transcript

Speaker 1:
[00:00] So these are some of the songs we're coming forward with, to reignite a passion musical, and not to try to outshine that, although because wherever there will be in the sun, nevertheless, as elders have always made sure that the road still paved, there's food and travel free, and the music flow consistent.

Speaker 2:
[00:35] Yeah, yeah, what up, y'all, this is Joe Crack the Darn. You know who it is, your boy Jadakiss. This is the Joe and Jada show, every show legendary, every show iconic. Speak slow for him. We crushing your basappas. Pow, pow, pow! Today's guest. Yo Courtney, I tell you, we be the biggest, I told you that shit. When you think of today's guest. You think of evolution, you think of big tomes, you think of sold out arenas, you think of realness, you think of respect, you think of power, you think if you're trying to make a hit, it's somebody you definitely need to call. He can help you out with a phone call. Ladies and gentlemen, hold on. Let me keep going. Let's go. He's the goat.

Speaker 1:
[01:36] Lion.

Speaker 2:
[01:36] To say the least, the lion. Strong like lion from Zion. Dr. Mel, the lion, he's the goat. Nobody fucking with Buju Banton. Yeah, call him Gargamel. 10 year hiatus, come back, sound brand new. 20 years old, nobody can with Buju. The only person that not allowed to be in the States and still run the States. Never been done before. Let's go, Jady. They kicked him out of the United States and he still was able to run, have it in a choke hold. That's right.

Speaker 1:
[02:07] Ladies and gentlemen, make some noise.

Speaker 2:
[02:09] You can call him Gargamel. Gargamel.

Speaker 1:
[02:12] Call him Buju Banton. Not to him respect. Big respect to Fat Joe. Many, many years of friendship. Big respect to Jada Kisses likewise. Thanks for you guys for having me on your program and the podcast.

Speaker 2:
[02:32] It's a pleasure. It's an honor, King. Honor. Buju Banton. Dome. We doing shit, man. That shit ain't no normal shit. We had Michael Jordan yesterday. Now we got fucking Buju Banton. This ain't a game right here.

Speaker 1:
[02:47] Step by step, brick by brick, we're building.

Speaker 2:
[02:49] You know, everybody, I know you humble. I know you show everybody love and respect, but ain't nobody Buju Banton. I don't give a fuck. Nobody. Who it is? This couch, there's royalty on the couch. Yeah, nobody's, nobody's Buju Banton on the Donk Agamel since the 90s, all the way to now, the biggest. You went on tour, you went and bought an airplane. You came back, y'all never seen nobody like, yo, Buju think, yo, yo, Buju left. Let me tell you something. Buju left when the money was real good. No, no, no, no, no. Buju left when the money was real good. He came out, Joey was money, Joey. I said, yo, Buju, the way you gonna get to the next thing? I know a month later, he's in, he bought his own airplane. I said, yo, Buju, I ain't got no fucking airplane. He got right to it. He got right to it, yo, Buju, I love you, you my brother.

Speaker 1:
[03:44] I love you too, brother. Yeah, Joey is right. I came home, touched base, I feel my friends on the most important question, couple of questions, like, how are you?

Speaker 2:
[03:52] How the family?

Speaker 1:
[03:52] Next question was, where the money at?

Speaker 2:
[03:54] Where is it?

Speaker 1:
[03:55] What's going on? What's going on in the industry? What's going on in the world of what we know? In music business, what's going on? He's right.

Speaker 2:
[04:04] Yo, Buju, you know, it was the guy in Africa, the fake guy used a Buju name, you know, I dissed him on TV. That was when I was hosting the, what was it? The Wendy Williams Show? Shut him down, he changed his name. I told him, there's only one Buju Banton, the Don Garganel, dissed him on TV and went back to Africa. The guy changed his name. Now he's X1312 or something. changed his name. I don't play that shit. that.

Speaker 1:
[04:31] You know, like, most people get the name from their friends. They get the name from, you know, do some stupid shit and people name them. My name came from my mom. So it wasn't a name given to me by my friends. And I took the name Banton due to my adoration for Buju Banton and his musical delivery in the dance hall, you know, because ever so often we have to keep reminding the people that there's a distinguished difference between a DJ in Jamaica and a DJ here. And in the DJ here is a guy who plays the music, the DJ in my country is a guy who hold onto the microphone and talk on the version, speaks on the beat. So prominent one from those years, Buju Banton, you know, came to America, made a name for himself. So the Buju came from my mom and the Banton came from my adoration for his craft and how he display his musical talent in the dance hall. So it's not something that is given to me by friends and so on. So when a young man came and said the name Buju, I knew the problem it poses because automatically most of the algorithms is run now by a certain ways and all the algorithms start getting confused. They go to who's Buju? So we have to regulate that to make sure that, you know what I mean? We have to find a new name.

Speaker 2:
[05:50] Yo, I did that shit on TV. I got a phone call, a silent phone call for somebody. I said, you did the right thing, Joe. He hung up the phone. I said, all right. Well, I probably can't go to that part of Africa no more, but he said, I swear to God, I got a phone call. We got mutual friends.

Speaker 1:
[06:05] All apart.

Speaker 2:
[06:06] I called up and said, Joe, you did the right thing. Joe, I said, that's right. You know what I'm saying? We got to salute the Gargamel. The Gargamel and me go back 30 years, you know, putting that yellow tail fish. He used to tell me all the time, Joe, you got to get slim, Joey. Joey, the Fat Joey is not going to make it to the future. Yeah, yeah. He used to tell me this shit back in the day. Eat fish, Joey. Joey, just eat fish, Joey. Joey, don't do this and this and that. He was the first guy talking that health shit to me back in the day. I go like this, I'll tell you one story, Courtney. I do Disney work. So I'm gangsta rapper, whatever. I hit one out the park, What's Love. Just white people love me all over now because they know What's Love. It's like I hit one out the park. So I'm doing Disneyland. So I do Disneyland and I bring Buju with me. I'm like, your Buju come through, he come through. Buju come out there, he start ripping it down and then he start saying, you know, Disneyland and illusion, these people, he start to shit on the mic, turn the mic off, turn the mic off, please, Buju, these people here, Joey. I mean like, you're a bunch of people.

Speaker 1:
[07:28] So, we got many tales because once I landed in New York City and the whole Daneva one from the community knows that I am, I'm having cool news, I'm broke, you know, I'm in the Bronx. My next is going to be Joey Pratt. So you see how Mercedes Benz stay like this, coming through.

Speaker 2:
[07:48] Big Pun on that Benz and Fat Joe da Gangsta.

Speaker 1:
[07:50] That's Joey. How you know? How is he?

Speaker 2:
[07:57] What? I go one day, I go one day. Get it, Buju, get it.

Speaker 1:
[08:02] So, we have many good days. We know we spend most of the time in the studio, working with Cool & Dre, DJ Khaled, yeah, I mean, all of his crew at the time. Big Pun, Pun Da Boss, you know what I mean? Those days, Jabba, 97 Jabba was our own as well.

Speaker 2:
[08:19] Bobby Candice, we gotta salute Bobby Candice and Jabba for holding out. And what about David Levy? I never seen David Levy in my life. I never met David Levy. Me neither.

Speaker 1:
[08:31] No.

Speaker 2:
[08:31] We've been fucking listening to him since we was babies. Rocking you, rocking you, rocking you, rocking you, rocking you.

Speaker 1:
[08:37] He's still around doing what he does.

Speaker 2:
[08:38] No, he is. I listen to him still.

Speaker 1:
[08:40] And those people are quite instrumental and important to the development of the music and the growth of the Caribbean music and this side of the world. Because even though they might have an hour one day a week, it was so important that everyone tuned in just for this hour. And it has grown now somewhat. We know the advent of Internet. You have Internet radios everywhere. You got Spotify.

Speaker 2:
[09:02] You got all types of shit.

Speaker 1:
[09:04] I don't believe it.

Speaker 2:
[09:05] Back in the day, those guys were peer to news. Oh, big time.

Speaker 1:
[09:10] Overpaid.

Speaker 2:
[09:11] Big time. These guys, they kept the true to reggae music since day one. Like who's some of the, well, you know, you introduced me to Big U.

Speaker 1:
[09:23] Big U, the legend. The legend Big U.

Speaker 2:
[09:26] Tell these people they don't know Big U. Big U, the first. Fat Joe, hang out with Big U. Tell them, Buju, the dreadlocks down to the street. You tell them, Buju, you tell the Jamaicans.

Speaker 1:
[09:42] He go on White Place Road on me. Big U. Yeah, so we sound old, you know, because the Caribbean consists of many different nations of which Puerto Rico is a part, and though they are more closer to the, aligned to the Americas, nevertheless, we see them as a part of the Caribbean region. So it's this togetherness, where we don't see anyone based on invisible borders, which was designed geographically, yeah? So the people have put on Puerto Rico, all other islands, we welcome them as long as Panama, we welcome them into our culture. That's just who we are, we're to show them love and, you know? And we know how to draw, and we know how to pun, and we know how to all of his friends, and we know how to my peeps, holding a good vibe, we won't go into the club, shit go down in the clubs, we all stand up together. That's right, you know what I mean, no matter what.

Speaker 2:
[10:36] Yo, yo, we just want to let y'all know, 1800 is the official tequila of Joe and Jada. We're doing it big right now. We're keeping the 1800 the premiere tequila. And let me tell you something, this 1800 is something special. When me and Jada get on that 1800, it's fire.

Speaker 1:
[10:54] You can see we got the Enraged Special Bottles.

Speaker 2:
[10:58] A staple, known for craftsmanship and consistency. Yeah, me, 1800. 1800. Buju, let me tell you something. I was scared to fly. So I knew Buju when I was scared to fly. I had my first show in Jamaica. By the way, everybody talks. Buju don't talk like that. But everybody talks. Everybody say this. Everybody say that.

Speaker 1:
[11:26] Everybody says this.

Speaker 2:
[11:27] Everybody say that. Buju's such a superstar. Okay, you wasn't there at that dinner with Michael Jordan. Michael Jordan was explaining to me the difference of a star and a superstar. Buju Banton cannot eat in a Jamaican restaurant. Buju Banton cannot be in a Jamaican section. If he goes to the store by the time he comes out, there's 1,000 guys outside. There's nothing he could do. Mark Anthony cannot eat in a Puerto Rican restaurant. He cannot go into... Because these guys are super stars. So he used to escape the Jamaican community and hang out with the Puerto Ricans in the Bronx with us. Then, you know, if you knew him, you knew him. If not, you know, it is what it is. He's hanging out over here. Nobody harassing him. He's good to go. You got Bad Bunny, right? And Bad Bunny's biggest star in the world. And he's going, uh, the Bronx, Washington Heights, it's a direct, I don't know, you can be in Puerto Rico and say yonkers, warbird nap. The next street over from Puerto Rico is the Bronx. There's just no way. It's the next street. In Jamaica, New York City, well, maybe Miami too, but New York City, like he said, every week, they listen in Jamaica to Davin, Levy and Bobby. It's just so direct. You come from Jamaica, you're going to either the Far Rock or where you're going to 233rd White Planet. It's just too much of a direct.

Speaker 1:
[13:01] The Jamaican community is quite integrated in America. Nevertheless, New York has been good to us ever since the early days, the early advent of dance and music, traveling out of Jamaica, which was primarily to Canada and New York City. In those days, you used to have clubs like Love People. Whether you guys, maybe not even old enough to remember, as they might know, Love People. The Underground with David Levy, Biltmore Ballroom, Jimmy's.

Speaker 2:
[13:31] What? Act 3?

Speaker 1:
[13:33] Owned by Nick.

Speaker 2:
[13:33] What?

Speaker 1:
[13:34] Yeah. And there was other Tilden Ballroom, Albany Manor. And there are so many places where the community would gather to express themselves and the music grows. So we're all integrated and we all play a part, even though a lot of people do not wish to acknowledge it. Our culture is one multicultural melting pot.

Speaker 2:
[14:01] It started everything. So, you know, Jamaica started the Afrobeatz. We know everything come from Africa.

Speaker 1:
[14:08] Panama with El General.

Speaker 2:
[14:09] El General started Reggae Tone.

Speaker 1:
[14:12] Yes.

Speaker 2:
[14:13] You know, he cursed me out one day. Buju, come on. No, I swear to God. I got to give it El General, mi hermano. He won a big pun on the record. I told him $50,000. He told me, listen, fat motherfucker, suck my dick. Fuck your mother. I'm in El General this. I'm listening on the phone. I'm like, I'm dying laughing because I can't believe El General is cursing me. I you. I'm the legend of legends of Latinos that nerve of you to charge me and I fuck you this hung up. I say, yo, I was a real motherfucker, boy. That's my finger right there. You don't get it, y'all. Poom, poom, mommy, mommy, mommy, ba, ba, ba, uh, uh. What?

Speaker 1:
[15:00] So ever since then, you know, we're seeing where it has also provided, because it's expression, right? It's expression for those who would not normally have the same medium to express their inner feelings or their creative side. We see where various nations from the Spanish-speaking communities start to adapt ever since El Nara. So we find ourselves over here in our Puerto Rico, find ourselves all over various. I would love it. We appreciate it because you're taking our culture further. Many people might feel like sometimes when I speak about these issues, they might get offended. But I was asking simply, acknowledge it. Acknowledge from whence.

Speaker 2:
[15:44] You got to acknowledge it.

Speaker 1:
[15:45] That's it.

Speaker 2:
[15:46] You got to acknowledge it. That's the problem with I think this generation, or not even this generation, all generations, it's right there. Don't lie to us and don't acknowledge it. You know what you're doing, you know what you did from everybody. You understand? Because there's something very spiritual about Jamaican music and Jamaica. There's something that transcends. When I'm in Germany and I see a white boy with fucking dreadlocks and Jamaican shit, the straight white man playing the fucking reggae shit all day, this is different. This is for such a small island to just go globally. There's Japanese Jamaicans. There's all types of Jamaicans. Everybody falls in love with Jamaica and the culture. You just got to acknowledge it. I'm with you with that. I'm with you with that. We had a legend, pass away, big legend. Willie Colon started Salsa Music with Hector Lavoe, who I think is the greatest of all time. And man, they did his funeral yesterday. He come out in the casket and they go, boom, boom, boom, boom, boom, boom, boom, with thousands of people in the street. And I'm watching it on Instagram and I'm like, man, they saluted them like a king. We lived, we lived, we lived. And so, you know, there's legends. You know, Buju, you come up, who you come up? Shabba Ranks, that whole beginning era.

Speaker 1:
[17:30] I come up in the era when the music was turning, just turning. I come up when you have guys like Flo Ragan, Red Dragon, Daddy Lizard, Clement Irie, Prom Kidoo, you had early black, dignitary, stylish, general trees. Yeah? Nicodemus, Chocodemus, Tolo T. I come up Admiral Bailey, Major Worries. In those days, Major Worries was like the teacher for all DJs. Major Worries was a teacher for all DJs. Major Worries was way ahead of his time. Major Worries was the first one who taught us what to really flock to it. And Maddie Littleby is like, computer panel really. Yeah? And after the major died, you know, Admiral break out, Shabba Ranks break out. So then they became the next set of mentors who we have to look up to. But originally, Jamaican music, dance and music was never ever something from Uptown. It was always a rude boy music, you know?

Speaker 2:
[18:40] From the streets. Uptown, they call it like, rich people, like, you saw them, they come from the streets.

Speaker 1:
[18:46] Yeah. It was so much so that you could not even let your parents know that you have musical aspirations. Because, you know, the people who represented those bad boys, you know, every one of them in those days was singing about the experience that they had in the ghettos. And through the passage of time, things changed so much that the very music that was once despised, ridiculed and their children who had managed not even to play it or go near it, they started to encourage their children to become a part of that music. Now, bear in mind, we sang from our experience, it might be hardship, gang warfare, political warfare, political tribalism, police brutality, you know, man on man drama. We sing from our reality and we made that into something that other people can identify because for some strange reason, we might share the same experience but we never talk about it until someone sings about it then we can openly say, because someone identified the elephant in the room. So come now full circle, everyone sings about their experience but somehow we have lost a piece of what this really is, where it really comes from. You know, I grew up in an industry where there was always the king of dance, which was Yellowman. And it was the people who said he was the king, voted for him. And I didn't hear no one say Yellowman lose his crown. Because the man that keep the foundation, but you might not even know a Yellowman song to date. Many people might not even be aware of an artist by the name of Yellowman, who made such a great impact on the dancehall community, to bring it international before the ranking. So after Yellowman as our first international dancehall superstar, we had Shabba Ranks who followed him to footsies to take the music further.

Speaker 2:
[20:58] What's my guy off? Flexed.

Speaker 1:
[21:02] And Matt Sabba and Matt Cabrea as well.

Speaker 2:
[21:04] Matt Corbera rang off here. He was killing out here.

Speaker 1:
[21:09] The music, we could identify even with songs. You will find yourself just going through some things and you hear a song that reminds you of a time when you was in school.

Speaker 2:
[21:20] Big time.

Speaker 1:
[21:21] A reminder of something that happened when you were among your friends. They became time markers now. The music became time markers. We hope and pray that we will mean the same for generations to come. Yes. So that reggae music and dance and music can bring new adherence. Because when it comes to a point where you no longer like a song, something is you are still up because we grew up thinking the only thing that never dies is music.

Speaker 2:
[21:48] That's what we try to do. We try to preserve the culture. We try to give the kids an experience. What's been coming on here lately, not like you because like I explained when you came, you're like a Michael Jordan, you're a fucking goat. Nobody fucks with Buju Banton. That's just it, period. So for you to sit there and say it's about expression, it's about passion, it's about music is therapy for us. A lot of times we go through shit, we gotta go in that studio and get it off. And that's what it's really truly about. It wasn't just about chasing the check, what's the new gimmick, what's the new this and this and that.

Speaker 3:
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Speaker 2:
[23:49] Payable and bonus bets. Not a cash offer offered by the Seminole Tribe of Florida and Florida offered by the Seminole Hard Rock Digital LLC and all other states must be 21 and over and physically present in Arizona, Colorado, Florida, Illinois, Indiana, New Jersey, Ohio, Tennessee or Virginia to play.

Speaker 1:
[24:10] Terms and conditions apply.

Speaker 2:
[24:12] Concerned about gambling in Florida? Call 1-800-ADMITTED. In Indiana, if someone you know has a gambling problem and wants help, call 1-800-9-WIFT. Gambling problem? Call 1-800-GAMBLY. That's in Arizona, Colorado, Illinois, New Jersey, Ohio, Tennessee and Virginia. One thing I never understood, and maybe you could explain to me because this is educational, is the Chinese Jamaicans, right? So from here, they had the... What do I do now? I want to hear about this. I'm sure. Do you know about it? No. All right, so I want to learn. I want to learn. You got Chinese Jamaicans and big DJs out there in Jamaica, right? The Chin family, I believe they are. Like, so tell me how they become Chinese Jamaicans. Like, they...

Speaker 1:
[25:11] Over the years, Jamaica has always been a place where various people migrated. So no doubt, this was a family, I believe. However, that's not important to me in the grand scheme of things. What they did to me is more fundamental. They were visionaries who saw that the talent had the potential to be greater than just talents in the community. Hence, they invested around this record shop and they record in studios and they invest in the talent. They invest in the culture. And so we can't take away anything from them because they saw an opportunity and seized the moment. That's why they're still here today, even on Jamaica Avenue. I mean, a lot of people want to knock them, but do good business and you won't have a problem. You understand that? So we are concerned not to give them press because they were visionaries. Now, Trupi Tull, who was former Prime Minister, Edward Seagal was also a major musical producer who owned even a pressing plant, Beverly Music, MSU Rapper Raiders, something like that. And then you have PJ. Patterson, who was former Prime Minister again, who used to be the manager of the Claridonians. And we have our current minister who's very much involved in youth sports and other kind of things. It's strange. So we have a long history of working with the leader and the top echelons of the country as it concerns development of music as well. But the level in which the chins contributed their time, effort, money for the development of a music that could be here now and expose a lot of our young people. But that was before, at the same time, we had Joe Runabout, the same time we had Duke Reed, who was another producer, Clement Cox and Dodd, who was another producer, Winston Riley, King Tubby's. And these were producers who were just making music. When Lee Scratch Perry, the Gang them, Bob Marley's them, Pee Dee Tosh, Peter Tosh. These guys were just making music from the ear, from the heart. Excuse me. So we went through an era where the gentlemen have to distinguish what was the music business and what is the business of music. Failure to do so will render you poor forever. And we can take a look and turn the pages of history to see who will be able to separate the two. Guys, stop there.

Speaker 2:
[27:36] So you call Buju Banton music business and what's the business? You go away. Yeah, that's a Jadakiss line right there. That's a Jew right there. You come back, they show a picture of you in the airport just walking. It was like Buju, we followed every second when you came out. Like I remember I was on a flight and they say- Look, Buju- He's out.

Speaker 1:
[27:59] Remember Joe-

Speaker 2:
[27:59] Yeah, it was like, yo Buju-

Speaker 1:
[28:01] He was in Bandage. I think I spoke to you a couple of times while I was in Bandage.

Speaker 2:
[28:06] Yes, of course.

Speaker 1:
[28:07] The thing was real, yet weepin me in duel for a night, but joy do come in in the morning, right? So that joy was undeniable, it was not forced. It was a real natural joy and a joy express, not only by the will of the people, but by the will of the most high God, because the voice of the people is the voice of what you want to leave them, God.

Speaker 2:
[28:29] No, I was able to catch a remix when he got up.

Speaker 1:
[28:34] Yes, we did bless. Tell them so we bless. Yeah, we and Jada Kiss, that way it was able to. But so right now in this dispensation, the new word that's coming to the forefront of the musical arena is this new album by Buju Banton for the year 2026 coming to you this summer. Won't give you the title of the album as yet, but my first single is called Butterflies. Now, Butterflies, it's not psychopathic or crazy. It's more something for the ladies then. Because I find that our music primarily speak to a demographic's way. They feel like it's all about being a gangsta and a rude boy, but there's, the ladies them over there with this love and affection and they need to be reminded that they're a part of our community and a very integral part of our life. Okay, so butterflies aim to ignite or re-ignite that passion. You follow me? Yeah. So, I don't know to select and play it. You want to bust it for them. So today, to the roots of butterflies. So, this is the first single produced by Supa Dups. You know, Supa Dups. Supa Dups, again, is another brethren with Chinese heritage from the Jamaican community. We invested this time because they have a song named Black Chinese that was very popular in Jamaica. So, they merged and play in the sound system to make it beats in the studio. So, this is Supa. They have done many famous works, no doubt. Supa Dups is very acclaimed, you know.

Speaker 2:
[32:56] Yeah, but you know, that sound like Buju Banton.

Speaker 1:
[32:59] Well, this next album...

Speaker 2:
[33:01] That's Buju Banton.

Speaker 1:
[33:02] This next album is 100% dance hall, you know, sometimes. You know what I mean? I'm on start out, you know, the dance hall, but through the passage of time, we have to give the people the music that, you know, grow with them because you have life and you have experience. But you have to go back to the roots of time and not only go back to the roots, but to teach a generation because no one has any respect nowadays, you know. And if you want to go out and flag everyone, that's a whole lot of flagging. Jada just use one belt and beat everybody.

Speaker 2:
[33:33] One belt, man.

Speaker 1:
[33:34] So you have to set up a foundation. So 20 years from now, our generation will emerge and say in 2000 or in 2010, 2020, 2025, this was reggae music and this was dance and music. This is the history of it. Now, someone has to remind, because it's hard work. A lot of people realize they are lazy. What it takes for us to make a proper song to come forward. It's not easy work. Some people want a quick fix and get the glory, but true work at Standard Taste of Time starts with hard work.

Speaker 2:
[34:06] It's hard work. It's a lot of concentration, a lot of hard work.

Speaker 1:
[34:10] A lot of dedication.

Speaker 2:
[34:11] A lot of dedication, a lot of resilience. A lot of time and she is just, you know, some people, they just get lucky. And when you want to do that, right? Because Buju Banton has never been whacking his life. I've never heard a whack song in my life.

Speaker 1:
[34:29] Well, not if I'm whacking.

Speaker 2:
[34:30] That song right there is out the park. That song right there sound like we just opened a CD of Buju Banton's greatest hits and that just came on. Like that record right there is out of here.

Speaker 1:
[34:47] Well, the whole entire album promises to be exciting, ranging from love, togetherness, you know what I mean, in our style. You know, hardcore, root boy, dancehall style. So this album, look forward to it, excuse me, because it promises to be dynamic, exciting, fulfilling, rewarding, and above all else, musical. Wow. I love it.

Speaker 2:
[35:12] You go ahead, some marinas at the drop.

Speaker 1:
[35:14] Well, right now we're planning on going on the road this summer, Buju Banton and Stephen Marley hit the road.

Speaker 3:
[35:19] Wow.

Speaker 1:
[35:19] Two lions in an effort to bring back the love that the music industry have and should have. And we're going out there in the month of June. June 18, we should be on the road. And also to make sure that the masses don't get a whiff of this new record. By then, it should be all the whole entire project should be released.

Speaker 2:
[35:41] But it's going to fuck the summer up. Their record is-

Speaker 1:
[35:43] Well, this summer shall be lit. Put it that way.

Speaker 2:
[35:45] It shall be lit. Outsides.

Speaker 1:
[35:47] Outsides.

Speaker 2:
[35:48] Shout out, Stephen Marley, a hell of an actor.

Speaker 1:
[35:53] Ragamuffin.

Speaker 2:
[35:54] You mean Kimani? Kimani, Kimani is- No, no, no, no, no, no.

Speaker 1:
[35:59] Who's-

Speaker 2:
[35:59] Shatis.

Speaker 1:
[36:00] Kimani, man.

Speaker 2:
[36:01] Kimani. Yo fucking Kimani, man. He should have did a bunch of more movies after that, man.

Speaker 1:
[36:06] Like, he-

Speaker 2:
[36:07] That shit- Shatis is a classic.

Speaker 1:
[36:10] Without a doubt. So that's the next avenue of our exploration has concerned curating the culture and film, you know? Maybe that's the next era we need to start looking seriously before it is spread from our feet. Even a lot of culture vultures. Oh. So, you know, that the ties are changing where you can speak up for your people from the Latino perspective and speak up from a small demographic for those who I am able for. You know what I mean? Eventually, the whole purpose is for us to come together and farm a total of individuality and become investors in our own arts. That is just music, films, whatever, whatever, whatever. Because this is how other nations did it. We don't really figure out the blueprint yet because we still want to be better than the next person. Think nothing and we're not together. We can all be better.

Speaker 2:
[36:57] Yes.

Speaker 1:
[36:58] Talk slow to them, man.

Speaker 2:
[37:00] Talk slow meaning to everybody. If you didn't catch that, is that everybody could be successful. You need to be happy for your brothers and your sisters that are successful. This ain't all a straight competition. I got to be better than you or better than that. Be happy for everybody because the more of us that's winning, the stronger we actually are as a culture. And so, a guy I'm a fan of from Jamaica's Busy Signal. Good guy. This man, Buju, for a long time, they no let him in America. And they let him in. And he went on that Bobby Condor's and rapped for like an hour straight. I had to pull a car over. He up the place so bad, Buju. I had to listen like, yo, this guy's doing this shit. Yo, this guy's crazy. He's a big, I never met him. I'm a fan.

Speaker 1:
[37:59] Business signal come from the old school, just like...

Speaker 2:
[38:01] Yeah, yeah, it's the old school.

Speaker 1:
[38:03] When last of you been on the highway, I heard you were really lit from that angle.

Speaker 2:
[38:07] Nah.

Speaker 1:
[38:08] Because first and foremost, I realized that the beats, they're not being utilized. So I'm asking myself, is it a situation where the beats are not being utilized because they cannot be utilized or because they cannot be written?

Speaker 2:
[38:23] I just think the pain are lazier now.

Speaker 1:
[38:26] But what we're doing, we're losing a part.

Speaker 2:
[38:28] All right.

Speaker 1:
[38:29] There are certain beats when it comes on, it does something to you. You automatically want to play. This new beat is Kid Nick from Dramatica.

Speaker 2:
[38:38] It's a double YFL, YFL like rhythm.

Speaker 1:
[38:40] The one I just played earlier when I just came in.

Speaker 2:
[38:43] That's me, man.

Speaker 1:
[38:44] You want to bust it for me? Bust it for me.

Speaker 2:
[38:46] Bust that one.

Speaker 1:
[38:47] Low up and talk. Big up and play it to you, man. Bust the one there. We want to x-ray it to you. So, we want music to make us feel and come alive, no matter what we're going through. That's our escape. And if it keeps us trapped, we're not escaping.

Speaker 2:
[39:03] It's always about the music. It's always about the beat. You know, they did say, Yo Joe, why you rapping so good? The beat is great.

Speaker 1:
[39:10] We speak still.

Speaker 2:
[39:11] Now, if you're doing a wack beat, then you'll be in there like, come on everybody, what you do that? Come on, you're stuck like a mother in that mother life.

Speaker 1:
[39:23] So these are some of the songs we're coming forward with, you know, to reignite a passion musical, you know, not to try to outshine that, although because wherever there will be in the sun, nevertheless as elders of our race make sure that the road still paved, be smooth and travel free and the music flow consistent.

Speaker 2:
[39:45] That's right.

Speaker 1:
[39:46] I'm not in the fray, but I'm not totally away. But that way. See, you have to lead the youth to do them thing, you know. That's elders and OG. So I'm telling you, it's true that I'm born to, you know.

Speaker 2:
[39:58] Yeah, they know when the OG step up, they know who got it. Yes. Education purpose only. It's true because the youth, they say, all right, that's the Banton. You know, they're not crazy. They grew up their whole life listening to the Banton, trying to be the Banton. You can't be the Banton. So it's like, you know, just take the experience. Yo, Buju, let me tell you something. You know, we always want somebody to come home from jail, say, Max B did 18 years. We expect them the first day to sound just like the Max B that we lost 18 years ago, right? So Buju come out, you make great music and everything. But this project right here, you marinated enough since you've been out to where this is Buju Banton.

Speaker 1:
[40:55] I want to hear music and I can't hear it, so I'm going to make the music I want to hear.

Speaker 2:
[40:58] Wow. Talk slow. Wow. Boop, boop, boop, boop, boop. Wow. And that's like you, because every time I bump into this guy on the road, he's playing the good music. But he don't make that kind of music no more. So I hear him, he's pumping on it, she's pumping this, he's pumping. I'm like, yo man, what happened to that fucking good music, man, to the fucking legendary music? And they just don't make it like that no more. So you know what? You got to make it yourself. You know, do me a favor, James left the computer. We could start with Biggie, Rest In Peace, Jamaican. We could do Busta Rhymes. I need somebody to Google what artists are Jamaican.

Speaker 1:
[41:53] Heavy D. Heavy D, I find these.

Speaker 2:
[41:55] Oh my God.

Speaker 1:
[41:56] Biggie Smalls.

Speaker 2:
[41:58] Biggie Smalls.

Speaker 1:
[42:00] Yeah.

Speaker 2:
[42:00] Busta Rhymes. You know. Slick Rick. Slick Rick the Ruler. Sean Paul's a, he's Jamaican. Like he's Joey Badass. Who?

Speaker 1:
[42:16] Sean Peppa. Sean Peppa.

Speaker 2:
[42:19] Sean Peppa, Cool Hurt.

Speaker 1:
[42:21] The foundation.

Speaker 2:
[42:22] Foundation of hip hop.

Speaker 1:
[42:23] Bobby Smyrda. Bobby Smyrda. Bobby Smyrda.

Speaker 2:
[42:26] Yeah.

Speaker 1:
[42:27] Triple S extension.

Speaker 2:
[42:27] Triple extension. Shout out to his moms.

Speaker 1:
[42:30] Yeah.

Speaker 2:
[42:31] We know them. So many people contributed to the hip hop game. Uncle Luke is part Jamaican as well. That's- CJ Alamo for brand new me. Wow. Alamo is you're with me. Boocan Kip. All of them? That's how they was fucking with all that Jamaican music. KRS-One. Ha. KRS-One. Let me tell you something.

Speaker 1:
[42:57] What's his name? Cannabis. What's his name?

Speaker 2:
[43:01] Cardinal official. Legend from Canada. Yeah. Cardinal official. Legend. Let me tell you something. I'm going to hook you. Get these, a little cold for a T-shirt with a hoodie. It's my favorite right there, I need an extra large. Joe and jadashow.com, go there and get it. KRS-One. See, when you was talking all that shit earlier, all I could think of was KRS-One. You say, Kings lose crowns, teachers stay intelligent. This and everything you were saying, I heard it in my head in a KRS-One verse back in the day. And KRS, he attacked the Juice Crew. At this time, the Juice Crew was like, Sizzla, Buju Banton, everybody together. These guys are like the Avengers. Like they just, and they had the monopoly because their DJ ran the radio, Marley Ball. If it wasn't coming through them, you was not hearing it on the radio. So they had that shit like, rest in peace, two lock. Fly Ty Williams. So KRS-One gets into a beef with them. Me who's a Bronx fan, I'm the biggest KRS-One fan. I said, there's no way he could win. Like I'm like, there's just no way he could win. And I never forget, it's winter. And this is the first time I heard reggae music. It's winter and DJ Red Alert says, brand new KRS-One, the response to the Juice Crew. And that shit came on and that shit said, boom, boom, boom, ba-doom, ba-doom, boom, ba-doom, boom. When I tell you he went like this, like the whole, the hip hop game never even, the way he came, that bitch is over, that bitch is over. Ba-doom, ba-bop, that bitch is over. Hey, hey, I start running around my projects. It was like below zero, y'all. Yes, we won. I'm running around the whole projects. And so, Karras won, introduced a lot of us into the reggae gang at that time. Like it was like first time we really heard that like that. And, but you know, he was Jamaican, so he knew DJ. That was wow, 80 something.

Speaker 1:
[45:58] 85. I hear the irony. In 1985, 86, we in Jamaica was just getting to bebop. Great dance was a thing in Jamaica in those days where, yeah, we used to have feds. Like, schools used to keep events. They called them fake. And various high schools used to keep them. Guys used to form a circle and go breakdance.

Speaker 2:
[46:23] Wow.

Speaker 1:
[46:24] But we used to have this, there was this particular mixed state, Slick Rick, they had the first show.

Speaker 2:
[46:39] Teddy Raleigh produced it.

Speaker 1:
[46:40] Six minutes, six minutes, six minutes, Dodgy Fresh, you're on. Michelle Myler. So we grew up just locking in in those days too, 1989, anything, you just start locking in. So funny you should say that. So it's proved to me that at the same time, in two different locals, the same thing was happening.

Speaker 2:
[47:03] Same thing, same thing, same thing, same thing was happening.

Speaker 1:
[47:07] But I can also recall in 1985, I was watching a music video in, which was Major Mackerel, Shabba Ranks, they were in Bilkmore Barroom. Bilkmore Barroom, there was this Major Mackerel, Don Man, Major Mackerel.

Speaker 2:
[47:24] Me, me, me, me, me.

Speaker 1:
[47:26] Don Mackerel. Yeah, so it is important to know that, yeah.

Speaker 2:
[47:31] You know, shout out Jamal Ski. He was Jamaica tour MC out here. He was fucking shit up for the Jamaicas. Jamal Ski was a legend out here. He was, around that time of KRS-One, he was killing the fucking place. Rapping with all the rappers, but in Jamaica, Jamal Ski. Light Skin Brother. But yeah, that time, let's talk about one person, cause it's very hard for us to have a legend like you. After Jamal Ski? No, I don't know. We have Mad Lion fucking destroyed the game out here.

Speaker 1:
[48:04] Mad Lion.

Speaker 2:
[48:05] I'm gonna take it easy. I'm in this video.

Speaker 1:
[48:08] What?

Speaker 2:
[48:08] You gotta take it easy. What? He was now KRS, right? Too many suckers and not enough time. Anyway, that make more fucking that shit.

Speaker 1:
[48:19] Mad Lion. Mad Lion.

Speaker 2:
[48:21] Mad Lion.

Speaker 1:
[48:22] Did you know Mad Lion? I know Mad Lion. Okay, yeah.

Speaker 2:
[48:25] Mad Lion.

Speaker 1:
[48:25] That was a Brooklyn bastard. Yeah. Um, um, what's his name also?

Speaker 2:
[48:32] But I want to say one thing, because we never hear about this, right? And it's similar in reggaeton, but I got one thing to say. Lady Saw, she ran the females forever. Tell me about Lady Saw. Tell me about her contributions to the game. I felt like there would never be another female to touch the mic in reggae music.

Speaker 1:
[48:59] But my son is a legend in her own right, man. I forgot her sister, Marianne Hall, you know what I mean?

Speaker 2:
[49:05] Because of her respect.

Speaker 1:
[49:06] Because all I would get from two people I can't do what they chose. So sister Marianne Hall, she played a pivotal role. You know what I mean? Coming up in the industry where it was a male-dominated industry. We only had like 10 females, Lady G, Lady Ann, Lady P, Sister Nancy, you know?

Speaker 2:
[49:27] Sister Nancy.

Speaker 1:
[49:28] Then you have Joanie Ranks, Lady Joanie. You have Shelly Tunder.

Speaker 2:
[49:34] Shelly Tunder.

Speaker 1:
[49:35] They have Momaliza. But Momaliza was from a time, an era when she and Kojak used to do it. Kojak and Momaliza. So from that time to the time when the ladies were becoming more assertive, there was a tussle between Lady G because Lady G was a top DJ. Lady G used to be with Papa Stan. And she was one of the baddest at the time. So after Lady G, you come, Moma Saw, seen, Mary Ann. And she put it, she bring it in a different level. Oof, she bring it in a total different level. She open the Pandora's box and she never look back. And, you know what I mean? Her team solid. And the Niobla she give her life to the church and to the true and living God. So we can respect her and thank her for her contribution as well.

Speaker 2:
[50:23] We got one, the Evie Queen. The Evie Queen ran the whole Reggates home forever, like Lady Saw. And then finally now you got, you know, the Carol Jeans and all those girls that's rocking now. So now you got a whole new resurgence of the females.

Speaker 1:
[50:40] There's even a new resurgence of female in Jamaica from the era of Spice, them to Shinciers.

Speaker 2:
[50:47] Shinciers, yeah.

Speaker 1:
[50:48] A whole new era. And this is what the music is. Always need new life to keep feeling it, but you have to always bring a piece of what makes it the music with you. That's what we need to see.

Speaker 2:
[51:00] Deli Juul. You know, shout out to Rihanna. Rihanna not from Jamaica, but she had her sound. She, I remember what this shit. What was that shit she had? I had to kill him. What was that record that Rihanna record? Rump, pump, pump, pump, rump, pump, pump, rump. I might have listened to that shit 10 million times. When that shit came out, I'm blasting that shit in the car, but I had to kill a man down. Rump, pump, pump, pump, rump, pump, rump, pump, pump.

Speaker 1:
[51:33] The music grows, Joey. And as you and I both know, it's not been easy for music from the Caribbean, especially Jamaica dance hall music. Now, within the last four, five, six years, we must give thanks because doors have been opened and have been closed in our face perpetually. And with that being said, now we hear music like from dance hall and 97 WBLS and viewers at a section. But let's be the truth, they were also forced to because music is everywhere now on your phone, everyone playing on TikTok.

Speaker 2:
[52:03] Whatever you want.

Speaker 1:
[52:03] It's everywhere now. Yes, you know, gone are the days of having a real game.

Speaker 2:
[52:08] My daughter's 19, she starts singing songs that came out in the 80s and the 90s. I'm like, yo, what's up? She's like, yo, that's the number one on TikTok now, dad. I'm like, what? She'll be like, yeah, that's the number one. Like, that's how the kids are learning.

Speaker 1:
[52:22] So no one shooting to a radio station anymore?

Speaker 2:
[52:24] Hit the bar, but find out the Jamaican Pat. Your phone is everything. Phone is your radio station. Before there's no radio station, the phone is the radio station. Y'all kids, I like that one. I like that, but you ain't lying. Now they don't understand that. Before we used to, look, he say he had to wait to hear Run DMC and tape it at three in the morning. Back in the day, we had no, it wasn't like now, you could just pick whatever music you want on your phone.

Speaker 1:
[52:52] Back in the day, I ain't around at 97, in the cold. Everybody gotta be like this, standing close.

Speaker 2:
[52:57] Yeah, that's right.

Speaker 1:
[52:58] Written on your segment to go upstairs.

Speaker 2:
[53:00] Yeah. So, that's changing. You know, we had, we had, shout out, cause he reached out to me, I gotta talk to him. Stretch Armstrong and Bobbito, they had an underground station out here where you went there and Jay-Z was waiting online and Nas was waiting online and Biggie Smalls is waiting online and Fat Joe's waiting online and Big Pun's waiting online.

Speaker 1:
[53:23] Yeah.

Speaker 2:
[53:24] The biggest guys you ever seen in your life waiting online to get up on there to bust a rhyme at three, four in the morning. These kids now, the type of access they got now, they don't even realize like, like.

Speaker 1:
[53:37] The things we fought for has been taken for granted.

Speaker 2:
[53:39] Wow.

Speaker 1:
[53:39] I said, now that Joe. Yes. All the things we fought for.

Speaker 2:
[53:46] Yes. Everything we fought for right now. It's like, yeah, it's a regular daggler. You know, it is what it, what Rich the Barber said.

Speaker 1:
[53:54] Huh?

Speaker 2:
[53:56] Taste right beef patty in Miami. It's the best beef patty. Where do you go? No, no. Taste right. I challenge anybody. Listen to me. On the planet Earth, anybody that show me a better beef patty, Jamaican patty, that tastes right in Miami.

Speaker 1:
[54:22] You want to put some money on it?

Speaker 2:
[54:24] I got money on it. Don't do that, Buju. No, no, you ain't got a better one.

Speaker 3:
[54:31] You don't have a better one.

Speaker 2:
[54:32] It's Jamaican, right? I don't care. I don't care what they say. Tastes right. Are you recording? Yo, listen, he live in my anything, any money. Listen, Buju, one dollar. I need a number. Listen, a dollar. Listen. I need a number. Buju, when you go back to Miami, I'ma send you a box. But it's better while eating hot. This tastes right Jamaican beef patty. You can bring me any kind of beef patty you want. You're not beating this.

Speaker 1:
[55:07] I do not eat beef patty, but I know beef patty. That will beat every other beef patty you're talking about.

Speaker 2:
[55:13] You gotta bring a beef patty either, boys.

Speaker 1:
[55:15] Have you ever had... Listen, listen, listen, listen. I'm not even gonna tell you.

Speaker 2:
[55:21] Listen, listen, listen. Where's that? Where's that? Here's the... Joey. Joey, you ever heard of Tasty's Beef Patty? Where's Tasty's Patty?

Speaker 1:
[55:36] Jamaica.

Speaker 2:
[55:37] Oh, no, no. You ever heard of Tasty Patty? That's different.

Speaker 1:
[55:41] All the people who are watching now, I'm not knocking the patty place you spoke about, no respect to them, no respect to all the entrepreneurs, you know what I mean? But no one can test Tasty Patty.

Speaker 2:
[55:54] Maybe Tasty in the world. No patty in the world.

Speaker 1:
[55:57] Listen, and I don't use patty.

Speaker 2:
[55:59] Philly Cheesy, okay? No, no, no, no.

Speaker 1:
[56:01] So this is the number one patty. And listen, I'm going to go to the land to make sure Bucks get to you in America. I believe you. So you can have that experience?

Speaker 2:
[56:11] I believe you because Tastewright sound like they caught the Tasty Yacht.

Speaker 1:
[56:16] Right?

Speaker 2:
[56:18] The title, Tastewright sound like they might have caught the Reggae tone. He might be right.

Speaker 1:
[56:31] Listen, my brother.

Speaker 2:
[56:32] When you in Miami, you go to Tastewright, they don't even know I buy from there. I sit in the car and they don't even know I buy from there.

Speaker 1:
[56:39] Nuff respect goes out to Tastewright, Buju Banton and Fat Joe, Biggie New York, I'm bigging up the establishment. Black progress every time.

Speaker 2:
[56:46] Right. That's right. They got lines for the boys right there. Boy, we go to the studio. You know, get my sugar up. You know what I mean? Get my sugar up. You know, I eat a couple of them Bave patties. My shit go down.

Speaker 1:
[56:59] So when last have you gone back to Jamaica?

Speaker 2:
[57:01] Man, I haven't been to Jamaica in a while. How's the progress is to the hurricane?

Speaker 1:
[57:06] The hurricane has done a number on the island, but my people are strong. My people are resilient. You know, we have faced a lot of stuff through our time on that island, and we managed to bounce back. And this is shall be no different. We shall bounce back stronger, better and bigger.

Speaker 2:
[57:21] I seen all kind of AI shit with sharks in the street. That was all AI, right? Absolutely. Sharks in the street. The, I said, God damn, this shit going down in Jamaica. Look at this shark in the pool. I'm like, yo, this AI shit, AI's.

Speaker 1:
[57:41] Yeah, AI's crazy, but- This is the ready-

Speaker 2:
[57:43] Disneyland is an illusion. You told me 20 years ago, Disneyland is an illusion.

Speaker 1:
[57:51] Joey, it's not a coincidence, cause now the lines are blurred, and you don't know if it's real or if it's fake.

Speaker 2:
[58:00] Yeah, I don't know.

Speaker 1:
[58:01] So AI have entered a conversation to create doubts. So even if it's real, it's going to be doubt-circulated, and it might be AI. You understand? So what is real and what is fake? No, it's very question.

Speaker 2:
[58:16] Wow.

Speaker 1:
[58:18] Another joke.

Speaker 2:
[58:19] All the way up, though. That statement you just said is all the way to the top. We don't know what the fuck going on. I don't know what's real, what's fake, what's happening. This shit is crazy. This is what I was talking about earlier, and you think I'm fucking playing. Yo, I'm looking at the phone. I don't know what's real, what's fake. Everything is blurred lines. You right.

Speaker 1:
[58:47] It's in here.

Speaker 2:
[58:48] It's not in here. So he's saying right now, if Jada gets top five, dead or alive, you dick, you pussy, your cousins, we would be questioning that worldwide if you even said that shit at Versus. Because right now they got AI. Not like you that bought a ticket. It was there in that building. It can't be AI.

Speaker 1:
[59:12] You sold it with your ass. But you are here to use difference now. Back in the time when someone came to see Jada or see Joey, they were there with us in the moment. Do you think our fans are in the moment with us these days? They are all over the moment.

Speaker 2:
[59:29] They are not. Let me tell you something. This Saturday, this Sunday, this Sunday is new edition, Boyz II Men and Tony Braxton. And I'm not going to lie to you. Them people don't give, they don't respect. They didn't say Fat Joe da Icon wants to pull up with his wife, give him a front row seat. They saying they don't give seats. My people are like, you're going to buy a ticket or set a horse hay? I love these guys. I love their music. I have to be there. I have to be in the moment. I have to support. They don't want, it's no problem to buy a front row. But some people look at me, right? Because they're so into what's happening now. Like just last week, two weeks ago, I went to see Jimmy Jam, Terry Lewis. I don't give a fuck. If I love you, I'm showing up. Some people who's still trying to be in the mix is like, yo Joe, you going to that old school shit? I'm like, yo bro, this is the music I grew up on. This is the music I love. These are the people I look up to. I don't give a fuck. I'm front row and I'm having the time of my life. And so people need to get out there and don't take your icons and your legends for granted. When they come through, buy your ticket, throw on your outfit, and go in that motherfucker. Don't let nobody convince you otherwise. I don't give a fuck. We know who to pop it.

Speaker 1:
[61:02] They don't make them kind of music no more, brother.

Speaker 2:
[61:04] No.

Speaker 1:
[61:05] That train been left.

Speaker 2:
[61:07] Ooh.

Speaker 1:
[61:08] That train left already when you told Jane.

Speaker 2:
[61:11] That train is out of your face. That train left. Yo, listen, Buju Banton, man, I love you in another, a whole.

Speaker 1:
[61:19] Butterflies.

Speaker 2:
[61:19] When is it dropping?

Speaker 1:
[61:20] The 17th of April. Look forward to butterflies.

Speaker 2:
[61:24] 417. That's April 17th. You can get that butterfly. You can get it on April 16th at 12 midnight. Yes.

Speaker 1:
[61:36] Well, no respect, no respect, brother, and I'm so proud of you, proud to see you all doing something great. I mean, I only hope that for the culture, the brothers in the culture know how important this is. Not only to have a voice, but to have a voice that we control the narrative, a voice that we can really actually sit among our peers. Instead of people trying to pry into our lives, we don't know from anywhere and I don't know how old in the world, how the city has been so uncomfortable because of that interview, we have to be so weak and all that bullshit. Yeah, like interrogation. Man and man, there's a reason we can talk about past experience and we just chill. So this is important for the culture to have legends like the Isle. Because remember, once upon a time, we look at those who were ahead of us as elders. How fucked up it is that now we are the elders. We have to make sure that the accessibility stays in the community and access stays in the community for our community. Because once we used to line up to have things like this done, now I come sit amongst the undercoach with people who are in the same industry as I am. And we can talk, we can relate, because I'm not saying something that's far-fetched. I'm saying that you can relate to me. I'm saying that I can identify with you because we're in the same industry. And you're not saying they're trying to hurt me. And I'm an asshole to make you look stupid. But the further what we're both doing, so this is a win-win situation. And the fans see the heat and the camaraderie and the dingo. You want to act like that?

Speaker 2:
[63:04] I want to throw the whole shit, the pillow. That was real. I hope I was fucking listening to that.

Speaker 1:
[63:11] I hope you heard everything he said.

Speaker 2:
[63:13] Rappers call us up.

Speaker 1:
[63:14] Thank you very much. I invite you to be my brother.

Speaker 2:
[63:17] I appreciate you, Buju. Rappers call us up with this contract. The rappers call us up. Guys that we know, we friends. They got beef with other rappers. You all want to sit on the couch. You want to sit on, we don't do that here. This ain't the house. This is the house of love, of culture, of spread it. They want to come in here and talk shit about the other rapper. That's not what we do here.

Speaker 1:
[63:39] There's an opportunity to create what we grew up on. From a BET perspective, where culture is always young people express, sell the product, talk to the fans, direct communication with the fans. We don't need to muddy the water. Let's keep it clean. That's it.

Speaker 2:
[63:53] Butterflies, 4'17. You want to know what's crazy? 4'16, that's 12 minutes. Remember, hold up, but let me tell you something. Rappers who call us for the controversy, you know, we know them, brothers. They call Jadakiss, they call me, yo, I want to sit on the couch, I want to shit on this guy, I want to say my story like this. And we say, yo, we're not with that. I see them go and do their interview with the same people who gatekeep the industry and been spreading all that bullshit forever and they sit down with them. And I look and I said, look at this shit. They found their way to these motherfuckers who were getting us to kill each other forever. And they sit down right back at that couch when the guys like us say, no, we're not doing that. We staying positive. They go right back to the guys who started all this shit. But it's okay. Let's think that. No, let's think that. That ain't this. It's crack and kiss. Make some noise. No respect. No respect. Buju Banton, what do you feel like? I'm not the king.