 1>right now at a level is because when everybody first starts,

1:05:57.200 --> 1:06:00.720
<v Speaker 1>they're emulating somebody. For the most part, it is a couple.

1:06:01.000 --> 1:06:04.440
<v Speaker 1>It is a couple guys in hip hop, you know

1:06:04.480 --> 1:06:06.200
<v Speaker 1>what I mean. They come out the rip and they just.

1:06:06.160 --> 1:06:08.720
<v Speaker 2>Got some They got to develop into that though.

1:06:08.760 --> 1:06:11.880
<v Speaker 1>But most people start with training wheels to ride about it.

1:06:12.040 --> 1:06:14.280
<v Speaker 1>It's gonna be very few human beings that just hop

1:06:14.320 --> 1:06:18.080
<v Speaker 1>on the bigans, popa wheelie and go. So what we're

1:06:18.120 --> 1:06:21.400
<v Speaker 1>hearing is a lot of people using beats, right that

1:06:21.520 --> 1:06:27.560
<v Speaker 1>are training wheel beats the elite level. Uh, take Keith Pete.

1:06:27.760 --> 1:06:30.720
<v Speaker 1>Take Keith. Don't sound like mustard.

1:06:31.920 --> 1:06:34.600
<v Speaker 3>I think of like a like a good as far

1:06:34.640 --> 1:06:39.640
<v Speaker 3>as how these small details are the separators, Like Manny

1:06:39.640 --> 1:06:44.080
<v Speaker 3>Fresh came out of a dense environment of people creating

1:06:44.120 --> 1:06:45.880
<v Speaker 3>like that same kind of sound at that time in

1:06:45.880 --> 1:06:48.000
<v Speaker 3>New Orleans, right, everybody's kind of doing the same thing,

1:06:48.760 --> 1:06:51.720
<v Speaker 3>the little things that he did with his sound, which

1:06:51.760 --> 1:06:54.080
<v Speaker 3>was the same type of sound, using the same type

1:06:54.120 --> 1:06:55.959
<v Speaker 3>of everything, because that was the sound of the city

1:06:55.960 --> 1:07:00.400
<v Speaker 3>at the time, is what separated and made that Super

1:07:00.440 --> 1:07:05.080
<v Speaker 3>Bowl ten million units versus we did fifty thousand. The

1:07:05.080 --> 1:07:07.960
<v Speaker 3>city in Ornans they're there really were doing a lot

1:07:08.000 --> 1:07:10.960
<v Speaker 3>of the same, the same style, same name. They weren't changing,

1:07:11.760 --> 1:07:14.680
<v Speaker 3>like the space was that big. It was just the

1:07:14.760 --> 1:07:17.520
<v Speaker 3>nature with which he did the little things that helped

1:07:17.520 --> 1:07:18.840
<v Speaker 3>get it out of the city.

1:07:19.560 --> 1:07:24.680
<v Speaker 1>Yeah, I agree, that's there, So I don't want to

1:07:24.680 --> 1:07:26.680
<v Speaker 1>hold that against hip hop. You just have a lot

1:07:26.720 --> 1:07:29.960
<v Speaker 1>more training wheel, beach trap. That's all because most people

1:07:30.520 --> 1:07:33.400
<v Speaker 1>didn't have a music program, so they're only they're emulating

1:07:33.480 --> 1:07:36.240
<v Speaker 1>something right there, and then those beats are being selected.

1:07:36.520 --> 1:07:39.200
<v Speaker 1>But if you look at the major league pitchers and

1:07:40.120 --> 1:07:43.479
<v Speaker 1>professional hip hop today, at at a professional level, none

1:07:43.520 --> 1:07:46.480
<v Speaker 1>of the shit sound the same. Hit boys shit don't

1:07:46.480 --> 1:07:49.200
<v Speaker 1>sound nothing like Mustard, that don't sound nothing like Take Heap,

1:07:49.280 --> 1:07:51.720
<v Speaker 1>that don't sound nothing like them. Guys has placing top

1:07:51.800 --> 1:07:57.200
<v Speaker 1>forty songs. None of them guys sound the same. Now,

1:07:57.320 --> 1:08:00.720
<v Speaker 1>at the lower level, when you first getting into the league,

1:08:01.000 --> 1:08:03.200
<v Speaker 1>yes you're gonna hear a lot of things that sound

1:08:03.320 --> 1:08:07.120
<v Speaker 1>the same. But at the professional level you can clearly

1:08:07.200 --> 1:08:11.280
<v Speaker 1>hear the difference. We just got a lot more amateur ball,

1:08:11.400 --> 1:08:13.920
<v Speaker 1>and we have some amateur ball. We have amateur leagues

1:08:13.960 --> 1:08:17.080
<v Speaker 1>that are big league things we do, and it's all

1:08:17.120 --> 1:08:19.840
<v Speaker 1>kind of people getting deals that don't know much about music.

1:08:23.960 --> 1:08:26.280
<v Speaker 1>So that's all I'm saying. I'm saying, you have to

1:08:26.320 --> 1:08:29.719
<v Speaker 1>look at the wei. You have to look at the Wi.

1:08:31.439 --> 1:08:35.599
<v Speaker 1>You have to because hip hop is the movement of we.

1:08:35.600 --> 1:08:40.800
<v Speaker 1>We decide what's cool. We move together, the movement of we.

1:08:42.120 --> 1:08:45.480
<v Speaker 1>So you only could age out if you stop recognizing

1:08:45.560 --> 1:08:50.640
<v Speaker 1>the wei in things, the we, that culture that you

1:08:50.760 --> 1:08:55.800
<v Speaker 1>grew up in, the we of that thing. That's where

1:08:55.800 --> 1:08:58.040
<v Speaker 1>you disconnect.

1:09:01.040 --> 1:09:06.120
<v Speaker 2>Hip hop is I agree with them that within it

1:09:06.240 --> 1:09:06.720
<v Speaker 2>being the wee.

1:09:07.160 --> 1:09:11.960
<v Speaker 4>And what we did was we turned, we turned so

1:09:11.960 --> 1:09:16.800
<v Speaker 4>so we turned James Brown drummer, Al Green drummers, we reinvaded,

1:09:17.040 --> 1:09:20.720
<v Speaker 4>we rented, we reinvaded that. Their their drum breaks they

1:09:21.080 --> 1:09:24.040
<v Speaker 4>they came up with, and we made it into hip

1:09:24.080 --> 1:09:26.439
<v Speaker 4>hop right there. You know what I'm saying. And that's

1:09:26.439 --> 1:09:27.720
<v Speaker 4>what we did. You know what I'm saying, for the

1:09:27.760 --> 1:09:30.040
<v Speaker 4>most part of every hip hop so on, you're gonna here,

1:09:30.080 --> 1:09:31.040
<v Speaker 4>it's the same drum.

1:09:31.000 --> 1:09:34.880
<v Speaker 2>As a Greens drummer is James Brown drummer.

1:09:34.920 --> 1:09:36.840
<v Speaker 4>I forgot that. I got the dude's names right there.

1:09:36.840 --> 1:09:39.400
<v Speaker 4>But those breaks they was using right there, we reinvented,

1:09:39.520 --> 1:09:42.360
<v Speaker 4>we went, We reinvented that right there and made it

1:09:42.400 --> 1:09:44.519
<v Speaker 4>into hip hop. You know what I'm saying, and through

1:09:44.520 --> 1:09:46.519
<v Speaker 4>so much even even if you playing it at or

1:09:46.560 --> 1:09:49.120
<v Speaker 4>you even sampling the ship, that's the that's the breaks

1:09:49.120 --> 1:09:50.719
<v Speaker 4>that we use right there, you know what I'm saying.

1:09:50.720 --> 1:09:53.240
<v Speaker 2>So we my bad.

1:09:53.680 --> 1:09:57.280
<v Speaker 4>We did a bad tapping table, but we did we

1:09:57.320 --> 1:09:59.040
<v Speaker 4>did like yeah, so I get the weed. You know

1:09:59.080 --> 1:10:01.000
<v Speaker 4>what I'm saying. We took We took it and made

1:10:01.000 --> 1:10:03.519
<v Speaker 4>it into hours. I always say hip hop is hip hop.

1:10:03.560 --> 1:10:06.280
<v Speaker 4>Is the only drama that could take anything and make

1:10:06.320 --> 1:10:07.120
<v Speaker 4>it to hip hop.

1:10:07.880 --> 1:10:08.439
<v Speaker 2>You know what I'm saying.

1:10:08.479 --> 1:10:11.479
<v Speaker 4>I can make could do it. But no, no, every

1:10:11.520 --> 1:10:13.400
<v Speaker 4>every Jona can't do it. Every Jona can't do it.

1:10:13.400 --> 1:10:16.559
<v Speaker 4>Every Jona can't do it. Poppa is the only Grama.

1:10:17.160 --> 1:10:20.280
<v Speaker 4>We could take anything and make it to hip hop.

1:10:21.840 --> 1:10:22.839
<v Speaker 4>We could take anything.

1:10:23.439 --> 1:10:24.960
<v Speaker 1>I think everybody else could do that.

1:10:26.600 --> 1:10:28.920
<v Speaker 2>Okay, So if you look.

1:10:28.760 --> 1:10:32.080
<v Speaker 1>At what Ray Charles did with with Must Be Jesus,

1:10:32.360 --> 1:10:36.840
<v Speaker 1>and he turned it into soul, I'm sure they could turn.

1:10:36.880 --> 1:10:39.040
<v Speaker 2>The way he sang it, the way he sang it though.

1:10:41.200 --> 1:10:42.280
<v Speaker 1>How he played it.

1:10:42.920 --> 1:10:46.360
<v Speaker 3>There's cases of this in the in the like there's

1:10:46.720 --> 1:10:49.960
<v Speaker 3>songs that like James Taylor did that, and he's a

1:10:50.080 --> 1:10:53.920
<v Speaker 3>very folky, hippie, earthy rock and roll. I guess you

1:10:54.000 --> 1:10:56.880
<v Speaker 3>want to call him that singer. And there's a honestly

1:10:56.960 --> 1:10:59.360
<v Speaker 3>Brothers hit that was one of his songs that they

1:10:59.439 --> 1:11:03.800
<v Speaker 3>just did. Like that has happened this president for that, but.

1:11:04.120 --> 1:11:07.240
<v Speaker 1>I do I agree with But again, that goes into

1:11:07.280 --> 1:11:10.040
<v Speaker 1>the movement of we. We saw us dance the dance

1:11:10.080 --> 1:11:13.280
<v Speaker 1>break and we was like, Okay, we're gonna reorganize the

1:11:13.640 --> 1:11:17.240
<v Speaker 1>melody of what's happening over something that makes your feet move.

1:11:18.360 --> 1:11:21.960
<v Speaker 1>That's all Drake. That's all Drake Quick Warren and those

1:11:22.000 --> 1:11:24.840
<v Speaker 1>guys did and Cat did you know we can freak it.

1:11:24.840 --> 1:11:28.680
<v Speaker 1>It's just Ray Parker Jr. Tell Tunit and buot. It

1:11:28.720 --> 1:11:33.000
<v Speaker 1>ain't nothing but the association like what people are going

1:11:33.080 --> 1:11:35.880
<v Speaker 1>to move to? What is the we going to move to?

1:11:36.080 --> 1:11:41.400
<v Speaker 1>How are we moving? That's all I'm saying, doog, It's

1:11:41.640 --> 1:11:44.840
<v Speaker 1>just the we And and if you stay in touch

1:11:44.880 --> 1:11:49.479
<v Speaker 1>with the we, You're gonna always have your posts, you

1:11:49.520 --> 1:11:51.200
<v Speaker 1>know what I mean? On a heartbeat of hip hop,

1:11:53.360 --> 1:11:57.040
<v Speaker 1>you always and if nothing else, shout out to ll

1:11:57.280 --> 1:12:01.439
<v Speaker 1>cool J, if nothing else out out to COOLJ. You

1:12:01.479 --> 1:12:13.080
<v Speaker 1>could just stay classic. You could just stay classic. No

1:12:13.200 --> 1:12:15.559
<v Speaker 1>sentners Live to lunch out every Monday, Wednesday, and Friday

1:12:15.560 --> 1:12:19.160
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1:12:19.200 --> 1:12:21.280
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<v Speaker 1>a favorite, subscribe, rate, comment, and share. This episode was

1:13:10.439 --> 1:13:12.679
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1:13:13.040 --> 1:13:15.920
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1:13:17.200 --> 1:13:19.479
<v Speaker 2>Yeah