transcript

Speaker 1:
[00:55] This brother right here is a legend. He's an icon. He's got 36 albums. He's been working.

Speaker 2:
[01:01] I think he got 100 albums.

Speaker 1:
[01:04] 36 albums that came out. He's a West Coast legend, a legend overall, a hip hop veteran. And today we're going to give him his flowers. We're going to make sure that he knows how much he means to the game and we're going to celebrate him today. So in case you don't know what we're talking about. But only Ras Kass is in the building. I think that's amazing. You really got 36 albums, bro?

Speaker 3:
[01:33] I don't know if I got that.

Speaker 1:
[01:34] Yeah, we counted it. We counted it. Really? Yeah, we counted it.

Speaker 3:
[01:38] I don't know what the I was doing.

Speaker 1:
[01:40] Since 96, though?

Speaker 3:
[01:41] Yeah, I just created. So I never kept count. I figured I'd be done. Signed for five, I thought I'd be out by four.

Speaker 1:
[01:49] Right. And you just dropped a new album.

Speaker 3:
[01:51] Yes, Leopard Eats Face.

Speaker 1:
[01:53] Okay. What is the difference from coming out in 96 to coming out now?

Speaker 3:
[01:59] That's a good question. I would say a lot more saturated. Okay. You know, it's just a lot more output. I remember knowing, like going to the record store and knowing what Def Jam had, you know what I'm saying? What Tommy Boy had. And now it's kind of like everybody's vying for attention. So I kind of look at it like times square. It's a million billboards. So you got to focus attention. So now you got to make it because you love it. Try your best to promote it and hope somebody listens.

Speaker 1:
[02:28] You ever thought you would do it this long?

Speaker 3:
[02:31] Fuck no. Sometimes I'm like, why do you? But you know what it was? I thought, like I said, like I thought I'd be done by four. Life keeps lifeing. So you just end up having shit to talk about.

Speaker 1:
[02:42] Now, okay. So now the Golden State Warriors.

Speaker 3:
[02:47] Yes.

Speaker 1:
[02:47] They actually did sue you guys?

Speaker 3:
[02:50] Yeah.

Speaker 1:
[02:51] For what?

Speaker 2:
[02:51] It really did?

Speaker 1:
[02:52] Because at that time, you guys were selling an imprint?

Speaker 3:
[02:57] Well, we named ourselves and I guess we got on the radar.

Speaker 1:
[03:02] Okay.

Speaker 3:
[03:02] So exhibit, you know, the Restless album went platinum, and then all of a sudden they cared. Like you are not the Golden State Warriors. It's like, well, we spelled it differently.

Speaker 1:
[03:14] It's like we don't give a. I didn't, I spelled it differently.

Speaker 3:
[03:17] They don't care.

Speaker 1:
[03:17] They don't care?

Speaker 3:
[03:19] You can't be McDonald's. Yeah, we can't be McDonald's. We trying.

Speaker 1:
[03:22] Wow. Holy shit.

Speaker 2:
[03:24] Rest in peace of fear.

Speaker 3:
[03:25] Rest in peace of fear, my brother.

Speaker 1:
[03:26] Is this somewhere?

Speaker 3:
[03:28] No, we did like five records. And I'm also be, I'll be honest, my record, it wasn't capital at the time, I think it was transition and priority records.

Speaker 1:
[03:40] Okay, priority, yeah.

Speaker 3:
[03:41] They just got a little greedy, man. They fucked that deal off. So I'm always the one that like, cause everybody had different deals. Zibby was at Loud, I was at Priority, Safir was at Quincy Jones label, I forgot the name of it.

Speaker 1:
[03:52] Quest.

Speaker 3:
[03:52] Quest, he was signing Quest. And when X popped, the bean counters start coming out. That's not a racist thing I'm talking about. But now they started-

Speaker 2:
[04:03] The counting of money.

Speaker 3:
[04:04] The counting of the money, people, the attorneys in the suits started asking for a whole bunch of shit and they like held up. And we had a million dollar deal on the table and they like dragged it out for like a year, which was really when I started flipping out where I was just like, like maybe they're saying they're making mistakes. It would kind of seem like they were sabotaging.

Speaker 1:
[04:23] And you had Drake Beats and all that.

Speaker 3:
[04:24] Well, I mean, think about it. We had his relationships, my relationships and Safir. So, you know, theoretically, we would have had E40 and Too Short with all the bass shit. Right. And then we would have had my relationships, which I got RZA and blah, blah, blah, blah and Premier. And so we were going to kind of do one of those, like Voltron it up and make this crazy different kind of record.

Speaker 2:
[04:50] You know, you could put that record out today.

Speaker 1:
[04:53] I was about to say that.

Speaker 2:
[04:53] How these people are doing these records with artists that aren't around anymore and stuff like that.

Speaker 3:
[04:57] Well, Safir is gone.

Speaker 1:
[04:58] Right.

Speaker 2:
[04:59] I'm saying, but like Mobb Deep just released, isn't it?

Speaker 3:
[05:01] Yeah, but have had all, have got them, you know, have got all them files. He had, he had the reels. We only had what Safir had. Somebody supposedly had a whole, like a whole Safir album that never came out. And we were, we had discussed it, me and X and his brother, Sonny Chop Black. But we couldn't get, cause I'm not going to AI my brother's voice. You know what I'm saying? So if we couldn't get Safir vocals, we can't do it. I mean, you know, I would love to. I mean, I mean, we could rip X it. I kind of was suggesting that, like why don't we just take old vocals and hooks and build it. But I guess, you know, maybe we will, if the technology gets good enough for it. That producer dude that's out there talking to you, whoever you are, get us, cause think about it, back then everybody was doing three verses. So shit, you give us one song and we got three songs. So yeah, give us three records and let us rock.

Speaker 1:
[06:01] Was that recorded digitally or analog?

Speaker 3:
[06:03] Back then, I think we were a little bit of both. I think Pro Tools existed when we were, yeah. Cause we're talking about like 2001-ish. Probably 2002 or so, it was just that transition. We still had the Twins Reels, but I think we were starting to edit in Pro Tools.

Speaker 2:
[06:18] The ADATS.

Speaker 3:
[06:19] Yeah, I think we still, cause we was over there with Dre. So, you know, he had Best of Both Worlds.

Speaker 1:
[06:25] What's your favorite album you made? Or is it like your kids, you can't pick your favorite kids?

Speaker 3:
[06:31] I'll wait, you know what? I don't like, I make them and then I think like I don't listen to them and then I forget them.

Speaker 1:
[06:39] What?

Speaker 3:
[06:40] It's kind of how I make kids.

Speaker 2:
[06:41] That sounds like a Drink Champs episode. We make kids, we still watch it and we forget it.

Speaker 3:
[06:46] Well, I mean, until way later, cause I don't want to get, you know, like super wrapped up in one thing. I'm always trying to like grow. So, really, Leopardy's face for me is Soul on Ice too, to a certain degree. It's like, I told you so is what it is. But I don't have a favorite, sometimes I listen to shit, like the homie was playing one of my projects and I was just like, oh shit, cause now if I ain't listening in a couple of years or 10 years, I'm not that person. I'm just kind of listening to some dude saying some shit that I can relate to. So I kind of enjoy that part of it. I like every record separately for different reasons when I listen to them.

Speaker 1:
[07:27] Do you think putting out music with the internet and being able to download, you think that makes it harder for the artists or is it easier because it's more access?

Speaker 3:
[07:39] It's all tools. I think it invites people to diminish the work that it takes to make one song. You know what I'm saying? Because they can get it so easily or they can stream it for free or 1099 and you got the library of everything. But then on the other side, I would rather hear it than not hear it. So I just look at the tool for what it is, appreciate it and try to nowadays, we already know you got to monetize it in other ways. You may not be able to monetize it on the creation of the music. Maybe you can sell the merch. Maybe you can platform it, which we always do. You got to platform this shit and the other shit. Most people don't get rich being a rapper. You know what I'm saying?

Speaker 1:
[08:32] You know what's funny? I remember having to drop a record and for me to get that record to London, I had to physically go to London. Like, you know what I mean? To go to see Tim Westwood, to see it. And I never pictured this game to be like that, where you could just press one button and it'd be all over.

Speaker 3:
[08:50] Right. Even recording. I mean, you know, just I never thought I could do a song with somebody, you know what I'm saying, in New York, without being in New York.

Speaker 2:
[08:59] Yeah, that definitely changed.

Speaker 3:
[09:00] They had to ship the real, it's all that shit.

Speaker 1:
[09:03] The two-inch real.

Speaker 2:
[09:06] And what about now seeing your kids doing what they're doing, man?

Speaker 3:
[09:11] I'm, you know, like I always just say I'm happy, you know, that they found something they love. And that that thing they love is giving them an opportunity, a fair shot. So happy about it.

Speaker 1:
[09:24] What would have happened if they were wack?

Speaker 3:
[09:26] Oh, shit. All right, I'm going to drink.

Speaker 2:
[09:31] Can we get him a drink?

Speaker 3:
[09:33] No, no. I mean, they would have just been wack, honestly. Real talk.

Speaker 1:
[09:36] Because you are known for being one of the best live assistant games. Imagine that. It's starting to come up to you today. Because I heard it at first, you said, you told them no at first.

Speaker 3:
[09:46] Well, I did tell them no. And one thing, I want them to tell their own story. So that's their narrative.

Speaker 2:
[09:54] They've really created a career for themselves.

Speaker 3:
[09:56] So I'm going to let them speak on it. But in general, if they were wack, they would just be wack. Jordan's sons are not doing Jordan things, you know what I mean? My father can swim good. That's a lot. But I'm just making up shit. But the point is, I might not be able to swim. Because everything ain't biological. And some shit you just got to work out on your own. Did I say I was drinking?

Speaker 1:
[10:38] You did.

Speaker 3:
[10:39] I know I did.

Speaker 1:
[10:42] You know why though? Because that's what we do.

Speaker 2:
[10:44] Sit on your water too though.

Speaker 1:
[10:45] We reanalyze how the show is going to go by what you drinking. We know tequila works every time.

Speaker 3:
[10:56] Is this tequila?

Speaker 1:
[10:58] No, no, no. That's Jameson.

Speaker 3:
[10:59] Oh, that's the Jamie. Okay.

Speaker 1:
[11:00] Yeah, that's the Jameson. So, I see you.

Speaker 3:
[11:04] Oh, just straight up too. Gangsta shit. Okay.

Speaker 1:
[11:08] How did you become a whiskey guy?

Speaker 3:
[11:11] New Yeti.

Speaker 1:
[11:12] New Yeti?

Speaker 3:
[11:12] New Yeti did it.

Speaker 1:
[11:13] Okay.

Speaker 3:
[11:14] First of all, I got to represent the West, so we all started with the bullshit. We started with Bumpy Face.

Speaker 1:
[11:22] Oh, I don't even know what that is.

Speaker 3:
[11:24] You don't remember Bumpy Face?

Speaker 1:
[11:25] Not at all, man.

Speaker 3:
[11:28] You were being a good young West Coast kid.

Speaker 2:
[11:30] What, like mad dog?

Speaker 3:
[11:31] No, Bumpy Face was the gin.

Speaker 1:
[11:34] Oh, wow.

Speaker 3:
[11:34] And the bottle was bumped.

Speaker 2:
[11:37] Right.

Speaker 3:
[11:38] Like it was all fucked up. So we did that. But we're talking about kid shit. Snoop alludes to it. Gin and juice. Right, right. So that's when you're like a kid and we would drink that and then you get hungover. And then we would drink fucking, it was cheap ass, like night train and you put Kool-Aid in it. So we did that. And basically then it was Hennessy. Once we finally got some money. I remember Wynow gave me some Hennessy.

Speaker 2:
[12:11] And you drank Cisco?

Speaker 3:
[12:12] Of course, I drank it all. I thought it was amazing. I loved it.

Speaker 2:
[12:15] It was amazing for us when we were kids, but not.

Speaker 3:
[12:17] Oh yeah, never. Now you look back. I caught a liquid crack.

Speaker 2:
[12:19] What the fuck was we doing?

Speaker 3:
[12:22] Yeah. And then we went through the Hennessy phase. Hennessy, I call it jail juice. So you would look up. I looked up and thought every time I...

Speaker 2:
[12:30] I call it Hennessy look at me juice. You think everybody is looking at you to start a fight.

Speaker 3:
[12:34] What you do? Why you looking at me? I just knew I ended up in jail. Like every time I, no, every time I ended up in jail, there was some Hennessy involved. So that I was like, can't do that no more. Went through my vodka phase. And then, yeah, I was somewhere, I was at a bar with like some, there was a whole bunch of fucking Wall Street dudes.

Speaker 1:
[12:56] Right.

Speaker 3:
[12:57] And the Wall Street dude was like, yeah, that's the money drink. And I was like, oh really? Fuck it.

Speaker 1:
[13:02] Okay.

Speaker 3:
[13:02] Yeah, drink Irish, smoke Jamaican.

Speaker 1:
[13:05] I'm going to go through a couple of these albums and tell me what you think of when you hear it.

Speaker 3:
[13:11] Okay.

Speaker 1:
[13:12] Soul on Ice.

Speaker 3:
[13:13] It's truer now than it was then.

Speaker 1:
[13:17] Really?

Speaker 3:
[13:17] Absolutely. Wow.

Speaker 1:
[13:20] You think the times have not got better?

Speaker 3:
[13:22] It's worse.

Speaker 1:
[13:22] Absolutely.

Speaker 3:
[13:23] It's worse.

Speaker 1:
[13:23] Yeah.

Speaker 2:
[13:24] It is man. Who would have thought it would get worse?

Speaker 3:
[13:28] Soul on Ice is truer now.

Speaker 1:
[13:32] Right. Thank you.

Speaker 3:
[13:33] The things I'm dealing with, you know what I'm saying? That I'm talking about sociopolitical, overt racism, a country that won't own up to its lies, erasing history, literally taking people out of books and making it illegal, burning books and all that. Yeah.

Speaker 2:
[13:51] I always said that, that like 90, maybe 91 to like 95 hip hop lyricism was telling us everything that foreshadowed everything that happened today.

Speaker 3:
[14:04] Well, I think, you know, the same. I mean, smarter people than I have said, like, you know, what is it? If you don't learn from history, you're doomed to repeat it. If you keep fucking the same girl that keeps giving you crabs, you're going to get crabs.

Speaker 2:
[14:21] The dragon.

Speaker 3:
[14:22] Right. I mean, you know, the logic prevails. So, yeah, we haven't learned from our past mistakes. And then we get on some, we like to fucking escape. We like escapism music. We like to do escapism shit. So we're doomed to repeat it. And then again, America likes to fucking say, that never happened. You know what I'm saying? Never happened. We didn't do anything to you guys. You guys are just tripping.

Speaker 2:
[14:47] Right. Why are you bringing up bullshit? That's what America likes to do. Why are you bringing up bullshit?

Speaker 3:
[14:51] Right.

Speaker 1:
[14:53] Okay. Blasphemy.

Speaker 3:
[14:55] Blasphemy. Oh. Hypocrisy. Only reason why is because the album was actually called, I really love that album. My homeboy, Curtis Daniel, would say, his favorite produced album. So, you know, shouts out to Apollo Brown. But the name of the album was really called, I came up with that title when I was in prison, but that wasn't the title. The title was called How to Kill God. That was the name of the album. That was called, right, real controversial.

Speaker 2:
[15:31] Not marketable at all.

Speaker 3:
[15:33] Yes, it is. Because guess what? It's not a how to manual, I'm just saying. So the metaphor was.

Speaker 2:
[15:39] It's not the Anarchist Cookbook.

Speaker 3:
[15:40] Right. No, the metaphor was, how do you kill God? Well, God is love, right? God created everything. So if you go kick a fucking cat, you killing God, you hurting God, something that God created, one of God's creations. So how to kill God is being a dick, being fucked up, being a sexist, being a racist, being a bitch ass. All that shit is how to kill God. So when I did it, the ironic part is, I didn't say how to kill Allah or how to kill Buddha, all that shit, because America, and that's why I said, it's hypocrisy is, if I would have said how to kill Allah, how to kill Buddha, or how to kill Yahweh, Apple and iTunes would have said, cool. Spotify would have said, cool. Because they identify that with European God, that's why they said no. It's like, absolutely not. So then we call it blasphemy because they're being blasphemous. So that's what I think of.

Speaker 1:
[16:28] Okay. Eat or die?

Speaker 3:
[16:31] That's when I'm on the run. So that's when I realized this company is against me, and I'm at the sink or swim. So yeah, I just think of like, fuck it, my back was against the wall. I was upset. I was mad. And fuck it, I'm going to have to eat or I'm going to die. I got to figure this shit out.

Speaker 2:
[16:49] And we got to go back, because I know you've talked about it in length, but just for the sake of this show, I want you to go back later on and talk about that.

Speaker 3:
[16:56] Yeah, absolutely.

Speaker 1:
[16:57] Okay. Soul on Ice 2.

Speaker 3:
[17:07] I feel like it was slept. I mean, well, I always get slept on. I think it was just a great follow up, and I wasn't trying to make a Soul on Ice 2. Let me turn this phone off. I was trying to make something else, which is normally how these records happen. And then I just felt like five records in, and I was like, I'm making something that is an extension of the first one. So I feel like I did that, and what was that, like, whatever, a 2020 threed Soul on Ice, updated production-wise or whatever. So yeah. Okay.

Speaker 1:
[17:43] Adidas.

Speaker 3:
[17:45] Audre, I Dream About Spitting. My only double album, shouts out to Redmatic. And what do I think about it? Yeah, I feel like it was my only double album, which I never felt like I don't be having a bandwidth for that shit. So I don't know who listened to it. There was a lot of listening.

Speaker 1:
[18:08] How did Adidas not get at you if the Golden State Warriors got at you?

Speaker 3:
[18:12] Well, they always say if somebody contacts you, you already did your job. So that means I didn't do my job. Adidas is like, I this guy.

Speaker 2:
[18:22] Before Killer Mike's Adidas?

Speaker 3:
[18:24] I think so. Yeah, I believe so. Yeah. If they don't hit you, here, I'll give you a prime example. I get to flex a little bit. This is a good flex. So when I'm working on this album, Rassasination, I'm with Dre and I'm playing my intro. The whole intro is basically where we're in. There's this dude that's like a fascist, he's a dictator and there's no dogs or niggas allowed, none of that. And we're Operation, we gotta get rid of this fascist ruler of America, right? Right. And, but before that starts, it uses, because we remember the VHS tapes, and it would be like, bing, and now our feature presentation. So I play it for Dre. Now we put all the sonics on it, it goes, bing, our feature presentation. My record comes out, Crickets. He uses the THX sound. But that shit go diamond. Them came a-knockin. So the whole point is, I'd rather ask for forgiveness than permission. You just do this shit, if it pop, and then they come get out, you know, get your money. Yeah, I'm never mad at that.

Speaker 1:
[19:37] Okay.

Speaker 2:
[19:37] I mean, that can backfire sometimes.

Speaker 3:
[19:39] Well, no, I've never really watched it backfire.

Speaker 2:
[19:42] I'll give you another example.

Speaker 3:
[19:44] But he made the money already, he's still doing it.

Speaker 2:
[19:46] In the long run, it did work out.

Speaker 3:
[19:47] It works. What's his name? Did it Master P's son.

Speaker 2:
[19:50] Dela suffered with the sample stuff.

Speaker 3:
[19:52] But the record sold already. You can't tell a he can't perform the records.

Speaker 2:
[19:57] Right, right.

Speaker 3:
[19:58] You just say, I want all the publishing. So what? All right.

Speaker 2:
[20:01] This is not all.

Speaker 3:
[20:01] Little Romeo, I'm telling you, Master P did it. I watched it in real time. I watched Master P. There was three Littles back then, Lil Bow Wow, all these little ass, Lil Bow Wow, Lil Romeo, Lil Xan. This was before the onset of the Youngs and the Babies. was Little first, then it became Young, then it Baby, now going to be Zygo. Whatever the fuck. So Little, I remember Romeo Pops, who's Master P, because Two was on my label, was on priority records. So Lil Xan just came off the 112 record on the boat, you know what I'm saying? Platinum, Lil Bow Wow's with Jermaine Dupree and Romeo. Master P wants to sample the Jackson record. Priority records, the bean counters, the execs is like never in life. He like, fuck you. He got his own money.

Speaker 1:
[20:54] Well, he's on priority?

Speaker 3:
[20:55] Well, yeah, that's who he had to deal with. But they're still the execs. But he's like, I don't give a fuck. Master P says, I want to put my son out, and he can shoot the video, puts out, manufactures, whatever, puts the record out. Rancor Jackson say, fuck you. I'm taking 100% of that record. It don't matter. The record gold. The son has a career. He's still touring. Then he gets on the Disney channel, wherever the fuck it is. So I'd rather ask for forgiveness than permission. A going out, tell you everything that can't go right until you just show them that it went right. And here's your bread. it, I'd rather pay a off and let him get 100% of something than have 100% of nothing. All right.

Speaker 2:
[21:36] It's real. I still think it's a give and take.

Speaker 3:
[21:40] You haven't given me an example.

Speaker 2:
[21:41] I'm just saying, think about some people inspire, you know what, fuck that. I'm gonna take that shit and I'll ask for forgiveness later. I'm just saying, for any scenario, it's not, maybe not just music.

Speaker 3:
[21:53] Well, yeah, maybe with, I mean, it's certainly like, I think like, I forgot who it was. It was like one of the video game people where they're gonna shut you down immediately. But in this music shit, it, it's the bottom line.

Speaker 2:
[22:04] That's how it was with the mixtape game.

Speaker 3:
[22:05] That's what sampling is.

Speaker 2:
[22:07] Our mixtapes were. I had a lawyer, they were like, yo, you can't do this. I said, ah, whatever. And we went out and I got the season to sit, you know what I'm saying?

Speaker 3:
[22:14] Right. But it's too late. You can't put the face back in the tube, bro. Get that shit out there. Fuck it, if it's fire, it's fire. And then lie and say, you know what, I didn't do it. I'm just blame Boris. That part, yeah.

Speaker 1:
[22:28] Is it true you and David Banner used to be roommates?

Speaker 3:
[22:30] Yes.

Speaker 1:
[22:31] How the hell does this house of work? Y'all two rapping. How does that house of work?

Speaker 3:
[22:41] Man, I love Banner, bro. So this is...

Speaker 2:
[22:45] This Crooked Letters Banner?

Speaker 3:
[22:47] You lost the deal. This is right after Crooked Letters.

Speaker 1:
[22:50] Wow.

Speaker 3:
[22:51] As a matter of fact, you was on the record.

Speaker 1:
[22:53] I was on the record, yeah.

Speaker 3:
[22:55] What was Firewater, right?

Speaker 1:
[22:55] Firewater, yep.

Speaker 3:
[22:57] So the single, pops, whatever the label doesn't feel like the album, whatever, he lost the deal. Little do I... Me, I got to get a fabulous shit. I got the Drake record, they fumbled the whole record, the money's running out, you know what I'm saying? I'm like, I'm not going to be broke in LA, because then they're going to say I smoke crack. You see a broke that you saw on TV, and you don't see him looking okay, he's smoked out. You know what I'm saying? That's the assumption. So I'm like, fuck it. I know, I do. I think like an awful stupid person, but I'm just telling you my truth. I'm like, I don't want to go to Atlanta, because there are some people I was upset with. So I'm like, where else can I go? And you got to remember this a little bit pre-internet. So I call Wendy, Wendy Day, you know what I'm saying? Shout out to Wendy. And Wendy's like, well, we got you. You can come over here and figure it out. I'm like, fuck rap, I don't want to rap. You know what I'm saying? I was fucked my whole career up, doomed. And when I get there, there's another on another couch. It was banner. Oh wow. Yeah man, so we rocked out, man. I actually have videotape because I had a camcorder dating myself. And one day we went to the club. Because her roommates do all the dope parties in New York, like life, all the fly shit. OK, but one night we went to like life or something like that and then he didn't feel up for it. Like he was just, you know, depressed. You know what I'm saying? go through it like damn and maybe questioning.

Speaker 2:
[24:39] Human shit.

Speaker 3:
[24:39] Yeah, like maybe my career is over. And I remember I got back a couple of hours later. He was like sitting in the stairwell. He was like, man, I hope you don't mind. I used your camera and shit. I was like, man, it's cool, bro. I went back and looked at it. He was like, my shit fucked up. My career fucked up. But my name David Banner, I'm a B somebody. And the did his stuff. So it actually got that take. And I got to find it for him because it's inspiring to watch somebody at they lowest, you know, re-up. And then we did a record. We did a record. We got the studio. And Mobb Deep was next door.

Speaker 1:
[25:16] Yeah. This is in New York.

Speaker 3:
[25:18] Yeah, this is all in New York. Yeah, we stand in New York. We stand on like 33rd and 3rd. Okay. So it's a super nice building. We fly. Well, we ain't fly. Wendy and them fly. We niggas on the couch. We brother man from the second floor. Okay. Or whatever it was. But they were next door working on, I think it was Murder Music. Anyway, I'm forgetting what year, but we're doing this record, because I remember PNHab was like, whatever, they didn't know David. I introduced David. They was like, you know, be nosy. Walk in, look at, you know what I'm saying? I'm like, ah, that shit crazy. And they walk in and listen to ours. We had sampled, and we were like, uh, entertain us, here we go now. Nirvana. And I remember them just looking like, what the fuck is this shit? But then Banner ended up using it on the mixtape that popped them out. You know what I'm saying? That did well for them. I think the song was called Spaz Out. But we, you know, we was, we was working, man. We worked. It was crazy, man.

Speaker 2:
[26:16] Shout out to Banner.

Speaker 1:
[26:17] That's a sitcom.

Speaker 2:
[26:18] He sent me a new record.

Speaker 3:
[26:18] That was a sitcom. And I was out there acting up, I ain't gonna lie. But you would see me out.

Speaker 1:
[26:23] Yeah, that's right.

Speaker 2:
[26:24] I watched it on Banner. He sent me a record with him and Ab Sol. I don't know if he's put it out yet, but he sent it.

Speaker 3:
[26:28] Oh, he's always cooking.

Speaker 2:
[26:29] And it's crazy.

Speaker 1:
[26:30] Yeah, who else has got a record with Ab Sol?

Speaker 3:
[26:34] I got a record with Ab Sol on mine.

Speaker 1:
[26:36] Yeah.

Speaker 3:
[26:36] Shameless plug.

Speaker 1:
[26:37] Yeah. Ras Kass presents.

Speaker 3:
[26:42] Oh, that was the re-up. Storm, I don't want to get him in trouble. Storm that manages Bob D.

Speaker 1:
[26:50] Oh yeah.

Speaker 3:
[26:50] Or Havik now. But he used to manage Bob D. Manages me too. And that was the first time for that project, somebody had got me a Honey K socket to my pocket, in my pocket. That was my first My Honey check outside of my record deal. So I always think of that. Like, thank you, Storm. So salute to Storm. Perfect management.

Speaker 1:
[27:16] The Yellow Snow EP.

Speaker 3:
[27:17] Oh, that's funny. That's my homeboy, Rubio. Doc Hollywood was the name of the group. The Yellow Snow EP was... I like doing what they call them, ugly sweater. Like, I like taking holidays and flipping them upside down. So the Yellow Snow EP was me taking Christmas songs and like shitting on Christmas.

Speaker 1:
[27:40] Oh, it's not about pee?

Speaker 3:
[27:42] Well, Yellow Snow is pee. The saying is, don't eat the Yellow Snow. If you eat the Yellow Snow, it's the pee.

Speaker 1:
[27:51] Oh, God.

Speaker 3:
[27:54] It's like, don't eat the snow in Harlem. Like, down there, it's going to be some cracks in there.

Speaker 1:
[28:04] So was it bringing me to Christmas? Was that the same play on the holiday?

Speaker 3:
[28:10] Yeah, Christmas? Yeah. That's just the extension. I took the Yellow Snow EP and just every couple of years, I add a new song and I give it out around Christmas. So I just, yeah, Christmas, M-E-S-S. It's just the ugly sort of thing. It's just me taking Christmas and I did like a dreidel song. You know what I'm saying? I just do, who haven't I attacked yet? I have to do, what's the black one?

Speaker 2:
[28:38] Kwanzaa.

Speaker 3:
[28:38] Kwanzaa. I've got to do a Kwanzaa.

Speaker 1:
[28:42] You can't do that.

Speaker 3:
[28:43] I can't.

Speaker 1:
[28:43] I can't do it. Leave Kwanzaa out of this.

Speaker 3:
[28:46] Ah! I'm messing with Christmas. I'm messing with Hanukkah. I got to mess with everybody.

Speaker 1:
[28:53] Okay, I feel you.

Speaker 2:
[28:54] You have to do Los Reyes Magos. That's the, this is bad.

Speaker 1:
[29:01] What's your favorite era of hip hop?

Speaker 3:
[29:04] 90, musically or just living?

Speaker 1:
[29:08] Either way, what's your favorite?

Speaker 3:
[29:09] I would say music. That ain't fair. It's always fire shit. Before I got to deal with Super Fun, because I got to watch other people. I was a fly on the wall, being around like Wynno and Coolio and meeting Premier and Gang Star and MOP and just, you know what I'm saying, Bumpy. Just whatever. Just being that guy. And then coincidentally meeting my peers, you know what I'm saying, the Warlocks going on to be the locks and so on and so on. Just meeting all these other dope people. That part of it was fun. I definitely have enjoyed, even today, you know what I'm saying? I'm in a very small group of people of what I think are like elite MCs, producers. You know what I'm saying? Artists. And a lot of us have encountered and kicked it and done shit and traveled the world together. So for me, that part, it's always fun. There's been a lot of peaks and valleys. Damn, there's probably way more valleys than anything, but this shit is fun, man, for me.

Speaker 1:
[30:21] You still have fun doing it?

Speaker 3:
[30:22] I have a fucking blast. All I want is the same bag as the fun. The fun that we're trying to get the bag. If I get the bag, I'm really out of here, I will make a. Me and Blue used to say that, my little stupid cousin. Blue Da Vinci. Yeah, Da Vinci. But yeah, you know what I'm saying? I make, I make wood look like gold, nigga. Let me go, let me get about 3.5 million, You will see a take over the planet.

Speaker 1:
[30:49] Right.

Speaker 2:
[30:51] Speaking of Blue Da Vinci, what was your interaction with that BMF movement?

Speaker 3:
[30:58] Shit, I was there from the onset. Yeah, I was there. First of all, I'm going to be as frank as I can. We met, Blue was, Blue was my second mic. I never called him hype then. So Blue was my second mic. And Blue grew up in the same neighborhood as Wino and whatever. So, who was Coolio's producer, the DJ. He's Coolio. Yeah, Resepey's Coolio. So, Blue's with me. We got another cousin, S Class. He's from Inglewood. So Blue's from Carson, 190.

Speaker 1:
[31:37] That's where you're from, Carson, right?

Speaker 3:
[31:38] Yeah. And, DJ Poole loved Blue. So Poole, because Blue's funny. The got jokes. Y'all remember Gabi and Nelson? Yeah, absolutely. Yeah, loud.

Speaker 2:
[31:55] I worked through them with the marketing stuff.

Speaker 3:
[31:57] So, Gabi's the only other nigga that could shoot. Well, the only I ever seen in real life shut up Blue. Gabi talked Blue into a circle with like bagging on niggas. So anyway, Poole loved Blue because he was funny. He could shoot jokes. He's a street dude, but he's a comedian. He's funny. And so Poole loved him and started putting him in movies. Three Strikes, this, then a third. So really, Meach and them went to Poole. And that's how we met Meach and them. We met Meach and them because Poole was like, okay, we'll have Blue be the artist. And then-

Speaker 2:
[32:34] Was he the first artist?

Speaker 3:
[32:36] So that was the plan. The plan changed. The original plan was Poole, quarterbacks, and then Blue and me come in. The contracts got switched and Meach eventually would, I remember the asked me, how much to get you out your deal? And he was dead serious. He was like, yo, if we give the priority a million dollars, you know what I'm saying? Well, they let you go. And I was like, bro, I don't even know if I want to be in debt to a for a million dollars. I remember I was like, I'm opting out. You know what I'm saying? Because then it was going to be me running it and Blue the artist. And what really happened is Blue took all the mantles. I opted out. I can't speak on what happened with Poole and Meach. Because I don't know exactly. It was just one minute that was the play, then the play switched. I opted out of the play. The hood came into it, which is great. Meach and it was rich already. They are, BMF was BMF. Right. But the music was not a factor. And like I said, I'll say as much as I can, without, you know, whatever. For sure. But I would say this. I sent them to Atlanta. It wasn't none of their fucking idea. We got patchworks. So if you come to LA., why would you go to Atlanta? So it was my idea, like, take it to Atlanta, because LA., niggas is going to be trying to figure out where y'all getting this money from, who is y'all? And then going to start running in, trying to shoot up shit. First, they're going to start as a homie, which is the extortion bit that happens to the most rap niggas that go out talking tough shit in LA. You're going to get extorted. And the next one, they're really just going to come on your helmet. And the third wave is they send a bitch at you. She's going to give you some pussy, and then she's going to lock the door one day. And that's happening to niggas, too, in LA. So what you don't want to do is be out there looking like, you know, that's anywhere, though. Don't come out looking like steak. You know what I'm saying? There's a whole bunch of starving parvo wolves and shit. And you like, oh, look at my bloody steak chain. Okay, gonna come get you. So my suggestion was take that shit. My quote was, take it to the Woldies. I was like, go out with the Woldies, take that shit to Atlanta, because these is already asking questions. There was a whole bunch of other shit happening. Like I said, I don't want to speak on it. And so they went to Atlanta and then fast forward, two years later, I'm getting the report card. And it was not good. I was in the pen already. They're like, jeez, he did this, so and so, they beat up him. I'm like, bro, you cannot be, can't throw after parties after not guilty verdicts, that shit with elephants. I was like, don't do it. You're bringing all this attention. There was a lot of shenanigans.

Speaker 2:
[35:24] Great, so you were in when that was started popping up.

Speaker 3:
[35:27] Yeah, go there. I see them. Then I go to New York and then I have to go to Vegas. I get locked up in Vegas and fast forward by 2003-ish, for I'm getting the report card of the shenanigans. I'm like, don't do the shenanigans. First of all, you can't put a billboard when you're going to the airport and leaving it in front of Jermaine Dupree and says, the world is BNFs. I'm like, you ain't put on no music. What the fuck is the music? They got to sell a hot dog or something. They could do something. Y'all cannot explain whatever, but they went for it. Ultimately, at the end of the day, I always want Meach, like I said, my other cousins and the gang of my homies were in BNF. You know what I'm saying? And the worst part is that there's a lot of money. Set black people back by 25 years. That was a lot of fucking money. And not having those relationships, those people not having a relationship. And I'm not mad at Fifth, but you know what I'm saying? That wasn't supposed to be a documentary. That's supposed to just be... Other people keep it together and get the bag, and we couldn't keep it together or they couldn't keep it together. But that was a poor execution of fucking amazing opportunity. I could have paid a lot of people. So I always, I look at it like, damn, Fifth got a documentary and a TV show out of it, but that shit was supposed to be incredible.

Speaker 1:
[37:04] How did you avoid gangbanging from where you're from?

Speaker 3:
[37:12] I don't think you avoid it. I just, anybody that tells you you have to step into a gang is a fucking liar.

Speaker 1:
[37:19] All right.

Speaker 3:
[37:19] You know what I mean? Like we're all, we all grow up somewhere. So I always liken it to like the Kindred skit, cause I think his, it's so visceral. I relive that shit, like on the Good Kid, Mad City shit where he's just like, where your mama from? Where your grandmama from? Like that's LA. Like you're gonna get pressed if somebody, especially if you stick out like a sore thumb, somebody's gonna be like, why are you over here? I mean, and as far as just growing up in a neighborhood, you don't have to do shit. It's a basketball. Think about it, on the block, like anywhere, Brooklyn, fucking Florida, Miami, anywhere that you're at, it's a comedy dude. It's somebody that's funny on your block. It's somebody who played basketball. It's a real straight-laced dude. There might be the police. He might be a crooked cop, but it's a straight-laced dude. It's the one all the girls like, you know what I'm saying? It's like the pretty boy that all the girls like. It's usually a gay too. It's just all these different people. So that's a regular street in LA. What they did was they created this narrative that in LA you had to do it.

Speaker 1:
[38:30] That's what we thought.

Speaker 3:
[38:30] Yeah.

Speaker 1:
[38:31] We thought that.

Speaker 3:
[38:32] It sells good. It sells and it's great and boys in the hood, but that's actors. And some of them ain't even from LA. A lot of them were from New York. So that's this narrative that you're forced. The times I would assume you'd be forced to a sudden, you're not even forced is because you're pops and not that he forced you. It's just you associate or you're older brother. So I know a lot of people who stepped in because they broke it, you know what I'm saying? Or their father was. So this is like, this is calm on second nature. But nobody, when you're like 10 says, you gotta do it. Nobody never says that.

Speaker 1:
[39:10] I can realize you being an outsider. That's just the fun.

Speaker 3:
[39:15] It is, I would assume until it ain't.

Speaker 1:
[39:18] Yeah, like when I used to see like NWA and like they rocking the ice black. Oh shit, that shit was so different to us.

Speaker 3:
[39:27] Gangsters and black, there is no, you know.

Speaker 2:
[39:29] They were, they repping neutral.

Speaker 3:
[39:31] They're a construct, they're a concept, and I'm not disrespecting them. I'm just saying, there are gangs, there are, you wear the wrong.

Speaker 1:
[39:38] But he was a grip, right?

Speaker 3:
[39:39] Yeah, he was, you know what I'm saying?

Speaker 2:
[39:41] But he didn't rep it though, like that.

Speaker 3:
[39:42] Right.

Speaker 2:
[39:43] Like, I mean, on to the public.

Speaker 3:
[39:45] Right, more people started stepping in just saying like Cubs and blood, like the young is really outside. And then we got a third factor. We got Southsiders, we got Mexicans. All right. And that's a whole different factor. So like this whole gang shit, got it fucked up. Like it's just bloods and crips. You got these Southsiders and they don't want you around there. And they are, they hopping out with K's on niggas.

Speaker 2:
[40:07] You don't think the most overt version of like putting it out there was banging on wax. I feel like that's the first.

Speaker 3:
[40:13] Well, that was the first. Right. You know, but here's the rub on that. If I'm correct, there's only two people alive from banging on wax. Wow. Yeah, it was overt. And guess what? Now you're the target. Right. Nobody survived that except for two people that I know of. I won't even say their names, but it's only two people alive. And one of them had a pseudonym when he was on banging on wax. He didn't go by his real name.

Speaker 2:
[40:40] Because who would have been doing it before that? Maybe Comfortables Wanted, maybe?

Speaker 3:
[40:44] Well, I mean, there were people making. So some of these records that came out, that would eventually become legendary rap albums, started off as like hood demos that they would sell at the swap meet. So I recall one in particular where the artist is gang banging. He's talking about where he's from, he's talking about killing the enemies, the ops, all that. But when he sanitized it, by the time he got a major record deal. Gotcha. But not that LA, and LA Bloods and Crips loved it, and the Southsiders, the Mexicans loved it too. But by the time it came out to mainstream, he made it a lot more digestible by not putting out like, I'm from this hood, and I killed those particular people. The lifestyle is, trust me, I got friends that was gang members before we met, prisoners and some lifers after, totally good people. I'm not knocking that. It's just, it's not really, for me, I never wanted to, I didn't step in. So what I, I remember telling, in the studio one time, a dude, you know, early on said like, you may have to put on the suit, like to sell the records, you know what I'm saying? Like put on a khaki suit and get to krip walking. I remember I said, this was sometime around this time, around like 97-ish, 98-ish. But I remember I just said, bro, I'm from, you know what I'm saying? Like I forgot how to krip walk. Because if you're not a krip, then don't krip walk. So when you grow up in a neighborhood where people krip walk, you krip walk. And as sure as I'm, rest assured that if you go up in the blood neighborhood, you be walking. You know what I'm saying? But if you don't become a blood, stop be walking. Because you're only creating a problem for yourself. And now you may not have the homies in the burner and the backup, so you don't do it. So I have forgotten how to krip walk because I decided, I said the dumbest thing when they asked me to step into the hood. They said, baby John, because I wasn't Ras Kass. They said, baby John, you're going to see from the hood? And then I said, yeah, how much are you paying an hour? And then the laughed at me. And they said, fuck it, it's just my baby John. And that was it. And I continued my life in the hood and had a great time. So yeah, they never force you, man. I've never seen nobody force you. Most people jump in because they broke. So you want to sell dope. So you need somebody to front you some dope and you need some protection. And where you're going to sell the dope at? You can't go down the block to somebody else's neighborhood selling dope. So you need a location to get on your feet, help your mom or whatever your situation is. The other one is, you already grandfathered in. And the last one is, something fucked up happened and you mad. You want to get some get back. And there's a fourth. It is cool to a certain degree. The girls like gangsters. You know what I'm saying? So the girls like the digger and the lowrider. You know what I'm saying? And the homies love, you know what I'm saying? You got his tats and all that. So some of it, do anything for some vagina.

Speaker 1:
[43:59] I understand LA politics. At first, when I first went, I would go to any hood, like wherever they said they was at, like sign autographs or do we tell, you know, we used to have to do that. It wasn't until I started hanging with other LA people that it was like, what you're doing is not normal. And I'm like, what? Like I would go to Slauson. I would go there and people would be like, what is wrong with you? Like, I didn't know that. But one thing I do know is like, when a person asks you where you from, like my accent is so heavy that like I've never had, like as soon as they say to me, where are you from? And I say, they like, ah, this is here, definitely not from here.

Speaker 3:
[44:42] And that's the nicest thing I can say about LA. They do not, they hunt each other. Like LA hunts its own. You know what I'm saying? Like they'll figure it out like, dude ain't from here.

Speaker 1:
[44:54] You could tell by the way I walk, like I can now physically look at somebody and be like, yo, he's from LA. You know what I'm saying? And it's crazy because, you know, we were wearing the Yankee hat.

Speaker 3:
[45:04] Right.

Speaker 1:
[45:04] We were with, which I know. They're like, yeah, you went to that neighbor's.

Speaker 3:
[45:12] Yeah, the Yankee had his neighbors. There's like, for every hat.

Speaker 2:
[45:18] That's wild, man.

Speaker 3:
[45:19] So that can just get you in trouble.

Speaker 1:
[45:21] See, my friend Tito, he wears whatever hat, though. But not in any hood.

Speaker 2:
[45:31] He knows the lay of the land.

Speaker 3:
[45:32] Yeah, what's funny is even specifically, Compton people don't wear LA hats.

Speaker 1:
[45:36] Right.

Speaker 3:
[45:38] Long Beach, everybody, the best way to explain LA to me is like, New York has boroughs, and within your boroughs, you got, you know, left-wrack city, you got whatever. You got all these different places. We got like 52 boroughs. LA is like New York, but 52 boroughs. Like, Gardena's Gardena. You know what I'm saying? Long Beach is a long beach. You know what I'm saying? Compton is Compton. There's a Compton and a Bompton. You know what I'm saying? And they co-exist. You know what I'm saying? So we got the west side. You know what I'm saying? Then you got the east side, which is Watts. Then you got even further east.

Speaker 1:
[46:17] And Watts is the whole city, right? Compton is his own city. So it's not like our counties, right? Or it is like our counties. No, it's not LA.

Speaker 3:
[46:26] County. It's LA. County. Yeah, it's a pretty big county. Not even the biggest one. California is big as.

Speaker 1:
[46:31] Yeah.

Speaker 3:
[46:32] But yeah, our shit is even Hollywood and the Valley is still LA. County.

Speaker 1:
[46:37] Right.

Speaker 3:
[46:38] Yeah. But I was just saying, like, it may be the easiest way. So when people think like Compton, Long Beach, like it's not this unified place. It's a whole bunch of different, they don't wear the same clothes and somebody's being not helpful to them. I'm turning shit off. I know I do got it on the doorbell, yeah. Hello. Yeah. Yeah, no, we are, yeah, like literally tribal. So your hat could be a problem. Yeah, you're obviously your colors.

Speaker 1:
[47:13] All right.

Speaker 3:
[47:14] And then your color.

Speaker 1:
[47:15] Yeah.

Speaker 3:
[47:15] You go to East LA. Bro, it's places. I remember one time we was. This is past. This is past. Your geography is worse than mine, but that's San Pedro. So San Pedro, like if you went south of CRS. So Compton, Carson, Wilmington, and this place called San Pedro is right by the water, like you know what I'm saying? And it's predominantly Mexican, predominantly Southsiders. And I remember we went to a party and it was like, you know, some Mexican girls, like a couple of, you know, Mexican homeboys, me and then our homeboy J211, he a white boy. I remember this dude, one of the Mexican homeboys, he's like, we should go. And he's like, why? He's like, because they were discussing who to kill, you or the widow.

Speaker 1:
[48:11] Jesus, whoa.

Speaker 3:
[48:14] So sometimes they just tripping like, why is this thing over here? Why does white dude over here? Like, LA be tripping, man. I mean, I think we've gotten a lot better. But yeah, so there's a politics, there's a racial issue. Think about it. New York is built up. So y'all got the same amount of people that you guys are built up. So you're almost forced to deal with people. We got enough space to be an asshole.

Speaker 1:
[48:37] Yeah, but that's why New York is our asshole too. Cause we, like, the same thing is good about it.

Speaker 2:
[48:43] They got the compression can to send you over.

Speaker 1:
[48:47] Yo, boy, in the 90s, right, I was dating this girl from LA.

Speaker 2:
[48:53] I love this story.

Speaker 1:
[48:54] You know this story? You know this story? I know this story. So I was like, you know, she would always come meet me. So I was like, you know, one time, like, let me go with your neighborhood. She was like, no. And I was like, what? I didn't understand the politics. To me, Puerto Ricans and Mexicans are the same. And she put her thing down. She did the whistle? No, no. She pulled her lips out. Showed her lips out. Showed her, like, basically, I belonged to the hood. I was like, oh my God. Like, forced me to say, no, no, no, no. You can't come to my neighborhood. I was like, yo, I want to come around. And I remember that shit, that shit hit me. And I was like, damn, I've been kissing this bitch. Basically, basically. I was like, that's when I started to know, oh, LA, you know, because at first, right, we thinking everywhere is just like, the hood, the same people everywhere. But you start to know that, that politics is real. But like, I got to admire you for that because it's like so easy to go that route. Like, you know what I'm saying? Like, the fact that you stay like, because you ain't never want to at one point, like say, man, I asked, you asked, I asked Battle Cat.

Speaker 3:
[50:07] It was like 2000, son.

Speaker 1:
[50:09] I was like, bro, you signed the Battle Cat, right?

Speaker 3:
[50:11] No, he discovered us. OK, me and my own way, Bird. But, you know, the West was popping. I was like, and my label was looking at me like, what's wrong with you? I'm like, nothing, I'm good at what I do. But I remember I asked Cat, I was like, what would you do if I came back tomorrow, a little khaki suit, little chucks, get to off-court with the homies on down the street?

Speaker 2:
[50:40] He's like, So you practiced that one. No, I did not.

Speaker 3:
[50:45] That is the prototype of like the West Coast, me and the homies, off-time homie. That's the stereotype. But yeah, he was like, I would scratch my head because that's just not who you've been since. I'm a watch baby. I grew up in 97 East Coast Watch, Break Street. Me and Spider, the one that was signing G-Unit, I'm his older brother Martell. I am who I am. I just never wanted to be something I wasn't. So for me, some people lead into that and lean into it a little bit more than they really should. That's cool. It's got a lot of people, a lot of money. If I did it, I don't even think I look right with it. I did it in a video, but the video didn't really come out. I did a song with Big Rock called Back It Up, and I'm actually in a khaki suit, but I reverse take all that bullshit off, and then I just wear myself.

Speaker 1:
[51:40] Well, if you had, like you said you had a choice, but if you had no choice, which gang would you be closer to? The Bloods of the Crip?

Speaker 3:
[51:48] You see, what kind of question? No, I wouldn't have a choice. I grew up in a Crip neighborhood. Of course, I would have stepped in as a Crip, period.

Speaker 2:
[51:57] Okay, let's get off the stereotypical side of the West Coast, but the scene that kind of helped birth you in that really deep hip hop scene in LA, the scene that you come from at least, because I'm sure there's the scene even before that Ice T and all these guys were part of.

Speaker 3:
[52:15] And they're legendary.

Speaker 2:
[52:16] What was that one club that everybody was coming out of and was like, oh, what was that?

Speaker 3:
[52:20] You're talking about Freestyle Fellowship and all of them, The Good Life? Yeah. You're talking about The Good Life?

Speaker 2:
[52:24] Was that it?

Speaker 3:
[52:25] Yeah, The Good Life.

Speaker 2:
[52:25] Or the one that even all the Liquid Crew and all these guys were?

Speaker 3:
[52:29] Unity.

Speaker 2:
[52:30] That's the one.

Speaker 3:
[52:30] So Unity was the club, you probably wouldn't know about it.

Speaker 1:
[52:35] I don't remember the name of the club.

Speaker 3:
[52:36] If you performed in LA back then, you performed at Unity. So Unity was the club Rest In Peace Biggie B threw and Biggie B worked at Loud. So him and Orlando, I'd be remiss, because Biggie B, Rest In Peace, Orlando still alive. So they threw a club in LA called Unity.

Speaker 2:
[52:52] In downtown?

Speaker 3:
[52:53] Mm-hmm. Yeah. But it moved a few times, but it was always Unity. So Unity was, first of all, you wasn't, when nobody really getting no daytime radio. So it was kind of like the Wake Up Show was your one shot. At this point, it was only the Wake Up Show. It was Swain Tech. Before that, it was Mike Nardone and King Gams. And then they closed they show off.

Speaker 2:
[53:14] Julio G wasn't on?

Speaker 3:
[53:15] Oh, I'm sorry. Gotta give Julio G his props. Julio G was setting it off. He's actually even before. That's like with K-Day and Mix Masters, Julio G. And then they kind of folded all that stuff. And then the next, I would say the next era of rap radio became, thank you for giving me that too, a little Julio G. But then it became Unity. That was like the only outlet to perform. So yeah, yeah, that's where everybody, like that's the first time I ever got a show. I opened up, I had a demo, I had a white label record called Remain Anonymous Won't Catch Me Running. It got some support on college radio and all that. And then I got booked and n***a gave me some money. And I was like, I'm all in. Because I was just fanning. I was a fan and I didn't know people really did get, I didn't think I was going to get some money for rapping. I did the show, but yeah, that was like the biggie, the first shows biggie did, the first shows like Wu-Tang, because he had loud, so my beat. But everybody that was coming to LA, if you wasn't like Cool J, Salt and Pepper or some shit like that, and you new artists, you was doing Unity, period.

Speaker 2:
[54:29] Because I like to bring that up because we talk about all the gang banging side, but just like I say about Miami, like we had a thriving hip hop scene with B-Boys, B-Girls.

Speaker 3:
[54:39] I made it, like Miami Life.

Speaker 2:
[54:40] Turn table list. Well, we got to talk about that too, but LA has the illest turn table list, the illest B-Boys and B-Girls, the graffiti scene is crazy. So it had all those elements that was a big part of the LA scene.

Speaker 3:
[54:52] Yeah, absolutely. We definitely had a great scene, and a lot of the people-

Speaker 2:
[54:57] Still have.

Speaker 3:
[54:58] Yeah, we still do. I wanted to also add on to that is that hip hop, for us, we saw the beach streets and the crutch grooves, and we started doing it literally. So a lot of my friends, and how I even met most of my friends was because they had bopper clubs. So the teeny boppers, you know what I'm saying? Like you couldn't be 21. You had to be younger than 21, and they had one in Long Beach, whatever. So while we started like breakdancing, like they called it housing in LA. So we was dancing and breakin. I was trying to rap for like Far Aside and the Licks and all these people. Like that's where we were meeting at these bopper clubs. You know what I'm saying? And that's how we met so and so from 18th Street and so and so from East LA. You know what I'm saying? Because he might tag and he might also DJ. And that's how we was getting in each other's hood. So if it wasn't for the culture, LA would probably be the wild fucking west because that's how we got to know each other. And honestly, if you can tell the truth, if you go to a lot of hip hop clubs, fuck it, I'll tell the truth, shame the devil, it'd be majoritally Mexican. They really support hip hop shit. You know what I'm saying? be on some fucking 45 year old trying to act like he's blue faced. Like, grow the fuck up. Take them tight ass pants off, that tight ass shirt. But now the culture is really like, it's been, hip hop, rap music was so influential in LA, it helped us get to know each other because we're spread out. And it stopped people from shooting their shit out of each other for a long time, for real. Like, cause my mother was like, oh, they be break dancing in New York. Maybe we shouldn't, you know, shouldn't shoot, for real. That's how crazy, and then we influenced y'all in a negative way, and they can start gangbanging. The world. Yeah, the whole world. We get good weed, thank y'all for that.

Speaker 1:
[57:06] Great weed.

Speaker 3:
[57:07] We got y'all great weed.

Speaker 1:
[57:08] Great weed.

Speaker 2:
[57:10] You still on the albums?

Speaker 1:
[57:11] Yeah. Engangered Lyricists.

Speaker 3:
[57:19] Engangered Lyricists was just more of a... I just call them projects. I was just making some shit. Cause Bandcamp. So I was just like kind of coming up with something. It was like a series. It would be like original record and then kind of me picking like mixtape shit. Cause I think I had a volume one, two and three. Okay. And I was doing this campaign called Save the Ras Kass. And I thought that was funny.

Speaker 1:
[57:44] Do you think you get the respect in hip hop you deserve?

Speaker 3:
[57:47] I get, I think I've been blessed. I'm super respected by my peers. I want to be respected at the fucking bank.

Speaker 1:
[57:54] All right. Because your peers, your peers definitely respect you.

Speaker 3:
[57:58] Yeah. My peers respect me. I don't think the, I don't think the, the greater, the greater audience is just fans. They only know what they hear a lot.

Speaker 1:
[58:07] Right.

Speaker 3:
[58:07] And that's no disrespect to them. You know what I'm saying? They're consumers. I'm a connoisseur. So consumers just know like McDonald's. And I always tell people like, McDonald's don't make the best burger, but that motherfucker's in the mall. That motherfucker's at the airport. That down the street. So I get it, but I'm not the McDonald's of rap. You know what I'm saying? I'm that mom and pop store. I should fire. I should be charging you a thousand bribe. You know, you know. But no, I want the McDonald's money. So they've got to figure out how them two fucking bury each other.

Speaker 1:
[58:39] Right. Do you consider yourself an underground MC?

Speaker 3:
[58:43] No, I think that's a term they put on people that didn't sell records. The only difference between me and Jay-Z is a million records. The only difference between me and him and him is a million records. That's it.

Speaker 2:
[58:52] Because the lyricism is insane.

Speaker 3:
[58:54] Can rap no better or no worse. Amazing talent. Marketable as fuck. Look at this beautiful young man. So, you know what I'm saying? So, underground is just what they call niggas that ain't sold the records. And the funnier part is I wouldn't be underground. If I sold a million dollars, if I made a quote unquote, made a million dollars and got the quote bag selling used condoms, my own used condoms, would buy my records. She'd be like, oh my God, he's so hot. You know what I'm saying? People are reactive and monkeys. So, all that underground shit is just what niggas try to, it's like this fucked up jacket they try to put on because they didn't sell records. Meanwhile, them same niggas, when they didn't sell no records, you know what I mean? They just like, niggas get on and then be like, oh, he's underground, I'm the guy. Get the fuck out of here. That's the same shit I hate with rap niggas that as soon as they get on, they start trying to compare themselves with whoever is popular. They're like, well, you know what I'm saying, so who the best? Me, you know what I'm saying, like me and Kendrick. You know, me and Kendrick, you weird ass. Fuck out of here. always do that goofy shit. You mean, Cole, you know.

Speaker 1:
[60:12] I was about to say J Cole, that's crazy.

Speaker 3:
[60:14] I think it's a corn ball for that shit. So, no, I'm just, the only difference between me and anybody is a million souls. Because all eyes on me, then all eyes on me. I can carry the same weight and I get the same opportunities. My whole shit is like, fuck underground and all that shit. Skill set, this shit ain't called what bitch you date me. This shit ain't called what other businesses you got. This shit called rap. Rap is the only thing where niggas tell you you too good at it.

Speaker 1:
[60:46] All right.

Speaker 3:
[60:47] I've never heard a say, Jordan, don't too much. The man was dunking all the time. What the fuck is wrong with these? So literally, they drove the car too fast in the F1. That was, what the fuck? It's the corniest shit ever. Like need to stop. I'm talking to you. All you up there.

Speaker 1:
[61:05] Yeah, just talk to them.

Speaker 3:
[61:05] Stop that cool ass shit. I said corny, bro. How you over rap. And, that just means I'm better than you.

Speaker 2:
[61:14] That's all I mean.

Speaker 1:
[61:15] I was just about to say that.

Speaker 2:
[61:17] I think that...

Speaker 1:
[61:17] Like, do you think you're smarter than the audience? Because like...

Speaker 3:
[61:24] I mean, my body language already gave that away.

Speaker 2:
[61:26] But shouldn't the artist be better than the audience is listening to an extent?

Speaker 3:
[61:30] No, they told me never to think, don't talk down to my audience. So I never have.

Speaker 2:
[61:36] You can inspire, you don't have to talk down to them.

Speaker 3:
[61:37] My assumption was that these people selling you fuck shit, and I'm trying to sell you some real shit, and I've always tried to tell my audience that, hey, I'm talking to you on some real shit. And then my audience said, you know what? I like this fuck shit. All right. That ain't my fault. But yeah, of course, that can make you disillusioned with the business. Again, these people are consumers, they're not connoisseurs. You know what I'm saying? So they ain't no McDonald's. I can't get mad because the kid is like, I'm on the Happy Meals. They want what the fuck they want. They've been trained that way.

Speaker 2:
[62:12] Could you imagine people who like rock, saying... Springsteen. Where the drummer and the guitarist are all novice, just like the audience? That would be the craziest music.

Speaker 3:
[62:23] Bro, it'd be awful. That's why we listen to awful rap. Come on, man. A lot of these people sound like they went in with no metronome and just said some shit. And then the just played a beat at whatever, just like spent the will and picked the tempo. Yeah, it's just trash. And everybody's playing political fucking reindeer games, trying to act like it's cool because somebody put some money behind it. Dumb is, we are living in, you remember that movie? What's that? It's got-

Speaker 1:
[62:51] Idiocracy?

Speaker 3:
[62:52] It's got electrolytes. Yeah. We're in the idiocracy, bro.

Speaker 1:
[62:56] We definitely are in the idiocracy. I can't believe you know about that movie. That's what my favorite movie is.

Speaker 3:
[63:01] You know what's crazy? They didn't put it out because they thought it was too dumb that people wouldn't get it, and then they were right.

Speaker 1:
[63:09] But you know what-

Speaker 3:
[63:10] Idiocracy, then they didn't put it out.

Speaker 2:
[63:12] Keep that thought, but we need to do screenings of that movie today.

Speaker 3:
[63:15] Right.

Speaker 1:
[63:15] Oh, God.

Speaker 3:
[63:16] Bro, for real.

Speaker 1:
[63:17] Like, idiot, idiot.

Speaker 3:
[63:18] And think about the president and everything.

Speaker 1:
[63:20] Bro, your phone is called a smartphone, but your phone is actually making you dumb. I remember having to make a call, but I just have to remember the number.

Speaker 3:
[63:31] Facts, yeah.

Speaker 1:
[63:32] Like, you know what I mean? Like, right now, I don't know nobody's number.

Speaker 2:
[63:35] We knew addresses, we knew numbers.

Speaker 1:
[63:36] I know names.

Speaker 3:
[63:37] That's really bad, because I do remember that. It made us less, use this shit less.

Speaker 1:
[63:45] I don't even think I know my own number.

Speaker 2:
[63:49] can't even talk about themselves.

Speaker 1:
[63:50] You know what?

Speaker 2:
[63:51] Just Google me.

Speaker 1:
[63:53] Oh, yeah. Now it's even worse. People are coming up to you going, like, this is their phones and they could just get your contact. Like, yeah, that shit is crazy.

Speaker 2:
[64:00] Well, we had that with the time port.

Speaker 1:
[64:01] Yeah, we had it with the two-way. But no, this is a very hot definition.

Speaker 2:
[64:06] It's getting crazy, bro. It's getting crazy.

Speaker 3:
[64:09] But we got a beer. Sorry, I'm just nosy. Who's crazy? You got a beer, sir?

Speaker 2:
[64:13] Yeah, we had a beer. This is an old, this beer is so old.

Speaker 3:
[64:17] Oh, so it's just a prop. It's just a prop at this point. I should have reverted back to old-school shit.

Speaker 2:
[64:23] You did a show out there one time, I think, with Da Vinci, Rest In Peace.

Speaker 3:
[64:26] Rest In Peace, Da Vinci.

Speaker 2:
[64:27] I want to talk about him at some point.

Speaker 1:
[64:29] All right, you want to do a quick time of slime?

Speaker 2:
[64:31] Yeah, yeah, man.

Speaker 1:
[64:32] Wait, before that, I can do the flowers.

Speaker 2:
[64:33] Yeah, yeah, man.

Speaker 1:
[64:34] So if you want to give your flowers face-to-face, man, I might let you know how much you mean to this game, man. Definitely, man, snooze that is.

Speaker 2:
[64:43] Long deserve.

Speaker 3:
[64:44] Oh!

Speaker 1:
[64:51] Hell yeah.

Speaker 3:
[64:54] I'm geeked. This is crazy. Yeah, man. All right.

Speaker 1:
[65:02] Yeah.

Speaker 3:
[65:03] Now, what I really want to do is get EFN Soul drunk.

Speaker 2:
[65:11] So, you know.

Speaker 1:
[65:12] Let's go.

Speaker 2:
[65:14] If they don't want to see me drunk.

Speaker 3:
[65:15] Can we get a slither?

Speaker 1:
[65:17] Let's go.

Speaker 3:
[65:17] He might start quit walking. Come on.

Speaker 2:
[65:21] See, this is our drinking game. Do you know the rules or no?

Speaker 3:
[65:24] Yeah, I do.

Speaker 2:
[65:25] You kind of do?

Speaker 3:
[65:25] Wait. Don't. If I want to ignore one, don't I get a pass on one or something?

Speaker 2:
[65:30] No, you don't get no passes.

Speaker 3:
[65:31] No passes.

Speaker 2:
[65:32] The passes yourself. We're going to give you two choices. You pick one, we do not drink. But if you say both or neither, then we drinking. Everybody drinks. So you're not just getting me drunk, you're getting yourself drunk.

Speaker 3:
[65:44] Yeah. Okay. All right.

Speaker 2:
[65:46] And then we want stories out of this. It's not really. Absolutely.

Speaker 1:
[65:50] Tupac or EZE?

Speaker 2:
[65:52] Rest in peace to both.

Speaker 3:
[65:56] Okay. Wait, wait, wait.

Speaker 1:
[65:57] Okay.

Speaker 3:
[65:58] We'll put this one.

Speaker 1:
[65:59] Okay.

Speaker 3:
[66:00] On what? What's the criteria?

Speaker 1:
[66:02] It's your criteria.

Speaker 2:
[66:03] What's the criteria? It could be anything. It could be someone that was your neighbor.

Speaker 3:
[66:06] Okay. I'm going with Tupac then.

Speaker 1:
[66:07] Okay. And you met Tupac?

Speaker 3:
[66:09] Yeah.

Speaker 1:
[66:10] Get out of here.

Speaker 2:
[66:10] You met EZE?

Speaker 3:
[66:12] Once on the freeway.

Speaker 2:
[66:13] You got to tell us both.

Speaker 3:
[66:14] Yeah.

Speaker 1:
[66:15] You're acting like this is normal.

Speaker 3:
[66:17] Okay. No, we was young boys. We was on the 110 going south.

Speaker 2:
[66:21] This is the EZE story?

Speaker 3:
[66:22] This is the EZE story. Obviously, we're fans. EZE. He was in the ones that looked like the Patmobile, the BMW, and we was in some kind of bucket, these little niggas, and we pulled up on him because he went past. Whatever. We sped up, tried to get like next to him. Whatever. I probably was in the back seat. Whatever. We were like, EZE! And then he hit us up, like on some, you know what I'm saying? Like, he probably hit us up on some gang shit. He smiled at him. And that was it. And then, I was acquainted because Chuck Money B. So I knew the whole Digital Underground. So, I was always, I was acquainted with Pop before because of Thug Life. So, Rated R and all of them was the homies.

Speaker 2:
[67:11] But you said, not before Digital Underground.

Speaker 3:
[67:13] Not before Digital Underground, but before I met Chuck G and Money B. Thug Life. So, we was out here. Remember the time when, I think, when...

Speaker 2:
[67:23] Not to pit my right thing.

Speaker 3:
[67:24] I was at Atlanta. No, no, no, no. Way before that. There was a time out here, I felt like it was out here. Maybe, no, it was Atlanta, I think. But anyway, he was with, when he was in Thug Life, I met Pop and then I would meet Pop again a few other times, period. And one time he was in Carson at this, we had one little shitty club and I pulled up, I was like, Brass Cat is already at, like the record deal and a good car and shit. And it was a Bentley Park. I was going into this little club that was, by, there ain't no clubs in Carson. So I fucking like pull up and Suge and Pop is getting in the Bentley. And I'm like, what are y'all? And then I remember, and I'm getting out and then Pop was like, what's up Brass? And Suge was like, what up Brass? And I was like, hi, Pop, what are you doing here? You know what I'm saying? Like, why are you in my city, bro?

Speaker 2:
[68:22] You didn't even know that he was with Death Row already?

Speaker 3:
[68:24] No, I just didn't know. Carson ain't known for having fucking popping clubs, bro. It's not like Vegas. It's like, it's nice, it's middle class, it's whatever, but we don't have no popping clubs. People go to Hollywood or downtown or something. So, yeah, a couple of times I talked to Pac, by no means was he like my bestie or nothing like that, but no, he was always cool with me. He always showed me a lot of love. Shoot too. Always showed me love.

Speaker 1:
[68:52] Okay. Nas or LL?

Speaker 3:
[68:57] What kind of question is that?

Speaker 1:
[68:58] These guys make it up over there.

Speaker 2:
[68:59] Look, that's your boy, that's your boy.

Speaker 3:
[69:02] Hasn't, you did this? What the is wrong with you, man? I can't answer that.

Speaker 1:
[69:08] Okay.

Speaker 2:
[69:09] So we drinking. Take your shot. Salute.

Speaker 1:
[69:12] You got a shot there, buddy. Yeah, I'm gonna go for a sip of the wine.

Speaker 2:
[69:15] Sip it, sip it.

Speaker 3:
[69:17] I heard you.

Speaker 2:
[69:22] All right. Dre or Battle Cat?

Speaker 3:
[69:26] It's dope.

Speaker 2:
[69:31] You're drinking it? I thought you were gonna drink it.

Speaker 3:
[69:32] I gotta go with Battle Cat because he discovered me and he didn't have to listen to our shitty cassette. So that's the reason why we had a little demo tape and he actually took the time to listen. So I'm always grateful he changed the trajectory of my life. There was another son I didn't answer though. Oh, it was the easy E and the Tupac. I did answer it. Okay.

Speaker 1:
[69:54] Oh, yeah.

Speaker 2:
[69:55] Let me find out you're already drunk.

Speaker 3:
[69:56] No, I'm good.

Speaker 2:
[69:58] Coogee rapper Karris One.

Speaker 1:
[69:59] I know this is hard for you.

Speaker 3:
[70:01] Come on, dude.

Speaker 2:
[70:02] He needs a re-up on his shot. You can use this cup, this one also, to give him too.

Speaker 3:
[70:07] Karris One or Coogee rap? Is that what you're asking? Yeah. I'm biased. Karris One's my favorite rapper. And I'm going on his tour. He just told me I was going on the Euro tour, my philosophy European tour.

Speaker 2:
[70:22] Oh, yeah.

Speaker 3:
[70:22] Starting next month. So I'm...

Speaker 2:
[70:24] Let's make some noise for that.

Speaker 1:
[70:25] Hell yeah. The Alcoholics or Cypress Hill?

Speaker 3:
[70:32] Why are you coming up with this? It's their It's like this part of your finger or this part of your finger? I don't know. I love them. Everybody you mention, I love and respect. Cypress Hill or The Licks? I'm going to give it to Cypress Hill. I'm going to tell you why. Be real in what they were going through in that era.

Speaker 2:
[71:13] For what? For being Latino?

Speaker 3:
[71:14] Hell no. Be real from a gang and it ain't in Mexico.

Speaker 2:
[71:18] We know that.

Speaker 3:
[71:19] It's a homie shit. It's a homie shit.

Speaker 2:
[71:21] It's a unique situation.

Speaker 3:
[71:24] I'm saying him having to even find his voice.

Speaker 2:
[71:27] Right.

Speaker 3:
[71:28] You know what I'm saying? So that creativity didn't let along the Latino part of it. But see, what I have to explain, let me keep your thought. Let's just stop and realize that in LA, there's a politics called Black, White, Mexican, Other. There is no Cuban. There's no Puerto Rican. You are either Mexican or you are Other. So we operate, you got like, the rest of the country operates on these other premises that don't exist in LA.

Speaker 2:
[71:58] No matter what you are, because he's Cuban-Mexican.

Speaker 3:
[72:01] You are either or. There is no option. So Puerto Rican, you got to decide.

Speaker 2:
[72:08] Right. Along those lines.

Speaker 3:
[72:10] Are you going to be a Mexican or are you going to be an other, which means you with the? So having people like be in them, having to step up and try to be honest with themselves, like, hey, I'm a Latino and I speak Spanish or whatever. That's dope. And how they were able to survive it. And hopefully that gave some inspiration and brings all of us together. You know what I'm saying? But nobody ever wants to tell the truth. And that's why there's so many misconceptions. But go to jail and you will find out, I've had to watch. Well, there's underneath that, there's BISAI and all this other stuff in prison. But yeah, those are the general rules. Nobody cares if you're Filipino or whatever. You are other and you with them niggas. You with you, you with them niggas. Now, hopefully, with what's horribly going on with our country, that all even our man kind of understand like we all, bro. They don't like us, so I hope we get there.

Speaker 1:
[73:08] And I just thought about it the other day. They really had a hit record called If I Could Just Kill A Man.

Speaker 2:
[73:15] You know, I was thinking about that.

Speaker 1:
[73:17] I was like, how did they let them get away with that back in the day?

Speaker 3:
[73:19] It was a great era in hip hop.

Speaker 2:
[73:21] My boy Paul, Drink Champs Portals, he put me onto it in high school and I was like, no fucking way to have a record.

Speaker 3:
[73:27] You didn't know that?

Speaker 2:
[73:28] No, no, this is when it's fresh, brand new, fresh. You know, I'm like, no way they called it that record. I heard their demo.

Speaker 3:
[73:35] I heard their demo because I had a deal that I fucked off or I had a deal opportunity, a couple of deal opportunities early on. And then I remember back then you get the tape. So I got like red mans, you know what I'm saying? Album like cassettes, like industry shit. They're working on albums and they're sending people shit out. I remember I heard some of them records before B found his voice.

Speaker 2:
[73:59] Really?

Speaker 3:
[74:00] Yeah, man.

Speaker 2:
[74:01] Like the demoing of those records.

Speaker 3:
[74:02] Well, they had the deal, but I guess apparently, and I hope I'm not misspeaking on B, but they just was like his tone. So then he went nasal and found his tone. And it's so infectious that, you know what I'm saying? But that was part of the thing was like the beats are crazy, his rhymes is crazy, but delivery.

Speaker 2:
[74:22] And the contrast with Sen being like that deep high fan voice is crazy.

Speaker 3:
[74:27] Yeah, they killed it. Yeah.

Speaker 2:
[74:28] Shout out to Mugs with the beats, those beats are insane.

Speaker 1:
[74:31] Sen was Cuban, right? Sen was Cuban.

Speaker 2:
[74:33] Full Cuban, he's full Cuban, he's Cuban, Mexican, and I believe Mugs is Italian, I believe.

Speaker 3:
[74:38] I believe so.

Speaker 1:
[74:39] Yeah.

Speaker 3:
[74:39] Yeah. All right.

Speaker 2:
[74:40] Shout out to Cypress Hill.

Speaker 3:
[74:41] Salute to Cypress Hill.

Speaker 2:
[74:45] Exhibit or cannabis?

Speaker 3:
[74:48] Exhibit. That wasn't complicated.

Speaker 2:
[74:52] Quick or alchemist?

Speaker 3:
[75:01] Look at this guy. This guy here. I'm gonna do the shot. it. They're both amazing, man. Salute.

Speaker 2:
[75:12] You're welcome to have some Mama Juana if you want.

Speaker 3:
[75:14] This is not Jameson, this is like murder juice.

Speaker 2:
[75:17] Is it Jameson? She's giving you Jameson, bro.

Speaker 3:
[75:20] It tastes like, I should.

Speaker 2:
[75:22] You know what, you can give him small shots.

Speaker 3:
[75:26] Thank you for trying to kill me.

Speaker 1:
[75:30] I don't think I've never seen nobody mix whiskey with monster.

Speaker 3:
[75:34] That makes you a monster.

Speaker 2:
[75:36] El monstro.

Speaker 3:
[75:37] El monstro, yeah.

Speaker 2:
[75:43] Any stories with Quick?

Speaker 3:
[75:44] Yeah, let's see.

Speaker 2:
[75:45] We know your outcome of story, which we can maybe talk about later.

Speaker 3:
[75:47] No, it's good. We're fine. Here's a good one. So I don't have a record deal yet. Maybe I got a record deal. Do I got a record deal? Maybe I have a record deal. Maybe this is 95, but I ain't got. It ain't out yet. But my homeboy Flip, his name is Michael Barber. So Flip is from Inglewood. He a producer. He ends up helping me salvage and save Soul on Ice. But one day we go to studio and well, we go to Quicks, DJ Quicks session. Again, we call it out of bounds. Like you don't want to be out of bounds. I don't want to go to the Southsider party and be the only Blackie because they're going to kill me. You don't want to go to the blood party and you the Crip. But even still, even if you not, you just don't want to sometimes we have, like people have tails. So you might say Loke as opposed to like my relative. You know what I'm saying? Because if you go up in the Crip neighborhood, you probably say my cousin. You know what I'm saying? If you go up in the blood neighborhood, you would say my relative. And so we have tails that tell where somebody from and you don't want to stick out. So I remember we go to the studio and it's just all quick. I'm a fan. I'm tripping out, but I'm like against the wall, young boy looking around. I'm watching. He's doing a vertical joy ride for, what's his name? I watch him cook from the beginning. Then he did a song for Boss. I'm watching him cook these two records. Yeah, Boss from Detroit. So that same session, I watch Quik do two records. And I just remember I basically shut the fuck up because I didn't want to say anything that would alert them that I grew up in a crook neighborhood. So it's super quiet. But I've told him that before, like, you know, he's super lovely. Like anytime, like if I show up, he throws me mics. Like, Razzy, get to it. But yeah, man, like Quik is amazing, man. I watch them cook. Like, like, because he can play everything. He's like one of them Quincy Jones dudes. He got great vision. He, he's just, he's ill. He just, he threw me a record recently. And so I want to finish that record. That's one of my bucket list shits is to knock out a song with Quik.

Speaker 1:
[78:14] He told us that Michael, Michael Jackson was on Crip.

Speaker 2:
[78:23] I don't know if he was serious. Yeah.

Speaker 1:
[78:25] He was like Michael Jackson was doing things that wasn't, that wasn't.

Speaker 2:
[78:28] Because you know that famous picture that seems photoshopped.

Speaker 3:
[78:31] I mean, but Quik, look, strange things have happened, man. I'm just trying to tell you, you never know, man. I'm not telling, I don't want to be telling people's business, but there's some people that super arm be, that be on super arm.

Speaker 2:
[78:46] 100%.

Speaker 3:
[78:47] You got to remember, it's just like this culture is what, 57 years old, 50 or 51. Gangbanging is about, might be the same or older.

Speaker 2:
[78:58] Older.

Speaker 3:
[78:58] Right. It's older. It's like mid-60s, 1960s. So it's some people, it's great grandma, gangbanging. Yeah.

Speaker 2:
[79:07] It's crazy.

Speaker 1:
[79:08] Ready to Die or Illmatic?

Speaker 3:
[79:10] I cannot disrespect neither one of them two albums. I think they're just incredible.

Speaker 1:
[79:14] Yeah, me too.

Speaker 2:
[79:14] Take your shot.

Speaker 3:
[79:15] It's a little... One complaint about Ready to Die. I had to demo tape.

Speaker 1:
[79:25] One complaint, you said?

Speaker 2:
[79:26] The demo of Ready to Die?

Speaker 3:
[79:28] Not the demo, but before it came out, because right, tell me, industry people.

Speaker 2:
[79:32] Right, when they was...

Speaker 3:
[79:33] The executive capital...

Speaker 1:
[79:35] Was it White Label?

Speaker 3:
[79:36] Yeah, White Label.

Speaker 1:
[79:37] Okay, okay, okay.

Speaker 3:
[79:37] So yeah, the A&R...

Speaker 2:
[79:39] The same way the radio stations got in front of the crowd.

Speaker 3:
[79:41] Whatever, yeah. And I ended up buying it anyway, but when I bought it, Unbelievable wasn't on there.

Speaker 2:
[79:48] Tell me you still got that demo.

Speaker 3:
[79:50] No, I lost all that shit.

Speaker 2:
[79:51] You should have kept that shit.

Speaker 3:
[79:52] I mean, life, be life, and bro, I lost so much shit that's invaluable, but yeah, that was my only complaint buying the album. But I bought the white label on 125th Street. I lost all that shit, but yeah, I just thought that record was incredible. The song Hit List on this album is to honor Biggie. That's why I made that Hit List.

Speaker 2:
[80:13] Oh no, on your new one.

Speaker 3:
[80:13] On Liberty's Face. It's taking the R&B sample and creating an ill record off of it, yeah.

Speaker 1:
[80:22] New York or Miami?

Speaker 3:
[80:24] I'm not getting killed in Miami, Nick.

Speaker 2:
[80:27] Miami life.

Speaker 3:
[80:29] Miami life, yeah. Y'all gave me love out here. Now, I was just getting, New York did too. Come on, Noreaga, that's fucked up.

Speaker 1:
[80:35] No, I'm not talking about me, it's just Tony, let's go.

Speaker 2:
[80:37] Do you want to go back and say both?

Speaker 3:
[80:39] Both. Roll that shit back and take a.

Speaker 1:
[80:44] Okay. Outkast or UGK?

Speaker 3:
[80:52] Both legendary. And I'm such a big fan and have great experiences, but indelibly, kind of my peers is Outkast, Rest In Peace, Rico, and I just really, yeah, it's a hard, eh, lean towards Outkast.

Speaker 2:
[81:17] Did you work with the Dungeon Family?

Speaker 3:
[81:20] I did a record, I did, for the 50th of Hip Hop, I rhymed over an Outkast record and talked to Rico and everybody. Like, maybe two or three months before he passed away, me, him, Curtis from Patchworks, and yeah, man, like, and I was in the studio when they was working on... A Quint, ATLians, I think. I was at DART, Dallas Austin. Yeah, yeah, yeah, bro, we all come across each other, so yeah, I was in the studio shooting pool, I was supposed to, they actually asked me to be on that record. I wasn't in Atlanta enough and stupid me. I would have loved to have been on that record. And that's it. I'm sure that happened to you. There were times where you didn't take advantage of the opportunity. You know what I'm saying? Somebody showing love, like Pun did that to me and would be like, yo, come, you know what I'm saying? Like, come to the studio.

Speaker 2:
[82:14] Pun told you?

Speaker 3:
[82:15] Yeah. Yeah, bro.

Speaker 2:
[82:16] And you didn't take advantage of it?

Speaker 3:
[82:19] You and Pun would have been great. First of all, LA don't know how to say thank you. LA still don't know how to say thank you. LA don't even know how to tell you they like your music. be like, not like I'm on your dick or nothing. You know what I'm saying? Like, preface everything fucked up. Because we don't know how to...

Speaker 2:
[82:35] That sounds like everybody though.

Speaker 3:
[82:37] No men, period, alphas. But I'm just saying, LA got it real. We don't know how. So when Pun did it more than once, and I just remember like, I was just like, put your Pun and I'll buy your record. So I don't understand why you're being nice to me. Cause I'm a fan and I don't know how to accept you being this cool. You know what I'm saying? Like, I remember Noreaga. I remember it was your party.

Speaker 1:
[83:04] Okay. Oh, at the Pun, when you met Pun?

Speaker 3:
[83:06] No, no, I'm talking about the time you was like, it was your party that they blocked off in New York. You said some malaria shit.

Speaker 1:
[83:15] The Mirage? Was it The Mirage? It was downtown or you don't remember?

Speaker 3:
[83:20] I think it was downtown. But I just remember I was outside and they had, you know how they always had the little, like the police had the little blue little blocker shit. Said, nobody else can get in, you know what I'm saying? If you didn't already get in, you know what I'm saying? Get the fuck out of here. And then Noreaga pulls up. You said something about somebody else. And he was like, Ras Kass, you coming? I was like, You said it with that accent?

Speaker 2:
[83:40] Ras Kass.

Speaker 1:
[83:44] He's like a French and shit.

Speaker 3:
[83:47] Because KR's one, Ras. I said, I didn't know what he was like.

Speaker 2:
[83:49] Ras.

Speaker 3:
[83:50] He's like, you coming in? This is like, this is, what, what, what?

Speaker 1:
[83:57] This is, that's 98 then. Yeah, that's 98. 98.

Speaker 3:
[84:00] Yeah, yeah, yeah, yeah, yeah, yeah. And he got me into his own party. I'm outside, It was like a couple of rap. I'm like, a little stupid. I'm like, I want to go in there. That's popping.

Speaker 2:
[84:10] Take some notes from Noreaga.

Speaker 3:
[84:11] Yeah, yeah, yeah. He's like, get going, get going. Noreaga got me into this party, man, and it was lit.

Speaker 2:
[84:21] Boys in the Hood or Menace's Society?

Speaker 1:
[84:23] Oh, yeah.

Speaker 3:
[84:27] Boy, though. Menace, just cause Menace went up.

Speaker 1:
[84:31] Two-part question, why? Which one is closer to LA real life?

Speaker 3:
[84:35] I just like Menace cause was paying their shit up.

Speaker 1:
[84:38] And this is the old dorm, right?

Speaker 3:
[84:39] Boys in the Hood was a more positive story to me, in the sense of...

Speaker 2:
[84:48] You think it was more realistic, more grounded at least?

Speaker 3:
[84:52] They're both, they both happened. I just like... True, true. I like Menace because...

Speaker 1:
[84:57] But they both real story? What are you saying? When they both happened?

Speaker 3:
[84:59] I mean, they both do happen.

Speaker 1:
[85:01] Okay, okay.

Speaker 2:
[85:01] Those things happen is what you're saying.

Speaker 3:
[85:02] Those things happen. There's an enemy and don't go over there.

Speaker 2:
[85:05] There's an old dog.

Speaker 3:
[85:06] There is an old dog. There's the smoker.

Speaker 2:
[85:09] All right.

Speaker 3:
[85:09] You know what I'm saying? Boys in the Hood, I do like it because there's a strong father figure. So it's not always somebody fucking up because they don't have a dad.

Speaker 1:
[85:19] Larry Fishman, right?

Speaker 2:
[85:20] Even though they're the same age as this son, but it's okay.

Speaker 3:
[85:24] Remember that was the whole thing?

Speaker 2:
[85:24] They used to say that they look the same age.

Speaker 1:
[85:27] Oh shit, how do you remember that?

Speaker 3:
[85:28] You doing Don't Be A Menace.

Speaker 2:
[85:31] Well, you don't remember that. That's why they made that joke.

Speaker 3:
[85:34] I know, right? Off subject, Don't Be A Menace when he walked in the liquor store was the best part.

Speaker 2:
[85:39] Don't Be A Menace is dope, man.

Speaker 3:
[85:40] Oh yeah, yeah, yeah. Don't Be A Menace when he walked in the liquor store and the shit said, is the best part of it. The Wayans Brothers are the best. Anyway, that's all different thing.

Speaker 2:
[85:50] So you picked Menace then?

Speaker 3:
[85:51] I'm going to pick Menace just because it was about sliding. OK, like and then Sephir was in it. True.

Speaker 2:
[85:59] So he was in there.

Speaker 3:
[86:01] And Cousin Harold, the coolest dude in the whole thing. I didn't know him then. I remember. And I've got fond memories in Westwood. You know, so I remember that night that movie came out. It was a weekend, like a Friday. Stupid kids shit. We went to the week. It's like thousands of kids trying to they were sold out. The kids bumbrecht all the theaters and just started finances and we forced the Westwood to just play. All the theaters was playing. Wow. Yes, we did that. Can't get us all. talking about thousands of little black, brown, yellow, white, green kids. We did it. Then I do remember Safir's part and I was like, that was gangsta.

Speaker 2:
[86:47] Yeah, between him and MCA.

Speaker 3:
[86:49] Right. Gangsta shit. I was like, that shit was like, even the Twitch, I remember the Twitch. I was like, shit. Then I would go on to meet bro and him, him being my brother.

Speaker 2:
[86:59] That's wild. You didn't know him then. That's crazy.

Speaker 1:
[87:02] Killer, priest or corrupt?

Speaker 2:
[87:12] Oh, we drinking?

Speaker 3:
[87:13] Yeah, don't, don't. You guys are shenaniganing me. As you said, though. Shenaniganing and again and again.

Speaker 1:
[87:21] Me against the world, or it's dark and hell is hot.

Speaker 2:
[87:24] Yeah. So, Parker X.

Speaker 3:
[87:31] I, let's see, me against the world. Can I Google, can I get a lifeline? What are you going to show them all right now? Tracklisting? Exactly. Wait, me against the world's got Temptations, right?

Speaker 2:
[87:48] Yeah.

Speaker 3:
[87:49] Yeah, fuck that. It's got to be.

Speaker 2:
[87:51] By me listening.

Speaker 3:
[87:52] Listen, I'm a fan. I'm a fan.

Speaker 2:
[87:55] Crazy, too.

Speaker 3:
[87:56] But that record fucked me. There's some records per album that fucked me up. So, me against the world had, hey, that Moby shit different, bro.

Speaker 2:
[88:05] And you work for Easy Moby, right?

Speaker 3:
[88:07] I just saw him recently doing some new work.

Speaker 2:
[88:10] We need him on Drink Champs, man. He's an absolute legend.

Speaker 3:
[88:13] I will call him and get that done immediately. Please. Yeah, absolutely.

Speaker 1:
[88:18] Havoc or RZA?

Speaker 3:
[88:22] Hazardous. We gon have some. You're setting me up for failure here. Well, you're going to have to... Look, he's got an excuse.

Speaker 1:
[88:33] I'm drinking. All right.

Speaker 2:
[88:35] I'm taking baby shots. I know this game. And I'm drinking a drink.

Speaker 3:
[88:39] It is a game, though. You do admit.

Speaker 1:
[88:41] Yes.

Speaker 2:
[88:42] It's a game.

Speaker 3:
[88:43] Okay.

Speaker 1:
[88:47] I love you.

Speaker 3:
[88:51] All right, so... I answered it by drinking.

Speaker 1:
[88:57] Yeah?

Speaker 3:
[88:57] Yeah.

Speaker 2:
[88:58] So you said both?

Speaker 3:
[89:02] Come on, man. Riz and... Riz and Av, bro.

Speaker 2:
[89:05] Uh, Soul on Ice or Rassassination? That's a tongue twister, bro.

Speaker 3:
[89:11] Rassassination?

Speaker 2:
[89:12] Yeah.

Speaker 3:
[89:12] No, assassination, but R.

Speaker 2:
[89:14] Yeah, Rassassination.

Speaker 3:
[89:15] You're like, I want to say it in Spanish, that's my problem. No, Soul on Ice, it begets, you know what I'm saying? It's the beginning of, and everything else is just a...

Speaker 2:
[89:28] It's a classic, man. I consider that a classic.

Speaker 3:
[89:31] Thank you, brother. I appreciate it.

Speaker 1:
[89:33] So, you picked both?

Speaker 3:
[89:34] No, I picked Soul on Ice.

Speaker 1:
[89:36] Oh, okay. Okay.

Speaker 2:
[89:40] Ice Cube or Scarface?

Speaker 3:
[89:42] That's a fucked up thing to ask somebody.

Speaker 1:
[89:44] Yeah.

Speaker 2:
[89:45] Truly.

Speaker 1:
[89:46] And I heard you say... I heard you say that, before you picked, that you think Ice Cube was officially the first Liverpool...

Speaker 3:
[89:55] Absolutely...

Speaker 1:
[89:56] .West Coast rapper?

Speaker 3:
[89:58] No, he's the first lyricist of the West. America's most. I know you live in both worlds. Like, I've been to LA., New York.

Speaker 2:
[90:07] What would you put, though? Because I'm not even thinking about the timeline.

Speaker 3:
[90:11] Think about America's most.

Speaker 2:
[90:12] But I'm thinking about King T, too, though. I feel like King T was an original lyricist.

Speaker 3:
[90:16] Maybe I'm being unfair. I never even thought about that. And King T is legendary and one of my favorite rappers. I think Ice, so there's different components to this. Some people are dope rappers. I think Biz Markie was dope. You know what I'm saying? I think some people are stylistic. I'm trying to think of somebody that just had amazing, impeccable styles. Fife, styles of one, styles of one, styles of whatever. That was easy. That was long-hanging proof. But some people are lyricists. Rakim the God is a lyricist.

Speaker 2:
[90:57] Wordsmiths.

Speaker 3:
[90:57] You know, you can type it out and read it. It'll fuck your head up. And that's the difference. See, some of you, you know, most people are programmed because it's music that you're going by what you hear. And then now it's so fucked up. You're going by what you see as opposed to what you hear. It's music, not my video, not what I look like, not who I'm down with. It's just music at its purest, distilled form. What is this motherfucker saying? I don't care who made the beat. That's why Nas could rap on fucking dog farts. I know he gonna say some shit. You understand? So for me, that's-

Speaker 2:
[91:35] But I don't want him rapping on dog farts. Just to be clear.

Speaker 3:
[91:44] People would buy it if you get popular enough. Put the coolest guy and let it be done. I swear to God, it was like, and then say, so-and-so produced it. People respond to the worst in human stimuli, which is who did it isn't important. It's group mentality. I just, for me, my love of the craft is about the craft. Not who did it, who he, where his bank account is, where is these bars at? It's the only pure sport for me. Like, I don't care. And the only other sport like this is MMA, boxing. One man walk in, one man walk out. Who spit? Period. Everything else is always like, who helped? Like, be lying about they bar game. People lie about like, if you got to lie about not writing your rap, we're playing a different sport, which is kind of where we're at with this. It became more of a show about look at me as opposed to like, listen to what I have to say. I want to hear about Norea when he's a on the run in, component of CNN, board report. I want to hear what, that shit's ill to me. And I think if we get back to the craft of it, we don't get in a better space. So anyway, I'll end.

Speaker 2:
[93:05] We're talking about Qube, but it made me think that looking back at Qube when he left NWA, it was pure genius to do Jackin for Beats because it showcased his vocals, his lyricism on these tracks that were out.

Speaker 1:
[93:18] There was East Coast of two tracks, right?

Speaker 2:
[93:20] East Coast mainly, yeah.

Speaker 3:
[93:21] Yeah.

Speaker 2:
[93:22] And it showcased him in a way that you're like, yo, you couldn't deny him on any coast.

Speaker 3:
[93:25] Right.

Speaker 1:
[93:26] Well, so did you pick?

Speaker 3:
[93:28] I felt like you picked Qube. I didn't. I was differing.

Speaker 2:
[93:32] Yeah, you did it.

Speaker 3:
[93:33] I didn't.

Speaker 2:
[93:34] And when I told you I see you thought about it even more.

Speaker 3:
[93:36] Right. No, you know what? I'm going to go with Qube because.

Speaker 2:
[93:39] I mean, King T, I said.

Speaker 3:
[93:40] But Tila, you don't. But Tila, King T, we call him anyone. King T.

Speaker 2:
[93:47] Because King T is a predecessor.

Speaker 3:
[93:48] He's a lyricist.

Speaker 2:
[93:49] An alcoholic that I feel that lineage even goes to Kendrick, in my opinion.

Speaker 3:
[93:53] King T is King T. So I can't take his stripes. But King T did come out before Qube.

Speaker 2:
[94:01] Yeah, yeah, absolutely.

Speaker 3:
[94:02] Act of Fool with DJ Poo.

Speaker 2:
[94:04] Yeah, yeah, yeah.

Speaker 3:
[94:06] Facts are facts.

Speaker 2:
[94:07] But Qube took it to the world.

Speaker 3:
[94:09] I feel like King T is, first of all, that's big bro, legendary. I think when I'm coming out in my era, my first lyricist to me, a nigga you love to hate, Ice Q, the NWA shit I was hearing, and think about it back then, NWA always had a posse song at the end with no hood, which was a spitter record. It's all the records y'all would have, like you know what I'm saying, like on punk, it was always a posse cup where you burned down no hood, get it off.

Speaker 2:
[94:49] No, Q Brazil, I mean every Drink Champs fans know that I'm a Q fan, so.

Speaker 1:
[94:53] So, you pick it though?

Speaker 3:
[94:56] No, I've been trying to defer, I was trying to see how drunk you were. Okay, cool. So, no, I'm a-

Speaker 2:
[95:00] Hey listen, and Face, you can't take nothing away from Scarface, that's one of the-

Speaker 3:
[95:04] Amy plays the guitar at this point. He's the illest, I've never seen a man cry till I see the man die. I'm not taking any strikes, I'll do it. I'll do that.

Speaker 2:
[95:14] So, they would do it too, they would take a shot for each other.

Speaker 1:
[95:17] I'll give you a funny Scarface story. Like, this is like my first solo, like I like going out as a solo and you know, I believe Super Doug just had hit number one, so I was a little gassed. I was a little gassed, right? So the promoter was like, hey man, I want you to close. I knew I should have said no when I was gassed, so I went out. Boy, when I tell you.

Speaker 3:
[95:47] Where are you at?

Speaker 1:
[95:48] This is Vegas. You can't come.

Speaker 3:
[95:50] Did you get a win?

Speaker 1:
[95:51] No, I didn't. I think it was not a good look for me, man. Like to go on after. I never seen the. Yo, I was like, yo, I want to give the money back, bro. I was like, yo, I don't want to come on after this.

Speaker 3:
[96:09] You know what, I got a good story. This goes back to Biggie. I only met Biggie once. OK. I forgot where we were at. I feel like it was, I think when you said Vegas, but I know it wasn't Vegas. It might have been San Diego.

Speaker 1:
[96:25] OK.

Speaker 3:
[96:25] For some reason, there was something big in Dago. And at the time, it's Flavoring Your Ear.

Speaker 1:
[96:35] OK.

Speaker 3:
[96:35] Biggie just came out.

Speaker 2:
[96:36] The remix.

Speaker 1:
[96:37] The remix. Yeah, the remix.

Speaker 3:
[96:40] I think Biggie's album is out. No, Biggie, he's dropped. At least singles didn't come out. I get booked. And I am apparently possibly. Whatever, there's some things. I'm like, one person is me, then somebody in the big. Then he just probably dropped Juicy, I think. It's like, album may not be out. It's just like Juicy dropped, and I got to go on. Then somebody.

Speaker 1:
[97:14] And you know who Biggie is at the time? Absolutely.

Speaker 2:
[97:17] Yeah, he's all over the place. Even on the mixtapes before he dropped, it was great.

Speaker 3:
[97:21] I'm like, but he already got to play Bring It Here, the Juicy shit already popping in LA. We on the West Coast.

Speaker 2:
[97:27] Unbelieveable's out already, too.

Speaker 3:
[97:28] But people didn't hear Unbelieveable all year.

Speaker 2:
[97:30] No?

Speaker 3:
[97:31] Hell no, they didn't play it in LA.

Speaker 2:
[97:33] Really?

Speaker 3:
[97:34] Not a problem. That was huge. That's why I was saying, I was upset because I heard that on the mixtape. Just like, Raise Hell from MOP. They never played that in LA. I bought M.O.P.'s album for Raise Hell. Remember them niggas with the Biggie. But long story short, I'm getting on, I'm like, great. You know what I'm saying? I'm going to get on, I'm going to do my spot, I'm going to give him a little money. I remember they was like, he got double booked, so Biggie going to go on now. I'm like, nah, he should go on after me though. I mean, he should go after me because I should go on before him. All right. Biggie gets called an audible, he got double booked, which is always a win. When you in town and somebody throw you another bag, he was like, yeah, I'm going to go on. I remember this just destroys it. I mean, he's got hits, he's already got, you know what I'm saying? He's already got previous hits. Right. He can do the Flavor of Your Air remix again. And then he crushed it. And I remember I was walking out of the car and they said, have a good show, Ras. It's a big ass thing. I'm like, bro, in my brain, I'm like, thanks. I was like, man, fuck you, bro. I do not want to go on after this. This is, but you got to do it. I mean, you come to the other end, but I love that because part of this shit is, it's not really a chilling circuit. It's just like earning your stripes. And I never wanted to be the headliner. The only thing I ever wanted, honestly, Nore, I wanted to be the friend next to the most popular people, person you knew. I never wanted to be the dude because the target's on you. I always wanted to be the homie next to, that way I can get mine. If the homie get 800,000 and I can get 300,000, why am I complaining? That's all I want. If I ain't do that on a tour, I'm good. Most get, but my strategy was great. I don't know what the execution part was, not right. I don't even want to be that. Even though I feel like I'll borrow most of these, I never wanted to be the most important because that's ego shit. I know I'm great at what I do. I know I'm a great person. I just want my bag, bro, without the fuckery. And I know everybody be looking at the main niggas. I never wanted to be the bang guy.

Speaker 1:
[99:58] So still not sure if you answered.

Speaker 3:
[100:01] I did.

Speaker 1:
[100:01] He did. Who did you say? You?

Speaker 3:
[100:05] No, no, no. I said you.

Speaker 2:
[100:06] Oh yeah, no, he didn't.

Speaker 3:
[100:07] I did.

Speaker 2:
[100:07] No, you didn't.

Speaker 3:
[100:08] I threw you off. Okay, it.

Speaker 2:
[100:10] You said both.

Speaker 3:
[100:11] I did the shot.

Speaker 2:
[100:12] He said, well, yeah.

Speaker 3:
[100:13] I did look at that.

Speaker 2:
[100:13] I don't even remember if I put it in.

Speaker 3:
[100:15] Wu-Tang, did I trick them?

Speaker 1:
[100:17] Wu-Tang or NWA?

Speaker 2:
[100:21] Try to trick us again, buddy.

Speaker 3:
[100:24] I told you I wanted all the smoke with you, my friend. I was trying to break the system. This is my fun time. I miss you, too, by the way. Let's see. That's unfair to me, so I'm not going to do it. Cheers, man. Are you ready? I think don't shenanigans me.

Speaker 2:
[100:45] I'm drinking, though. I'm drinking. Gangster Eric being Rakim. It's good.

Speaker 3:
[100:51] I would say.

Speaker 2:
[100:55] Rest a piece of guru, man.

Speaker 3:
[100:58] Yeah, I'm going to go with Gangstar. With all due respect.

Speaker 2:
[101:02] Was that because you had more of a connection? Yeah, because I see you more like Rakim being more of an influence than, you know, because of course, the God is the God.

Speaker 3:
[101:16] But like I said, when I was a kid, like I lost a record deal. So I was going to get signed. I'll be Tommy Boy, all that. Tretching them. I knew everybody at Tommy Boy because of Cooley on them. I came out of Juvenile Hall. And I had a demo before I went to Juvenile Hall. My record deal went to Far Side. I've been really good at what I do for a long time. I just was trying to find myself.

Speaker 2:
[101:45] But you said your record went to the Far Side?

Speaker 3:
[101:47] My record deal went to the Far Side.

Speaker 2:
[101:49] That would have been your record deal, and then instead they took the Far Side.

Speaker 3:
[101:53] Paul Stewart, not Rosenberg. Paul Stewart managed me. I brought Far Side to Paul Stewart. I'm in this situation. For me, when you're young and you feel like you'll get a million options and a million opportunities, so I just, I didn't realize how valuable time is because you're young. You're like, eh, I don't care. Whatever. At least I wasn't hateful or hurtful. I helped my friends, so I helped Far Side. I helped so and so. Meanwhile, I'm still trying to find myself. I go fuck off. I go, you know, put myself in juvenile hall and all this other shit. So, yeah.

Speaker 2:
[102:34] What the fuck were you doing? You was getting juvie and all this shit.

Speaker 3:
[102:37] You're stupid. I mean, well, I'm not you. When you're, I'm in LA. My friends are gang members. My friends do all kind of shit. If they say slapping with the hammer, I'm slapping them with the hammer.

Speaker 2:
[102:50] You were gang banging without being a gang member. What the fuck?

Speaker 3:
[102:53] Yeah, sometimes. And then the other thing is if you get caught, then you get caught. And then the only person I would tell was my mother. So I would tell her like, hey, this is what happened aside from that. You take it to the box. Thank you. Yeah. You know, so even to this day, that was the rules. Like if you do some fuck shit with your friends, I remember my mom said, your friends always get you in trouble. I was like, mom, don't get it fucked up. It's my idea sometimes. Like, I'm not gonna lie to you. Like, of course I'm gonna tell the police that I'm innocent. And then they asked me who it was. And I'm like, I don't know anybody. So I'm always at fault. You gotta take the part for the course. If you want to be out here and try to figure out everything that we have to learn. Sometimes we're harder headed. Friends try to tell you things. Parents try to tell you things. I've learned most things. I've realized that I have to learn how to be me. Nobody else can teach me how to be me. I have to go out here and go experience it. At least now I can speak on it and get better at myself.

Speaker 2:
[104:01] Right.

Speaker 3:
[104:02] Yeah, sorry about that.

Speaker 2:
[104:03] Mature words, man.

Speaker 1:
[104:05] Mob deep.

Speaker 2:
[104:06] Yeah.

Speaker 1:
[104:07] Mob deep or EPMD?

Speaker 3:
[104:11] Well, that's not that hard, but salute to EPMD. Mob deep fan. Come on, man. They was drinking the Hennessy Cups. I was a little, same age.

Speaker 2:
[104:21] Rest in peace.

Speaker 3:
[104:22] Yeah, rest in peace.

Speaker 1:
[104:23] I think in a lot of ways, if it wasn't for EPMD, it wouldn't be a mob deep.

Speaker 3:
[104:27] I totally respect it. Long Island of Queens, I'm a big fan. But for me, I remember Juvenile Hell. I bought that album. I was a kid.

Speaker 2:
[104:38] I bought that album. I still love that album.

Speaker 3:
[104:39] Yeah. That was the homies, bro. Which is crazy is even me and P ended up... We ended up blocking in a little bit more initially. When P got out of prison, I got another good story for you.

Speaker 1:
[104:57] Okay.

Speaker 3:
[104:59] P gets out of prison. He's in Hollywood and he's like, yo, come here. I'm like, what? Yo, come here. I'm like, okay. But it's a big party. It's y'all party. He's like, it gets far. Anyway, he goes back, pulls out when I'm about to pull out. But he got tops.

Speaker 1:
[105:21] Okay.

Speaker 3:
[105:23] He like, so when P went to prison, he started smoking tops. Tobacco, right?

Speaker 1:
[105:29] What is that? Organic?

Speaker 3:
[105:30] Yes. It's British. I'm British.

Speaker 1:
[105:35] It's what?

Speaker 3:
[105:35] British.

Speaker 1:
[105:36] British?

Speaker 2:
[105:37] Yeah, Ras Kass.

Speaker 3:
[105:38] Ras Kass.

Speaker 1:
[105:38] Oh, okay. Yeah.

Speaker 3:
[105:41] Or I could be a cowboy.

Speaker 2:
[105:42] I think Jane appreciates it.

Speaker 3:
[105:45] Or I could be a cowboy. But yeah, it was super funny. So I remember P was like, yo, Doug, when you was, you know what I'm saying? Ever since I met you, I always was trying to figure out what the fuck is wrong with you since you be rolling these little packs. I was like, bro, ain't these shit fire? So we actually ate a like at the end, like the last like five years, like P was smoking, smoking tops because in New York y'all smoke tops. We smoke beautiful. Yeah, so that was, Is that supposed to be healthier? It's all fucked up, but it's better. It's better than like a bogey, like a y'all can smoke. Think about it, the fiberglass in it.

Speaker 2:
[106:27] Yeah, so hopefully the tobacco is healthier.

Speaker 3:
[106:29] It's a better tobacco.

Speaker 2:
[106:30] All right.

Speaker 3:
[106:30] They have different brands, like, but when you go to, you travel to the store, same difference, like that. I don't like the filters on them because it's fiberglass. So I'd rather just get tobacco. I used to smoke a BDs.

Speaker 2:
[106:43] BDs were the worst.

Speaker 3:
[106:44] Yeah, they were amazing.

Speaker 2:
[106:46] They were terrible. But we used to do those too. And we used to pretend it was Bud.

Speaker 1:
[106:50] Oh, man, I got a headache as soon as he said that.

Speaker 3:
[106:54] Did any of you like BDs?

Speaker 2:
[106:59] You know that they busted out saying that tobacco is healthier.

Speaker 1:
[107:03] That tobacco is healthier?

Speaker 2:
[107:04] Well, you know the Internet is crazy. Everything is backwards, forward and topside. But now they're saying, if you think about it, the Native Americans used to smoke tobacco. And now they're saying the only reason tobacco got dangerous for our health is because they put the filters with all the shit in it and all the nicotine and all the crap like that.

Speaker 3:
[107:23] It's fact. Well, it's not fact. I can't actually do that. But think about it. Every time government wants to regulate, they add shit. Think about it. Cocaina? No, it's not a bad thing. Wait a minute.

Speaker 2:
[107:37] I mean, cocaine was in our coke, in Coca-Cola. Originally, it was a medicine, before it was a soda.

Speaker 3:
[107:46] What's been killing America? Synthetics. When they do it, they make the up version. They outlaw the natural to create an unnatural to tax you.

Speaker 2:
[107:58] Like, you know how we talk about the sage stuff? And we're wondering if sage does anything? They said, supposedly, scientists found out that sage, that smoke, actually clears out certain bacteria in the air.

Speaker 3:
[108:08] People have been on this fucking planet since the beginning of the 19th century. I don't trust the government. I trust people's cultures.

Speaker 2:
[108:16] Old cultures, way older and more ancient than our modern-day pharmaceuticals.

Speaker 3:
[108:21] They're called, DEA, drugs. They're the drug dealer.

Speaker 2:
[108:26] 100%. But we didn't say it here, so please, relax, buddies.

Speaker 1:
[108:33] So, this is the last... And then we go back to the interview.

Speaker 3:
[108:36] Absolutely.

Speaker 1:
[108:39] Loyalty or respect?

Speaker 3:
[108:44] Loyalty. I want loyalty.

Speaker 1:
[108:48] Tell me why.

Speaker 3:
[108:49] Respect has gotten me where it's gotten me, but loyalty would have got me more. I think when people are loyal to a cause, you can accomplish more. People respect because they have to. Loyalty is given.

Speaker 1:
[109:06] Okay. I'm going to take a shot though. Yeah. Respect that.

Speaker 2:
[109:11] And I'm going to take a piss.

Speaker 1:
[109:12] That's good. All right, so let's get into the new album.

Speaker 3:
[109:18] Yes, sir.

Speaker 1:
[109:19] Let's get into the track. Where's the track? Where's that?

Speaker 2:
[109:22] You want to look at the track?

Speaker 3:
[109:23] It's hard to read that shit.

Speaker 2:
[109:25] Yeah, it is. We're not reading that shit.

Speaker 3:
[109:27] You're never going to be able to read that shit. It's not a vinyl. That shit's fucked up. Well, ask me. Just ask me a question.

Speaker 1:
[109:34] I'm saying, how did this come about?

Speaker 2:
[109:37] You are not trying to get people to read this, bro.

Speaker 1:
[109:39] Let me see. Let me see.

Speaker 2:
[109:40] No, if you read this, you got an amazing album.

Speaker 3:
[109:43] Todd, now ask me about the back cover.

Speaker 2:
[109:46] Okay, it's hilarious.

Speaker 1:
[109:48] This is the back? Or this is the back?

Speaker 2:
[109:49] No, that's the back.

Speaker 3:
[109:50] That's the back.

Speaker 1:
[109:51] That's the back?

Speaker 3:
[109:52] No, that's the front.

Speaker 1:
[109:53] Okay.

Speaker 3:
[109:55] Ask me about the back.

Speaker 1:
[109:56] Oh, my God.

Speaker 3:
[109:57] Don't you know that picture?

Speaker 1:
[109:59] No.

Speaker 3:
[110:00] You know that picture.

Speaker 2:
[110:01] Let me see it.

Speaker 1:
[110:03] You know what I just tried to do?

Speaker 3:
[110:06] Todd, all y'all people will do a big cutout so you can see it. You know this picture. You know this picture. It's a fucking iconic picture. I just fucked it up on some Griselda shit purposely for fun. Do I have to tell you what the picture is? You do, you do. In Vibe magazine, there was a very, and then it went viral back in the day when Kanye was walking in Paris before the song in Paris and he's walking with these people. Now what hears the rub here is I knew the dude on the left, we grew up together. So it was a whole bunch of kids with the same kind of names. There was a Dags, there was a Ras, there was a Tash, there was a Tash, but that's Taz, Tisa, Taz Arnold, Wasana, Kanye, whatever. And then one of these people happens to be Kanye in this picture. So it was a very iconic picture. They were in Paris with some real fancy schmancy. And I remember I was just coming out of jail and I was like, wow. And so I thought the picture was super iconic. The bar is also, if you pay attention, they was on some super high fashion, high money shit, the brand. If you pay attention to the brand that they're wearing, no poor people could recognize the brand that they were wearing. So I realized be ahead of the curve. Sometimes you're behind the curve. So what I did was, because I knew the dude on the left and he was my, I grew up with this particular person.

Speaker 2:
[111:44] So that's who you kept on the picture?

Speaker 3:
[111:45] No, I changed the face.

Speaker 2:
[111:47] Oh.

Speaker 3:
[111:48] I put Jaguar Wright, which is-

Speaker 2:
[111:50] I didn't even notice that.

Speaker 3:
[111:50] It's hilarious.

Speaker 1:
[111:52] So it's all hilarious.

Speaker 3:
[111:53] So Leopardy's face, and I keep doing shit. I'd say it, I grazelded it.

Speaker 2:
[111:57] You had a control, man.

Speaker 3:
[111:58] Yes, I am. I don't ask for permission. I ask for forgiveness. Taking Taz's Arnold's face, and it's hilarious. So it's an inside joke. I'm an asshole.

Speaker 1:
[112:11] This looks crazy.

Speaker 3:
[112:12] It's so funny to me. So I'm waiting for Taz to get mad at me. I said I would ask for permission.

Speaker 1:
[112:18] All right.

Speaker 3:
[112:18] I know I said I'd ask for forgiveness. I don't ask for permission. So I took the iconic picture, and I made it work for my construct. Because Taz was wearing those pants. And where we grew up-

Speaker 2:
[112:34] So those pants, that's real in the picture.

Speaker 3:
[112:36] That's his pants.

Speaker 2:
[112:37] Jesus Christmas.

Speaker 3:
[112:40] No judgment here, sir. People can be who they want to be, and they can express themselves. So anyway, I did that. And then I showed it to a few of our friends that we have mutual friends. I was like, are you going to show it to Taz? And I was like, never in life. I'm going to do it. Because it was already in every magazine. It's fucking to the world. I'm going to just change his face, and everybody else, I'll just blur out their fucking faces, because it's Leopard Eats' face. He had the fucking Leopard pants. Fuck it, we're on the play. So I ran the play. So I think the back cover is hilarious. I think it's totally funny. That's my personality type. And yeah, that's the shirt I'm wearing. So again.

Speaker 2:
[113:22] It looks better on the shirt for some reason.

Speaker 3:
[113:24] I mean, it's smaller. It's only so much you can fit on a 2 by 2 inch.

Speaker 2:
[113:30] This is the shirt.

Speaker 3:
[113:31] Yeah. And this is what the vinyl looks like and all kinds of cool shirts. But yeah. So yeah, Leopard Eats face. It was fun to do it. Kanye, if I piss off Kanye, so be it.

Speaker 1:
[113:41] I got the track list, by the way.

Speaker 3:
[113:42] Oh, you got it. Thank you. Yeah. So what questions?

Speaker 1:
[113:46] Okay.

Speaker 3:
[113:46] I want them now.

Speaker 1:
[113:47] No, no, no. This is a different question. I'm going to go into the album.

Speaker 2:
[113:51] And you got to take a shot for every question, just in case.

Speaker 3:
[113:54] If you do it. I'm just here to get him.

Speaker 1:
[113:57] Okay. Let's do it. Let's do it. I heard you say somewhere that Steve Rifkin wanted to sign you to allow.

Speaker 3:
[114:03] It was Barb. So I didn't know.

Speaker 1:
[114:08] What would life would have been like if you were on now?

Speaker 3:
[114:11] Man, I don't want to. Could have should have. Would I be rich?

Speaker 2:
[114:14] Would have been crazy, man.

Speaker 3:
[114:15] I would have been rich.

Speaker 1:
[114:18] That was the label.

Speaker 3:
[114:19] He only told me that recently.

Speaker 2:
[114:21] Was that when he was looking at exhibit after exhibit? How was that?

Speaker 3:
[114:27] This is what he told me. This is, I want to say, during the end of COVID, what was that shit where everybody was talking on and just talking? Clubhouse. Clubhouse, which I lasted all of one day. We were on a clubhouse thing and he said, you're the only person I ever tried to sign that didn't sign on me. And I said, you never tried to sign me. And then he said, that's not true. I made you an offer. And then I said, when? And I know who tried to, that I knew tried to sign me.

Speaker 2:
[115:07] Who intercepted the deal?

Speaker 3:
[115:08] Well, I knew who tried to sign me. Chris Lighting brought me to New York for Def Jam. I was able to walk around and, you know, any rapper's dream in 1990 mid-five, Def Jam. I had, I had...

Speaker 1:
[115:33] I think Loud was hotter than Def Jam in 95.

Speaker 3:
[115:37] Me?

Speaker 1:
[115:38] Because Wu-Tang?

Speaker 3:
[115:39] Just hear me out.

Speaker 1:
[115:40] Okay.

Speaker 3:
[115:41] I didn't know of him.

Speaker 1:
[115:41] So the fun was that it didn't come on till 97.

Speaker 3:
[115:45] What I'm saying is, it's not on the table for me. I know who Priority Records has given me an option. Def Jam gives me an option. Def American, which is Rick Rubin. Rick Rubin used to pick me up in Carson.

Speaker 1:
[116:00] Wow.

Speaker 3:
[116:01] And a Rolls Royce.

Speaker 2:
[116:02] So he left Def Jam.

Speaker 3:
[116:04] He created American, but it was Def American, then it became American. He used to pick me-

Speaker 1:
[116:08] Did he have on shoes when he picked you up?

Speaker 3:
[116:10] In a Bentley, he looked like Santa Claus. And he probably looked- he probably looked really crazy, this little black kid getting in the-

Speaker 2:
[116:17] Jesus Christ, man.

Speaker 3:
[116:19] It probably looked crazy.

Speaker 2:
[116:21] Like right now in the landscape of being right now. My neighbor.

Speaker 3:
[116:24] But he would give me- he would pick me up. I don't want to get off track, I'll land this plane. But he- Rick Rubin would pick me up and give me demos of Umbreley's Beastie Boys and LL Cool J records.

Speaker 1:
[116:41] Wow. Wow.

Speaker 3:
[116:43] Invested in me, believed in me, which is why I did the song with Chino XL. Rest In Peace.

Speaker 1:
[116:47] Rest In Peace.

Speaker 3:
[116:49] Because I didn't sign to him. And it was one other option. So I had four, like a bidding war. You know what that is. You know what that is. So I had a bidding war. I never heard loud because I would have just picked loud. So when Rivkin said that to me, I was like, you know what I'm saying, like whatever. This is only like four or five years ago. He's like, you're the only artist that never signed to me that I made an offer for. I said, well, lies you tell. I'm like, bro, he ain't never gave me no offer. He's like, no, I gave an offer and da da da da da. I was like, bro, I never heard that. I would have took less money and signed to you. You know what I'm saying? And I know who didn't tell me because they wanted the money. The production company, the production company.

Speaker 2:
[117:35] They thought they were going to get somewhere else more money.

Speaker 3:
[117:37] We got more money, but the production company that didn't produce shit, wanted money. They're going to hold you out. That's what an artist is. Ultimately, you didn't produce nothing. You just wanted what you wanted and fucked over mine. If I would have had that option, what could have been? And to be honest, it was before Exhibit. That's what he told me.

Speaker 2:
[118:02] Before Exhibit, but after The Licks?

Speaker 3:
[118:04] Yeah, of course. The Licks were through King T, then The Licks. And then I had had an opportunity. I came back out. That was going well, and obviously what could have been? But yeah, if my mama was my daddy, I mean.

Speaker 2:
[118:23] Because imagine the Alcoholics, you and Exhibit all together on Loud, on the-

Speaker 3:
[118:28] Well, just think about RZA is the first person that clears my first white label, because we wanted to sell it. Right.

Speaker 2:
[118:39] Your first white label.

Speaker 3:
[118:41] My first white label I ever put out, I sampled Method Man. You don't know me and you don't know my style. It's called Remain Anonymous. That I produced it. And then the B-side was a song called Won't Catch Me Running. But then it was doing well and it was like, we should try to sell it. So we had to clear the sample and RZA cleared the sample.

Speaker 2:
[119:01] That's dope.

Speaker 3:
[119:01] We're the first people that ever sampled Wu-Tang that cleared it, because RZA was like, I fucked with Ras. And I credit Killer Priest. Killer Priest, we're kind of in that same bracket of the year we come out or we're starting to pop. Priest put RZA on the Ras Kass and then RZA always fucked with me to this day. Like, you know what I'm saying? Like, I'm very blessed because I had people interceding and saying like, bro, a good or bro's talented and he ain't a fuck boy or whatever. So yeah. But if I would have signed it loud, yeah, what could have been? Yeah. Too late now. Unless you know how to do some DC, Marvel.

Speaker 2:
[119:44] The alternate universe.

Speaker 1:
[119:45] Yeah.

Speaker 3:
[119:46] Yeah. That guy is like a fucking rich and an awful person.

Speaker 2:
[119:58] Do you get mad when you hear we gonna make it?

Speaker 1:
[120:01] What about? That was a good question. No, no, no. Here's the truth. And I'm going to say this is politically correct as possible. I've never had a problem with Jada. I'm a fan. I saw Jada in them. I remember when Eclipse was doing this was in Puerto Rico. What happened to that boy? That was the first time I had seen Jada in like years. I remember when I was like, no, I don't have an issue. And Al, to make a very convoluted story simple, me and Al, we've had our conversation. And I have a party called Five Mikes that I do once a month for the culture, trying to do the unity thing and bringing LA hip hop culture back together, black, brown, yellow, white, green, male, female, whatever. So, Al, I saw him at, I saw him at Nod's. It was the Mobb Deep release.

Speaker 2:
[121:01] The Mobb Deep release party.

Speaker 1:
[121:02] Yeah, in LA. And so, Al came up and I actually, I did the fun thing. He was like, pull the grass, cause it wasn't a lot of us upstairs. And then I was just like, what up? You know what I'm saying? I didn't even call up the. I was like, what up? You know what I'm saying? He's like, man, I want to do the Five Mikes. I was like, yeah, let's do it. And he's like, let's cook. And I was like, yeah, let's do it. So let's chalk it to a misunderstanding. Al is super talented. I can't take from somebody what God gave, you know what I'm saying? Or their hard work, same thing. I'm ready to move forward. And I think the record, I'm gonna stand on this. My record is not a two track. It's the files. My verses are dope. We gon make it is iconic.

Speaker 2:
[121:56] Was the one there already?

Speaker 1:
[121:58] No, no, no, no. Cause there's mine is home, sweet home. I put it on the mixtapes.

Speaker 3:
[122:04] You leaked it to me.

Speaker 1:
[122:05] Right. Well, I did it with Starm Bug Wild and performed it. It's on K-Slay mixtapes. But I don't wanna get into those weeds because then it becomes defense mechanism. I think Al is dope. We had a misunderstanding. We move on. I wanna do a song with me and him called Barry the Hatchet. He was like, yo, we should cook. I was like, yeah, let's cook. Let's move forward. On no days off, we had did a record. On his album, we did a song where we killed it. We had so much fun. I don't wanna live in the past. I think what Styles and Jada did is amazing. And two things can coexist at the same time. So great record. My album didn't even come out. My album on the label didn't come out.

Speaker 2:
[122:51] That was Vanguard?

Speaker 1:
[122:52] That would have been on Van Gogh. It would have been on Van Gogh. And so yeah, my album, because of my label shit, so at least it was like that.

Speaker 3:
[122:59] Wait, that album never came out?

Speaker 1:
[123:01] It never came out.

Speaker 3:
[123:02] Van Gogh never?

Speaker 1:
[123:03] It never came out. I put it out later. Thanks for telling my enemigos.

Speaker 3:
[123:09] Enemigos.

Speaker 1:
[123:12] Yeah, we had physical copies of this, like with the artwork, but that's when Capitol was getting bought, was buying out the other half. Well, at the time, priority was independent. And then Brian Turner owned 51%. They bought him out and they got the other 2%. So he became 49%, and then they were making it capital. They were like, we're going to close down priority and just make it capital records. Only a few people made that cut. It was like Snoop Dogg, me. We got slid in with like Faith Evans, whatever. So it was only like six artists, but that was the whole journey. So my record didn't get promoted, and then we went into, from Van Gogh, we went into Golden Child. So I took certain records off of here, and then went into the Golden Child with Premiere and all that stuff. So it was just all this corporate shit and just trying to make it be okay. But ultimately, my point is, at least we're going to make it exist and the shit fire.

Speaker 4:
[124:16] Is that the only record you did with Alchemist?

Speaker 1:
[124:18] No, I've done multiple records with Al. Yeah, I've known Al for...

Speaker 4:
[124:22] No, I know. I just...

Speaker 3:
[124:24] You guys make great music.

Speaker 1:
[124:25] I've done songs with Al since that. That's what I'm saying. So he had an album called No Days Off when he's DJing for Eminem.

Speaker 4:
[124:33] So why does it feel like you guys just mended the beef?

Speaker 1:
[124:36] I'm not going to go into that. Again, we are okay today.

Speaker 4:
[124:42] You guys are local, man.

Speaker 1:
[124:44] Well, you know, LA shit. But my brother is talented. I want to do a song called...

Speaker 4:
[124:51] Nah, you guys should do a project together, a whole project together.

Speaker 1:
[124:54] Well, put that in the universe.

Speaker 2:
[124:55] I think that shit would be crazy, man.

Speaker 1:
[124:58] You gonna come outside with me?

Speaker 2:
[124:59] I'll come outside.

Speaker 1:
[125:00] You know, we ain't never did one.

Speaker 2:
[125:01] I know, I thought about that today, yeah.

Speaker 4:
[125:04] You guys would sound great together as well.

Speaker 1:
[125:05] That would be crazy.

Speaker 2:
[125:06] This is part of the... We skipped on Quick Time with Slime. What do you prefer, being on a major or being independent?

Speaker 4:
[125:15] I already know what Ras is going to say.

Speaker 1:
[125:17] Good question. No, I'm going to be honest about it. I want both. They're close in kind.

Speaker 3:
[125:22] We got to drink to that, man.

Speaker 2:
[125:24] I'll drink to that. We just got to drink to that, man.

Speaker 3:
[125:27] I don't get it, but we're going to have to drink to that.

Speaker 2:
[125:32] I'd rather be on a label like Penalty Records, where it had the amenities of Tommy Boy, right? Tommy Boy was at the distribution.

Speaker 3:
[125:46] They were a big indie too, though.

Speaker 4:
[125:47] They were an indie as well.

Speaker 1:
[125:48] Right.

Speaker 2:
[125:48] They were indie.

Speaker 3:
[125:49] They were a major indie.

Speaker 4:
[125:50] They were a major.

Speaker 1:
[125:52] You're going to manage those, getting some new record deals, sir?

Speaker 2:
[125:54] Who? Who?

Speaker 1:
[125:55] Me and you.

Speaker 3:
[125:56] Me and you?

Speaker 4:
[125:58] I'm retired.

Speaker 1:
[125:58] No, finders fees.

Speaker 3:
[126:00] Yes.

Speaker 4:
[126:01] I got you.

Speaker 1:
[126:02] You ain't even got to deal with me no more. Just go get us a bag.

Speaker 2:
[126:06] Okay, but you ain't answered, though. Oh, you had both. You said both. Okay, okay, okay. Explain that to people who don't understand.

Speaker 1:
[126:13] I don't want to major with the shenanigans, and you thinking you're going to own the project, none of that shit. And nowadays, these kids is getting these 360 deals. They're totally replaceable. So no, I bring something to the table. We have value. And then especially as businessmen, like you start, you know, we start with a dream. They finance that. I respect that. I definitely, yeah, of course you want, I like getting per diems. If you know, you know.

Speaker 4:
[126:42] I don't think that exists anymore, man.

Speaker 1:
[126:44] I'm telling you, some people still getting per diems.

Speaker 4:
[126:46] I'm sure it does exist on the top, top tier.

Speaker 1:
[126:48] No, these young, some of these people getting deals, but they just, so the young kids, my homie is a, he does tour manager, man, for major people, Chris Brown, whatever, whatever. He's like, the young ones, they just want to be on privates. They want a hotel in the private. Cause they can say they was on a private.

Speaker 4:
[127:11] Private plane for people that don't understand what we're doing.

Speaker 2:
[127:13] That could be content by doing that, though.

Speaker 1:
[127:15] Right.

Speaker 2:
[127:15] Yeah. But he's like, No one gets on the private without filming it. All of them, all of them, all of them. It's for that stunt.

Speaker 1:
[127:22] It's for that, they're stunting there. But they're not like, they're public, they don't care. They've kind of thrown away like their future. They're like, I want it now. Like you've seen that commercial. It's my money and I want it now. It's not my money and I want it now.

Speaker 4:
[127:38] I'm sure sighted as far as I'm concerned.

Speaker 1:
[127:40] Because how many people we've seen, you know, get a lot of money and where are they now? And the just like if I could have, would have, should have saved that fucking $200,000 that I had when I bought all the Gucci shoes. That don't mean shit.

Speaker 4:
[127:57] Savings account.

Speaker 1:
[127:58] Right. So it's, I want both and it's okay to dream and want both or not dream, to plan or strategize for. I would like a small indie with enough money to finance. I don't need a lot of upfront. I want you to make sure that you're going to support this project. And then when it's time to fucking move around, you're going to help move around.

Speaker 4:
[128:20] Rock has been that in your mind?

Speaker 1:
[128:22] Yeah. And the Rockers was always great and supportive of his artists. Look at how everybody landed. Kweli still do business with the owner of his company.

Speaker 4:
[128:30] I mean, they got up rocks, you know?

Speaker 1:
[128:32] Yeah. You know what I'm saying?

Speaker 4:
[128:33] Big things.

Speaker 1:
[128:34] Yeah. Well, you know, having those kinds of friends, it's never over. There's a few dope indie hip hop.

Speaker 4:
[128:45] Mass Appeal.

Speaker 2:
[128:46] Mass Appeal is an amazing thing.

Speaker 1:
[128:48] You know what I'm saying? I love what they're doing over there. Like I said, Mobb D, De La, I said I mentioned it. So yeah, I'd love to find a home that gets it.

Speaker 2:
[128:56] Yeah.

Speaker 1:
[128:57] Allows me to be myself. I don't want to create the chicken dance or some other shit to try to get on. I'm not 14. I'm not no weird kid, but.

Speaker 2:
[129:07] I can see you on Mass Appeal.

Speaker 4:
[129:09] Yeah, I definitely could see you on that legend run they're doing, which I feel like they're going to continue.

Speaker 1:
[129:13] I don't have nobody from the west. So that was my logic.

Speaker 2:
[129:16] Yeah, I didn't understand.

Speaker 4:
[129:17] Nas, Mass Appeal, Ras Kass, the legend run.

Speaker 1:
[129:20] Well, shit, I got a whole project. I'm promoting this, but me and Fredro. Well, no, that already came out. We did that on another label, but unfortunately, it didn't work out. But yeah, you know what I'm saying? Me and Fredro from Onyx, we got a project. So we're called We, West and East. So we collect it. So I mean, I'd love to place it and get it home.

Speaker 2:
[129:41] What made you do a whole project with Havoc and what you could teach as being a West Coast artist, working with the West Coast?

Speaker 1:
[129:49] First of all, my bros, like I said, I was closer with Pete back then. You know what I'm saying? Just through the whole Mobb D shit, once I got my idea on just knowing them. But I want to say, I want to say before COVID, one time we were in Dallas and I got booked to host, he got booked to perform and we were chilling. And we like to sing. All right, fuck it, I'm gonna tell the truth. We're Eskimo brothers. What the fuck is that? You don't know what an Eskimo brother is this, no? Yeah, you're kissing the same thing. If you know, you know, never in life. So anyway, when you know you got the same thing. You know what that shit mean.

Speaker 4:
[130:41] You throw something on the bus, you're on the bus.

Speaker 1:
[130:46] Most industry is an Eskimo brother at some point. You did knock somebody, that's somebody else now.

Speaker 2:
[130:56] Okay, yeah.

Speaker 4:
[130:57] I don't think anybody ever put their relationship out there. We're Ascomo brothers. All right.

Speaker 1:
[131:03] So, anyway, we sitting there...

Speaker 4:
[131:05] No disrespect to Ascomo's guys.

Speaker 1:
[131:07] I know, that was racist. I didn't make the term up. Oh, it's some real shit. So, anyway, we were sitting there talking. We're with DTF, Dallas Fort Worth. And like I said, always been a big fan, always been... Some people air like sooner than others, you know what I'm saying?

Speaker 2:
[131:28] That's just the name of the album, Ascomo Brothers.

Speaker 1:
[131:31] Never in life. Never.

Speaker 3:
[131:33] Let people think of what it is.

Speaker 1:
[131:36] Take a DNA test to see how many... Whoa, whoa, whoa, whoa. See how many... See how much... You live in Miami. How much scumbag you all got?

Speaker 4:
[131:48] It's nasty work out here. Yeah, yeah.

Speaker 1:
[131:53] Right, Miami life.

Speaker 3:
[132:00] That goes well nowadays.

Speaker 1:
[132:01] Right, exactly. It worked well. No, but I'm just saying, so we actually... I had told him my thoughts. I was like, Pee's gone. And I hope I'm saying this with all due respect and dignity. I was like, yo, Pee's gone. I was at the funeral and all of you know what I'm saying? Because we were together the day Pee passed.

Speaker 2:
[132:23] I was too. I was in Vegas.

Speaker 1:
[132:25] Right, I was in Vegas too.

Speaker 2:
[132:26] Yeah, we was on the art of rap.

Speaker 1:
[132:27] Right, exactly, art of rap. And so across the street, Iced Tea, yeah. So we were across.

Speaker 2:
[132:32] Damn, I forgot you were there.

Speaker 1:
[132:33] That's crazy.

Speaker 2:
[132:33] I forgot you were on that bill. I was on the bill too. I wasn't on the bill, excuse me. Onyx brought me out, ironically. Onyx brought me out. I asked them to do my food show and they was like, yo, I have a show tomorrow.

Speaker 1:
[132:45] And it was super hot that day.

Speaker 2:
[132:46] It was super hot.

Speaker 1:
[132:47] And the green room was across the street.

Speaker 2:
[132:49] I saw Pee as soon as he got off stage.

Speaker 1:
[132:51] Right, so when Pee got off stage, we went back into the green room. And then we all walked out this opposite way.

Speaker 2:
[133:01] Right.

Speaker 1:
[133:01] So I don't feel like moving, but the point is it was opposite. So let's say this is the green room and this is the back of the stage across the street. We all walked out. Pee went that way into the suburban. Me and Hav walked up and back in. And I think Ray and Ghost was performing.

Speaker 2:
[133:20] That's crazy. You must have walked, cause he must have walked right by me and walked right into you. Because like, only reason why I would have went backstage and I went backstage after what happened. But the only reason why I didn't go was because cause I had to perform with Onyx.

Speaker 1:
[133:38] Right.

Speaker 2:
[133:38] Yeah.

Speaker 1:
[133:39] And I saw them too, yeah, because I remember, you know, I hope I'm doing all this justice. When I first walked into the green room, which was across the street, I saw Haven P, I saw Ghost and Bray, and P was a little irritable, right? And I thought he was like kind of upset, you know what I'm saying? And I'm like, not me, just, you know, the be having a bad day. So I'm like, oh, what up? Nah, nah, we all talking and shit. And then P say something about our homeboy 40 Glock. He like, this that y'all shot, your sons, you know what I'm saying, whatever, we got a mutual homeboy. I'm like, you know, I'm like, bro, like the just keeps living, bro. This is hilarious, you know what I'm saying? Like this our homeboy, like you can tell this to take care of himself. I'm like, bro, I'ma tell him, you know what I mean, whatever. And then I remember they perform, then we came back. And then I remember we were gonna walk and it was mostly in that green room at the time, it was maybe the five of us. And I was gonna get this picture. I was gonna be like, yo, let's flick it one time. I was like, eh, fuck it, I'll catch them. Because I knew, you know, it was still gonna go on. Like I knew, I think it was a Jersey show, like two or three days later. I'm like, fuck it, I'll just do another picture. You'll catch them later. Yeah, plus, because he had said like, nah, it's my sickle cell shit. He was like, this shit fucking hot, it's with my sickle cell. So I'm like, eh, cool, like, let it go. And we walked across, me have walked up, P and his security guard walked that way, and we just never saw him again.

Speaker 2:
[135:26] Yeah.

Speaker 1:
[135:26] And so you just never know. You know, for me, it really was one of them times where, like somebody I really genuinely, first of all, just growing up, looking up, like we same age bracket, but I'm a fan, I'm a brother. I would hope, saw me as a friend. You know what I'm saying? So that shit is important. Like all the hype and hoopla shit don't mean shit. Like to me, if it ain't genuine, some people fake love you and like I really love bro. You know what I'm saying? Like that's my bro. To fast forward that and tell something about what happened with me in Havoc. We were in Dallas and my whole shit was like, I don't want, I was like, pee can't be replaced. Prodigy cannot be replaced. I was like, but you got them beats. So I said, find you, find somebody not from Queens, find an East Coast nigga, so at least we get, you know what I'm saying, that shit. Like I need my fix on, you know what I'm saying, but it can't be the comparison, you can't replace me. That's my nigga. It ain't gonna never be no Mobb Deep, bro. Like Mobb Deep is y'all. But find me something, give me that vehicle, that kind of music to hear that type of shit.

Speaker 4:
[136:47] The energy, the same energy.

Speaker 1:
[136:48] Right, cause you sitting on you cooking. You know what I'm saying? And so we talked about it. I remember we talked about it. And then fast forward like three years later, Hav and Storm hit me like, what's up? I was like, well, we need East Coast. That's why the RJ Payne guy. I was like, fuck it, why don't we just do that? Because it ain't no comparison. We just want the production. We, and then we gon honor Pete. So our job is to be there and be our brother. One of the songs is on that Havoc album, it's called The Gutter, C-U-T-T-R. So Mobb Deep, it's still in that same vein. We just trying to honor, can't replace. I'm a West Coast nigga, I'm my own MC. But really, this is cause I just wanna make sure this Mobb Deep legacy, so we got a song, own one, where it's too prodigy. You know what I'm saying? And it ain't no fake ass, you know what I'm saying? be on fake homages, get tattoos of niggas they ain't never met, niggas are super fake, they should be corny as shit. I knew bro, so our heart was right, we did a good job. Yeah, I think what we did for the Gutter album is a great honor, and that was when they were still trying to get everything in order with the family. And this new Mob album is incredible. I hope they can create enough more because Mobb D forever for me. You know what I'm saying? P my homie, Ham my homie, you know what I'm saying? I love my brother.

Speaker 2:
[138:21] That was crazy. Me and you guys, that's the same story.

Speaker 4:
[138:23] Yeah, y'all basically.

Speaker 2:
[138:24] Yeah, he basically walked by me to walk.

Speaker 4:
[138:29] Yeah, you're giving us the story right before the story intersects with it.

Speaker 2:
[138:32] Yeah, that's just, that's it. I got goose bumps.

Speaker 4:
[138:34] Yo, rest in peace.

Speaker 2:
[138:35] Rest in peace.

Speaker 4:
[138:36] Peace and condolences to the family.

Speaker 1:
[138:37] All right.

Speaker 2:
[138:40] What do you like more? Making the record or performing the record?

Speaker 1:
[138:48] Two different animals.

Speaker 2:
[138:49] Okay.

Speaker 1:
[138:50] I love the creatives.

Speaker 2:
[138:51] Okay.

Speaker 1:
[138:52] I love sitting in and like being with the producer and being with the people like that shit, that animal is crazy.

Speaker 2:
[138:58] Right.

Speaker 1:
[138:59] You know what I'm saying? Because I remember Dr. Dre saying like, throw it against the wall of his thickest stick. You know what I'm saying? Like, it's cool to make something and think it's cool.

Speaker 2:
[139:10] Right.

Speaker 1:
[139:11] Until your homies come in and be like, no. No bueno. But if they're dope people, they can tell you why, right? So I might make some shit and then the homies like, drums wack. Well, then fix them. See, I like people I can talk to like that. Like, fuck it, fix it then. So with EFN, if he's like, I don't like them drums, fuck it, fix it. Pass it, let's fix them fucks. You know what I'm saying?

Speaker 2:
[139:36] Right.

Speaker 1:
[139:37] Do it. Don't just say like, yeah, I don't like it. Like, fix it. And then when your homies go in and fix it, that's his fire. Like, oh shit, this shit went up, bro. You know what I mean? So, the creative process is a beautiful experience. I'm not a, I'm not God. Yeah, we made the image, enlightenment, I am God because I am whatever God. But in the physical sense of the ultimate, the closest creation experiment that I can do is, whether I'm a painter or I'm a builder or whatever, is to create something. And so, I love being in that, but the other part is I do like actually showing off the thing.

Speaker 2:
[140:16] Yeah, yeah, like, yeah.

Speaker 1:
[140:17] So those two animals are awesome.

Speaker 2:
[140:19] It's like shooting it.

Speaker 1:
[140:20] Right, because now I get to do it to somebody. They're like, pause. I get to perform something.

Speaker 4:
[140:25] It's a girl, there's no pause.

Speaker 1:
[140:27] Well, I'm just saying, I get to perform in front of people. And sometimes, like, there's been many a times where I'm just like this one person that's spitting my fucking bars to me. And I'm like looking at the person like, this know this shit. Like, he wrote it or she wrote it. I'm like, that energy, it makes me double up. Like, fuck that, I'm gonna really do a great job. Jay Z used to say a thing, 101 million. The whole point was, if you have a show and only one person showed up, would you half ass? You're not supposed to. If only one person showed up to your show, they deserve for you to give 100%. If a million people show up, give 100%, so I love both. And then I also like, I'm not gonna lie, I like money.

Speaker 2:
[141:18] Right, right.

Speaker 4:
[141:19] You've made that comment several times.

Speaker 1:
[141:20] So I like when the people show up, so I'm like, oh, I got some money. No, in the creative process, I'm spending money. I can't beat this. This is hilarious.

Speaker 2:
[141:30] You ever go for foam versus grass?

Speaker 4:
[141:33] The foam one, bro.

Speaker 1:
[141:34] Can you turn this shit off?

Speaker 3:
[141:35] I love you. You're my big brother.

Speaker 1:
[141:38] I love you.

Speaker 2:
[141:38] Yes. Have you ever performed overseas and realized these people that know your words, don't even speak English?

Speaker 1:
[141:45] Absolutely.

Speaker 2:
[141:46] That shit is the weirdest thing, right?

Speaker 1:
[141:47] I know it's the most...

Speaker 4:
[141:49] Lobo Del Paso is calling you? We're gonna pick this shit up.

Speaker 3:
[141:53] Hey Paco, what happened there?

Speaker 1:
[141:55] I love this show.

Speaker 4:
[141:56] Wait, is it there?

Speaker 2:
[141:57] Yeah, yeah.

Speaker 4:
[141:59] What happened? No, Ras isn't here.

Speaker 3:
[142:04] I'm kidnapped, they got me, they got me.

Speaker 4:
[142:10] We're going to send you... We need 30 pesos.

Speaker 1:
[142:19] Help me.

Speaker 4:
[142:25] Yeah, the thing is screwed up.

Speaker 3:
[142:26] You didn't pay.

Speaker 1:
[142:37] I know, this is some shenanigans.

Speaker 4:
[142:40] Here, man, take your black ass foot back.

Speaker 1:
[142:43] Oh, God.

Speaker 4:
[142:44] Now this guy thinks El Mencho just killed you.

Speaker 3:
[142:46] Oh my God, it's gonna be awesome.

Speaker 1:
[142:48] It's like he's never coming back, it's over. My deposit's.

Speaker 2:
[142:52] God come down. God says, I want you to make one record that's gonna change the world. And you get one feature. Now this is a two-part question.

Speaker 1:
[143:04] Oh, I like this already.

Speaker 2:
[143:06] You get, you get, you get, you get, you can make two records, one with a person that has passed away, and one with a person now that is living. Who's gonna be the producer of those two records?

Speaker 1:
[143:27] I like this question. I wanna take this extremely seriously. So wait, wait, wait. So one part is a passed away producer and a present producer, right? I want to dissect this piece by piece.

Speaker 2:
[143:44] And a passed away artist and artist now. But this is the-

Speaker 1:
[143:49] But who's gonna produce it?

Speaker 2:
[143:50] Yeah, who's gonna produce it for you? You get to pick it. Any producer.

Speaker 1:
[143:54] Oh, man. Okay. I want to do before and after. All right. You're gonna have to drink with me. All right. Who are you? Time's up. Lady of the- Lady of the Jamie. I don't know her name.

Speaker 4:
[144:14] What's her name?

Speaker 1:
[144:15] Michelle. Oh, that's my little sister's middle name.

Speaker 4:
[144:17] Sorry, Michelle. We forgot.

Speaker 3:
[144:20] Milly? Oh, Milly.

Speaker 1:
[144:22] Man, who told us Michelle? Wait, wait.

Speaker 3:
[144:24] No. Yo, Miss Ali told us Michelle.

Speaker 4:
[144:28] We're sorry, man. This guy doesn't even know his own name.

Speaker 2:
[144:34] Okay. So, yeah. So, that feature.

Speaker 1:
[144:42] I'm going to go with.

Speaker 2:
[144:43] This is a producer, right?

Speaker 1:
[144:45] I'm going to go producer first. That's a hard dig because one. All right. Fuck it. Never worked with him before. I'm going to say Pharrell.

Speaker 2:
[144:56] I knew he was going to say Pharrell for some reason.

Speaker 3:
[144:58] Because you win it, baby.

Speaker 2:
[144:59] I knew I was going to say.

Speaker 3:
[145:01] Come on, bro.

Speaker 2:
[145:02] This would have been some scary shit.

Speaker 1:
[145:05] Who's the? I know Prem. I know Dre. I know blah, blah, blah. I know Ye. Pharrell's the that clips shit fire. I'm like, the track record be fire, bro.

Speaker 2:
[145:16] Yeah. So, I can see it too.

Speaker 1:
[145:18] I'm going to go with Pharrell.

Speaker 2:
[145:19] Okay.

Speaker 1:
[145:20] Now you said what was the other part?

Speaker 2:
[145:22] Yeah. Now feature, feature-wise now, you put, yeah, feature, feature-wise.

Speaker 1:
[145:26] Damn it. One, one alive one?

Speaker 2:
[145:28] Yeah.

Speaker 1:
[145:29] Not alive? In, entire life?

Speaker 2:
[145:37] Yeah. I could go with that.

Speaker 3:
[145:38] Yeah.

Speaker 2:
[145:39] Like in the world, Yeah.

Speaker 1:
[145:41] Oh, Just, oh, I forgot to save humanity.

Speaker 3:
[145:45] Right.

Speaker 1:
[145:48] Well, I mean, that, you already fucked that up.

Speaker 2:
[145:51] Right.

Speaker 1:
[145:51] Uh, Gigi, get the yay-yay. First of all, I don't want to offend anybody. I'm going to go with Yeshua. Who?

Speaker 2:
[145:57] Who? Jesus?

Speaker 1:
[145:59] Exactly. There are no J's in Hebrew.

Speaker 2:
[146:03] Oh, shit.

Speaker 1:
[146:03] I'm going to go with Yeshua.

Speaker 2:
[146:05] I don't think no one picked Jesus.

Speaker 4:
[146:07] I don't know what you guys are saying.

Speaker 3:
[146:09] Jesus is, wait, Jesus is the feature?

Speaker 2:
[146:11] I'm picking you.

Speaker 3:
[146:12] He's the feature?

Speaker 2:
[146:13] For rest of us.

Speaker 4:
[146:14] And Jesus rhyming.

Speaker 3:
[146:16] No.

Speaker 1:
[146:16] Yeshua. There are no J's in Hebrew.

Speaker 3:
[146:18] Man, it's Jesus. Man, let's get it real.

Speaker 1:
[146:20] No, that's your spaniard that picked you out.

Speaker 4:
[146:23] There are no J's, It's Jesus from Southgate, man.

Speaker 1:
[146:26] Right, Southgate. Hey, homie. No, no. So I go Yeshua. So, I mean, I'm not going to cut to the chase, right?

Speaker 2:
[146:38] Jesus is alive.

Speaker 1:
[146:41] He died and went to where else, I'm talking about the guy.

Speaker 2:
[146:44] My bad. You got too smart. I was picking up what you put down.

Speaker 1:
[146:48] Now, let's see who I would pick physically would mean on their bodies. Let's see. I'm a fan, and I would go with... I'm going to throw you off. Duran Duran.

Speaker 3:
[147:10] What the fuck?

Speaker 1:
[147:12] My favorite group. Let me hear it.

Speaker 2:
[147:15] The dudes with the feathers in their hair?

Speaker 3:
[147:17] No, man. They don't got feathers in their hair.

Speaker 1:
[147:18] Favorite prayer. Some of the illest records ever.

Speaker 3:
[147:21] No, Duran Duran is dope.

Speaker 1:
[147:22] Duran Duran is fire. I tried to sample Duran Duran on this album, and the company was like, not at all.

Speaker 4:
[147:31] They're British, right?

Speaker 1:
[147:33] One of the greatest records ever written is called Save a Prayer, and I was a little kid watching MTV, and it took me 15 years to understand. See, the best thing about writing before the dumbification of rap is that it was dope. Rock was written well because we created rock, and these songs, and R&B, and Women the Woman, like people are talking, they talking that shit though. They talking like, I'm fucking your nigger. Like they talking about real shit but making the shit sound amazing. It just became now where it's like, I'm a whore, I'm a dude, and you me, I'm all you. I say corny.

Speaker 4:
[148:21] You know what's so crazy, it sound like a hit record.

Speaker 1:
[148:26] Yeah, because your ears train into monkey, monkey time.

Speaker 4:
[148:29] It's programming.

Speaker 1:
[148:30] So they used to write grown ass shit, fire shit. And Duran Duran writes really interesting, it always resonated with me. I tried to sample it twice on comedy, it was like never in life. Yeah, they're like, I'ma sign a capital priority record. I'm like, come on, bro. It's like, now.

Speaker 4:
[148:51] Well, you need to go after that.

Speaker 1:
[148:52] Well, you know, you asked me, in my perfect world, for real, to make the beat, I get Duran Duran.

Speaker 4:
[148:57] Are they still around Duran Duran? They're still alive and well?

Speaker 1:
[149:00] Yeah. It's like-

Speaker 4:
[149:01] I like them.

Speaker 1:
[149:02] So here, I challenge everybody here for this one. There's a song that I heard as a kid amongst all the amazing great records. Duran Duran had a record called A View to the Kill. I like James Bond. I like the was a cool. He kill niggas. He always get the bitch. So I liked James Bond. Do I see myself in James Bond? No. But in my James Bond, you got damn right. Right. Right. Now, Duran Duran would do the music to a few of them. And he had a song, it's not he, it's them. The song.

Speaker 4:
[149:41] But it's really them, not them, them.

Speaker 1:
[149:44] They.

Speaker 4:
[149:45] No, it's them.

Speaker 1:
[149:45] They, them. But the point was one of the greatest records. It took me 15 years, like to even understand the context of the record. And that's what I think. I think layers are incredible when I can listen to oldies and hear like, oh, shit, I'm old enough to really understand what the fuck I was here. Like, I heard it because it sounded catchy as opposed to like, oh, I'm living in this. Like, I caught a Rock Him bar from the first album, like four years ago, no less. And I wish I should have wrote it down. I was like, I finally got the bar. I like that. Now, if you want, I walk down the street, I'm a whore. I killed him yesterday, I shot. It's monkey talk. Grow the fuck up. I get it that they trained you to do that, but I like shit where, like, even, even the lowest form of energy is more complicated than one simple thing. So I like when, I like when I go back to people's music and get more informed or, you know, or get growth because I thought the point of art, as I look at it on this wall, as I see it amongst me, is to learn from it and to grow from it. If it's just a thing, then you're a cheeseburger from McDonald's. I'm not no fucking cheeseburger. We are exquisite art. We do exquisite shit. The fact that you can move from what you did as a Queens, and really go from CNN to going to... I do have a joke about it. But to move into your culture and even do reggaeton, to have growth, to build. We're on your 10th year. For you to grow, that's the love. Don't never be relegated. And I'm in that. I'm in my love zone about the art. Like, fuck it. Because at the end of the day, when we go, all we gonna leave is this. Right. I mean, so I'ma leave excellence if I can't.

Speaker 2:
[152:06] What's your stance on ghost riding?

Speaker 1:
[152:10] Here's my stance on that. Two different sports. So water polo is not regular polo.

Speaker 3:
[152:20] Say it again. Say it again.

Speaker 1:
[152:21] Water polo is not regular polo.

Speaker 2:
[152:24] Polo is when they on the horse and they hit the tree. But there's a water polo.

Speaker 4:
[152:28] It's not regular polo.

Speaker 1:
[152:30] Right.

Speaker 4:
[152:30] Which one do you think is more difficult? Water polo?

Speaker 1:
[152:32] It doesn't matter. So I'm just gonna tell you a different skill set. So he asked me a question about ghost riding. So I'm gonna name three people, cause then you can use it. Kanye West, Dr. Dre, my name for, allegedly others. I said Kanye West. I said, so Diddy. So Diddy said, don't matter if I write rhymes, I write checks. Dr. Dre has never said, I'm the best lyricist. I respect him. Different sport. He's a producer. But don't act like you play my sport. Don't. You don't come in with niggas helping you write four or five of your bars, seven or 10. At what point, when does it become them and not you? Hooks in production are one thing. If you don't play my sport, fuck out of here. I play a sport called bars. The rest of y'all playing the game called convincing bitches and white people that you're popular. You can't beat me at what I do. And I don't give a fuck if you got a group. So the bottom line is we should just call a thing called once every four years, no internet, none of your hype people, none of your help writers. I will air your niggas out. I'll air your favorites because if you over here with niggas helping you, throwing you bars and whatever, you can help with a hook, you can help with production. You cannot help me with me expressing myself, period.

Speaker 4:
[154:20] No, and now, is using ChatGPT to help.

Speaker 2:
[154:22] Yeah, that was my next question.

Speaker 4:
[154:24] Which is wild, confidently, I've seen people, I'm not gonna name no names, but they confidently saying ChatGPT is helping.

Speaker 1:
[154:31] Well, again, again, again, every tool is a tool. You're just not playing my sport. Whatever that sport is called, it's something else. That's not water polo, that's called a salad polo.

Speaker 4:
[154:47] Cyber polo.

Speaker 1:
[154:48] Right, you can do whatever you wanna do, just don't act like you and me. But, Ken, you said they not like us, you not like me. If you don't write your shit, you beat it. My, what game we playing? You not capable of depth of character, you don't know how to express yourself, you need other people to help you, say, you need a therapist. I gave an analogy a long time ago. No, well, basically, that's what they are. They're your therapist. Here's my analogy. Who's your favorite basketball player? Who's your favorite football player? You don't give a. John Elway. Okay.

Speaker 4:
[155:31] Jesus Christ.

Speaker 1:
[155:32] Cool. So John Elway. You think you don't know who John Elway is? Definitely.

Speaker 4:
[155:39] Even I remember.

Speaker 1:
[155:39] Legendary.

Speaker 4:
[155:40] That's how you know him.

Speaker 2:
[155:41] You even know him? Of course.

Speaker 4:
[155:43] That's when I actually cared about him.

Speaker 1:
[155:44] Broncos, okay. So if you started watching the playbacks of John Elway, he was a quarterback, right?

Speaker 2:
[155:52] Right.

Speaker 1:
[155:53] So if you saw Elway, he was doing it way more than you. You freeze frame it, right? And this is going to get racist, but it's hilarious. Let it rip, I guess. Oh, you know why. You know me. So Noreaga, you're watching these. A little Mexican, he throws out Elway's hands and he really throws it.

Speaker 4:
[156:15] What? A little Mexican guy?

Speaker 1:
[156:17] A little Mexican guy, because I'm from LA and I always, those are my brothers. So if you saw a miniature little nigga, come on. He just happens to be Mexican in my analogy, because I'm from LA. So I think it's Elway.

Speaker 4:
[156:32] But it's not really him, is what you're saying.

Speaker 1:
[156:33] Not really him. It's a little that comes out. A little bitchy. In my analogy, he happens to be from Mekano. He comes out. I want Elway. I don't want Elway. I want El Pedro. I want the little. I want the little that threw the bomb. I like that guy. I want the little that did the shit. Cause you the big guy that looks like you doing it.

Speaker 3:
[157:01] They need each other.

Speaker 1:
[157:02] No, fuck you.

Speaker 3:
[157:03] Because the little guy, imagine he's on the floor, you step on him, bro.

Speaker 1:
[157:07] You're fucking this and that with you. I like the real one. You can, I never went to McDonald's expecting Ronald McDonald to come out and make my hamburgers and take my order. But for real, I did expect, it's called rap. If you can't write them, you're not like me. I don't want you around here. Get me the nigger that's doing it.

Speaker 2:
[157:29] The out of my face. Why is it accepted in R&B?

Speaker 1:
[157:33] Because they do a lot of hard work. Because it's R&B. And they dance, they sing and they dance. Nigga, rappers, we don't have a hard job.

Speaker 2:
[157:41] Yeah, but how come, let me ask you this. How come Chris Brown could be related to one of the greatest of all times? And he clearly is great. But you find out that Chris Brown didn't write some of his songs, is he still?

Speaker 3:
[157:57] That's normal in his genre.

Speaker 1:
[158:00] Look, he's not Greek. We cannot be.

Speaker 4:
[158:03] We have to be honest, man. In the genre of R&B, that is a normalized theme.

Speaker 1:
[158:12] Songwriters, Michael Jackson. Times out, I never thought Billy Jean was not his lover for Michael Jackson. When? When did I? I was a kid, I knew this who was not fucking on nothing. Billy Jean, the light stuff. I was like, he's the baddest. Come on, this is rap. Yeah. At some point, are we gonna have some accountability here?

Speaker 4:
[158:37] And the thing is this, although it is true that there's ghost writing in hip hop, although it is true.

Speaker 1:
[158:43] From the beginning.

Speaker 4:
[158:44] Although it is true, this is the thing, this is where we have to be understanding of it. Although it is true, the overlying rule in hip hop, a true MC does not have a ghostwriter. That is the overlying rule in hip hop.

Speaker 2:
[158:59] But one of the best groups of all time.

Speaker 3:
[159:02] Who?

Speaker 2:
[159:03] NWA said, Ice Cube write the rhymes that I say, like I didn't even know what he was saying back then. When I thought about it, I was saying, holy shit.

Speaker 1:
[159:12] Hell, take the words from the CIA.

Speaker 4:
[159:14] But that was only Eazy-E and Dre.

Speaker 3:
[159:17] I'm gonna be honest with you.

Speaker 2:
[159:18] Eazy-E and Dr. Dre gets away with it.

Speaker 3:
[159:20] But they never say they were the bars.

Speaker 4:
[159:22] They were never saying they were MCs or rappers.

Speaker 1:
[159:25] Really, truly. They were a team doing their job.

Speaker 4:
[159:28] MCs and Ice Cube were the only true MCs in NWA.

Speaker 1:
[159:32] And then came DOC from Texas.

Speaker 4:
[159:34] Of course, DOC.

Speaker 2:
[159:35] He was writing.

Speaker 4:
[159:36] Writing like a motherfucker.

Speaker 1:
[159:37] Right. Incredible.

Speaker 4:
[159:39] Incredible.

Speaker 1:
[159:40] But Dr. Dre ain't never said, yeah, got the bars, yeah, DOC. You know what I'm saying? Like, he ain't shit. I'm Dr. Dre, DOC D-R-E. I spit all this shit. I wrote for Eminem. These other niggas like you, shenanigan it. They did not. And I think if nothing else, it's called rap. If you can't rap good, beat it. If you don't write your raps, but you're good to the system, great. Just don't act like you do what we do. So I think Kanye should have stopped. I'm this and I'm that. I'm like, stop. The, like, I ain't been good. Whoever the fuck you think you are. You're a cornball.

Speaker 2:
[160:31] I'll tell you some scary shit.

Speaker 3:
[160:33] So you don't think Kanye is talented?

Speaker 1:
[160:35] I think he's a, he's talented. Well, you know, I lived with Jay-Z. It's time to start with the shenanigan.

Speaker 3:
[160:40] With Jay-Z?

Speaker 4:
[160:40] You lived with Jay-Z too?

Speaker 1:
[160:41] I did. I lived on State Street. I lived, I lived before this album came out. That's why I got the Jazz-O record.

Speaker 4:
[160:49] Man, hold on. You lived with Jay-Z?

Speaker 1:
[160:51] I lived on State Street.

Speaker 4:
[160:54] On the street with Jay-Z?

Speaker 1:
[160:55] No, I lived in the apartment with Tata and B-Hi and Jay-Z.

Speaker 4:
[160:59] Who else did you not live with then? You fucking lived with David Baty.

Speaker 3:
[161:04] What are you doing?

Speaker 4:
[161:05] What Airbnb company are you tied to, bro?

Speaker 1:
[161:07] Stupid LA kid that went on a dream called, I believe when it's rap shit, I was getting a bag, I had already fucked up. I went on the journey, bro.

Speaker 3:
[161:16] That's dope.

Speaker 1:
[161:16] Yeah. I mean, shit, ask them if I'm lying. they're going to tell you. my story adds up.

Speaker 3:
[161:22] Thank you.

Speaker 1:
[161:23] So these nigga stories don't add up. All right.

Speaker 4:
[161:25] What's the Jay-Z living story?

Speaker 1:
[161:29] Jay is my label mate, first album.

Speaker 4:
[161:32] Priority?

Speaker 1:
[161:33] Yeah. Right.

Speaker 2:
[161:34] Oh, yeah, that's right. Right. That's right.

Speaker 1:
[161:35] Yeah.

Speaker 4:
[161:35] So that's how y'all connect.

Speaker 1:
[161:37] Yeah. And at some point.

Speaker 4:
[161:40] What did you think about him when you first met him?

Speaker 1:
[161:42] I actually protected him, Snoop shit it on him. Who? Snoopy Dog, our label mate, shit it on him.

Speaker 2:
[161:51] Really?

Speaker 4:
[161:52] This is during the beginning of the East Coast, West Coast shit?

Speaker 1:
[161:55] No.

Speaker 4:
[161:56] When?

Speaker 1:
[161:57] This is East Coast killer, West Coast cat pillars, little monkey niggas turn guerrillas. I'm on the radio. I'm up and coming. We're all label mates. Snoop calls in and shit's on Jay-Z. And they asked me what I think about it. And I say, I think Snoop's wrong. I don't think he understood the bar. So I say, Jay-Z ain't sold no records. The company don't, party don't fuck with Jay-Z. But reasonable doubt is fire.

Speaker 4:
[162:29] I'm like, reasonable doubt is already out?

Speaker 1:
[162:31] Yeah. It's a failed record.

Speaker 4:
[162:34] Failed?

Speaker 1:
[162:35] Failed. Failed record. Yes, it's failed. Do the math. See when it comes out. See when the single comes out. And tell me what the execs are saying. He, his B-side.

Speaker 4:
[162:49] Can't Knock the Hustle already came out? As a single?

Speaker 1:
[162:52] No. Dead Pres.

Speaker 4:
[162:55] Dead Pres had come out.

Speaker 1:
[162:56] Dead Pres has come out. They're on the boat.

Speaker 4:
[162:57] And the Foxy record.

Speaker 1:
[162:58] No, ain't came out because they're never, what independent asshole label would shoot a fucking record for B-side?

Speaker 4:
[163:07] Right. Back then.

Speaker 1:
[163:08] It's over. I'm telling you what the execs, the bean counters, are saying. Boy, you want to just shoot this. They're saying it in front of me. I'm an artist too. I'm signed for my amount of money, whatever. They're like, no, we're never going to do that. I'm like, I think it's fire. This album's incredible. And with the B-side record, I'm like, this shit's fire. And I already know, bro. That's the Hot Wine and Sofie nigga. Right. I know what I know. Now, maybe you bean counters don't know who you're dealing with. Nigga's fire. Snoop don't know. So I told my...

Speaker 4:
[163:46] So why did you think Snoop did that? I mean, I never...

Speaker 1:
[163:48] Because he didn't know in that all East and West.

Speaker 4:
[163:51] This is the Ice Cube's... No. What record is this?

Speaker 1:
[163:55] This is the first Jay-Z album.

Speaker 4:
[163:57] No, but the Snoop record.

Speaker 1:
[163:58] What's Snoop's record? I don't know. That's not my issue.

Speaker 4:
[164:00] Jesus Christ, we gotta get to the bottom of this, man.

Speaker 1:
[164:02] Well, then you Google it and put it up on the shit right now.

Speaker 3:
[164:05] Google it, man.

Speaker 1:
[164:06] And you pick the date, Because I never heard this.

Speaker 4:
[164:08] I never heard this, Snoop.

Speaker 1:
[164:10] You think I'm gonna look crazy?

Speaker 4:
[164:11] I never heard this Snoop wouldn't have Jay like that.

Speaker 1:
[164:13] So anyway, we're on the radio and Snoop says the shit. And he's like, I didn't like what Jay-Z said. You know what I'm saying? I'm like, and I happen to be on the radio. And I'm just like...

Speaker 2:
[164:24] Well, that line, East Coast killers, West Coast, that was on Reasonable Delta?

Speaker 1:
[164:28] So that's Dead Press.

Speaker 2:
[164:29] Okay.

Speaker 4:
[164:30] East Coast, West Coast killers, wasn't that the Dre shit on Aftermath?

Speaker 1:
[164:35] Are you tipsy or are you with me?

Speaker 4:
[164:38] No, I'm serious.

Speaker 1:
[164:40] Okay, so on Dead Press, he says...

Speaker 4:
[164:44] Oh, you mean Jay-Z, Dead Presidents?

Speaker 1:
[164:46] East Coast bodyers, West Coast caterpillars, Little Monkey Niggas, Tungerrillas, on Dead Press, which is one of my favorite records. I don't like the remix, I like the original Dead Press.

Speaker 4:
[164:56] We have to talk very clear. When you say Dead Press, everybody's gonna think you're thinking about Dead Presidents of the group.

Speaker 1:
[165:00] Oh, no, no, no, no.

Speaker 4:
[165:01] So Dead Presidents, the record.

Speaker 1:
[165:03] Jay-Z, Dead Presidents. So they all come out around the same time.

Speaker 4:
[165:08] Right.

Speaker 1:
[165:08] My album, Jay's record, who, Jay's Jay. So I remember just being on the radio in LA, and I had to defend in LA, Jay's record. I was like, I don't think the sophisticated ear would know that Jay-Z is not dissing LA. I said, what I would find offense to is too much West Coast dick licking, which is a different song. That's 222s. My ears to the street on these bars. I'll tell you when a nigga talking slick, because I can talk slick too. I shoot at niggas too. So whatever we get, like, all your favorites could get it, but I don't think what Jay was talking about was that he was trying to do, like, Queens niggas talk different than Compton niggas that talk different than...

Speaker 4:
[166:03] It's like when I told Nore, Rick Ross was in Sane U and hustling.

Speaker 1:
[166:06] Yeah.

Speaker 4:
[166:10] That was a conversation we did have.

Speaker 1:
[166:13] Oh damn. So with that being said, I just always wanted, because I felt like you were lying to me. Y'all really, you really had it? You remember?

Speaker 4:
[166:23] Hustling? The real Noreaga. I told him, like, it's not you, right?

Speaker 3:
[166:28] It's not you, it's not you.

Speaker 2:
[166:29] No, at first, I didn't...

Speaker 3:
[166:32] I told him, no, don't worry, it's not you.

Speaker 4:
[166:34] No, don't worry, he wasn't worried.

Speaker 1:
[166:35] That was my innocence.

Speaker 3:
[166:36] Not you, it's not about you.

Speaker 2:
[166:38] I got over it fast.

Speaker 1:
[166:39] Wow.

Speaker 2:
[166:40] Yeah.

Speaker 1:
[166:40] Okay. You're a good friend. You guys have been good friends.

Speaker 2:
[166:46] Drink it up.

Speaker 1:
[166:46] Really?

Speaker 2:
[166:47] Salud, yeah.

Speaker 1:
[166:47] Salud.

Speaker 2:
[166:48] it.

Speaker 4:
[166:50] Want to take a shot?

Speaker 1:
[166:51] No, I want to kill you.

Speaker 3:
[166:54] You want to kill me?

Speaker 4:
[166:54] Have some of this.

Speaker 1:
[166:55] No. Can I piss real quick?

Speaker 3:
[166:59] Yeah, I pissed a million times. Go for it, bro.

Speaker 2:
[167:02] I'm going to keep you.

Speaker 1:
[167:04] I'll be right back.

Speaker 2:
[167:05] Okay, cool.

Speaker 4:
[167:06] Don't worry, we won't go anywhere, I promise.

Speaker 3:
[167:09] Oh, Dan, you came right back for real.

Speaker 1:
[167:10] I want all of this smoked up, guys out.

Speaker 2:
[167:22] So, I know I asked you earlier, what was your favorite album? What's the album that you wish you could take back? Because you got 36 of them.

Speaker 4:
[167:32] Do you consider all 36?

Speaker 1:
[167:33] I do not believe that that's true, for one.

Speaker 4:
[167:36] You have 36 releases. Do you consider them all out your album?

Speaker 2:
[167:43] Yeah, I believe it's in...

Speaker 1:
[167:44] I mean, in 30 years, Yeah, we had fun. I made stuff. I don't know.

Speaker 2:
[167:49] 30 years, man.

Speaker 1:
[167:50] Yeah. We can't do it. It's been 30 years of, like, since the...

Speaker 2:
[167:58] People can't survive Soul on Ice.

Speaker 4:
[167:59] This right here was...

Speaker 1:
[168:00] No, that's...

Speaker 3:
[168:01] No, but look, look, look.

Speaker 4:
[168:03] The 20th anniversary of it.

Speaker 1:
[168:04] I know, it's crazy. I like to think about it, though. On some roots, you guys, I don't think about the Nips and the Pox and the Pigs and, like, just not even to be able to celebrate 10 years of a journey. And still, legacies that affect us. So, for me, I always just kind of find it, like, I'm grateful to be here. I'm not comparing, like, oh, I need what so-and-so got. But, you know, for Nipsey or Big, you know what I'm saying? Not even to be able to enjoy, like, your kid turning. So, life is precious. Like, for real. No fuck shit.

Speaker 2:
[168:45] So, what's one hour, if you had a chance to do over, you would say, nah, I wouldn't do it.

Speaker 1:
[168:50] All pride? None.

Speaker 2:
[168:51] None?

Speaker 1:
[168:52] None. I'm with everything I said. When I said fuck so-and-so, whatever I said, I meant it at the time. I ain't got no regrets, no regurts. You ever seen the tattoos where the person puts up no regurts?

Speaker 2:
[169:05] Meet the Millers.

Speaker 1:
[169:06] Right, right, right, right. Yeah, I'm totally okay with like, even if I feel differently now, at least I feel how I felt, at least because these are time capsules about how I felt at the time.

Speaker 4:
[169:17] Absolutely time capsules.

Speaker 1:
[169:18] So, maybe I was mad at my mom, maybe I was sad about this or whatever. These are time capsules. That's what art is. These people, everything that we do, every monument, even us as fucking children, think about this from a philosophical standpoint. We are the culmination of everybody before us.

Speaker 4:
[169:40] Wild.

Speaker 1:
[169:42] I'm talking about before, however long you think people were made.

Speaker 4:
[169:46] That survived for you to be here today.

Speaker 1:
[169:48] Right. We are just here and now we're parents and we're creating art and whatever. We're like, fuck Caesar or fuck this or I like Nikes. I mean, it's a beautiful journey, man. I'm trying to embrace the grind. I'm trying to embrace the journey and enjoy my life while trying to at least do a good job while I'm here. You know what I mean? That's the, I would hope that's the most important thing is like enjoy it, live it, love it, and capitalize off of it. I want big bread, but big fun. I do, my mom, my mom before she passed, a long time ago, she fucked me up. And let me share something personal. So my mother only just died about seven months ago. I got four sisters, I got four sisters. Thank you, thanks for the condolences. But that's not my issue. I got four sisters, three older, one younger. So what makes me tick has never been, and I'm a Creole, my mom from Louisiana, my daddy from Arkansas. So I'm just clarify what the fuck I am. Ain't no nigga ever gonna change me anyway, because even when I was born in LA, I used to be the darkest kid in my family. You a Latino, I'm a Creole. French blood, whatever. So I've always had a journey. I wrote about it on my first album. You're not gonna force me to do shit. Always felt very strongly and had a strong protective family about self. I made many mistakes, but my family allowed me to make mistakes and my homeboys did also help me too. But I think one of the things is part of this journey is the love part. I grew up Catholic as fuck. I know my seven sacraments. I grew up with whatever, like even in LA, like you ask me, I'll crib shit. I'm telling you, it's much harder to even identify with blacks culturally, because I identify with Latinos. I mean, who's poor and Catholic in LA? So I always feel like the bigger point is to express yourself. And I'm grateful to have an opportunity to, at 50 years old, to be able to express myself and be honest and hopefully not bitter and jaded and inform people about, because I didn't listen to my father or my, I listened to my mother because she's a tyrant. She was a tyrant. She was awesome. But, you know, that we do better. Like, I want to be able to be in a place where I can give people game, gain people up, make sure, you know what I'm saying, we're protecting what's most important, which is all our civilizations, all our people. How do we build bigger businesses? And I really don't even think that we should even start celebrating people that have been celebrities because they don't deserve to be celebrated anymore. I think after 200 million, if you ain't help nobody, then we shouldn't talk about you no more. If you make $200 million and you ain't out here really doing the people's work, you beat the Monopoly board, you're going to fold yours up, and it's not going to give you nothing. We'll find somebody else, find somebody to help. I think we need to start bringing our energy differently. I don't have to shit on nobody for me to feel better. I don't think that our... Like people are all like algorithms. act like algorithm is like... I don't know. Like God talking to them. No, no. Niggas act like the algorithm is like science, like pie. They were like, so you know what I'm saying, like certain degrees, shit freezes. And niggas make it. And guess what he look like, not like you. Elon Musk changed and called it something different. Twitter became X and nigger and viner became a word. Way more often, stop bowing to white people's ideas because you are going to lose that game. Stop Latinos. You're not going to like this one. I'm going to say it. Stop thinking you're Spanish. Spain don't like you. We do. Stop bowing to America. America has told you, you're not welcome here. Except here's the truth, it's our land. We got to start learning how to love each other and stop letting these constructs change us from being the best people we can. And that's really one of my bigger points about even this album and everything I've ever tried to make. You could take my money, but you couldn't take who I was. You could take me being important, but I'll bar your favorite n*** out. You can't have, he can't beat me rapping. You can make it more important than me. Yeah, I got a good face. I'll take his bitch. I do. I want that. I want us to get back to for the culture, for business. We can own our own businesses. And I think that's kind of part of the reason why I've always stuck to my guns is because I came from a good family that supported the collective. Cause if it's just about you, then think about it. You become the person that only thinks about you. You're right. Think about it. Think about your billionaires. And a n***a be crying like, nobody like, are you kidding me? You got to be to.

Speaker 4:
[175:50] I was doing that right now.

Speaker 1:
[175:51] Well, I mean, I expect that from them. I know our own kind that sit in f***ing ivory towers all over and be like, but you're acting like, I'm like, are you kidding me? I've had to talk to people. Have you ever talked to somebody that was so rich? But they're acting like, I'm not like, I'm like, my dude or girl, do you know how much money you have? Like, you're sitting in a f***ing $120,000 a night, whatever, like, you're f***ing, have you ever met a princess? You have. You met a princess. Have you ever met a real princess?

Speaker 4:
[176:30] Like a real, like, Oh God, I've met a princess.

Speaker 1:
[176:33] Have you, bro, they have, there are many different countries. I don't know any. Have you never met a person in the prison? Let alone have you ever knocked one? But the point is, yeah, there's people, everything in somebody's mind, they're the victim. But sometimes it's like, bro, are you kidding me? Like you're super up. You ain't never had a homeboy that's super rich. And he's just like, everybody's against me. I'm like, bitch, what are you talking about?

Speaker 4:
[177:00] Yes, I'm rich homeboys.

Speaker 1:
[177:01] You got, n***a, you're filthy. And so I think, to be honest, we talk, the audience wants to be, people want to feel, eh, people want, that's why people watch it, cause they want to either talk shit about people that they look up to. Right. I just think ultimately the end game about art is to express and share who we are because those are going to be like, I even think Drink Champs, again, 10th season, I'm telling you, I think what you do is art, cause you get us all to fucking turn into our real selves. And I think that's inspiring, I think it's fun, and we all, you know, we know each other to some degree. Some shit got to get real and tell when they full of shit. You should, including me. You ready?

Speaker 2:
[177:55] Let me bounce around with this track list for a second. Lepers eat face. I've heard you say that before. Okay, in an interview.

Speaker 1:
[178:07] Yes, sir.

Speaker 2:
[178:08] So, what does that exactly mean? I know it's self-explanatory, but let's just break it down. You about to roll a cigarette? Go ahead. You can roll it. Don't smoke it.

Speaker 4:
[178:17] Did you smoke already?

Speaker 2:
[178:18] Well, go outside. I'll go outside with you.

Speaker 4:
[178:20] Did you smoke? You said you were going to smoke a cigarette, did you?

Speaker 1:
[178:24] No, I said I was going to go poop.

Speaker 4:
[178:28] Whoa, relax, buddy. And then weed came out like, yeah, yeah.

Speaker 1:
[178:34] I pooped already. So, yeah, I lost. I couldn't even poop. It got weird.

Speaker 2:
[178:40] So, leprosy eats fish.

Speaker 1:
[178:42] I'm sorry, Noreaga. All right, so the saying is actually like this...

Speaker 2:
[178:47] Don't put your face towards a leopard knowing...

Speaker 1:
[178:50] Right. So, yeah, it's a metaphor for like, if you already know what's going to happen and you do it, don't act like you're surprised if it happens. That's really the metaphor. So, it was really about political shit. So, really, it was like Latinos for Trump.

Speaker 2:
[179:08] Yeah.

Speaker 4:
[179:09] You got to point at me, buddy.

Speaker 2:
[179:10] Hey, man. Got weird.

Speaker 1:
[179:12] I promised the God I did not. I was just...

Speaker 4:
[179:14] You know, I'm Cuban, but that wasn't me, man.

Speaker 1:
[179:18] Muslims, niggas for Trump, whoever.

Speaker 2:
[179:20] Jesus.

Speaker 1:
[179:21] Hard R. I did. You can mute it. Hard R. That's what I call niggas. Hard R. Hard R. Hard R for Trump. If you know the dude don't like you, and you do it...

Speaker 3:
[179:33] I mean, why are you looking at me? I didn't like the.

Speaker 1:
[179:37] Bro! Sometimes I'll be like, he's blaming me. Can you buy me a blunt without the minus the...

Speaker 4:
[179:45] That's Boris, man.

Speaker 2:
[179:46] Boris.

Speaker 1:
[179:47] Boris, you love me? Hold on. Can I just get the blunt?

Speaker 2:
[179:51] And then for the worst of it...

Speaker 4:
[179:52] Put a little sprinkle in there.

Speaker 1:
[179:53] No! He's gonna get me cocaine.

Speaker 3:
[179:57] I know he's kind.

Speaker 1:
[179:59] I know he's kind. Boris, look at me up. Come on, bro, let me get one. Yeah, like a black. Like a black mouth.

Speaker 2:
[180:07] Oh, just a regular black mouth?

Speaker 1:
[180:08] Yeah, yeah, yeah, just a regular. That sweatshirt. I'm God. Yeah.

Speaker 2:
[180:14] Just a regular? Yeah. Yeah, I'll come with you outside to smoke a cigarette. Yeah, yeah.

Speaker 1:
[180:26] I would have done it, though. Come on, let's do it. Is this cool? Can I put that here?

Speaker 2:
[180:33] Yeah, of course.

Speaker 1:
[180:35] This is amazing. Thank you, guys.

Speaker 4:
[180:37] Absolutely, man.

Speaker 2:
[180:39] Let me say, you got two more questions.

Speaker 3:
[180:41] Yeah, yeah.

Speaker 1:
[180:42] You got to do a... I want more questions.

Speaker 4:
[180:47] Well, I got some statements, actually.

Speaker 3:
[180:49] And question statements.

Speaker 1:
[180:51] I want to do another Def round. I'm just... You know my job is me against you. Okay.

Speaker 2:
[180:55] Relax, boy.

Speaker 3:
[180:56] Relax. Relax. He's a relaxed guy. We've gotten drunk enough in our life.

Speaker 2:
[181:02] In fact. Absolutely. Absolutely.

Speaker 4:
[181:06] You back on?

Speaker 2:
[181:06] Yeah.

Speaker 4:
[181:07] Nah, so I just wanted to go back, actually, to your sons, because I just want to highlight them, man. We didn't say, Coast Contra, the contribution that they bringing in today is amazing. I know as a father, I don't need you to go in depth I know you said they could speak for themselves at some point, but you and Tidra having these kids, I mean, and what they've become as artists. And I mean, I hope they've been good kids to you guys.

Speaker 1:
[181:35] Well, look, people go through journeys. I can only say that I remember, I hope this lands well. My first album, Soul on Ice, I wrote to me. By this album, the second one, I started writing to them. I've written because this is therapy for me. So I hope the culmination of anybody's journey is that you're explaining yourself in real time to people you love. You know what I mean? Whether it's to my mother or to my sisters or to the love I lost. I'm like, y'all fucked up. I went here. I made a left when I should have made a right. If that affected you, what I'm trying to say. So for me, I write from a truth. I don't write from trying to get money. Some people are writing like, oh, you can get money. If I just say the right thing, I can get a lot of money out of people. I never wrote from there. I always felt like, to be perfectly honest, my friends and my own horrible nature, I'm gonna land on my feet. I'm gonna get some money. I'm gonna get, I'm gonna take it out of somebody. Like the other part of me, my negative energy. But my positive energy, I've always tried to write from my heart, not from really my ego and not from like bitter. I try to write from love and try to write from like, what am I really experiencing in real time? And so for me, with them, I want them to have their journey. I'm still in my journey. So they can write there as I'm writing mine. Their mom, that's her journey. Me and her, what's behind closed doors with me and my sisters. You know what I mean?

Speaker 4:
[183:29] But what's sorry to cut you, but what's dope is she's an incredible artist.

Speaker 1:
[183:32] Of course.

Speaker 4:
[183:33] You're an incredible artist. And then now you have these twin kids that have become incredible artists, that have made incredible careers.

Speaker 1:
[183:40] But again, we're negating two other people.

Speaker 4:
[183:42] Who's that?

Speaker 1:
[183:44] Coast Contra is not two.

Speaker 4:
[183:45] No, no, of course.

Speaker 1:
[183:47] All I'm trying to share with you is, again, I don't even know how that affects those two people.

Speaker 4:
[183:54] Right, right.

Speaker 1:
[183:54] So I want them people to have their journey.

Speaker 4:
[183:58] You mean the group as a whole.

Speaker 1:
[184:00] Yeah, I want those four people.

Speaker 4:
[184:01] Of course, but you're on our show and we're talking about specifically you and them and part of that group.

Speaker 1:
[184:08] They're out of my dick. So what happens is, so when a boy and a girl like each other, they...

Speaker 4:
[184:18] All right, the birth of the beast, buddy.

Speaker 3:
[184:19] Relax, relax, relax. We get the birth of the beast. Oh, listen, let me give them...

Speaker 1:
[184:24] I'm going for it, right?

Speaker 4:
[184:25] Let me give them control of their props. And it's not just your twins, it's the group as a whole, but because you're here, we're talking about the twins, a part of that group.

Speaker 3:
[184:34] Yes, I love them.

Speaker 4:
[184:35] And what's dope is that oftentimes in hip hop, we say, oh man, I wish these kids today would sound like blah, blah, blah, blah.

Speaker 3:
[184:41] You know what they did?

Speaker 4:
[184:42] They sounded like what we blah, blah, blah, but even modern day version of what we want hip hop to sound like and better than even we thought that it could sound like.

Speaker 1:
[184:53] I am extremely supportive. It's just, I want them to have their...

Speaker 3:
[184:58] Let me find out you're competitive with your own kids.

Speaker 1:
[185:01] First of all...

Speaker 3:
[185:02] You wanna battle them? You wanna battle your kids?

Speaker 2:
[185:06] That would be weird.

Speaker 1:
[185:07] I would give my sons my fucking lungs.

Speaker 4:
[185:09] Okay, okay. I just want to make sure because you sound like you ready to like what?

Speaker 1:
[185:12] I'm going to go get you.

Speaker 2:
[185:13] You want some of this?

Speaker 1:
[185:14] I'm treading lightly because young men need to feel like young men.

Speaker 4:
[185:18] You don't want them to get props?

Speaker 1:
[185:20] I want, no, I want them to feel like I'm not stepping on their toes.

Speaker 4:
[185:27] You're not.

Speaker 1:
[185:28] I'm just trying to tell you...

Speaker 4:
[185:29] It's a part of your legacy.

Speaker 1:
[185:32] Well, again, narratives are narratives. And what I'm trying to do is with their mother, with them, with my family is to make sure that... And with my homeboys, you know what I'm saying? That I say respectfully, like it's really cool to talk about, you know, with P. When we were in real time, children's perceptions are different than parents' perceptions. And so I want them to be able to tell their story as opposed to me having my version. They'll tell theirs when they, as they tell theirs.

Speaker 4:
[186:07] They will tell their stories because they're making a great career for themselves and they will have...

Speaker 1:
[186:12] They make more money than me, but I don't want to keep talking about that.

Speaker 4:
[186:15] They will have their platforms to tell their stories.

Speaker 1:
[186:17] Right, but I mean, so...

Speaker 4:
[186:19] All I'm doing right now is paying homage to you.

Speaker 3:
[186:22] Damn, dawg.

Speaker 1:
[186:26] Yes, I'm Eric to you. I got you in the lab.

Speaker 4:
[186:29] So we'll move on from that.

Speaker 1:
[186:30] I love you.

Speaker 3:
[186:32] Love you.

Speaker 4:
[186:32] Love what your sons are doing, by the way.

Speaker 1:
[186:34] I do too.

Speaker 4:
[186:34] All right.

Speaker 1:
[186:35] Absolutely. I love what Coast Contra, not my son.

Speaker 3:
[186:39] Come on, bro.

Speaker 1:
[186:41] Obviously, man.

Speaker 2:
[186:43] He just took a shot for that beer. Super Yeah, you gotta take a shot, bro.

Speaker 1:
[186:47] It alienates the other people.

Speaker 4:
[186:49] No, they're dope. All of them are dope.

Speaker 3:
[186:52] We're just saying specifically because you're here.

Speaker 4:
[186:54] If their dad was here, we say, fuck your sons, dad.

Speaker 3:
[186:59] Oh my God.

Speaker 1:
[187:01] Bad boy.

Speaker 4:
[187:03] Don't mean that, by the way.

Speaker 1:
[187:05] Yeah, yes, you did.

Speaker 3:
[187:07] No, I meant it literally not illiterate. Literally not illiterate? I don't know. That didn't make sense either.

Speaker 2:
[187:11] Isn't that a Bay Area thing?

Speaker 1:
[187:13] No, no, no, no.

Speaker 2:
[187:14] That's a, that's a.

Speaker 1:
[187:16] So LA, different hoods do different shit.

Speaker 2:
[187:18] Okay.

Speaker 1:
[187:19] And then honestly, I think it's a New York thing.

Speaker 2:
[187:21] Really?

Speaker 1:
[187:22] New York.

Speaker 3:
[187:23] I feel like that's Ficka Doomy.

Speaker 1:
[187:25] No, for real.

Speaker 3:
[187:26] Wait, but that would be Bay Area too, right? Ficka Doomy? No. No?

Speaker 1:
[187:30] No, I'm telling you.

Speaker 3:
[187:31] I feel like E-Farty would say Ficka Doomy.

Speaker 1:
[187:33] You know what New Yorkers did? LA would do like hood shit and click shit. New York just started, like.

Speaker 4:
[187:41] New York, they didn't want to touch your hand.

Speaker 3:
[187:42] Smell me.

Speaker 2:
[187:43] Smell me was E-Farty's shit. You smell me.

Speaker 1:
[187:45] You smell me. E-Farty made most of the slang. Stop it.

Speaker 4:
[187:49] He made all that. Yeah, I see.

Speaker 1:
[187:52] Time's up. I wasn't there, but most of LA slang and even Atlanta, and yeah, let's start speaking on some other shit. I'm going to bring y'all, I'm going to move this needle.

Speaker 2:
[188:04] Okay.

Speaker 1:
[188:06] A lot of LA slang is based slang, a lot of the production of the south of Atlanta, because Too Short and E40 went. It's highly influenced, that's based sound. Even what LA does right now, that boom, boom, boom, last time that I checked, is based shit.

Speaker 4:
[188:23] Yeah, for sure.

Speaker 1:
[188:24] Period. So we always, like hip hop was created in the Bronx. Most people don't argue that at that point. Certain vibes, we got caught. So all the Atlanta vibes, the LA vibes, come from the back. And we should give them that credit. I think trying to remake shit is wack. I remember when Jay-Z was wearing white t-shirts in New York, and then they was like hat to the side and white t-shirt, and New Yorkers, like, and we're arguing like, bitch, you did not wear white t-shirts, because when I was in New York in my white t-shirt, I remember I had a Rolex, I'm in Times Square, at my hotel and the girls are back then, I'll date myself, but we wearing white t-shirts with the Roli, with the LA hat, but we bagging the girls in all the, like, so, we're like 18, but we're bagging like 18, and like, like we can get the girls at McDonald's, that's how old we were, you know what I mean?

Speaker 4:
[189:35] I don't know if that makes sense at all, but okay.

Speaker 1:
[189:36] When you're a kid, when you're 18, you're 18, upper Lee Mobile.

Speaker 2:
[189:39] You said McDonald's?

Speaker 1:
[189:40] McDonald's in Times Square.

Speaker 2:
[189:42] I thought you said McDonald's.

Speaker 4:
[189:45] No, I can get the girl at McDonald's, that's how old I am.

Speaker 1:
[189:48] So in 1995 and six and seven, when you're not old, Oh, okay. you're a teenager, and you, but the girls would be like, I remember one girl, like, she's like, why are you wearing your undershirt, y'all? In New York, and we just yelled, we were like, bitch, bitch, bitch, bitch. This ain't no undershirt.

Speaker 4:
[190:13] Charlie would love this conversation.

Speaker 1:
[190:15] Oh, we were angry. We were like, what do you mean? This was our suit.

Speaker 4:
[190:21] Uniform.

Speaker 1:
[190:22] Yeah, this is our uniform. She said, why, no disrespect. Why are you wearing your undershirt? So like for that to go from undershirts to Jay-Z making it like, it's our uniform. I was like, that's not, no, we wore white t-shirts, two pro clubs in LA.

Speaker 4:
[190:43] This is before Cash Money was doing it?

Speaker 1:
[190:46] Stop it while you're behind.

Speaker 4:
[190:47] No, let's just be hip hop.

Speaker 1:
[190:49] LA created the white tee. Knock it off. You guys created the black tee.

Speaker 2:
[190:56] Who, Miami?

Speaker 4:
[190:57] But who's we?

Speaker 1:
[190:58] Atlanta, the South, but the tee as it fit is an LA thing.

Speaker 2:
[191:05] It's a California thing.

Speaker 4:
[191:06] But I think Cash Money made it really big.

Speaker 1:
[191:08] Stop while you're behind.

Speaker 4:
[191:09] I actually think so.

Speaker 1:
[191:10] You stop while you're behind. The white tee, Jay-Z, with the tilted brim.

Speaker 4:
[191:16] Was it Jay-Z?

Speaker 2:
[191:18] I remember, I don't know, guys. When we go to LA, don't wear white tee. Right.

Speaker 4:
[191:23] But I thought the white tee was a dope boy thing, that that was a dope boy thing.

Speaker 2:
[191:26] No, that's what I thought too.

Speaker 1:
[191:27] It's a LA uniform. We were taught to wear that. That's how girls liked you. You wear white tee, if you got your money up, you got two.

Speaker 2:
[191:37] You wore two?

Speaker 1:
[191:38] You would wear two.

Speaker 4:
[191:40] That's weird.

Speaker 3:
[191:41] Okay.

Speaker 1:
[191:42] You left early.

Speaker 3:
[191:44] I did, I did.

Speaker 1:
[191:45] When did you leave, sir?

Speaker 4:
[191:48] Back and forth a couple times.

Speaker 1:
[191:49] When you really felt like, look, let's take it on.

Speaker 4:
[191:53] When I became Miami, officially, I was like nine years old.

Speaker 1:
[191:58] So I got dog ears. So my dog ears are LA and New York. Like when I had a cousin, yeah, I had a cousin in Harlem. So dog ears. But I'm telling you, LA shit, white tees, too. Look at a Mexican, look at the process. You don't need the khakis.

Speaker 3:
[192:20] You know what, when you say Mexican, that makes more sense to me. We're all the same animal. The Mexican homies will wear the white tees.

Speaker 1:
[192:27] We're all the same animal. You don't know the khakis. So the khakis.

Speaker 4:
[192:32] They wear white with the khakis.

Speaker 1:
[192:36] Yeah, but you're missing a point. If you had money, you could wear Levi's. If you have a lot of money, you can have gas. So that was, khakis is broke. That's the uniform when you broke. Levi's, a little bit of money. Now $35.99, then gas.

Speaker 3:
[193:00] What's gas is going to guess?

Speaker 4:
[193:04] I thought you said, in my mind, you said the gap. But guess, you're right.

Speaker 3:
[193:08] Guess was the joint.

Speaker 1:
[193:09] You're right. So that's all, the process is the process. I didn't create the process. I didn't create the culture. I'm just trying to tell you the truth of it. So yeah, khakis is what you would wear, you're putting in work. Khakis is, I'm selling dope. Right. So I would see my friends and they have a jelly stain over here and a wootwam because-

Speaker 4:
[193:32] What's a wootwam?

Speaker 1:
[193:36] You should know, EFN.

Speaker 4:
[193:38] I don't know what the fuck a wootwam is.

Speaker 1:
[193:39] All right, so I'm putting this out. I'm pointing to this camera here.

Speaker 4:
[193:41] So it's a nut stain?

Speaker 1:
[193:42] So, no, who would-

Speaker 2:
[193:44] Ask them about brother shit?

Speaker 1:
[193:46] Wow, who would do that?

Speaker 3:
[193:47] I don't know what the a wootwam is.

Speaker 2:
[193:49] I'm with y'all.

Speaker 1:
[193:50] No, no, no, I'm talking about this guy. And this is my big-

Speaker 4:
[193:53] You got me here, bro.

Speaker 3:
[193:54] Relax, buddy.

Speaker 4:
[193:55] You said, I won't get you drunk.

Speaker 1:
[193:56] All right, I'll get drunk, So look, so what a wootwam was, all right, if you're a friend, if you're 12, if you're 13, 14, 15, your friend stepped in, he's selling dope. You go see your friend, he got on the same outfit. It's the khaki suit, but his white t-shirt got stains. Like would sleep in the bush, just like a Queens.

Speaker 4:
[194:23] The one that's slanging. Yes, the guy is slanging, so he's outside.

Speaker 1:
[194:26] He's being outside, literally.

Speaker 4:
[194:29] Mr. Lee, you're scaring us, bro.

Speaker 1:
[194:30] Two days getting his brand up, so that would be the thing. So I would go see my friends, but on the white tee, it gets to tell all your stuff. So you'd be like, bro, you got coffee stains, you got a little blood stain, like what the fuck are you doing? So that's what would happen. That's why the white tea, the black tea is a better idea, but in LA, that was the culture. I didn't invent the culture.

Speaker 3:
[194:51] Black tea is more practical.

Speaker 1:
[194:52] I think you guys are smarter for, but that has none to do with the price of rice in China.

Speaker 2:
[194:57] Who made the black tea?

Speaker 4:
[194:58] I don't know, he said Miami, but maybe, I think so.

Speaker 1:
[195:01] I think Atlanta did it.

Speaker 4:
[195:02] I think Atlanta did too.

Speaker 1:
[195:03] I think Atlanta did it.

Speaker 3:
[195:04] Let me tell you something real quick.

Speaker 4:
[195:05] As a LA transplant to Miami, one of the most proudest things that I found out was that Tulai Crew was born in LA.

Speaker 1:
[195:13] I didn't know that, you just fucked me up.

Speaker 3:
[195:15] You didn't know that?

Speaker 1:
[195:16] Never in life. What? Get the fuck out of here.

Speaker 4:
[195:19] They were all military guys that were in LA.

Speaker 2:
[195:21] But not Luke, though.

Speaker 3:
[195:23] No, except Luke, except Luke. Luke is my aunt.

Speaker 1:
[195:25] He needed some crazy.

Speaker 4:
[195:26] So, you had Mr. Mix, Brother Marquise, and...

Speaker 1:
[195:30] They were always nice to me.

Speaker 4:
[195:32] And Fresh Kid Ice.

Speaker 1:
[195:33] From LA.

Speaker 3:
[195:34] Brother Marquise has records with Iced Tea back in the days.

Speaker 4:
[195:37] Well, back in the days, dog. And they started the group together.

Speaker 1:
[195:43] Wow.

Speaker 4:
[195:44] And then Luke brought them over and saw the vision. And then they all made... So, for me, as an LA transfer to Miami, I'm like, this is me, baby.

Speaker 1:
[195:56] Focus in on this camera.

Speaker 3:
[195:59] No, what do you mean?

Speaker 1:
[196:00] Don't cry.

Speaker 4:
[196:01] Why are you crying?

Speaker 1:
[196:02] That was amazing.

Speaker 3:
[196:09] We can share LA and Miami.

Speaker 2:
[196:11] We can share.

Speaker 3:
[196:15] That is an amazing story.

Speaker 1:
[196:15] Come on, man.

Speaker 4:
[196:16] Oh, yeah, and Miami Life. You know that he did the song Miami Life for what soundtrack was it?

Speaker 1:
[196:21] The Substitute.

Speaker 4:
[196:22] The Substitute. So it's funny, because in Miami, because I'm here, and he made it, and I was in the scene, they were like, what the? Ras Kass is doing a song about Miami Life.

Speaker 1:
[196:31] No, everybody...

Speaker 3:
[196:34] Originally, people were like, who the?

Speaker 1:
[196:36] They were a little...

Speaker 3:
[196:36] No, no, not who the... They knew who you were.

Speaker 4:
[196:38] They were just a little upset. Like, why didn't they pick a Miami person for this? But I actually, I don't know if you remember, I actually reached out to you shortly, maybe after, I don't know how long after, but...

Speaker 3:
[196:51] And we...

Speaker 1:
[196:52] Is that how we locked in?

Speaker 4:
[196:53] I think so. I don't know how, but whatever.

Speaker 1:
[196:55] Okay.

Speaker 4:
[196:55] Drunk memories, but talk about Miami life.

Speaker 1:
[196:59] All right, so...

Speaker 4:
[197:00] Which is a great song, by the way.

Speaker 1:
[197:03] Okay. My biggest issue about soundtracks were, especially LA soundtracks, obviously I'm from LA. I'd be like, where are these other songs from?

Speaker 4:
[197:15] But hold on, can I pause you for a second? Sorry, sorry, sorry. Because I want to give context, I don't think even Norea understands it.

Speaker 2:
[197:20] I don't know what's going on.

Speaker 4:
[197:21] So there's a movie called The Substitute, right?

Speaker 2:
[197:22] Okay.

Speaker 3:
[197:23] Remember, what's the other movie that came out? The LA one?

Speaker 4:
[197:27] Well, was Edward James almost?

Speaker 2:
[197:30] American Me? Or Stan Deliver?

Speaker 3:
[197:32] Remember Stan Deliver?

Speaker 1:
[197:33] Yeah, but American Me is way younger.

Speaker 3:
[197:35] No, no, but that's not a high school movie though.

Speaker 1:
[197:39] Right.

Speaker 4:
[197:39] Stan Deliver was, remember the high school movie was Stan Deliver?

Speaker 2:
[197:41] He was the teacher, right? Right.

Speaker 4:
[197:43] So another movie came out called The Substitute, which happened in Miami though.

Speaker 1:
[197:49] Right.

Speaker 4:
[197:50] In Coral Gables High, actually.

Speaker 2:
[197:51] Okay.

Speaker 4:
[197:52] And I don't know if it was based on a true story, but they filmed it in Miami, actually.

Speaker 2:
[197:55] And they was hating on it?

Speaker 3:
[197:56] No.

Speaker 4:
[197:57] So it was like the other movie with Edward James Lomas. And then he made, and then it's Lean On Me as well.

Speaker 3:
[198:04] In the same vein.

Speaker 1:
[198:05] But Lean On Me was based on a real person.

Speaker 3:
[198:06] He made one of the lead singles.

Speaker 2:
[198:07] Joe Clark.

Speaker 4:
[198:08] So he made the lead single, Miami Life, off of that soundtrack of a movie that's based on Miami.

Speaker 1:
[198:16] So can I land?

Speaker 2:
[198:17] So you and Pitbull was hating on that? No.

Speaker 1:
[198:21] Pitbull was rapping like me.

Speaker 3:
[198:23] Pitbull was dragged on at that time.

Speaker 1:
[198:25] That part. So my biggest argument about soundtracks was even if you're not from the place, make it sound like, I mean, so when you ain't nobody and you're just trying to get on, my whole shit was like, if I get a chance to get on something, make it about the movie, make it about the place. You know what I mean? I don't want to hear a soundtrack about we and Mars, but a nigga like, oh, I'm in Neptune. I don't want to hear that. So my whole shit was I got an opportunity and it was called The Substitute, but they show you, you know what it is, you know what I'm saying? You're going to see trailers, you're going to see all this shit. I'm like, well, fuck it, make it about the place.

Speaker 2:
[199:12] You didn't get to see the actual movie?

Speaker 3:
[199:14] No, I had already been in Miami yet.

Speaker 4:
[199:17] You had been?

Speaker 1:
[199:18] Yeah, I had already been.

Speaker 4:
[199:20] Like your family, like T-Draw was in.

Speaker 1:
[199:21] No, no, no, no, no, no baby mama. OK, there's no kids. OK, it's just me having an opportunity.

Speaker 4:
[199:27] You've been out here.

Speaker 1:
[199:28] Yeah, OK, I've been with Coolio. I like the homies been up, bro.

Speaker 2:
[199:33] You know what I've noticed? He's got a really good memory.

Speaker 4:
[199:35] His memory is impeccable.

Speaker 2:
[199:36] He never smoked weed, but he drank a lot, which is weird.

Speaker 4:
[199:39] He has good memory. So I'm very suspicious of you right now. I'm kidding.

Speaker 2:
[199:44] OK, I mean, nice. Well, I mean, Michelle Milley, no, Milley, bro, Milley, you can't give her another name.

Speaker 1:
[199:53] She's got to kill me.

Speaker 4:
[199:55] Sorry, sorry, sorry.

Speaker 1:
[199:57] I was I was talking shit. Please don't kill me.

Speaker 2:
[200:01] You're good.

Speaker 1:
[200:02] Thank you. Appreciate you. OK, so long story short. Um, no, I didn't. So my opinion is about movies like like the soundtracks didn't match the movie. So I was like, if I ever get a chance, I'm a mirror the movie. That was my whole thing. And so when I got an opportunity, the first one I got was the Street Fighter soundtrack.

Speaker 4:
[200:25] The Street Fighter?

Speaker 1:
[200:26] Yeah, the Street Fighter soundtrack, the original Street Fighter soundtrack.

Speaker 4:
[200:29] He was on that joint?

Speaker 1:
[200:31] That's how I get my first fucking source, Portable.

Speaker 4:
[200:36] Oh, I gotta go back.

Speaker 1:
[200:37] We went all around the planet, pitching and no one hit it, which is me and Sapir.

Speaker 4:
[200:42] Oh, yes.

Speaker 1:
[200:43] So I get my first.

Speaker 4:
[200:44] Yes, yes, yes.

Speaker 1:
[200:46] Period. But now I'm on a soundtrack. I'm like, but it's in Miami. And I'm like, I've been there, I'm not from there, but let me start learning. Like I don't want to write some shit and be talking about some shit and talk about a street that don't make another sense to a street. I just want to like, because if nothing else, honor the place. You know what I'm saying? If this movie is about being in Miami, being in high school, well, I just came out of high school. I need to understand the best I can about Miami, the best I can. You know what I'm saying? In my small experiences, but honor the movie, honor the place. That's look, it don't cost you nothing, but a little bit of time to learn. Right. I'd rather do it. So that's why I did it Miami Life. I was just like, really, I had called it Miami Vice. I was going back and forth between Miami and LA. And then the company was like, well, just-

Speaker 4:
[201:49] They said you wanted to name it Miami and LA?

Speaker 1:
[201:52] No, I was gonna call it Miami Vice.

Speaker 4:
[201:54] No, I think Miami Life was the better- Right.

Speaker 1:
[201:57] But when we made it, I wrote it. I knew people here. I had been here. I saw the trailers of the movie. I understood what it was about. I was thinking about me in high school.

Speaker 4:
[202:09] You had homies that were in the movie as extras. They were real gangsters that played gangsters in movies.

Speaker 1:
[202:15] And I just wanted to honor the city. You know what I'm saying? I've been here. I don't want to be on the fuck shit and be some out-of-towner. And like, why is the soundtrack got this nigga from way over here? Because I think that's dumb.

Speaker 4:
[202:29] Nah, you did it justice.

Speaker 1:
[202:31] Yeah, I tried my best.

Speaker 4:
[202:32] Nah, it was dope. It was dope.

Speaker 2:
[202:33] I tried.

Speaker 1:
[202:35] At least I gave a fuck.

Speaker 4:
[202:37] Nah, it was dope. I thought it was super dope. I mean, for hip hop heads, we appreciated it.

Speaker 1:
[202:42] Yeah, walk these streets with more heat than Alonzo Mourning.

Speaker 4:
[202:45] Yeah, originally when I first was like, what?

Speaker 3:
[202:48] Razz did this? Oh, okay. It was dope.

Speaker 1:
[202:51] Yeah, I just wanted, again, not my home, but I've been here. I just wanted to honor. So think about it.

Speaker 4:
[203:02] It's like if Razz did Left Racked Life.

Speaker 2:
[203:04] Right.

Speaker 1:
[203:08] If y'all had to produce it, let's just take all of us out of the equation and just say, you're going to write a movie about a high school in Baltimore. Fuck, at least do some research. But I just want to learn.

Speaker 4:
[203:24] Now you said some shit that resonated with us.

Speaker 1:
[203:26] Right. So for me, young boy, I'm just like, I talk some shit, then I got challenged. I'm like, well, you don't like when these soundtracks don't be sounding like LA soundtracks. They give me Miami. I'm like, well, I got homies there. You know what I mean? Like, it's not my home, but let me try my best to at least be true to the movie. Right. I mean, I be true to the people. Right, right. And I'm a kid. So whatever. We're like movies. 17, let's be true to the art of the movie and trying to say this stuff. Which is, I guess, an attempt at narration. Not really acting, just narration. Like, I'm just trying to narrate, like, how many, you know, like I'm launching Rockets and, I'm launching Rockets and Scuds and Crockett and Tubbs. Anti, full of more rum, denim, my time, and despite high school, I be fruit. Like, I'm just trying to say, I'm refusing to listen to what the PTA say. Fuck a 4.0 GPA. I got a GTA with a ETA of three o'clock. So shake the spot, like Luke and the girls in the Daisy Duke.

Speaker 4:
[204:39] I'm just trying to be extremely specific.

Speaker 1:
[204:42] And I'm just thinking how it would feel at the time we're younger. So I'm like five years back. But if I was in high school and I'm mad, I'm like, fuck these people, you know? But trying to honor, I think that's part of writing. Is like, I'm not 15 anymore. I'm not 20. But sometimes you feel we're humans. I'm sure you can remember, you look at your kids and turn into your 15 year old. But you see yourself in your child.

Speaker 2:
[205:17] Like, in my apartment if you're cutting you off.

Speaker 1:
[205:19] Yeah, yeah.

Speaker 2:
[205:20] Dej, you better just use your song in a-

Speaker 1:
[205:23] Love you. Thank you. Yeah.

Speaker 4:
[205:24] Bring that up, man.

Speaker 1:
[205:25] Yes, sir.

Speaker 4:
[205:26] Off the album.

Speaker 1:
[205:27] Yes, sir. So-

Speaker 2:
[205:29] The new album. So you get that props.

Speaker 1:
[205:31] I got recent props. Thank you.

Speaker 2:
[205:33] Okay. Yeah. I don't know what I'm saying. You get the residuals direct.

Speaker 4:
[205:36] That record is dope too, man.

Speaker 2:
[205:37] Because that's not, you don't have distribution, right? This is fully independent?

Speaker 1:
[205:40] Totally independent.

Speaker 2:
[205:41] Oh, so whatever-

Speaker 4:
[205:42] An incredible album, guys.

Speaker 2:
[205:43] It goes straight direct to you. That's pretty dope.

Speaker 4:
[205:45] And that song is dope.

Speaker 2:
[205:46] How do you feel?

Speaker 1:
[205:47] Thank you, bro. All right. Humble.

Speaker 2:
[205:49] Okay.

Speaker 1:
[205:49] Super humble. So made the record. I doom scroll. I ain't gonna lie. I'll be watching shit. I end up watching like pandas and shit. I mean, I'll be like, oh my God, pandas are amazing. All right. They are. They are. So I was doom scrolling one time. I come across this shit about these lions in South Africa.

Speaker 3:
[206:16] Doom scroll?

Speaker 2:
[206:17] I didn't catch on. That's what it's called. Okay.

Speaker 3:
[206:20] Okay.

Speaker 2:
[206:20] I didn't know that. I didn't know that.

Speaker 3:
[206:24] You don't stop. You just keep going.

Speaker 1:
[206:26] Yeah. I'm telling you.

Speaker 2:
[206:26] I thought it was called binge watching.

Speaker 1:
[206:28] No.

Speaker 4:
[206:28] I mean, that is what it is, but it's modern day doom scroll.

Speaker 2:
[206:34] Okay. I was doing like when you watch the whole Sopranos in one sitting.

Speaker 1:
[206:38] That's binging.

Speaker 3:
[206:40] That's binge watching. When you scroll, any other platforms or whatever.

Speaker 1:
[206:45] Any other platform, doom scroll. Because he visually, it's going to be something, you're going to die. The alien is going to get you, whatever. So I think that's why they call it doom scroll. Anyway, I was watching.

Speaker 4:
[206:58] So we're not going to die and the aliens are not going to come?

Speaker 1:
[207:00] No, not you. I was saying that's what the things are. You know, I talk in my little lovely voice.

Speaker 4:
[207:06] So good.

Speaker 1:
[207:09] That's how I think.

Speaker 2:
[207:09] Okay.

Speaker 1:
[207:11] We get nice. Before the evil comes out, okay?

Speaker 4:
[207:15] Go evil, guy.

Speaker 2:
[207:16] Yeah.

Speaker 4:
[207:17] So?

Speaker 1:
[207:17] I don't think it's gonna kill me.

Speaker 2:
[207:19] What?

Speaker 4:
[207:20] I don't know, we went crazy, so go ahead.

Speaker 1:
[207:23] No, you knew what I was saying.

Speaker 3:
[207:26] I feel like he just became you, and you became him.

Speaker 1:
[207:28] Right.

Speaker 4:
[207:29] I don't know what happened right now, bro.

Speaker 2:
[207:31] I get it, it's, y'all two going like that. Y'all secret LAV.

Speaker 3:
[207:35] No, I don't know.

Speaker 2:
[207:41] Are you picking up?

Speaker 4:
[207:44] That's what happened.

Speaker 1:
[207:44] I do not want to smoke, boy.

Speaker 2:
[207:46] So when you get that call, is it Dave Chappelle?

Speaker 4:
[207:49] Who is Dave Chappelle joining? See, you see, bro, you just went wild right now.

Speaker 1:
[207:53] I know, I did.

Speaker 4:
[207:54] Yeah, you did, you went crazy, bro. So go Dave Chappelle, go, stay focused. Ras Kass, stay focused. Oh, shit. Uh-oh. So then I go.

Speaker 1:
[208:06] The Ras Kass, that's going to be the clip, right?

Speaker 4:
[208:10] Dave Chappelle, go ahead.

Speaker 1:
[208:11] No. So here's how it goes. Now, so cool thing, just doom scrolling, come across this thing. I think it's super interesting. I get very inspired. It's about these lions. They basically react differently than all lions have ever reacted, because basically what happens in most mammals, which even in the world we live in, it informs the thought in my head. So what happens with most, I'm telling you, squirrels, moose, mammals.

Speaker 4:
[208:46] This is getting deep. Way deeper than-

Speaker 1:
[208:48] I'm a smart nigger. Never get it fucked up.

Speaker 4:
[208:51] I mean, smart is deep is weird.

Speaker 1:
[208:54] No, it's not weird. So, bar, real quick. So most animals, if-

Speaker 4:
[209:01] If they're animals?

Speaker 1:
[209:07] Most mammals-

Speaker 4:
[209:08] Oh, mammals.

Speaker 1:
[209:09] Mammals tend to murder the children of the bitch they want.

Speaker 4:
[209:16] Therefore, De Chappelle-

Speaker 1:
[209:18] Wait, I will go- I'll get there. I love him. I'll make this fast. So it becomes- Who's loud?

Speaker 3:
[209:27] No, don't worry about it. It's Millie and Boris.

Speaker 2:
[209:30] Okay. So you're watching love and hip hop.

Speaker 1:
[209:33] So long story short, I was watching love and hip hop. And then I doom scrolled into the lines. The point of the lines is that they behave differently. So I made a song out of it. And then, I couldn't finish it. Eventually, Tupac's brother hits me. And it's like, I heard this record you made. Cause it's six, the story is about six brothers. I couldn't get everybody I wanted. I had like, Moprene, like Pog, whatever. So we get the record together, put the record out, we give it out for free. Fast forward like a month and a half, I get a call basically from Chappelle's, no, not basically, from his exec producer, who used to work at Priority. And she's like-

Speaker 4:
[210:26] That was Chappelle?

Speaker 1:
[210:28] Yeah, his exec producer.

Speaker 4:
[210:30] Okay.

Speaker 1:
[210:30] I hadn't seen her in fucking 15 years. I get a DM on the Gram. I heard somebody hit me like, yo, Chappelle came out to your shit. Like this thing I put out like a month ago.

Speaker 4:
[210:42] Like he was already doing it in his shows?

Speaker 1:
[210:45] No, he came out one night. Like I put out the record two months, a month and a half later, somebody text me like, bro, I was in DC, Chappelle came out to your record. One out of 100,000 people was like, bro, he came out to your shit. I'm like, that's super cool. Blessing, which is cool.

Speaker 4:
[211:08] But this is not the live show that aired.

Speaker 1:
[211:10] No, that is it.

Speaker 4:
[211:11] Oh, that is it. So you already knew they gave you the heads up.

Speaker 1:
[211:14] No, no. What I think is he comes out to everything. Who cares?

Speaker 4:
[211:17] Oh, you didn't know.

Speaker 1:
[211:19] No, niggas come out to do, do, do, do. Who cares?

Speaker 4:
[211:23] OK.

Speaker 1:
[211:23] I mean, I'm like, tell him I said thanks. You know what I'm saying? Like I wasn't there. That was in DC, bro.

Speaker 4:
[211:30] You didn't know that was going to be that?

Speaker 1:
[211:32] Of course not. Right. I mean, we're all aware of each other. We say thank you. So it's not a big deal to me. I'm just like, hey, man, that's just tell him I said thanks. It's dope. He came out at his home. He from DC.

Speaker 4:
[211:45] Right, right.

Speaker 1:
[211:45] So I'm like, that's it.

Speaker 4:
[211:46] You didn't know the special was going to do that?

Speaker 1:
[211:48] No, not at all.

Speaker 4:
[211:49] You didn't know that was the special?

Speaker 1:
[211:51] That's what I'm saying. Nobody knew it. So apparently, it resonated with bro. The whole Lion shit, that's why he showed it the way he showed it. So we got the Netflix special. Great bag, great opportunity. I was able to watch it with him. Everything.

Speaker 4:
[212:08] With him?

Speaker 1:
[212:09] Yeah. He brought me out to kick it with him, bro.

Speaker 4:
[212:12] The Yellow Springs?

Speaker 1:
[212:13] No, no, in Beverly Hills. You know what I'm saying?

Speaker 3:
[212:16] Sorry, buddy.

Speaker 1:
[212:20] See, this is when the West goes wrong. You're my big brother. Don't attack me.

Speaker 3:
[212:28] What do you say to me? What are you talking about, bro?

Speaker 1:
[212:36] No, that was it. So it was really cool, man. It just came out, like, genuinely nice.

Speaker 2:
[212:41] You got to sip it or it don't count.

Speaker 3:
[212:43] Yeah, you definitely didn't sip that.

Speaker 4:
[212:44] You had to control, Ras. You had to control.

Speaker 2:
[212:47] Hey, you ain't got to.

Speaker 3:
[212:48] You have to gulp this. It's not a big gulp.

Speaker 4:
[212:53] Damn.

Speaker 2:
[212:54] Come on, Noreaga.

Speaker 4:
[212:56] All right.

Speaker 2:
[212:57] So hold on, hold on.

Speaker 4:
[212:58] Last one of the last things before we leave.

Speaker 2:
[213:00] Okay.

Speaker 1:
[213:01] Are we done?

Speaker 4:
[213:01] We're almost done. We're about to be done. Yes, Ras, about to be done.

Speaker 1:
[213:05] Y'all love me?

Speaker 2:
[213:05] We did three hours, buddy.

Speaker 3:
[213:08] We rocked and rolled.

Speaker 4:
[213:10] We rocked and rolled, buddy.

Speaker 1:
[213:12] Oh my God. Listen, listen.

Speaker 4:
[213:15] I want to pay homage to our homie Da Vinci, a Miami producer that passed away recently, that worked with you. And can you just give some words for Da Vinci, please? I know his family would appreciate it.

Speaker 1:
[213:28] I would love to. So, and like I said, I would, whoever the fuck is talking, she shut up. I knew it was you. No man. Thank you. Don't talk. Thank you. Okay. So my, my journeys with you, I'd be remiss if I didn't shout out our journey.

Speaker 4:
[213:52] Of course.

Speaker 1:
[213:53] Friendship. I don't have a regret in knowing you.

Speaker 4:
[214:01] I hope you don't have a regret in knowing me.

Speaker 1:
[214:03] Well, it's no funnies, but you can make fun of me. I love you and I really appreciate you. And I met so many great brothers here. And I remember like even us going to go, like getting the deal and going to K-Town and everything. And so, you know, those are the things that are true. So with Da Vinci, he knew Razz and Todd before they rapped.

Speaker 4:
[214:33] Your kids?

Speaker 1:
[214:34] They were there recording.

Speaker 3:
[214:36] With Da Vinci?

Speaker 4:
[214:38] Wow.

Speaker 1:
[214:40] So the Contra, the Contradictory Coast, they were there. They were there, even with Riholo, so facts are facts. I'm not here to try to do magical stories about what didn't exist.

Speaker 4:
[214:58] No, no, no, no, just saying.

Speaker 1:
[214:59] So my sons and this journey, like Da Vinci, we were working on a record.

Speaker 4:
[215:06] Did you connect with Chip? I'm gonna say this from right here.

Speaker 1:
[215:09] Yeah, yeah, yeah, I did.

Speaker 4:
[215:10] Y'all good?

Speaker 1:
[215:10] Yeah, yeah, yeah.

Speaker 4:
[215:11] So you guys are gonna work on those records?

Speaker 1:
[215:12] Yeah, yeah, yeah. And his mom and come on, man.

Speaker 4:
[215:16] No, his mom, their family wants his music to be out there.

Speaker 1:
[215:20] His mom and Chip. So Chip will get that done. Again.

Speaker 4:
[215:24] And I want to just say something really quick. Da Vinci worked a lot with...

Speaker 1:
[215:29] With Dilla.

Speaker 4:
[215:30] With J Dilla's family.

Speaker 1:
[215:31] Yeah, and I know. And we would be remiss. So I, with my Dukes, with Tone, like it's all family. I let them know where I stand and that's what love is because people trying to get in, because it's cool to hang out with people, it's not the same thing as loving people. So still my brother. I was talking to Da Vinci, which is, you know, provable. I was working on a record. I was trying to get him like fix this hook. I was like, bro, I ain't got the hook. I got a song from five years ago, when I was in a different space called, I just want to forget it all that he made with his own boy. I'll play it for you. And I still want to put it out. It's crazy. But what I like is the love. And I want everything going right to where it should go. Give it to the family and how we build each other. Because at the end of the day, we will end up on the wall.

Speaker 4:
[216:44] And one thing I want to say is...

Speaker 1:
[216:45] You can't take it all. You hope to end up on the wall. I don't want to end up in the ground. See, if you end up in the ground with nobody stepping on your fucking bones after your family's, then what was your bloodline about? I want to end on the wall. Not for my vanity, for my family's hard work. That's why you do this. So, long live Drink Champs. Thank you. Long live Noreaga.

Speaker 2:
[217:15] Thank you. Let me ask you one more question. I heard you say earlier that you was in New York with a white tee and a Rolex, and then I've seen you in a couple of interviews and you had a Cartier on, and now you got a big boy Nautilus. You know what I mean? That's the rose gold, right?

Speaker 1:
[217:33] Yeah.

Speaker 2:
[217:34] I got a Patek. Are you a Patek? Yeah, that's the Patek, yeah. You're a big watch guy?

Speaker 1:
[217:40] Not really. I'm a jerk. I just like fly shit. I'd be like, what is that? I want one. I want them boys. My car game is one thing, my watch game is, I don't even like, so even this, I designed it. I want a beefy, I want to give it like Kendrick. If you want to raise in LA, I want them beefy.

Speaker 2:
[218:03] Why are you LA racist right now?

Speaker 1:
[218:05] I'm not being LA racist, I'm just saying. I'll do it for New York. I want to create your state. Sorry, babe.

Speaker 2:
[218:11] Oh, so that says LA on there?

Speaker 1:
[218:12] No, it's just California.

Speaker 2:
[218:13] Oh, okay.

Speaker 1:
[218:14] It's California.

Speaker 2:
[218:16] Oh, it's the state of California.

Speaker 1:
[218:18] Right, so I want to do it for New York.

Speaker 2:
[218:20] I want to do it for Florida.

Speaker 1:
[218:22] Like, I want it beefy.

Speaker 2:
[218:23] Florida looks like a gun.

Speaker 1:
[218:24] I want to be the first one to represent your shit. That's it. I think it'll be a way.

Speaker 2:
[218:32] Yeah.

Speaker 1:
[218:32] Like, I want to make them beefy, but it was my idea. I finally built something. I'm from California. I'm born and raised. My mom is from Louisiana. My daddy from Arkansas. I'm from LA. I'm just trying to build something. I want it beefy and I want to have enough money to bless niggas. You know what I mean? Like, I'd love to come up here and be up and just, you know what I mean?

Speaker 2:
[218:53] Absolutely.

Speaker 1:
[218:54] You being from Queens.

Speaker 2:
[218:55] Yeah.

Speaker 1:
[218:55] Make your queen shit. Make your city shit. Go up.

Speaker 2:
[219:00] No, that's a dope idea. I didn't realize that.

Speaker 1:
[219:03] Yeah. It's Cali links, I made that. Oh, I'd be remiss if he's peeing.

Speaker 2:
[219:11] Okay.

Speaker 1:
[219:14] You know where you know me.

Speaker 2:
[219:15] Yeah.

Speaker 1:
[219:16] Sometimes I have fun. Let's see.

Speaker 2:
[219:19] Yeah, I'll have another drink.

Speaker 1:
[219:21] I know. I want one. Michelle's shitting on me. I'm, well, he tells her, is he pooping?

Speaker 2:
[219:35] You can bother him when he's eating.

Speaker 1:
[219:36] Come on. Come on, you love me.

Speaker 3:
[219:39] You know me.

Speaker 1:
[219:40] Let me be a dick.

Speaker 3:
[219:41] Yes.

Speaker 1:
[219:42] Come on, bro.

Speaker 3:
[219:50] Milly, can I, oh no, never mind.

Speaker 1:
[219:54] He knows so many dirtier things about me, that he doesn't say.

Speaker 4:
[219:58] Man, I don't even know what the he knows.

Speaker 1:
[220:00] Holy shit.

Speaker 4:
[220:02] We went to some weird party, though.

Speaker 3:
[220:04] You know all kinds.

Speaker 1:
[220:07] He knows, he knows some shit about me.

Speaker 2:
[220:09] So, is there anything you think, You gotta say anything before...

Speaker 1:
[220:13] Oh, okay.

Speaker 4:
[220:14] He's like, muck a hat, ring a bong.

Speaker 3:
[220:17] Okay.

Speaker 1:
[220:17] What the, was that word?

Speaker 3:
[220:20] Nah, listen, no, real quick, real quick.

Speaker 1:
[220:22] Bang on me.

Speaker 4:
[220:23] No.

Speaker 1:
[220:23] Look, I'm trying to create a...

Speaker 4:
[220:24] Nah, serious shit, serious shit.

Speaker 1:
[220:26] I'm sorry.

Speaker 4:
[220:27] First of all, thank you, bro, because you got on my album, you got on my mixtapes.

Speaker 1:
[220:34] I never liked you.

Speaker 4:
[220:38] And that makes me thank you even more. I never liked you. Because I literally wouldn't be here today if artists didn't believe in what I was doing and messing with me.

Speaker 1:
[220:54] You're my brother.

Speaker 4:
[220:55] And obviously, this is the biggest example of it, Noreaga.

Speaker 1:
[220:57] Yo.

Speaker 2:
[220:59] All right.

Speaker 1:
[220:59] And, uh, come on. The record, like, you've been brilliant. I was brilliant. I was, I was before I knew him before you even stepped in in brilliance. And that's dope. It's just, that's what it takes. It takes us. Honestly. So all's well.

Speaker 4:
[221:16] Thank you, bro. I'm not going to talk about your fetish with midgets or, or, or, or spy planes.

Speaker 1:
[221:24] All's well here.

Speaker 2:
[221:44] Watch out.

Speaker 4:
[221:45] Drink Champs is a Drink Champs LLC production, hosts and executive producers Nore and DJ EFN. Listen to Drink Champs on Apple Podcasts, Amazon Music, Spotify, or wherever you get your podcasts. Thanks for joining us for another episode of Drink Champs, hosted by yours truly DJ EFN and NORE. Please make sure to follow us on all our socials. It's at Drink Champs across all platforms, at The Real Noreaga on IG, at Noreaga on Twitter, mine is at Who's Crazy on IG, at DJ EFN on Twitter, and most importantly, stay up to date with the latest releases, news and merch by going to drinkchamps.com.