Joe and Jada - '90s hip hop stories: LEGENDARY Jay-Z, Biggie & Nas rap battles + Top 5 hip hop songs

Fat Joe and Jadakiss take us on a trip down memory lane back to their early days in New York City coming up in the golden era of hip hop. Joe and Jada talk about recording demos at D&D Studios around legends, pulling up to clubs and seeing rap legends like The Notorious B.I.G., Jay-Z, DMX, and Nas cyphering outside, how Jada met Ma$e in a cypher on 125th Street, Joe getting lawsuits thrown at him by lawyers representing Michael Jackson and Prince after his first successful mixtape, when they first knew 50 Cent would be a superstar, and many more legendary stories dug out from the crates of hip hop history. After, Joe forces Jada to come up with his top-five hip hop songs ever, and their lists include classics from Tupac, Dr. Dre, Run DMC, Snoop Dogg, and more.

03:15 - Hip hop origins & difficulty breaking into the industry

05:15 - Recording demos at D&D Studio

10:00 - Mixtape culture & Joe pressing DJ Clue

15:00 - Lord Finesse's influence

22:00 - Favorite throwback tracks

34:00 - Graffiti & word-of-mouth promo

37:00 - Legendary cyphers w/ Biggie, Jay-Z, Nas

42:00 - Joe getting signed & mother's cancer diagnosis

52:00 - XXXTentacion & how promotion has changed

1:06:30 - Covers taking over streaming

1:14:45- Top 5 hip hop songs ever

(Timestamps may vary due to advertisements.)

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Episode Transcript

Speaker 1 (00:00):
And I would see jay z nas a big l
all the rappers freestyling and ciphers in front of the club.

Speaker 2 (00:09):
That's how we met Mace actually in the cipher on
one hundred and twenty fifth Street in front of the Mark.

Speaker 1 (00:27):
It's your boy, Josse Antronio Hanna, Ah, your.

Speaker 2 (00:31):
Boy Jason, Terrence Philip. This is the Joe and.

Speaker 1 (00:36):
Jaysen Show, brought to you by boost Mobile. Get the
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Speaker 2 (00:52):
Get everybody won that, everybody with you on the whole bus.

Speaker 1 (00:55):
Hey, if you're a big ball out there in the hood,
just get the whole block boost Mobiles. That's what we're
doing it for. And Yo, shout out the cash At
just jumped on board cash Aat. We love you baby.
The Joe and Jadas Show. Listen, man, check this out.
We're gonna talk about hip hop the origins. Ah, how

(01:20):
hard it was for us to get in the game.
I'm curious to know. See, I knew about the Warlocks,
I knew about y'all. Yeah, yeah, I knew about y'all
from day one, But what what was what you think
is the difference of then and now? Or rather you
just say how y'all got in the game, and I'll

(01:40):
explain how I got in the game, or terror squad.

Speaker 2 (01:43):
Man evey way we any way, we cut and slice it.
It was still well we had to do to get here.
It was much harder. It was much harder and much
challenging just to be able to record music. Getting in
the game just didn't be find somebody. This is before

(02:06):
ever going in the studio. Just to find somebody that
had equipment to record some freestyles or record whatever you
had the right was like a task. It was only
it was it was only a fewel you know what
I mean. So to past that stage and then into

(02:26):
going into the studio and finally, you know, recording some
music that you thought was good enough to pass to
the DJs or pass or a record executive, the journey
from just dead to day was crazy.

Speaker 1 (02:40):
Well, a record executive is like it's impossible. Like like
when I first started rapping, I just thought it was
I'm just rapping for the hood. I didn't think I
would ever get a record deal. Like I thought it
was like just be for the homies playing this shit.
I never thought, you know, shut out Keyboard Money, Mike.
It first got whoever with me on like Bronx Cable

(03:02):
and me and my brother told one time that we
used to watch that shit over and over again, Like
he'd be like, Yo, you're gonna blow one day. I'm
like blow, Like you know what I'm saying. So when
did you get close enough to where you felt like, oh,
I could give this person this mixtape and they could
get it into the proper hands.

Speaker 2 (03:22):
We was actually it was a bunch of shit that happened.
But fast forward to the to the to the demo
that actually was the one that was able to get
past to Mary that eventually went to Puff's hands. We
was recorded in D and D D and D Studios.

Speaker 1 (03:41):
Wow, you got the D and D shot out Mary.
She was in the house last night.

Speaker 2 (03:44):
Yeah, MJ was up. Baby, we shot up.

Speaker 1 (03:47):
We was in D and D.

Speaker 2 (03:49):
However we got the bread to make it the D
and D and it was actually while Old was making
reasonable doubt.

Speaker 1 (03:57):
He was there.

Speaker 2 (03:58):
Yeah, he was in another room making reason with doubt
and we actually seen it was a pool. Remember that
you could play pool in there.

Speaker 1 (04:06):
That's where fucking big Out threatened me and the enemy.
I had to write the rhyme in his face.

Speaker 2 (04:10):
That's we bumped into Jazzo in there and ended up
getting a beat from jazz O that went on our
demo that ended up actually being a song on Puff
No Way Out Out that sold ten million. So we
recorded a demo in D and D was we were
still wet behind the ears, but we felt like these

(04:31):
songs was good enough. Mary got a cousin that was
a part of our every day onto rage Jay Bob Jamarco,
so he was he kept them. We knew once we
got some songs good enough, we could get it to
him and he could get it to Mary. So that's
what we did. And she happened to be on tour
with Josy and and them, and she popped it in

(04:54):
I think on the tour bus and that was That
was our end before all other ship and that I'm
gonna tell you.

Speaker 1 (05:00):
You know, that's crazy because shout out the D and D.
One time I beat the guy's breaks with your phone
with a red phone in D and D, just was
pounding them out with the phone. The old school phone
with the wire or a house phone. Nah. Yo. They
hated me forever since because it was like, you know,
D and D was like the fly studio, but I
had the juice. I was already fat. Joe my man

(05:22):
was like, Yo, my girl, she in the studio with
these other rap guys. She was like, she's in D
and D and this this mom, Yo, when I tell
you who be out to see you? Go? Bug guy?
He was like, Yo, she in there with the dude.
So I had to use my face to get in there.
I'm like, Yo, it's Joe Crack. They opened the door
and then we beat the brakes off this guy. And

(05:45):
they never liked they They who was it Dave? And
the was it Dave and Mike? But anyway, man shout
out the D and D, D and D. One day
I saw Jay in there recording with OC. They had
this one song together. I was up in there and
they was rocking you.

Speaker 2 (06:02):
D and D was like, if you made it to
D and D, you made it to that was like
the to get the recording D and D was He
felt like ended up mining D and D.

Speaker 1 (06:17):
He ended up buying D and D and then you
had so the who's who was in there. It was
almost similar to like a Barbito a stretch, and so
I tell you a better one. I went to a
ron G mixed stake and I was going in and
Biggie was coming out. I'm like, your big what's up

(06:37):
this this stall?

Speaker 2 (06:38):
The shots by the shower? When he said that one,
we said the shot he is by the shower. You
try to shoot me while I'm shitting.

Speaker 1 (06:45):
I don't even know.

Speaker 2 (06:46):
I'm telling you that run walking there that pocking big one.

Speaker 1 (06:50):
I was there, so no, it wasn't Polo Grounds. It
was he had almost about up n y C. He
had a crib on a side drive, so it was
like right around from up n YC. So I'm walking
in there, Biggie Small's just walking out. I do a
freestyle and when I'm walking out, two Pocket is coming in.

(07:15):
So that was the type of shit we were happening
and stretching Barbito. When you hear the infamous we wouldn't
call it a battle, but the infamous freestyle were big
Al and jay Z. Barbito had an open door. That
shit was like a if you fucked up Barbito and
stretches like they had everybody coming in the craziest guys

(07:37):
you could think of. The door was always open, and
so that's when they had that legendary I wouldn't say battle,
but it was big Al and jay Z in there
like Pun, you know, Pun broke through uh stretching barbito.
But this this before in the morning. You gotta wait.
You might go there one night and the whole Wu
Tang Klan is in there, thirteen deep, freestyling for twenty hours,

(08:02):
and then you might get the last ten minutes to
play your new demo in there like like this.

Speaker 2 (08:09):
Speaking the mixtapes, I got the story. Do you remember this?
I don't even know how we all ended up. What's
the first you know, fifty fourth Sony and Hit Factories
in the middle. We was in Sony, all of us,
some me, you was richer Rory No, no, no, we was,
we was, We was already who we were. It's still

(08:29):
it's still the earth. This is nineties early Sony. So listened,
we in we in there me you know the locks,
Joe Crack Nori, some other artists, clue Is. Did y'all
put pressure on him? You felt he was putting your

(08:50):
songs too far down? The thing like because in the mixtape,
if you wasn't in a certain if, then he'll put
you in a certain part of the tape.

Speaker 1 (09:01):
When they put you number twenty eight, twenty.

Speaker 2 (09:03):
Six, it's like that's the Ultimasius Scott. Nobody's listening to that.
So you seeing me, I've seen it was. I don't
even I don't even remember how we all end up.
We wasn't recording like a wee all the world and
none of that for everybody to be there. But it
happened to be mad artist and Clue and y'all put
a little pressure on Clue, like your clue, why the

(09:26):
fuck you keep making my shaws number twenty something? Inn
and a good thing. We was able to We worked
that out.

Speaker 1 (09:34):
You know, I saw Biggie. Biggie Clue hates the story,
but I gotta say my brother one of them bigs.
I was in Club USA, by the way, that was
the flyest club ever. When Biggie came up to me
at that the Derringer, he had the twenty two diligence, Like, yo,
you've seen clue. I swear to god, I just saw
a clue. He was like, yo, you've seen clue. He

(09:56):
put my shit on the tape. I'm gonna go get
I was like, yeah, I ain't see him, and I
just saw Clue walk through. Clue hate when I tell
that story. But Biggie definitely showed me the hammer and
say he gonna find Clue, he gonna give it to him.
Did you used to drive out the Queens to give
clue to your song?

Speaker 2 (10:15):
We wouldna by that Clue was coming to either rough
Riders or they would pick rest in Peace. Pick would
bring clue to songs, or he'll come to the store.

Speaker 1 (10:25):
Man. I used to have to go to Queens. It
was that highway and the police was always on that highway,
pulling everybody over. And then at the end they had
like a twenty four hour fruit market. That's where I
used to meet Clue to give him the songs. But
I remember, you know, I was scared to fly. So
I used to drive down to Miami twice a week

(10:45):
and just be listening to every Clue tape. Shout out
the bakm mother of everybody who ever sold the mixtapes.
You know all of music, hut hall of music, hut yo.
You know. One day when I had my my sneaker
store in I'm not sneaker store because we ain't have sneakers,
but it was Fat Joe halftime. But yeah, we used
to sell a mixtape. One day, the police came in

(11:07):
there and it was locking me up for the mixtapes.
Because we used to sell the mixtapes was illegal. So
they was like, yo, somebody got to go to jail.
We had my man Dja, he's in that letter. He
didn't want to take the charge. He was like, Yo,
I can't go to jail. I wound up almost getting
locked up over mixtapes. Thank god, the cops just gave

(11:27):
me a summons. But I was going to jail for
selling mixtapes. It was the craziest shit. I was already
a rapper, but you know what I would do right
shout out to Ralph McDaniels. He get me huge opportunities.
So for kids that don't understand, were talking about analog
and shit before shit was digital and all that. All

(11:50):
the kids would run home at three o'clock to go
see video music box.

Speaker 2 (11:55):
That's how it turned. This when the TV had knobs
on the kids. This is when turning.

Speaker 1 (12:00):
Out when your man, damn, I don't even got a pocket.
This when your man special lad had the one hand
in the pocket and the bubble and was like, I
got a dog, a dog with a solid gold ball.
Got it what we was like excited. But I met
Ralph McDaniels, I'm not sure where, and I started going
to see him.

Speaker 2 (12:21):
Uh.

Speaker 1 (12:22):
He had an office downtown by City Hall, and I
used to have to walk the elevator was always broken,
thirty one flights and stairs and that's fat Fat Joe.
And then Ralph started letting me host, so we going
to clubs and all that, and I'm hosting, Yo, what
up this fat joe y'all video music? But I'm still
in the streets too. I'm wearing like vance suits, big cubans,

(12:45):
like they know, that's Poppy who got the work up
in the Bronx. But I needed that, look, you know
what I'm saying. I needed that, you know, video music
box type shit. I went to Apollo Theater. So for
you to understand is my whole crew was already on.
So Finesse. I grew up with Finesse, Lord Finesse, he said,

(13:06):
I could say this story, but Lord Fess used to
you know, back in the days he was an entrepreneur.
So he would sell the newspaper, right, so he had
a newspaper route. So he'll come.

Speaker 2 (13:17):
Around and go pay for two you too.

Speaker 1 (13:21):
So Finesse used to go payaper and then your mom's
are paying him a dollar for the newspaper. But he
bought it for fifty cent. He made fifty cent to
go to the store to go get it. So I
met Finesse do that, and we used to hang out.
But he used to tell me all the time, y'all,
I'm gonna be a rapper, right, And I would go
to his house and he would dj his grandmother was there.

(13:44):
And one day I was listening to The Better Alert
and your man Finesse, he played like three or four
Finessa songs and I was just like he made it.
If it wasn't for Lord Finesse, that would have never
ever ever been fat Joe like, I would never believe
that I could become an artist in my life. I

(14:05):
had to see it to believe it. So when I'm
listening to this Lord Finesse is the man that you
had to hear, I'm like, yo, I'm going crazy. And
so finess gets on show Business ag get on and
Diamond was on before all of Us Stunts, Bloods and
hip Hop Classic album. And so I said, you know

(14:27):
what I was hustling. I was in the streets and
I said, Yo, I'm going to Apollo Theater. So y'all
gotta understand. I'm in the streets, making money, respected in
the streets, doing everything I gotta do. And I said,
I'm going to the Apollo amateur night to get on.
And there's a real story, right. So I'm already buying

(14:51):
that a dish. I'm caking. I'm caking, I'm caked up.
You see me in the clubs, popping bottles, all types
of shit. I'm doing what I'm doing. So I go
in there and I remember, so this is the heart
of a lion, heart of someone who I remember. I
went up in there and there was like one hundred
and fifty groups, and I remember, like, Yo, why these
people in here? Like you know, I'm here, like this

(15:14):
this is over, like no brain what I walked up
in there, like yo, this ship shout out the cocoa graft.
She just won the tennis.

Speaker 2 (15:24):
She said.

Speaker 1 (15:24):
The whole crowd was screaming for hard Plumnet in the
French joint, and she started telling herself cold, cold, cold
co They screaming Coco, but they were screaming the other
girl's name. And so you gotta talk yourself into you
gotta speaking to existence. So I walked up in there.
I ain't know what it was, but I looked at them.

(15:46):
I said, these guys can't fuck with me. I'm you know.
And sure enough we went out there. I had the
yellow Dapper Dan track suit. We came outside, I had
to dances and I had a song. It was called
he He's a big shot. Fat Joe is a big shot.
And I came outside and crowd way crazy. And I

(16:09):
tried one day to really think about it and be like, yo,
what did I say to make them go crazy? But
I really ain't saying nothing. The second I walked outside
and started rapping, they just there's always no disrestract. There's
always a fat girl that gets up there and goes
and I am telling you, and she kicked her ship off.

(16:30):
She kicked them shoes off. You know What's so when
the fat girl come up in the Apollo and go
and I am telling you kick her ship, it's over.
That's the cheek colt, yo, that's the cheek cole. She
kick her volumptuous. She she kicked her shoe off. Yeah,

(16:54):
all right, we're in a different type of thing. What's
the survey? And in telling you I'm not yo, and
she come up in there that shit is everybody going
crazy shit. So it's similar to her. The fat guy
came out. I tried. I stood up in the hotel

(17:17):
room one day, really trying to think about how I
wanted to apollo, and they just went crazy. They seen
Joe Krack. I don't know if they knew me from
the hood, from everywhere or whatever the case, and they
just started screaming like crazy. They couldn't have heard one rhyme.
I don't even remember one rime. You understand what I'm saying.

(17:37):
They just I was blessed. God said, Yo, they're gonna
go crazy for this guy. And I won four weeks
in a row. And that's how I met Redd Alert.
Red Alert came up to me and was like, yo,
DJ read Alert who ran the game? It was him
and missed the magic. It's only two DJ's playing hip
hop facts prime time every week. So redd Alurke came

(17:57):
to me and was like, Yo, do you got any jingles,
any demos? So I gave him Flow Joe. So I
remember I was home in the projects and I had
the flu and this must have been COVID wavy for
the COVID like, I was fucked, fucked, fucked up. This

(18:17):
that COVID eighty eight. It was eighty eight, nigger like, yo,
that COVID came up on it. I was fucked up.
And for like two months after I gave him my demo,
I was waiting to hear it and man, that s
shit weir, boom boom weird. I was like, yo, I

(18:41):
jumped up, Yo, I must have hit the ceiling and
I ran. I had to speak and I threw it
on the window right quick, and everybody was in front
of the projects and I was like, yo, this is
my ship, this is my ship. Ready to learn playing
my ship. And so he played the flow joke. And
then maybe like a year later, Chris Lighty, wrestling piece,
came to my my hood, my block, I'm hustling, fuck

(19:04):
my checks. He came to the spot. He said, Yo,
you know who I am. I said, yeah, I know
who you is because I used to see Chris Lighty
in the streets and all that. He was like, yo,
I'm Chris Lighty, I think you could be a big rapper.
I just signed a big deal with Relativity Records. He
had chi Ali, he had to beat nuts, and then
I was the third one and he was like, yo,

(19:24):
you know I want I want to make you a rapper.
And I was like, what the fuck? I showed everybody
that check. It was a fifty thousand, but it was
a legit check. It's a little bit different getting drug
money getting real real check, Like look, I got a
real check. I'm showing everybody my check, like yo, my

(19:45):
check like yo? And and that that changed my life.
What songs? You were here? Before? You was on what? What? Songs?

Speaker 2 (19:56):
From a lot of shit? But I remember always hearing
and Rock Kim came in the door check out my Melody?
M hm, I remember check out my Melody was always
playing in the park, basketball courts coming out of it.
I remember him and running them. King King of Rock,

(20:20):
Big Daddy came Roll Rock saying, Shante.

Speaker 1 (20:26):
Man, I'm shante, I'm shant.

Speaker 2 (20:33):
Ship right there, shout out to.

Speaker 1 (20:34):
Mally map that man, Mally Mal is a dangerous guy.
I just got back from France and I was pumping
that biz market, the biz Mark is going off the Biz.
That was the shots that that's one of my favorite
rappers of all time, Biz Markey and he went rest
in peace. It wasn't because lyrical. It was just like.

Speaker 2 (20:57):
Yo, Krst told me anybody in the world he never
wanted the battle Biz and that ship was amazing to
me because he like, I'm like, Chris, you I kind
of thought you was just like I kind of see
you not being scared of the battle Biz. But he
like he has so much humor and crowd control that

(21:22):
he could really actually embarrass him. So he's like, I
would figure I would think it would be g rap
rock Kim hell them type of He's like, nah, I
never wanted the battle Bizz because he could just do
some funny shit or do something crazy. And I said
that that was very interesting. And here kr say, out

(21:42):
of everybody, all of them gladiated that he didn't want
no smoke.

Speaker 1 (21:49):
He know, you know I used to hear the nordse
of the underground.

Speaker 2 (21:57):
Oh mister funk.

Speaker 1 (21:59):
Yeah, I'm living for the fun I'm talking about on
the block. While I'm on the block. The Jungle Brothers
Jungles spished to knock the Jungle Yeah, and I used
to ride around looking for guys with the hammer on

(22:20):
my lap looking for guys. Now I'm just telling y'all
the truth show, all right, But I'm just saying it's
crazy because in the prime of violence, I'll be pumping
plucked one pluck two answer that shows under this a
lot of it. And I'm looking for the funk boy,

(22:41):
and I'm listening to the Daisy's pot holes in my lawn. Like, Yo,
this sick crazy man or the biggest most dangerous guys.
I knew all nice and smooth kind of like put
me on so great nice and smooth be they used
to put me on shows when they was the biggest. Yo.

(23:04):
Let me tell you something about nice and smooth. Let's
go there, right, nice and smooth say, I'm Greg Nice
and I am MC smooth. Together we are pure blend,
imperfect calm with me. Yo. They had dances to do.
Cliff Love just what keeping you waiting for alone? I'm

(23:26):
sorry for waiting alone? Like Yo, they were like a
super mega group.

Speaker 2 (23:35):
They wasn't a shot out Teddy Tennis k the production
nice and smooth production was crazy.

Speaker 1 (23:42):
Well that's the awesome too, the awesome two which you
had to be allowed to be up at like four
in the morning to hear their show. So with me,
I live in the fact fifth floor of the projects
that we had the phone, the public phone like the
regular phone of the building. They would crack open the

(24:02):
thing and they would plug the boombox on to the
thing for the power. So shout out to a j
GP Craigo dance romance. All the older dudes, they would
listen to the awesome two at four in the morning.
I'd be out my window. That's where I heard. We

(24:24):
don't want to be left behind. All we want to
do is just blow your mind just one more time.
That's I say, right about now New York City ash Whip.

Speaker 2 (24:41):
For being in my uncle's room listening to that repeatedively,
I was repetitively just kept listening to that. That shit
captivated my mind as a little kid. But then for
some stupid reason, I took the Crown Royal grease and
schmitted on the receiver. They beat the bricks so I

(25:06):
don't even know the in that song. And then and
then listening to that pery, I'm listening to that ship
over and over. The little kid, I just opened it.
Take the silver top off and put the grease on
the with the dow dunk slash on the I know
my grandmother, my mother, my uncle, they all mighty. Somebody

(25:27):
beat the ship out of me for that man. Uncle
Mike was in.

Speaker 1 (25:32):
The back walking down the street that box in mind
the music on Boison Clan and you saying yourself there
is sound very nice. Let me tell you something I
know now the whole Man Block is China sound like me,

(25:54):
but the original yo. Let's say one day he showed
one day when I'm coaching at the Rucker. It said, well,
I'm walking down the street where I'm in the back
like getting the team was rocking, yo, jay. That's the

(26:27):
times they didn't even have videos. I heard that ship
in the middle of we Gotta win you I'm coaching.
I ran to that fucking rocker park and I was
in the back. I ran in there so fast like
a baby bro. I was in there like and they
was like, you know, doing And to me, it was

(26:49):
just so innovative, so creative when we were when I
was a kid, they rhymed like nobody else. And I
got to see him in real life, like I really
got to see him like I was It's like, Yo,
the fucking crash cours. Ever sign up for a phone plan,

(27:11):
thinking wow, great price, and then a few months later
it's like surprise, your bill is higher. With boost Mobile.
You pay twenty five dollars a month forever. That's unlimited talk,
texts and data starting adjust twenty five dollars a month,
no price, heights, no contract forever Plus.

Speaker 2 (27:33):
Boost Mobile is now legit nationwide five G network. They've
invested billions building five G tours across the country. Visit
boostmobile dot com or add to your local boost Mobile
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Speaker 1 (27:50):
Five G speeds not available in all areas. After thirty gigabytes,
customers may experience slower speeds. Customers will pay five dollars
a month as long as they remain active on the
boost a limited plan. Yo, listen, So we had to

(28:12):
do stuff like you know, I started out graffiti. So
I started out writing graffiti. That's how I met donad D.
He used to write ze rock. I used to write
I think. I used to write says and some shit
or poppy I don't fucking know. And then so I
always came from like a graffiti mentality to where with

(28:32):
graffiti it's all about a subculture that you king. So
if you're looking for graffiti, you'll see the names up
on the walls. Most people won't see him, but I
don't know if somebody's doing some shit, right, So we
started like that. So when I when I finally got
my deal with Relativity, I told him to make these

(28:53):
huge posters. So I don't even got one right now,
right now, If you got one, let me know, I'm
ready to buy it. It's a black and white poster
and it had to cover and it said fat Jo
the Gangster. And we tore this city a new ass everywhere.

Speaker 2 (29:10):
Bro.

Speaker 1 (29:10):
We used to come home every night looking like nine
to eleven, all white. Because it was the glue in
the water. You have to put the glue in the water.
So we on fifty ninth Street, over the fifty ninth
Street bridge, they had the green. Then we put it
up there. We put Atlantic Avenue, Brooklyn, we put it
Westside Highway, we put it in Ford them, we put it.

(29:31):
We was doing graffiti, so I had me the tax crew,
a bunch of graffiti artists bombing these posters like we
was bombing like it was graffiti. So we like King
of the City like and so everywhere you go the
other record label started like Leo Cohen, I never forget.
He actually went to Relativity and said, Yo, y'all gotta

(29:53):
stop this. Uh this fat Joe to gangster. These posters
is too big. How do y'all have a budget to
destroy this? Like because he knew now or his artists,
was like, yo, we went the big postest. We went
there and he was like, y'o, you're starting some new shit.
Y'all got the chill, Like these guys are going too crazy.

(30:14):
But that's how we did with the poster boards, with
Big Pond, the Don Carda Gina. We was out there.

Speaker 2 (30:19):
It was moman like you said before, back when we
was when you when we had to roll out something
back in the days or in the nineties, rather you
had to be more man. Of course you had to
label doing whatever they did, but you had to form
your own staff and get out in the street and

(30:39):
do shit yourself, you know what I mean, whether it
was painting them the stencils or just going outside, going
everywhere you can go on ford them and that's like
the emotional days.

Speaker 1 (30:51):
That's exactly you know what I mean. After I would
bomb all night, get home maybe six in the morning,
I'd bet at the train station and for them giving
out little cards saying hey, y'all, I'm Fat Joe the
rapper and giving them like the cover to the single.

(31:12):
Like I'd be on the train station like yo, I'm
Fat Joe the rapper and just giving him shit to say,
fat Joe the Gangster. Same thing where the first time
I ever met Biz, I went down to the lyricists
Lounch and I was giving the DJ flow Joe. You
know what I'm saying. I had the vinyls, so I'm
giving it to him personally. And that's where I saw

(31:33):
a big battle like twenty guys and he was up
on stage just killing him with a backpack on. That's
when I met him and he was like, Yo, you
flow Joe. This Yo, it's crazy man. But everything was man.
You you know. I used to come out the clubs
right and this could be uh, I don't want this

(31:54):
to be taking anyway. But I would come out of
SOB's different hip hop clubs and I would see jay
Z Nas a big l all the rappers freestyling and
ciphers in front of the club like I would see

(32:15):
everybody who became a legendary, they would just be at
the clubs freestyling, like outside in front of the joint.
They'd be spitting their bars out there. Alma, how was
it for you? Was you going to like?

Speaker 2 (32:29):
Yeah? I mean, of course we were younger, so we
wasn't catching the clubs until we got of age, until
we got on the label. But ciphers was a thing
of the of a norm like to where every day
we go downtown to get with D and before that
night was over it to be some type of cipher.

(32:50):
That's how we met Mace actually in the cipher on
one hundred and twenty fifth Street in front of the
mark T Dan Swisses Pops. We was with D in
the Martin T like, yo, I got I know somebody
that's that's super nice too. Were living around here in
thirty something, then thirty third, thirty knife, so he came.

(33:11):
I remember that day. Mace had on some Nike sandals.
I think he was dumping. He was crazy. He was
going crazy, right, crazy was understated flow. The flow was
crazy and didn't The rest was history. He was you know, you.

Speaker 1 (33:28):
Knew then and there he was gonna be a big
boy or you just knew he was that nice knew,
we just.

Speaker 2 (33:32):
Knew he was nice. We didn't know, we ain't know
we was we would be getting signed. Uh what was
gonna happen in the yourself, all of us because we
got signed around the same time Conn.

Speaker 1 (33:44):
Yeah, you know, I mean, I know that's what big
That's that's where uh Finesse met big Al right in
front of the Mark. Finesse went over there was signing
some autographs. The Big Air was like, let me spit
for you. That's where he met big Al in front
of there, and then he put him on and brought
him with him and he did the the remix to

(34:04):
Yes You Made. And I remember just as a team
player standing on in the stage in the back and
just seeing l catch wreck and I knew we had one.
I was just sitting in the back, like, y'all, this
guy is nasty. And you know when they're coming digging

(34:25):
in the crazy I used to have. You know, AG
had this one rhyme, Sally so she shlls down by
the sea shore. How much work can the Woodchuck, Chuck,
I don't give a fuck. Where I saw a g
Andre the giant, I would make him sit at rhyming
me Sally, so she shlls down by the sea short.
How much work could the wood chuck Chuck wore. I'd

(34:47):
be like yo, say the ron say to rhyme, and
he would always do it for me. But that's how
we literally started. Back in the days, it was word
of mouth, and you would hear about guys like I
hear the infamous stories like Jay said he used to
pull up on DMX and they would.

Speaker 2 (35:06):
Have Yeah, they had a legendary battle in the pool hoole.
I wasn't there for that, but that's the good back
and that's what you had to do. If somebody was nice,
you had to pull up on them and hear them
and no let him hear what you had. Or I
think that's a that's that's something that's different in today's
climbing of music. It was I was in many sessions

(35:30):
with everybody opposed, and now was emailing it or sending
it to a cloud, or they ill take bizarre to
the studio, remembers.

Speaker 1 (35:42):
And shout out Jazzy J's studio. Man, I did my
whole album when I got signed. The same day I
got signed, my mother caught me over. I went over
and she told me she was she was diagnosed with cancer.
And I'm rushing to tell her, Yo, I got a

(36:02):
record deal. You know, I'm gonna change my life. And
she tells me, Yo, I got cancer. She used to
smoke a lot of cigarettes. So I remember going to
the doctor and the doctor telling us, uh, she had
So the doctor was like, Yo, if this was my mother,
I would just send her home and spend whatever couple

(36:23):
of months I got. I was only like nineteen eighteen,
I was. It was crazy to me, right, But we
asked to talk about that. Yeah, we asked the doc, Yo, Doc,
what's her chances? Doc, what's the chances? And the doc said, Yo,
after chemo, after this, and that she got like a
one percent chance. And my moms looked at me and said,

(36:44):
you heard him, Joe. He said, we got a chance.
We got one percent. We the one percent, We got
a chance. She went to the hospital, she did an operation.
Her ship was this big because they cut her from
here to year. She had to talk. But she lasted
maybe forty years after that operation, thank god. But my

(37:05):
moral to the story is, remember that fifty thousand dollars.
Check my moms. They wouldn't let family spend the night
with us, so my moms were scared to spend the
night by herself. So at least forty thousand of the
fifty thousand I had to pay a registered nurse. At
that time, they was expensive like now like it was,

(37:26):
you know, like fifteen hundred a night or some shit.
So I only had ten g's left and that was
only enough to pay for the studio. And then Diamond
did me the favor. Whoever worked on the album pretty
much did the beats for free. And I remember I
ran out of money to mix the album and shout
out to the beat nuts juju or less. They actually

(37:49):
mixed my album for free. They mixed the album, you know,
to look out for me, so I'm always forever and
debted to the beat nuts. But that you know, that's
the type of shit he was doing back in them days.
And then we asked them guys Messages of funk. That
was around two signed Relativity. There was Good Brothers too,

(38:09):
and shit wasn't easy, man, And the money's different, right,
so let's go to that. So no, no, the money's different,
So you go Magic Johnson. This Joe, y'all could understand
youth or anybody's watching. Magic Johnson made one million dollars
and they put them on Time Magazine, Sports Illustrated everybody.

(38:32):
It was a one million a year. Now you got
the bummiest guy in the world on the bench for
ninety seven million dollars, and guys are saying his Greek
freak coming, or he's gonna stay over there and get
the max and get three hundred something million. The money
was different, So FlowJo went number one in the country,
but I was only getting five hundred dollars a show.

(38:55):
So I'm doing Yonkers, Staten Island and Fever fifteen hundred
on a Friday Saturday. I'm doing Va, North Carolina, DC,
Bang bang bang, like flying, like trying to kill myself
to come back with a little fifteen hundred a night.

(39:17):
And so this is this is the difference with the money.
So no matter how popping you was, it wasn't no
money at the time. So you're thinking like boom and
I go from you know, I literally was selling drug drugs,
so I took a I don't know if y'all truly

(39:38):
understand like I changed my life like Cinderella. But I
was making a lot of money to like hustle for
fifteen hundred dollars like and I had to stay the course.
So you have to understand if you're gonna change your
life youth and you're gonna get into the rap game
and you ain't making that kind of money yet or
whatever the case may be, you got to state of

(40:00):
course because I could have easily said, Yo, let me
go sell y'all, let me stare somebody up. Like guys
kept coming to be like, you know, I used to
stick people up so that you know, I stuck everything
up to supermarkets, drug dealers, everything you can name. So
guys would come up to me and be like, Yo,
we gotta lick. You know what I'm saying. We got

(40:22):
a dude, he got this couple of honeys. You know
what I'm saying. I beg I even was offered.

Speaker 2 (40:29):
You know it's not crazy, dude, you crazy.

Speaker 1 (40:32):
No, I'm telling you the truth. Like they would be like, Yo,
we got the lit and then they pull it off
and come around with the new benzes, your crack. We
try to tell you we had the lick. I'm already flowed, Yoe.

Speaker 2 (40:42):
Look how is your transition from that to that? Because
we had to buy a brick, we had to cop
a bird with our advent. Three dudes, the event was
only enough so you got the deal.

Speaker 1 (40:54):
And then when it kind of got.

Speaker 2 (40:55):
When we got our first deal and the money clip,
we copped.

Speaker 1 (41:00):
It said that the Baltimore there was always rumors of that.

Speaker 2 (41:03):
I mean, that's real. That's just really.

Speaker 1 (41:06):
So instead of you deal and you know you was
going legit, you went the other way.

Speaker 2 (41:11):
Three of us that was a legitimate, illegitimate thing to do.
At the time, they get it real, evinced that wasn't enough,
you know what I mean? Three of us were splitting
everything down the middle, thirty three and the third man.

Speaker 1 (41:25):
I had to do so much. So my reputation on
the street was straight violence, right, And I came in
this game and try to become the pussiest guy in
the game because I already knew people were scared to
deal with me because they thinking I'm like a New
Yorkshire night and the stories was going. So I was
trying my best to be the nicest guy in the world,

(41:48):
Like I'm trying to convince people, yo, I'm a good guy.
Don't listen to what people are saying.

Speaker 2 (41:53):
Look at this, did you ever have some this is
back since we on it. We just were on the train.

Speaker 1 (41:59):
Now on something.

Speaker 2 (42:01):
Did you ever have an altercation in Mount Vernon back
in the day, back because we had a show, we
were supposed to have a show the Young Luck whatever
we was, and we got arrested. But we heard before
that y'all had some type of fight or something happened
in it in Mount Vernon.

Speaker 1 (42:19):
Let's talk about the god the original right that Mount
Vernon show. Mount Vernon showed me what I could do
and couldn't do. So I was very young, and I
was very crewe oriented to the ight, and these guys
were dangerous guys like the terror Terror squad from day

(42:41):
one was very dangerous. I don't have to elaborate. I'm
telling you this is not a game. Everybody was like
seven point thirty and I would take them to my
original shows. Mount Vernon's one of the first shows I
ever did. And I used to look up to Mount
Vernon because Heavy D's one of my idols. Some money
earning Mount Vernon. But these guys went and started beating

(43:04):
up the fans, like sometimes you bring the wrong hood
with you, they'll beat up your fans. And so they
start stomping out the fans. And that's when I realized.
I said, yo, I cannot bring these guys. So somebody
grabbing me, like, yo, you gotta float Yoe. The Float
show was number one. It's why I'm trying to tell

(43:26):
you I did young, because I did Mount Vernon. I
did every movie theater you could think of. Now I'm
telling you, like you know, they used to have a
little movie theater. Float Joe was ringing Nigga thirst Thanksgiving night,
so doubt lines around the block for Flow Joe. But
these guys would fight the fans, and so I'll be

(43:46):
like a right Ski recipe. I'd be like, Ski, you
can't come. Such just said you can't come, and everybody
started getting mad at me. I was like, yo, you're
beating up the fans. This ain't like the enemy. Somebody
wants to beat me up. Somebody was say yes, winging
on the fans, and so that's crazy. It reminds me
of they asked some ship. I don't know who the
young boy is, but there's a young boy that was

(44:09):
really really parked popping. What's his name? Although something somedy.
He beat up the fan. They put him on in
a coma or something. So sometimes you really gotta reframe it.
Get but yeah, Mount.

Speaker 2 (44:21):
Vernon, Yes, you know, I just I was wondering. We
never made it to the you got arrested in the alley.
We didn't even make it to the where we was
supposed to perform.

Speaker 1 (44:31):
Man, so you you got there and they picked you up.

Speaker 2 (44:34):
Yeah, you know, so we walking and it just came
with a bus and shackles and mad cop cause we
was in Mount Vernon City jail. We all got to rest.
Didn't even make it.

Speaker 1 (44:47):
To the show. The shout out to Mount Vernon Man
money Earning Mount Vernon, they put out, you know, Mount
Vernon was the Beverly Hills of black people in America
at one time. You know, Malcolm X living in one
the house, Stephanie Mill, New York, Freddie your girl, Nina Simone,
he was like, you know, like no, Mount Vernon was

(45:13):
like if anybody black had real money. I'm talking about
Malcolm X, Nina Simone, Stephanie Mills while she's running around
with fucking Michael Jackson, like the biggest royalty they was
in Mount Vernons. You know, what I'm saying, So Mount
Vernon was really really a stretch of like Loue Albannos

(45:35):
from Captain rest you Captain Lou Albanna you remember him,
and that what was that? The Madonna video girls, the
City Officer girls, they want to have fun on Oh gosh.

Speaker 2 (45:50):
He had a big he had a big cameo that
he was her dad. He was trying to stop up.
You know that song is that's one of the ones.

Speaker 1 (46:00):
That's a legendary to this day. Girls want to have fun,
not shoe. To this day, that's a legendary. That one stood.
That one aged well, you know, and so mina day
you say, somebody like recipes u X text shown. They

(46:21):
say that guy never left his house. They say made
his music, press, play in the computer, was getting rich
off of streams and everything. We said, he never even
left his house. You got artists out here now.

Speaker 2 (46:33):
That shows the difference. That shows that the marginal gap
of from you having to put up actually put the
glue on the back of the glue hole shits and
put them up yourself to being able to make millions
of dollars without even leaving the crib is incredible.

Speaker 1 (46:52):
It's beyond incredible. And so the only thing I say
that that that's not right with that.

Speaker 2 (47:01):
Is touching the people.

Speaker 1 (47:03):
Yes, you don't touch the people, you don't create. So
every time I put out an album, I went on
something they used to call a promo tour. I hated
it because you went out there to go for free.
But it ain't nothing like meeting like you know, you
go out to San Francisco, you see Vaughn and Sway

(47:24):
and all these guys, and then you go to LA
and your relationship with Phelly Fell and Big Boy and
Bacon Cruise Boy. Remember the Baker Boys. They the first
syndicated crew. They was the first syndicated. So you go
around and you meet all these cosmic cavs and all

(47:44):
these guys, and then when you put out a record
that I call a strup, it's one thing. They support
you with a hit, but when you put out a
record that's like struggling, that's when them guys that relationship
kick in and they start playing your ship and then
if it deserved to blow, then it'll blow. And so

(48:04):
that's what I think the youth is missing, of that
communication with actual people that can help you when you're struggling,
you know, because I have a push of a button.
I never get involved with Like when people tell me, yo,
why you don't tell these young kids, these rappers, why

(48:24):
you don't this, I'd be like, okay, So the numbers
are to discourage you. The numbers are one out of
maybe ten million people actually make it and rap music.

Speaker 2 (48:40):
So I think that I think you're watching the numbers all.

Speaker 1 (48:44):
Right, So what's the number? What do you think that's
the number?

Speaker 2 (48:48):
It's fifty three new rappers every day? Who's he let
three of them blow? Who's just nah?

Speaker 1 (48:54):
Not every day?

Speaker 2 (48:55):
You're very confused right now, composed. It is all making
money that we never gonna hear.

Speaker 1 (49:02):
You're never gonna hero. Yes, but he's successful. Yeah, but
it's hard though, it's not. It's not what you think.

Speaker 2 (49:08):
You think anybody, how many guys you said numbers? That's
hard in the NBA. You know, it's easier to hit
the lotto than to make it to the NBA. You
just made a rap numbers harder than.

Speaker 1 (49:19):
Both of wrap numbers? Is that hard? To be really successful? Hard?
Do you know how many guys are forty years.

Speaker 2 (49:26):
Old on a housecss successful?

Speaker 1 (49:29):
Do you know how many anybody wraps and somebody dies
and they be like your rapper, whopp he wop, he
was a rapper. He got killed in Brooklyn the day. No,
we don't know this guy just because he made a demo.
He's a rapper. Now, you know, I'm talking about successful.
Every year we could think what a sexy read who

(49:49):
is the most successful rapper?

Speaker 2 (49:51):
Last year?

Speaker 1 (49:52):
Who was the first, Who is the newest rapper successful?
Glorilla blew up, but she was already out. I'm trying
to say that last year, sex yep, sexy red shooper,
who just came out this successful. We can name maybe
one to three that's really making money, that's really successful. Oh,

(50:13):
Lotto Lodo been out since she was twelve rapping on
the show. But let's think she put in the work
that she deserves it. What I'm saying to you is
like they gotta be a million something plus girls trying
to rap and they made it. And so what I'm
trying to tell you is that the odds are very,
very very discouraging. You got guys just because your crew

(50:37):
is selling you nice, just because you know you know
you got god. You got grown men who refuse to
get a nine to five, and they sleeping on their
couch at forty four with three kids, and they baby
mama working and they out here talking them by they're
gonna rap. If you ain't getting paid to do a show,

(50:57):
if you ain't got no real people streaming your shit,
you are not successful. You understand. So what I'm trying
to tell you is that this is harder than you think.
Everybody and their mother think they could rap and be successful.
It does not work like that.

Speaker 2 (51:16):
It ain't. It ain't that easy, But it ain't as
hard as when we had to. It's not as hard.
They don't got to go through this shit.

Speaker 1 (51:23):
No, no, no, I agree this. This reminds me of
the classic interview that Cali had with Cali. I think
he was with Ebro and them when he started basking
you know how hard it was to get on and
this and this and that. It was hard. Back in
the day you had, it was almost impossible.

Speaker 2 (51:40):
Everything was hands on.

Speaker 1 (51:42):
And now I get what you're saying. With the press
of a button, you could be successful. A lot of
people who did that, But there's a lot of people
rapping thinking they're gonna make it, and they never make it.
Most people never make it and it's very similar to
the NBA. The numbers of very similar to the NBA.
Now we ain't discouraging you. I'm just trying to give you.

(52:05):
You need to plan A and the plan B. You know,
especially if you know it's not working. Because another thing.
Let me tell you something, this game, the entertainment business
is off momentum. That's why I got a little upset
because we came out the box number one in the country,

(52:25):
you know, Apple Music, and then we I had to
go on Vaca. It was set up ahead of time.
I know that when you got momentum, you gotta keep
your foot on their neck. That's the way the game works. Now,
I'm in the artists we seen come out and get
hype at the beginning, you think they're gonna blow, and
then they lost that and then for years they keep

(52:46):
trying to come back to get Once you got that momentum,
you got to stay your foot on their neck and
keep that momentum going. Think about that, how many rappers
you could easily think about how many rappers Quarterbus. I

(53:06):
don't know if it was their work ethic. I don't
know if they couldn't deliver the record because I remember
fifty cent killing the mixtapes and all that, and then
when I heard go Go Coach Chawty, It's sure, I knew,
Holy shit, the man here, No, he delivered. He created

(53:33):
the hype and then drop a motherfucking monsoon or tsunami
on the ass. Now that's not all rappers. You know
how many rappers created some type of hype and then
drop the ball when it was time to let the
single go, they also.

Speaker 2 (53:48):
Shut They blocked it. You can't even use you can't
ball people's beats. How fifty was taking shits and making
his own songs and destroying shit, they blocked that. So
we gotta be mindful of what they're doing. Though. Here
I can tell you what even that mixtape you had
that was crazy that they took.

Speaker 1 (54:08):
Yo. Man, they try to sue me ten different ways.
It was like the Princess tape. Michael Jackson to state this,
I put out a mixtape. The ship was hard. I
actually concentrated on that mixtape almost like an album. I
took that shit serious. I dropped that ship at one hour.
They was like, yo, it came like and I don't

(54:29):
know why is that? Why that Joe can't make a mix.

Speaker 2 (54:34):
No, likey can't they blocking that ship?

Speaker 1 (54:36):
No, that shit came ceasing assist Prince the Beg's the
disc the total every beat. I yes, I used the
biggest beats. But it was a mixtape. I'm telling everybody
it's a mixtape. I'm trying to get it going. They
shut my ship down. So yo, I must have asked
so much hot blood pressure. No, Yo, I drove it.

(55:00):
Put your breath. When I drove from the Lower East
Side to the Bronx, I had like nine pendent lawsuits.
Like this shit was coming, like it was the same lawyer.
They was like, hey, Joe, just to let you know.
The BG said, you know better, they're gonna sue the
next thing. Princess State is saying they want damages. They're

(55:20):
gonna sue this, and just the shit just kept coming
off a mixtape and just and look he telling you
all these mixtapes everybody did, Fat Joe did one, and man,
when I tell you, the rules were different, they shut
that shit down. I never heard the mixtape again. How
about that. I never heard the mixtape again. Yo. I'm

(55:46):
telling you, I never heard the mixtape again. They shut
that ship down. He raced it from yr Yo, they
moved that ship. I was so scared after that ship.

Speaker 2 (55:55):
I said, Yo, you see nine loss. You can just
go in the stew balls. Anybody's beat, put it out,
create a buzz. You good. Now that shit have lasted
thirteen man.

Speaker 1 (56:06):
Now I'm fucking over there. I'm in Sancho Pei. They
playing all type of ed m shit and then when
you go on to Spotify, they call it a mixtape.
You see, they took the they took the yalla, they
took the no, they took the yaller. Right now, the
language on Spotify or Apple or whatever, it's like, yo,

(56:29):
the mixtape.

Speaker 2 (56:31):
And they took our shit and made it they shit.
And you can't even do this shit. That was our shit.
That's some shit.

Speaker 1 (56:41):
That's big ship, that's big time shit and so and
that's where the game is at. You know what I'm saying. Well,
we talk about hip hop music and I listen to
country and they be like country's the biggest genre or whatever.
I hear mad lyrics like you gotta be rap dudes
in the back room writing they ship because I hear like,

(57:03):
how about all corny, like watered down, Like we in
Sancho Pei and every legendary song you ever heard from
Stevie Wander, from whoever. They make their own version of
it and they play it in the hotels, the clubs,

(57:24):
the bars, and you there were days. If you go
on YouTube, to be honest with you and you like
slow jams, you hear the fake boys to man, the
fake Louta, the fake like, what the fuck is why
we can't hear the real fucking Brest.

Speaker 2 (57:37):
Something to do with the streaming and all that, the
ship that we never.

Speaker 1 (57:42):
Had to wag yoll the mainly out of like, you know,
because my shit is on being all that. So I
go to a hotel, I throw on the YouTube and
I keep hearing the fake Joe, the fake Lina Richie
like niggas is coming over somebody. But how do they
get the placement? How do they get the stream the

(58:05):
fake covers get the streams missed.

Speaker 2 (58:09):
It's something they leaving out in order to be because
you know how to go if you they left one
symbol off of one one shnaire is missing or something,
they give them the ability to do it.

Speaker 1 (58:23):
I also never like, I never like, uh very rare.

Speaker 2 (58:29):
I get it.

Speaker 1 (58:30):
A lot of artists we've been robbed I've been robbed.
You know, I got robbed for my publishing. When I
was young. God pull up on me. He was like, yo,
we Latino, We gotta take care of each other's name, Jellybean, Benitas,
they supposedly discovered Madonna and all that. He gave me
fifty thousand dollars and never gave me another dollar. He
must have robbed me for ten twenty million. I'm talking

(58:52):
about and big pun.

Speaker 2 (58:54):
He deserved a torpedo.

Speaker 1 (58:56):
Bet no, this guy needs more than a torpedo. But
you know, we never seeing it's cool. But the man
robbed me right for my publishing, So I get it.
Everybody get robbed. You know, whoever you name a Timberlaye
and the MISSI it is, they always was in the
kitchen cooking up. Scott Storch was cooking up, not getting

(59:18):
the credit right. So we all got robbed in one
way or another. Right when the artists go now and
do their own song over because they got robbed for
their publishing or something like that, and they could own
the master now it never sound like the original. And
we're so used to the original. And I don't care

(59:40):
who you name. I listen to a bunch of artists
like redo the song. Their voice don't sound the same.
You're older now, your shit don't sound the same, and
you out here trying to recreate the magic. I say,
keep performing, make your money. Don't fuck up the song
because now they switch it out, so they don't take

(01:00:03):
out the original that we love and put you with that.
But if with your ship in there, it's money for
the artists. But the ship is whacking in the original.
Let me use the bathrooms, tad on the ears. Nobody
can do. They swing over and it sounds good.

Speaker 2 (01:00:20):
I don't give a fuck. You can't if he did
Slow Joe right now, it's gonna sound garbage.

Speaker 1 (01:00:26):
You can't.

Speaker 2 (01:00:27):
You can't get back intim.

Speaker 1 (01:00:29):
Because we've been used to you're hearing the ship is
certain one. We love when the drum hit unheavy. We
love when that ship. Wait, guys, and then it's just
switch up you.

Speaker 2 (01:00:40):
Like even though you're the one who made it. If
I had to go back and do listen the sound
the only guys, you know what, I'm not even gonna.

Speaker 1 (01:00:50):
Say, who sound It's never gonna sound and scene like
this is this is the part of the show. Can't Jada,
You can't do. Can't he played the shit comes from
different plans. You never get I never understood weed. Like
if I went to the same guy, Pablo, he can't
guarantee me that the weedy sold me earlier come from

(01:01:13):
the same plan.

Speaker 2 (01:01:15):
Oh men, the fucking went to Montego Bay. These niggas
spent forty ms. They went to Cali and copied the
whole shit. They went to Montego Bay, spent forty ms,
cloned the whole shit everything and grew straight garbage. They
wasted forty ms. You know what it was to saw

(01:01:36):
you in the heat and then how Jamaica is eight
Cali weed is like that because the demographics of Cali.
Just because you copied it and tried it in Jamaica,
it was too hot. This shit came out garbage and
they wasted the breath.

Speaker 1 (01:01:50):
My shit is this. That's an interesting story. But listen,
My thing is this. If I go to McDonald's, I
know what the chicken McNugget is. No, I'm teared out.
Why don't I tell you something that I'm just saying.
When I go my ship is food, your ship is weed.

(01:02:13):
So when I go no Na, when I go somewhere,
I that go do but listen, listen, we got it
sh we rolling. No, I come off the plane. I'm
as Sancho Pey all this ship right, I'm eating all
this kind of weird ass. Sh right.

Speaker 2 (01:02:33):
You need to get that.

Speaker 1 (01:02:35):
I got right back to Jimmy's Bronze Cafe. Took two
scoops and I was like, oh, I noticed. What I
didn't understand is how the weed guy can never tell
you with like Newport, it tastes like a new Port.
How could you buy weed from a different solid?

Speaker 2 (01:02:57):
You see how you when you go the restaurants, you
know is guaranteed. If when you go weed shopping, you
got you have to go and try it every time.
Say we we sent them Sam, you send them.

Speaker 1 (01:03:11):
For a diapad. You got to sample it.

Speaker 2 (01:03:14):
Yeah, you gotta try it every time. With weed, you
gotta try it every time. It's not gonna be right
every time.

Speaker 1 (01:03:20):
You gotta.

Speaker 2 (01:03:21):
Oh no, let me see this, Oh no, oh like that.
I can't guarantee it because you're gonna order what you
ordered and it ain't gonna be with you.

Speaker 1 (01:03:27):
Order any weed they give me, make me run but
naked outside. I don't want it. No, I don't want it.

Speaker 2 (01:03:33):
That was franky baby. Yeah, ain't that ship for Friday?
That's smoke it. Let me tell you something, bro, shout
out to Doci man, she had one of the Yeah,
she knew she had.

Speaker 1 (01:03:45):
It about one.

Speaker 2 (01:03:47):
Do you know how many dough cheese? It's not gonna
need that many more.

Speaker 1 (01:03:51):
You know how many girls it's rapping right now? How
many millions of girls is rapping in Doci made it.
I'm just trying to tell you the odds, yo, Bro,
everybody's sitting on the couch is not gonna be a
successful rapper. They all around the world and all around
like in Africa right now, they must think they're gonna

(01:04:11):
be the next Davi Do or whatever the case may be.
I'm just saying you got to keep an A and
a B plan. I'm not discouraging you. I'm just saying,
chances are You know how many times I went to
karaoke and the girl came up in there and sung
the fuck out of the karaoke, but she never blew
up as a superstar, like the chances is really hard.

(01:04:37):
So what I'm saying to you is this all right,
I'm giving you a good one. Our fans love shit
like that are fans of the podcast Joe and Jada,
and we want to thank you for one hundred thousand subscribers.

Speaker 2 (01:04:48):
Like that twenty two days baby Instagram.

Speaker 1 (01:04:52):
About the crack one hundred thousand, We like ninety seven
thousand or some shit like that. But listen. Top five
greatest hip hop songs ever. I'm gonna let you, Yeah,
I'm gonna let you set it off and your artists
producers stop getting fucking mad. We love all of y'all.

(01:05:15):
We don't fucking whatever it's up, Papa ship like yo, stop.
I love all of y'all. Y'all all are supposed to
be the greatest of all for he's gonna pick five.
I'm gonna pick five. Don't rob bass, do not call
me and curse me out tomorrow when this ship drive

(01:05:37):
the right to because it takes two try to get
good big.

Speaker 2 (01:05:41):
You know what I'm saying. It's millions of them. I
don't want to fixing minding me making me.

Speaker 1 (01:05:46):
Do this right. That's right. Top five biggest hip hop
songs of all time.

Speaker 2 (01:05:54):
You see why this is a bad thing because it
goes off your age. I can say five and somebody
that a new never heard it.

Speaker 1 (01:06:05):
But it's okay, it's okay. Our demographic is people our
age real hip hop, and then we got some young
kids who really want to know the real.

Speaker 2 (01:06:15):
So the top five hip hop songs of all time?
How the fuck am I supposed to do?

Speaker 1 (01:06:21):
I don't know? But what what? What you think? When
you heard it? You are? You hear it and you
just like yo, this is the biggest ship ever.

Speaker 2 (01:06:30):
See. I'm trying to think of when since I ever't
first heard hip hop? And now, Oh now that's hard,
nothing but clustered.

Speaker 1 (01:06:37):
No, that's hard.

Speaker 2 (01:06:39):
I'm drawing white noise. Why don't you go first?

Speaker 1 (01:06:42):
Damn said? Why is what? This is?

Speaker 2 (01:06:47):
All?

Speaker 1 (01:06:47):
You? Right here? You go first? I'll say hip hop hoaray,
naughty by nature. I'll say still dre I swear it
gets tricky. I'll say, I'm just saying, biggest hip hop
ship you get caught hold on, hold on, caught up thinking,

(01:07:09):
I'll say, uh, New York, Alicia Keys and jay Z,
you right.

Speaker 2 (01:07:16):
Bouncing around years. You made it easier for me. I
like this because I count it easily. That's three three?

Speaker 1 (01:07:25):
What three? I said? What three? I said? Said? New
York hip Hop Array in New York Alicia Kes and
I think we got the best New York hip hop record. Now,
I'm just saying not even the five already crack. Hip
hop Array won the hip hop Array won the first
uh Grammy, the first rap for the first grade for

(01:07:46):
the Rap album, for for a rap album, and that
hip hop fucking hooray, Okay, I got hip hop Array,
I got what was the second one? I said, still
dre right, you know you hit them pianos?

Speaker 2 (01:08:05):
Huh?

Speaker 1 (01:08:06):
And then we got New York.

Speaker 2 (01:08:09):
Two of the greatest songs of all time.

Speaker 1 (01:08:13):
He on two of the greatest songs of all time.

Speaker 2 (01:08:18):
You're only on three though, you got two more.

Speaker 1 (01:08:20):
Biggie Hypnotize Biggie hypnotized, right, and fuck it, I'll go cliche,
I'll go Tupac dear Mama, Wow, I needed.

Speaker 2 (01:08:37):
I'm you did. All that was his own fucking top
ten songs. I can't be mad at we have said
talken about all time.

Speaker 1 (01:08:47):
Right, Yeah, you think I just hit a.

Speaker 2 (01:08:50):
There's no way to be right or room. I think
those songs.

Speaker 1 (01:08:55):
That's exactly the point. There's no way to be right
or wrong. So so my people don't call me and
curse me out every time I do a producer every
time I do this, every time I do it that
they want to fucking kill me. Like y'all. I love everybody, man,
but I'm just telling you hip hop paray. Oh hey, oh,

(01:09:17):
I'm talking about hypnotize.

Speaker 2 (01:09:21):
No, y'all, this niggas fucking talking.

Speaker 1 (01:09:25):
About the biggest shit.

Speaker 2 (01:09:26):
He fucked me up.

Speaker 1 (01:09:28):
I don't know, man.

Speaker 2 (01:09:29):
Let me say, nobody take nothing cause I don't like
doing these. So I'm on y'all side where y'all call
him and flip on them and everybody call crack. This
is his idea.

Speaker 1 (01:09:42):
But have I got to give you five?

Speaker 2 (01:09:46):
I can't, but let me try.

Speaker 1 (01:09:48):
One of them.

Speaker 2 (01:09:49):
Gotta be something from Snoop what Gin and Juice or
or the g Thing or one of them. Shit is
definitely one of them. Snoop and Drake together got one
of them. I don't know which one. Take your pick.
That's one for count That A's one right now. One

(01:10:12):
d m C.

Speaker 1 (01:10:13):
King the Rock.

Speaker 2 (01:10:15):
I gotta be one because that's one of the first
songs I ever heard in my life.

Speaker 1 (01:10:18):
Now, that's what setting it off.

Speaker 2 (01:10:21):
I'm uth at three now. The other one was you
Gotta make your own one I gave you Dre and
Snoop is one one of these ships is one is
I'm cheating, but I got he's cheating, no choice.

Speaker 1 (01:10:36):
He ain't go specific with it. I said, Jenny, juice
or g thing those take.

Speaker 3 (01:10:42):
Your one fault that dog of all times clocked Yeah,
because this.

Speaker 1 (01:10:56):
Is y'a Jada man, this ship you got, I'm mean
what else? I mean? Uh, you got a whole bunch.

Speaker 2 (01:11:07):
That scott one too. I don't know which one it is.

Speaker 1 (01:11:10):
Look, that's the stop drop shut him off on moup.

Speaker 2 (01:11:16):
What you call him is bigger than that. What it
make me lose my mind?

Speaker 1 (01:11:19):
Y'all.

Speaker 2 (01:11:20):
Make that ship rips out there up.

Speaker 1 (01:11:24):
Here, that his cruising, y'all gonna make me go all out.

Speaker 2 (01:11:30):
So the hook is so top forty. The verses is dishrich.
The verses is saying.

Speaker 1 (01:11:36):
That day when when the one thing gun thing like yo,
he's going crazy free. You know we had a thing,
let me let me shout out, cooling Dre. We had
a thing we would make. We would kill him on
the verse and make him dance on the hook. We
will always do that.

Speaker 2 (01:11:57):
Gotta stuff giving the formulas out. Don't get don't tell
these people that when I'm up to three or four.

Speaker 1 (01:12:05):
Man, You up to three?

Speaker 2 (01:12:07):
Now, I'm up to four.

Speaker 1 (01:12:08):
Y'all gonna make me lose my mind.

Speaker 2 (01:12:11):
I'm leaving ship out. I think one of see don't
hold me. Don't quote me, boy, because I ain't said ship.
N w A got one too, and pick it.

Speaker 1 (01:12:24):
Fuck the police.

Speaker 2 (01:12:25):
If you' every one you want, that's one. N w A.

Speaker 1 (01:12:29):
They got one, biggest of all time, great biggest one.
You don't question. My n w CONTs bigger than fuck
the police. That's why I just give you. N w A.

Speaker 2 (01:12:41):
They got one of them, one of them ships they
got caught bigger than I gotta switched demographic.

Speaker 1 (01:12:50):
I shit alone in my four corner. I got, I
got millions of more. But I just had to verse
bum boom bomb ole production there saying that listen, man,
I was hustling. I was in the street, hustling, and

(01:13:11):
my brother told Mantane to pull up in the red truck,
the Wrangler truck, and he looked at me. I swear
to god, this is like a movie. He pulled over.
I'm on the block watching the ship. I don't want
to say what block, but I'm on the block watching
and he ran up to me and his face it

(01:13:32):
looked like a movie. This is my best friend, rest
in peace, and he running like he had to tell
me something crazy. So I'm like, yo, turning something. He said, Yo,
come here, come here, please come in, and the man
press play because he had the system. Boom bu got
damn boom boom boom boom boom boomom. I sit alone

(01:13:52):
in my fall on the room stall. Or that we
started dancing around this truck when they played My mind's
playing tricks on me, dancing around like Yo, this ship
is great, and every drug dealer felt like paranoid. You
felt like I took the fads everywhere I go and
swam paranoid like everybody living that life.

Speaker 2 (01:14:14):
You know that was one of them ones.

Speaker 1 (01:14:16):
Nah, So let me get Jada's all. What what did
you write down Jada's five? No, it ain't his other
songs bigger than mine than his, were just saying he.

Speaker 2 (01:14:28):
Says, Go is one of the biggest songs, Go Go?

Speaker 1 (01:14:33):
What's from Go? Shut in the club? Fifty? Is your birthdays?
In the will? That don't know that sort?

Speaker 2 (01:14:41):
You could go niggas.

Speaker 1 (01:14:42):
I can't talk. No, I'm just saying I agree with
you with that. You know what I'm saying with the
with with the fifty damn, that was a good one.
That should have made some ship. No, no, it's your birthday.

Speaker 2 (01:14:56):
That's the ic to talk and you can sing that.

Speaker 1 (01:15:00):
That's the that's the cheat code. But what did we do? What? What? What?
What did I pick? What Jada picked on the top five?
Jada just ran down. It was either you had King
Rock or on d M c uh pick a Snooper
dre G thing or I think thin would be the
one Mon's playing tricks on me. D M X up

(01:15:21):
in here w a fuck the police or Compton? What
did I pick? Yo?

Speaker 2 (01:15:32):
You gotta stop Layton, that's one of my favorite songs. Late,
that's one of my favorite songs.

Speaker 1 (01:15:41):
Kidd Yo, your man violating my ship by here tayta
be on that bullshit. He throw the hoodie over. He
like standing alone in the four room with us, those missiles,
those hip hop rays, Biggie Hypmetize, Snoop Dogg. So I said,

(01:16:04):
still Dre. I went still Dre, and then I went
was tupac damn?

Speaker 2 (01:16:11):
That was great? Those is great. Whole Give it to
me is one of them ships too. They know that
ship every where anywhere you could go on with human beings, and.

Speaker 1 (01:16:20):
Then we're gonna both agree honorary should be in. There
is the in the club. It is mad P fifty
seve in the club is definitely when the club is
like the biggest disrespect ever created. You know, we start disrespecting,
we go to doom doom, but don't yeah with the

(01:16:41):
daily satility. That what the delly? You then when realposed
to be on baby, if you give it to me,
I give it to you. You know what that one?
You know I got it.

Speaker 2 (01:16:54):
I can't take y'all.

Speaker 1 (01:16:55):
Listen boost Mobile, yo, yo, you know what this is?
Boost Mobile, Jo Crack Jada, stay tuned, number one podcast
in the game, and we want to smoke with everybody.
I'm talking about Joe Rogan, I'm talking about Alice Cooper,
whoever y'all won Somebody step up please, I'm gonna knock

(01:17:15):
your coofie off.

Speaker 2 (01:17:18):
Thank you for tuning into another episode of The Joe
and Jada Show, sponsored by Presented by Boost Mobile. Joe
and Jada, Let's go this. Ain't that mean?

Speaker 1 (01:17:31):
It is? Because it's cracked kids. What