20 Wild Rap Stories From ALL THE SMOKE That Changed the Game

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
I knew he was gonna be big.

Speaker 2 (00:04):
You're gonna make it.

Speaker 3 (00:04):
It's gonna die, almost killed too.

Speaker 4 (00:06):
Nobody was getting out of that.

Speaker 2 (00:08):
Who in the world at this happened?

Speaker 5 (00:09):
Blame the game?

Speaker 6 (00:11):
Who was getting high real gas?

Speaker 7 (00:13):
Wherever you at, He'll smoke that whole shit.

Speaker 5 (00:15):
Damn h.

Speaker 8 (00:25):
We got the one and only fat Joe. When did
you run across uh Biggie? And what kind of relationship
did y'all have?

Speaker 9 (00:33):
I have flowed Joe out, and Uh Big goes up
to this place called the Lyricsens Lounge. Puffy's with him.
It's the same puff Daddy. Puff Daddy wasn't rich, but he.

Speaker 10 (00:44):
Was the same puff Daddy. He kept that energy, that
same energy.

Speaker 9 (00:48):
Right, So Biggie's up there in the Lyricis Lounge. I'm
already flowed, Joe's already out. I'm walking around my venue
trying to give it to the DJ so they could
play it. Back in the days, you couldn't just press
playing that.

Speaker 1 (01:00):
Everybody got it.

Speaker 9 (01:00):
You had the word of mouth, hand delivershit. And so
I'm sitting in the crowd and Biggie's just battling like
ten different killing them all.

Speaker 1 (01:10):
And he had a backpack on it. Puff kept going,
I'm telling y'all, y'all can't fuck with my man.

Speaker 5 (01:15):
Y'all can't.

Speaker 1 (01:15):
And that's how I met Big.

Speaker 9 (01:16):
So Big was like, oh shit, you flowed Joe, You
fed Joe, And I was like, what's up?

Speaker 11 (01:21):
Man.

Speaker 9 (01:21):
I actually booked him because on my side, hustle besides rapping,
because money making money rapping was like seasonal when you're
not really big. So it's like you put a record out,
you make a lot of money than them other months
you slow. So I used to throw parties, like promote parties.
So I had booked Biggie for his first show ever.

(01:42):
He was at the Fever and and you know what,
nine two nine three nine three, this Biggie's first show
every and the fly says partying bullshit and all that,
and then we became tight ever since then I go visit.
I knew he was gonna be big, and that's why
he was still underground. I just was like, Yo, this guy,

(02:03):
he's special. And then me and him was tight. I
tell y'all some shit. Me and him was tight. And
I remember when he met jay Z because he stopped.
Me and Big used to talk every day. He said, yo, man,
it's this guy.

Speaker 1 (02:16):
He's nice.

Speaker 9 (02:17):
I've been hanging out with him. His name's jay Z.
That boy nice. I ain't gonna lie to you. That's
on everything. I never said that in an interview. He definitely.
I remember when he met jay Z and he was
hanging out with him every day, and he was like, Oh,
I'm with jay Yo, this, this, that. So he saw
what I saw in him. He saw that shit jay
Z immediately.

Speaker 11 (02:38):
You know what I'm saying.

Speaker 8 (02:39):
So, how did you guys relationship continue to grow through it?
I mean, obviously you're established now.

Speaker 12 (02:44):
He's a great, great story.

Speaker 1 (02:45):
No Biggie.

Speaker 9 (02:48):
To this day, there's nobody's career that has went more
viral than Biggie Smalls. Biggie Smalls went for wearing the
army jacket to the next day rocking the tucks. I
Dow'm in tuxedo with gators and the fur arm and
going number one, two and three. We never seen no
shit like this, Like overnight, he went from Biggie Small

(03:10):
to the notorious me I gene number two, two and
three Brooklyn, we did it like that. Shit happened Mike Bhoom, right,
And so we know because we're in the situation of
power that a lot of times people's opinions, We at
least perceived that people's opinions change on us because we.

Speaker 10 (03:31):
Got success or status.

Speaker 1 (03:33):
So I'm even guilty of that.

Speaker 9 (03:34):
When Biggie was like number one, two or three, I
remember walking up to a Vibe party and I just
seen like two hundred people around of one truck and
I ain't even know who's that.

Speaker 1 (03:46):
And when I.

Speaker 9 (03:46):
Seen it, it was Biggie standing on the truck and
me myself, Joseph Cartagina myself looking at that, I was like,
I'm not gonna go over there.

Speaker 10 (03:56):
He probably changed.

Speaker 1 (03:59):
And he sees me right at the moon. Yo, god, yo,
I go over there.

Speaker 9 (04:05):
So then he grabs little Kim. She was with him,
and he was like, what the fuck we've been playing
all day? Well, we've been playing all week.

Speaker 1 (04:12):
My new album had dropped, my second album, Jealous. She
was like, your albums like you.

Speaker 9 (04:17):
Got better boy, You're killing him now.

Speaker 13 (04:20):
You know.

Speaker 1 (04:20):
I was like, damn, he ain't never chanced all that.

Speaker 11 (04:24):
Yeah, he ain't changed. I never seen the brig, never
seen the crack.

Speaker 1 (04:28):
One for the ass, you know, the.

Speaker 11 (04:33):
King of New York, New York.

Speaker 14 (04:35):
That's the one to tell him the story about when
Pa got locked up.

Speaker 2 (04:38):
You said the kite on him.

Speaker 9 (04:40):
Be clear that story. Uta Muta told the story, who
Po's right here?

Speaker 13 (04:45):
Man?

Speaker 2 (04:46):
And who was Napoleon? He's moved Napoleon.

Speaker 9 (04:49):
I had never said that story in twenty something years,
Fat Joe never leaked that story. That was it's a
true story. And so what happened was East Coast West Coach.

Speaker 1 (05:00):
Biggie's my man.

Speaker 9 (05:01):
And to be honest with you, you know they were really
I want to use my words correctly. Let's just say
that West Coast was like leaning on New York like
like like.

Speaker 1 (05:14):
Really leaning on New York like hard. The pressure was legendary.

Speaker 9 (05:19):
And the New York rappers, you know, they just wasn't
really coming back at theming like that, and they were
just violating right, doing crazy shit. I don't know, talk
about all the type of shit going on, right. And
so I'm in the radio one day and they asked
me the question, Yojo, what you think about Tupac, And
all I say, yo, he's cool, but you know, if

(05:40):
they stepped to me, it's gonna be some ship.

Speaker 1 (05:44):
So I said that on.

Speaker 9 (05:44):
The radio, not knowing Tupac locked up upstate in New York.

Speaker 1 (05:50):
The Puerto Ricans hear that, Poppy if.

Speaker 9 (05:54):
I got beef with fat yo yo yo no on that,
and then we were still in the street.

Speaker 2 (06:00):
Odd.

Speaker 9 (06:01):
So I said that in an interview. You gotta be
careful your words to really create problems. So then I
get on a phone call. I get a phone call
from great Nice who pretty much put me in the game,
one of my brothers.

Speaker 1 (06:16):
They said, yo, Joe, I got Pac. On the other line.
I was like, pot so I pick up. And then Tupac.

Speaker 9 (06:23):
I don't want to elaborate too much, guys, but what
I'm saying is Tubac was like, Yo, these Puerto Ricans
is on me, Like you said something.

Speaker 2 (06:29):
In the radio.

Speaker 9 (06:30):
I don't got a problem with you, Joe, like this,
I know what's up this is. And so you know,
we sent the kiteout to the Puerto Ricans.

Speaker 1 (06:37):
And be like, noah, no, no, no no, no.

Speaker 9 (06:39):
This ain't about that, not on the strength of me.

Speaker 1 (06:43):
Don't do that.

Speaker 9 (06:43):
And then they wind up being real tight with Tupac
and there holding them down in there. That's how that
came about. But be clear, y'all, I know I talk
a lot of shit. I talk a lot of shit.
But I never told that story in twenty something years,
you know, because now we gotta be careful with podcasting clouds,
right right right, like y'all, this is shit crazy out there.

Speaker 8 (07:13):
Welcome Chris Webber, your time with with with these music artists,
you know Big and Seas. I know you're close to
Seas still Nas just wins a Grammy. Talk to us
about that crossover between sports and music, because you were
right in the mix during your time.

Speaker 15 (07:30):
Well, you guys know, I mean, we all come from
the same place, so we're gonna have the same things
in common, you know what I mean. And so growing up,
you know, so I'm sixteen eighty nine and that's you got.
You know, hip hop's in this little bit of peak,
and so growing up, I remember me and Jay Rose
used to write rhymes and class and passing back to
each other everybody wanted who want to be a rapping

(07:53):
vice versa. After I left college, KG from Naughty by Nature,
Shout out to KG. He's crazy sports fan and we
were just cool. I would just go to his house
in New Jersey every summer. Man, I go to his
house in New Jersey, shot out to his parents, His family.
They would just let me stay there. He had a studio.
I mean I could stay there for days and no
one come bother you or bother you, you know what I'm saying.

(08:15):
And in that time I learned how to make beats,
like he had Johnnay, that group Johnaye in the basement,
and I remember just watching him like just make beats
or you know, other groups, Ral all these other groups
that he had, so making beasts that just let me,
like after games, shit, come back and wind down. And
then it just takes you to where you meet a
couple people that you like minded, you know, you have

(08:36):
real relationship with him maybe you know, maybe they't.

Speaker 2 (08:38):
Hear some shit.

Speaker 15 (08:38):
So with Nas, it was just he's just somebody I
mind from Afar. I love his rhymes. When we met,
I was like, uh, you know, we're not gonna be
cool cause you know, you know, it's just not that
type of party, like going do your thing, I do mine.
We became close and he was just hearing some beats
and he was like, yo, I'm put that on, you

(08:59):
know me, And for me it sounded cool.

Speaker 2 (09:02):
I'm being calm about it.

Speaker 15 (09:03):
But at that time, I mean, it's still one of
the biggest accomplishes of my life to have a you
know song Blunt Ashes and then have Surviving the Times
on this other album. So for me, somebody to make
beats and listen to music all the time. Grew up
in Detroit where music is that it was. It was
just dope being a part of it. So yeah, that was, Yeah,
that's just dope.

Speaker 8 (09:20):
Take me back to the because you were at you
were up on stage at the was it the Source
Awards with the with the East Coast West Coast Ship.
That was a young ballhead of you up there right
with you and who else was up there was you.

Speaker 16 (09:32):
It's messed up too because I come home with Puffy
and Faith right after should lay it down? You want
to be on the videos and I come on stack
like I'm I come up, I'm wearing black, like I'm
part of bad Boy.

Speaker 2 (09:44):
I'm like, I don't know nobody, you know what I mean.
But it was dope that.

Speaker 15 (09:48):
Night because Big and Them was sitting right here, and
you know, he would you know this time passed back
Crystal or Blunt. It was just it was to me,
it was it was the source of awars, right the
source of wars.

Speaker 2 (10:00):
It was.

Speaker 15 (10:02):
Like when Vince Carter was at the dunk contest down
when Vince did the dunk in two thousand and one.
That's what it's like. All of Wu Tang was sitting
on one uh, all of death Row was in the
was in the middle. I mean, it's when death Row
came out in the cage just with you know, Lady
of Red. Yeah, oh, that's when m C eight. That's
when Dj Quick was looking right at m cate the

(10:24):
whole time he was rapping because g.

Speaker 2 (10:27):
Ain't in you Like, it was just beef. I mean, Mob.

Speaker 15 (10:30):
Deep was beefing with uh Bow Thugs and harm at
that time.

Speaker 2 (10:34):
And I'm a fan, so I'm in the back. I'm
just I'm just washing kind.

Speaker 15 (10:37):
Of shah, kind of guns falling on the floor.

Speaker 2 (10:40):
Everybody got on bullet pool. It was so crazy because.

Speaker 1 (10:43):
I'm thinking, like, who in the world let this happen?

Speaker 15 (10:47):
Like I didn't see one security guard, people doing the show,
and people just walking up.

Speaker 2 (10:53):
But it was the dopest show.

Speaker 15 (10:54):
I always go with my boys and be like, I
don't know a hip hop show that was doper than that.
But yeah, he came out and that was the whole
East Coast West Coast Beef, Snoop Snoop doggs right, Snoop
is hard for Snoop to do that there though, that
was they were boring them too.

Speaker 8 (11:09):
Yeah, that ship was hard. I mean for me growing
up West Coast. I'm strictly West Coast. The only I
didn't listen to J at the time. The only East
Coast person I listened to was was I wasn't It
wasn't Tang, it was Big.

Speaker 2 (11:20):
Yeah, you know what I mean.

Speaker 8 (11:20):
So to so to see what the West Coast was
taking out there, I was like, oh ship. And then
all of a sudden you look back on the old
films like, oh ship, that's web right there.

Speaker 15 (11:27):
What the fuck looking like ship?

Speaker 8 (11:38):
Today we got a niconic boy, big Boy, Snoop.

Speaker 3 (11:42):
Snoop Man, Snoop Uh. I got quite a few with
dog Man. But I remember one night I was having
a birthday party, and every year I would have somebody
come and Snoop around that time, Snoop is heavy into
his Snoopy football league, so I would years, you know,
my birthday fell during the season, and dog would lock

(12:05):
himself in so he would, you know, respectfully like big
you know. So when I finally got him one year.
That's why I said, Dog, I really want you to
do it this year.

Speaker 10 (12:14):
Man, I got you. I got you.

Speaker 3 (12:15):
He told me he'd do it for free. That's a
dog just sending the transportation. So you know many coaches
where it's like fixed up on the inside and everything,
I send them. I had a mini coach I didn't
send the mind.

Speaker 5 (12:27):
I sent him.

Speaker 3 (12:28):
Another one from one of my partner's companies. And they,
you know, all Snoop is in the car. They're forty
five minutes out. He's on his way. He's on his way,
all right, cool. Next thing I know, dog, is there
somebody come from get me there? Like hey, man, They said,
the bus smells like gasoline. And I'm like what, I
go in the bus, man, and it's smelled like a

(12:49):
gas leak so much that dog was afraid to smoke.
You know, it must be bad if the dog's not
gonna smoke. So that night, bro, I almost killed Snoop
putting this dude in the in that bus. So literally
I sent him home in my bus and I got
home with my people and the bus. That when they
was taking his bus back to the yard, it caught

(13:10):
on fire. So on my YouTube, channel. I got the
whole story of the night almost killed Snoop Dogg. And
you know how Snoop do is his interviews. Man, I
don't know who did his uh research. Everything was wrong,

(13:30):
you know, dog Man, because.

Speaker 10 (13:33):
You wrote a book.

Speaker 3 (13:35):
Tell me about this book, Man, what made you write
a book? I'm like dog I wrote that book ten
years ago. Okay, every day everything was wrong.

Speaker 17 (13:46):
Man, he said, big Boy, not too long.

Speaker 8 (14:01):
And he shared the story that is rolling, kind of
rolling after the fact after we was laughing, but he said,
you almost had a real accident.

Speaker 18 (14:08):
With this nigga.

Speaker 2 (14:08):
Tried to kill me.

Speaker 4 (14:09):
Man, explain what that's that, big boy? When he wasn't
in shape, Big boy.

Speaker 8 (14:18):
Real quick, did you see the story we had with
the two guns underneath his stomach?

Speaker 2 (14:22):
No guns up under his stomach?

Speaker 17 (14:25):
Finish your story.

Speaker 4 (14:26):
So this nigga, he been fucking with me for years.
It's my love him to death. So I'm fucking with
y'all by talking about him like this, but I love him.
It's my nigga, right, So he fucking with me every year.
Snoop my birthday, Man, I got a birthday. When is
your birthday came? It's except nigga I coached football, Nigga.
I don't leave my kids, Nigga. I love you and

(14:46):
your birthday, but fuck you, nigga. The kids more important.
So he just keep telling me it's his birthday, his birthday.
So one year, his birthday fall on a day where
it ain't no game and the football is on palls
for this week and we made it to the off
or something. I'm like, all right, nigga, I'm gonna do
it for you, cuz send me that motherfucking uh. He
got a sprinter van and he was riding in but

(15:07):
it was like a handicap van and he is hooked up.
Send me that motherfucking handicap van. You be riding in,
nigga with the beat in the back boom. We at
the house waiting. I got about fifteen homies with me.

Speaker 3 (15:18):
Van pull up.

Speaker 4 (15:20):
It ain't the one that he be in. It's a
real nigga. Niggas in the window with the helmet on
bus one of them. I'm like, he wants to ride
in this, So I'm like, fuck it, we're gonna get in.
Cut let's row. We jump in. Soon as we get
in there, I'm like, I smell gas. I'm like real gas.
Nigga like Chevron like seventy six. Nigga like, nigga, don't

(15:50):
you dare blakee Nigga. I said, nigga, don't nobody smoke nothing.
I'm I'm smart nigga. I'm like, nigga, smell gas. Nigga, No,
don't nobody's none. I tell all of them, give me
the lighters. Take all the lighters, put them in the bag,
put them in the back.

Speaker 11 (16:06):
Boom.

Speaker 4 (16:07):
We ride, Nigga. All while we ride, niggas is doing
all this niggas. But because it's gas, nigga woosy. We
get to the motherfucking thing nigga and jump out. I
don't even cuts big boy out. I just like, uh, look,
smell of wool wiping, smell like gas.

Speaker 8 (16:22):
Huh.

Speaker 4 (16:22):
He get up in there he smelled. He like, yeah,
do smell like gas. I'm gonna let you use my
van on the way back. So I'm like cool. So
we perform, jump in his van and go back.

Speaker 2 (16:31):
Nigga.

Speaker 4 (16:32):
The van we was in, that motherfucker blew up. Oh man,
it blew up.

Speaker 17 (16:38):
Nigga.

Speaker 4 (16:38):
When we got out, like twenty minutes after and my
house was like an hour and twenty minutes, so Nigga.

Speaker 8 (16:44):
We'd have been in the back blowing up.

Speaker 4 (16:48):
And this nigga said, I'm sorry that motherfucker blew all
the way U. Nigga'm not playing. He got footage of.
But Nigga's on full fire. Nigga like like nobody was
getting out of that. It was a handicapped but you
know what a handicap bag extra locks and every thanks

(17:17):
big boy, I love you cause.

Speaker 8 (17:26):
We got a legend in the building, doggy style. What
was it like helping be a part of that project?

Speaker 19 (17:33):
It was great being a doggy stack because I was
producing more, I was writing more, just learning more. You know,
they knew our faced then you know what I'm saying.
And then uh, that's when John Singleton came to us
and he wanted us to do poetic justice and we
did the song Niggas Don't give a Fuck and that
was the first dog Pound song because being correct with Solo,

(17:55):
I was that nigga dash. He was corrupted kingpin. And
then we was getting you know what I'm saying, looking
at the moon one night, damn well call ourselves the
dog pad because we lived in the dog I was
stay in our house the dog Pound and then all
the niggas that we had the doll Pound gang. But

(18:16):
we had a group of dog pounds. I'm like, nigga,
we're gonna become the doll Pander. That next day, when
we was hard thinking that shit drunk and shit looking
at the moon and ship and the moon moving and shit,
John Singleton came up and we did that song. The
next day it was solidified.

Speaker 8 (18:29):
I mean, you've had your hand and a ton of hits.
What was that one when you heard on the radio
the La radio wave the first time you were like.

Speaker 19 (18:37):
Damn, got my mind on my money and my money
on my mind, Jean and Juice, you know what I'm saying.
On hearing your voice, but just being on Tanga ray
and blunts and just being on the chronic and then
what would you do? We got nominated That was a
dis song and that and we got nominated for a
Grammy for that, and me and Corp took our mothers

(18:59):
to the gram.

Speaker 11 (19:00):
It was.

Speaker 2 (19:03):
Go, are you finished? You can finish? You know?

Speaker 19 (19:05):
We just took our mother to the to the Grammys
and got the you know, the boone thugs wanted you
know what I'm saying, But that's who it was few
when back then, but we're best.

Speaker 18 (19:13):
Of friends now. Yeah, shut out to boone thugs.

Speaker 14 (19:16):
You know what I mean about the room soundtrack dog
pund for like you did that beat that did that
beat that bitch hard, that ship crazy, And then I
did soundtrack big pimping too, Yeah, pimping too.

Speaker 8 (19:30):
Yeah, I heard. I want to say, I heard you
tell it or someone tell it. You and Snoop got
into some ship one time, just kind of wrestling around
and he shot the equipment.

Speaker 18 (19:38):
Yeah, we got into it.

Speaker 19 (19:40):
Little cousin in the room talking ship, I'm talking ship
and uh, I think I put him in the head
lock or something like that. And then uh, he came
in there and shot my drummers, shot.

Speaker 18 (19:57):
These three eighties.

Speaker 19 (19:58):
We just bumped, and then I went in there and
shot the TV up he just bought. They had with
them big ass TVs. And then we just went there
and smoked the blunt after words and all the.

Speaker 17 (20:08):
Day did y'all didn y'all create ain't no fun right
after that.

Speaker 19 (20:13):
Yep, Because we went somewhere and they took the dish
out the drum machine and gave it to doctor Dre
and I came back in they had Ain't no fun.

Speaker 18 (20:22):
I get my credit for it. I'm still fighting for
that run.

Speaker 13 (20:25):
Now.

Speaker 18 (20:27):
It's this stuff that only we know.

Speaker 8 (20:29):
You know what I'm saying, talked to us about ain't
no fun though.

Speaker 18 (20:32):
Yeah, ain't no fun.

Speaker 19 (20:35):
The homieshing, you know, boom boom bomb. After that offer,
Cameo was sampling Cameo and then they just took that.

Speaker 18 (20:43):
Base like one one. Doctor Drake did what he did,
and Nate Dog coming in when I mentioned it was
over who it's the piece of nake Dog?

Speaker 2 (20:51):
You know what saying.

Speaker 18 (20:52):
We've been through a lot, man, you gonna do?

Speaker 20 (20:54):
You really don't know somebody that buys you not to
trust that whole silly of me to fall in love
with Rotates and my game grows bigger.

Speaker 2 (21:05):
How many bitches?

Speaker 18 (21:06):
Motherfuck this nigga name Snoop Doggy.

Speaker 21 (21:09):
I'm all the above. I'm just swift on my toes
to get caught up with you, hosey. And we perform
that every time. And you know you know what I'm saying,
Like they'd be like, man.

Speaker 19 (21:19):
We grew up on y'all man, you know yeah, and
we'd just be like damn that old you know what
I'm saying, but I still feel you know, you know
what I'm saying, my vegetables fruit, you know what I'm saying,
get the sun.

Speaker 18 (21:30):
I better get you all some son too, because that's
part of life.

Speaker 2 (21:32):
That's a blessed. Your music timeless.

Speaker 8 (21:42):
You got Wis and the buildings.

Speaker 12 (21:44):
You know.

Speaker 22 (21:44):
Like I said, Cam is my favorite rapper like as
far as like lyricism and swag and ship like that,
but Snoop is probably the person who I model myself
after the most. I will watch him just walk in
a room and just be like wow, like that's really
that nigga, Like you know what I mean, And to

(22:04):
see that respect that.

Speaker 11 (22:06):
I do a lot of research.

Speaker 22 (22:07):
I watched like a lot of documentaries and backstage stuff
like that. So I would watch him on the road
and be like, man, I just want to hype man
for that nigga, or I just want to like just
beat a young homie like back back then, it's like yo,
I would just like roll weed for that nigga if
I could just be next.

Speaker 11 (22:25):
Yeah, Like I would do anything.

Speaker 22 (22:27):
And there's I feel like there's a lot of people
who feel like that. But you know, to really put
those intentions out there and then to see it happen,
and Snoop took me in, you know, under his wing
immediately when I moved out here to LA. One of
the first things he did was like, you know, get
a crib around the corner from my spot. We're going

(22:47):
to record at this studio. We're gonna shoot this movie,
We're gonna.

Speaker 11 (22:51):
Make this album.

Speaker 3 (22:52):
Yeah.

Speaker 22 (22:53):
Man, it was like damn Like instantly, it wasn't like, Yo,
We're gonna get high and fucking eat junk all day.

Speaker 11 (23:00):
It was like, yo, business, it's time. It's time to
make a moment out of this.

Speaker 22 (23:04):
So that's what I mean by I model myself after
him because I see, you know, his position in the
game and still how hard he works and what he does,
and yeah, just moving forward, it was like, Yo, I'm
on tour with this nigga.

Speaker 11 (23:20):
I get to share the stage with him.

Speaker 22 (23:22):
Every night, like he goes, and then yeah, I about
to say I go, I go, he go, and like
the crowds partying, and of course I know his motherfucking
words because I'm a fan like everybody, any fan like
would get up there and sing that ship with all
of their hearts. So that was like the most like gratifying,
like Mac and devn being Yeah, for sure, we're gonna

(23:46):
do it.

Speaker 11 (23:47):
We've been writing it for years. We just sh going on.

Speaker 22 (23:51):
I got ship going on, so you know, we just
got to get in the room and really make that
ship happen. But I executive produced a whole album for
him that we're going to put out. Of course, we're
going to do the soundtrack for Mac and Devin too,
and yeah, we'll throw y'all in the movie.

Speaker 8 (24:05):
Tell me how instrumental in your life he was though?
So it sounds like he taught to your grind, you
modeled you know, someone you monitor your game after. But
how instrumental was it.

Speaker 2 (24:16):
You saying that?

Speaker 23 (24:18):
What?

Speaker 8 (24:18):
Like, how just explain to everyone how important he was
in your journey?

Speaker 2 (24:23):
Uh through the space?

Speaker 22 (24:24):
Oh so, Snoop is fucking rare, especially in the rap game,
for the simple fact that there's nobody currently who can
say that they have their second coming of them who's
like successful killing it went on tour with him. Everybody
kind of competes or hides the keys to the game

(24:46):
and doesn't really show the homies like what was really good?
But Snooper put me onto plays like he'll be meeting
with the dude from Raising Knes and be like, you
know who y'all need to get in business with Wiz
And he'll call me facetiming, Yo, Wiz, I'm sitting here
with the nigga from Raising Knes right now. That's how
we are brou That's crazy, bro, Like, that's that's real

(25:09):
as ship. A lot of people in this business won't
do that. And to have a big homie who's not
only a legend, but isn't scared to put.

Speaker 11 (25:17):
You up on game and bring you up. It's not
a competition, no, none of that.

Speaker 22 (25:21):
All positive reinforcement. And we chop it up, bro, like
we just you've been to the compound. We just showed
up the compound.

Speaker 11 (25:28):
We smoke. If you need to get away from the
house or whatever it is, just go kick it.

Speaker 8 (25:32):
It's go kick it in the mother ship.

Speaker 11 (25:34):
It's a vibe. Yeah. So yeah, he's been very instrumental
in just my sanity in life.

Speaker 2 (25:42):
I've been through everything. I mean, he's been a big
you know.

Speaker 8 (25:44):
I mean for me to be such a big fan
that meet him in UCLA and then us become friends.
You know, when you really look up to someone and
get in this space. It's just like you have such
a long journey bus. It's like, damn, that's snoop and
like we're doing charity football games together and that knows
my kids and do It's just like you kind of
have to pinch yourself sometimes because it is just so
cool and welcome and and the real how real O

(26:06):
G should be?

Speaker 2 (26:07):
So I do this thing.

Speaker 22 (26:08):
We perform at amphitheaters, and in any amphitheater, there's like
there's the VIP that's the seats, there's the like the pit,
like that's the most, and then there's the lawn in
the back that's like the cheaper seats. The most people
are actually in the lawn though, right, But if you're

(26:30):
ever in the lawn and you watch the show, you
either got to look up at the screen the whole time. Yeah,
you just gotta look at the screen the whole time
because the actual person, the performer, is like this fucking
big and you can't fucking see him. And I was
always in the lawn when I was, you know, attending
a concert, so this is I did it. I came
up being on stages, like what if we put another

(26:52):
stage back there by the lawn and I could run
from up here back there and go perform like a
few songs for them and shit.

Speaker 11 (27:00):
So that's what I usually do during my tour. So
I'm up on.

Speaker 22 (27:03):
Stage halfway through, we'll black it out, put some shit
on the screen and I'll run over and then they'll
hit the lights and then boom.

Speaker 5 (27:10):
I'm right.

Speaker 11 (27:10):
I'm in the lawn.

Speaker 22 (27:11):
Yeah, and they're going crazy. I'm doing this shit with
Snoop and he's like, yo, what the fuck? He's like,
First of all, I never done no shit like this
in my motherfucking life. Second of all, we got about
a minute, less than a minute to get all the
way up there.

Speaker 11 (27:27):
I'm trying to run up here. He's like bruh. Like
he's like, I'm a little bit older than you. But
he sucked it up and we did it and we
killed it.

Speaker 8 (27:34):
What's the one piece The best piece of advice he
ever gave.

Speaker 11 (27:38):
You, best piece of advice he ever gave me was
probably just to be myself. Keep doing me.

Speaker 22 (27:43):
He's like, you know you're gonna be around, and he
refers to himself as Snoop Dogg. He's like, you go
chill around, Snoop Dogg. Don't be like Snoop Dogg Nigga,
be Whiz Nigga. I love because you whizz, You're motherfucker
rock star. You work hard, you do this, you do that,
You fuck with this audience, you fuck with that audience.
He's like, always keep that, never change it, never give
it up.

Speaker 2 (28:10):
The one and only can yo.

Speaker 13 (28:11):
So we used to go to fashion Week, and you
know everybody do that shit now, the met Gallan all
types of Dame was in that ship for years, going
to all that shit fashion for years and years and years,
and I knew that I was trying to do something
to stand out. And I'm like, back then, like I said,
it wasn't no Internet, and that that's it.

Speaker 2 (28:30):
Dame.

Speaker 13 (28:30):
Big thing was like, we gotta make pay six. If
you made page six in the post, that means you
was there with Leonard DiCaprio, Donald Trump, whoever ordered most
famous people made pay six of the post. And I'm like,
what the fuck am I gonna do to make paye six?
So Harlem they at the store called Harlem Signature that

(28:51):
order fly ship in there and I was like, yeah,
this is it. I seen that ship. They had to
have been at the Pink motherfucking flip phone. Uh, I say, yeah,
I'm making pay six tomorrow, niggas. And that's that's that's
really the more the story and that she kind of
took a life of his own. And you know, people

(29:14):
be like, yo, can't bring the pink coat. Bring the
pink coat. Like it's like I'll be on some asshole
time poors like they wanted me to bring the pink coat.
They want me to bring the pink coat somewhere like
three years ago, like, yo, we'll pay you to bring
the pink coat. So I'm like, all right, it need
cost service though I have my own call, so I said,

(29:37):
but didn't need costs. I start doing wild ship cause
niggas is so infatuated with the pig. I'll make that
she have his own car. Service might pick it up.
And I got one of them, but I don't have
the main one. I just just just got you know,
I don't want to say yeah, I let the person
talk about it, but I just just uh got ready

(29:57):
the main one. I always had a backup, but the
main main one is going. I still got the stunt double.

Speaker 14 (30:02):
That's one of the that's one of the y'all keep
it for rappers. Rappers are a lot of rappers and
use that style for a video. And on Halloween, right, no,
every kids, everybody dressed like Halloween babies on THEBS.

Speaker 13 (30:16):
I get tagged it on tight now I get tagged
it on type of shit every single Halloween about that
pink coatd like they got a little baby wrapping Katton Candy.
I think the ship was trying to look like the
prink coats and all that shit looked like Kayen Candy
to me, I don't.

Speaker 11 (30:31):
Know what the ship is.

Speaker 8 (30:40):
Welcome to the show, DC.

Speaker 14 (30:42):
A few months after your album, you hit the album,
you get into the accident. Can you walk us through
that night?

Speaker 24 (30:49):
That's a couple couple of days over a weekend, Saturday
and Sunday.

Speaker 5 (30:57):
The rank happens.

Speaker 11 (31:00):
Uh.

Speaker 5 (31:01):
November the eleven, three thirty three am. It was just
the anniversary, Yeah, thirty fifth anniversary. Just the other day.
I had been shooting UH.

Speaker 24 (31:14):
Videos over two videos over that weekend, a video for
a song called Beautiful but Deadly and a video to
a song called a Formula. And because it was so
much work, I was falling asleep a lot, and somebody
was around that offered me something that would help me stay,

(31:40):
stay away, probably a very old story. And I accepted that,
and and twenty four hours later that accident happened.

Speaker 5 (31:51):
Twenty four hours later. Twenty four hours later, I.

Speaker 24 (31:56):
Uh, I took the stuff I went which was Dre's
house at the time, and Dre said, Nigga, you need
to take your ass to sleep. I said, okay, and
then he went to the store. But about my my
inside was just racing. I couldn't go to sleep. So

(32:17):
when he left, I left. And now I'm in the
in La, in the streets all day, drinking and smoking
and doing what those boys do. And by the time
I finally said, oh, I wanna go home and go
to sleep, was was two o'clock, almost two o'clock. The
the next day, I still haven't been to sleep, so
I'm on my way home. Just didn't make it. But

(32:40):
I gotta say this can fault. Everything in my life
is purposeful, including that accident. Now I had to go
through a lot of bottles, a lot of drugs and
depression and to to find my way back to who
I am today. But it was twenty I had been

(33:01):
clean and sober for about eight years. Good came to
me and I worked my way back up to a
you know, a decent living. I could provide for my
boys and anything a good man would want to do
I was doing. I didn't have what my contemporaries had.

(33:21):
I didn't have certainly what Dray and Snoop the mad.

Speaker 5 (33:24):
But I had peace of mind, you know.

Speaker 3 (33:27):
And good came and he said, h you could let
go of that pain.

Speaker 5 (33:33):
Huge. He said that you didn't do that. I did that.
You weren't responsible for that.

Speaker 23 (33:40):
I was.

Speaker 24 (33:42):
And I did it for a purpose, and you were
about to walk in that purpose. It was a couple
months after that I decided to do the documentary, you know,
and everything since then it's been on the show Inclined,
and I think, uh, like I said, twenty twenty five
is gonna be the year.

Speaker 5 (34:02):
I stepped back out there on that ass.

Speaker 11 (34:06):
And and by that by the time, by the time.

Speaker 5 (34:09):
The World show up in DFW in twenty twenty six,
I'm gonna be back on my thront.

Speaker 12 (34:14):
Yes, sir, you know what I mean.

Speaker 24 (34:16):
Yeah, cause you know the World Cup is coming here
in twenty six, so I'm gonna have my little little
jingle bag ready. You can get that dollar from everybody
to get off the plane. Understand that that's good business.

Speaker 8 (34:28):
Would you say, in the way that accident saved your
life in the long run.

Speaker 5 (34:31):
Absolutely, you know.

Speaker 11 (34:34):
I was.

Speaker 24 (34:34):
I was on the one way ticket to the shit
to some goddamn well wherever I was going. I didn't know,
Like I said, I was out of my head.

Speaker 17 (34:45):
You know.

Speaker 5 (34:45):
I thought I was the greatest rapper of all time.
Can't tell me nothing. I got.

Speaker 24 (34:52):
Six foot three, three hundred and twenty pounds bodyguard basically
with me. That said, if I come in the club
and and slap you upside the head, I can just
do that and move out the way, you know.

Speaker 23 (35:06):
And I did that.

Speaker 5 (35:08):
It was bad for a while, bro, but Jod got a.

Speaker 24 (35:12):
Way of putting you in your your space and in
your place. And like I said, all that stuff was
purposeful so that I could understand and give back to
these babies that's out there now.

Speaker 5 (35:24):
They think that's the way. It's not the way. Man.

Speaker 14 (35:27):
Somebody said before your accident, the DC, if he didn't
have an accident, he would be he would have been
the best rapper, love best rapper.

Speaker 2 (35:33):
Ever. How do you how do you feel when you
hear those words?

Speaker 24 (35:37):
Well, I think they're right right, You know and and
little don't count me out cause I I still vote
for me.

Speaker 2 (35:45):
Yeah, you know what I mean?

Speaker 24 (35:46):
Like uh, in order for they had verses, In order
for you to do a versus against me, you would
have had to have made one record and then get
your voice taken away from you, and then come back
thirty five years later and make another one.

Speaker 5 (36:02):
And you can now you can go ahead up with me.
Other than that, you're fighting amongst yourselves.

Speaker 11 (36:06):
I'm you know.

Speaker 24 (36:09):
I don't want to say I'm above that, as if
I'm better than anybody, but I no longer. I'm no
longer in competition with you boys. I support all of you. Yes,
be yourself.

Speaker 5 (36:22):
Of course.

Speaker 10 (36:22):
I believe in.

Speaker 5 (36:23):
God, and God believe in me.

Speaker 2 (36:26):
Yeah.

Speaker 5 (36:26):
Otherwise I'd have been gone.

Speaker 14 (36:28):
When your voice went away? Did your pen pick up
or get more potent? My pen always been my pen.
It ain't never lost nothing. It's still him today. Yes,
because Cubs say in this song it's my ego. It's
a new record.

Speaker 11 (36:46):
He got it.

Speaker 5 (36:48):
He said, I was Kendred before Kendrick.

Speaker 24 (36:50):
Now you talking about the subject matter, but them cadences,
I was Kendrick.

Speaker 11 (36:57):
You know what I mean.

Speaker 5 (36:59):
When Kendrick, they put out they're not like us.

Speaker 2 (37:02):
Man.

Speaker 24 (37:03):
It took me two days to write some ship behind
that energy that he made me feel. And I can't
wait to record this year.

Speaker 11 (37:14):
And now that Dre is gonna.

Speaker 12 (37:16):
Get it out, I wanna, I want.

Speaker 8 (37:20):
I want to back cut a little bit though, because
take me through how mentally tough it was for you
to drop something that, God damn it that is number
one in the country, number one album in the country,
and then taking your voice away and as you see
your brothers continue to do their things. So I also
read one time that you know, obviously their wins were
your wins, but how hard mentally was it that you

(37:43):
couldn't do it?

Speaker 2 (37:44):
Man?

Speaker 5 (37:44):
I don't think that. Imagine was it? Was it the
second year Mike tos.

Speaker 12 (37:52):
Brokes ankle at the second year?

Speaker 24 (37:55):
Imagine Michael Jordan toward his knee up and couldn't play
no more.

Speaker 5 (38:00):
How do you think he would? He might not be here,
you know what I'm saying, right, So that's where that's
where I was at.

Speaker 23 (38:06):
Dang.

Speaker 24 (38:06):
I was in a space where I didn't know what
the fuck to do, and the only thing I had
was given giving it to to those guys that that
that kept me alive, you know. Snoop says it in
the documentary, you know, and he was right on point
with that, you know that, being big brother to Rage

(38:27):
and rb X and and Doggie and Dazz and Corrupt
and and even Geeta.

Speaker 5 (38:33):
H that shit kept me.

Speaker 11 (38:34):
Alive to go, don't she leave? How did the light
of flick come about?

Speaker 25 (38:49):
Ship Man? You the how to smoke? Yeah, No, it's
it's literally it's on God. I would not lie to you, bro.
It's not a trade mark. It's not a because if
it was, we have it singed up and I wouldn't
even have to do it. You are listening to you
can listen to. Every single one is different and the
answer is simple and playing. If you're a Wayne fan,

(39:12):
you guys already got to know that I'm about to
smoke during the verse. I'm lighting up for the verse
and that's cheating. Yeah, no, cheers, let's go. It's not
a trade became classic.

Speaker 12 (39:25):
It's not a hold on.

Speaker 11 (39:26):
Let me make sure I get them up.

Speaker 14 (39:27):
No, it's to the point where like when when motherfucker's
hear for the song, they be like, oh.

Speaker 11 (39:32):
Yeah, I feel like that too when I hear it.

Speaker 25 (39:37):
I heard it I heard a few flicks on some
other songs that you're not delivering like I live, so
stopped doing that.

Speaker 8 (39:45):
I got a question like, obviously you have to listen
to your music.

Speaker 26 (39:49):
When when do you want to hear it? When don't
you want to hear it? I want to hear it
all the time, and I don't want to hear it
never ever, so all the time. So I don't listen
to no one else. Oh okay, yeah, but it's no.

Speaker 25 (40:05):
It's I'm always listening to what I just did when
I'm trying to fix and ship. So it's not by
choice that I don't hear. When I say no one else,
I mean not even my own artist. So that's I
always like to let get that out there when I
say that, I don't listen to no one else, Like
gu gotta.

Speaker 11 (40:22):
Literally text me, yo, this is such and such a
new single and the video.

Speaker 25 (40:28):
Oh ship they got a video too, Damn. I ain't
knowing that motherfucker. It's awesome right there. He killed that ship,
you know, he killed that ship. I might listen to
the first four of ours, he said. On the first one,
he text like Nigga said.

Speaker 11 (40:44):
Get back to my ship. That's that's the only reason.

Speaker 25 (40:49):
Let's tell you, I gotta I'm a perfectionist, trying to
make sure that I should have said is you should
have probably said the You probably shouldn't even sit in
that type shit got you?

Speaker 11 (41:03):
What do you think two thousand and four the Karter?
What do you think the Carter did for your career? Uh?

Speaker 25 (41:12):
At the time, I think it. I think it's uh,
it was the start of it was the start of
a path album I was able to create, you know
what I mean, the path of uh, the path that
deserved continuous, deserve to continue, a continuation, a pat that

(41:33):
deserved to keep going, extend.

Speaker 11 (41:35):
And that's as hard for some people.

Speaker 25 (41:37):
Some people could drop a hard ass album and I
don't hit the rest, you know what I mean, I
ain't looking for your next album. But the card allowed
me to. Now we want hit Car two, Card three,
you know. So I always looked at it like it
was a maturity thing for me, like it was my
little for some reason, we always approaching just for the Carter,
like you know whatever. Every time we're working on obviously

(42:00):
I work all damn day every day, so when we
get one that you know, it's for the Cartner so
it's nothing about it.

Speaker 11 (42:06):
Yeah, so it's like, so what makes this for the cussop.

Speaker 25 (42:09):
Obviously it sets a standard out set a standard with
that album, Yeah, exactly, a big standard.

Speaker 8 (42:14):
Uh mix tape, Wayne, I mean that was unbelievable. You
know if the part of one and two, Uh, what
was the thinking behind the just that whole this.

Speaker 2 (42:26):
By the way.

Speaker 11 (42:28):
He told me to do this by the way, yeah,
which you said it was the just what was the.

Speaker 8 (42:36):
What was the whole thought process behind the mixtape push?

Speaker 23 (42:39):
The first ones?

Speaker 11 (42:40):
You know, the first one I did was just.

Speaker 25 (42:44):
Getting okay from baby that him telling me is okay,
like I could buy this music that he was okay.

Speaker 2 (42:50):
It's all good.

Speaker 11 (42:51):
Ship. So that was the first one I put out.

Speaker 25 (42:52):
I think it was like ten thousand bars, and they
started calling him the mixtapes and whatever. We was giving
that ship out free. So that was actually the thing
about Wayne. Shit, Wayne's always free. Wayne's always free. So
I don't blame me that charge and switch the game
up on y'all flipped it up to me too much.
Now that I actually got a charge off of my
mixtapes now, so don't blame me blaming the game. But uh,

(43:14):
but yeah, so as far as you know, and my
approach to mixtapes was always different. You know, I always
thought a mixtape was supposed to be and I still do.
I still do my mixtapes that well. I thought it
was supposed to be you wanting to hear me on
the songs that's out that I'm not on, you know
what I mean, like ten ten hot that songs that
you're in the club banging Terry Dale or whatever.

Speaker 11 (43:36):
I'm abouty killing bitches for you.

Speaker 5 (43:38):
You know what I mean.

Speaker 25 (43:38):
I thought that's what and I'm I'm gonna rap it.
I'm gonna say the same melodies the person use like
for about a go two seconds, but you know what
I mean, I'm gonna flip some words and she'll like
make it fun interesting, And I always thought that's what
it should be and so something. That's why That's how
I attack my mixtapes and that's how I always have.

Speaker 11 (43:56):
But now mixtapes have changed.

Speaker 25 (43:57):
How people be looking for four albums see mixtape, so
gutting to me having to make sure you're I mean
mag having to make sure y'all do at least three
or four just originals.

Speaker 11 (44:08):
I'm like mac man, this is fun my album for something,
but this.

Speaker 2 (44:13):
Is what they got too.

Speaker 12 (44:14):
Yeah, welcome to this show, too short.

Speaker 14 (44:25):
S you survived every era of hip hop. To say,
to be honest, what do you think was the golden
age of hip hop? Or if you would say it
was a golden age, well, we know.

Speaker 27 (44:34):
They have an actual golden era that's labeled late eighties
early nineties that's supposed to be the peers form of
hip hop when it was young in the commercial stages
and everything was original.

Speaker 10 (44:48):
Everybody was a one off.

Speaker 11 (44:51):
Man.

Speaker 10 (44:52):
All these erarors were fun.

Speaker 27 (44:53):
Like like that era is how I got in the game,
just being too short of my own lane. But the
next one that came in with the bling blinge, we
all got money.

Speaker 10 (45:03):
That shit was fun.

Speaker 27 (45:04):
I was looking at Atlanta and she was fun and
fucking who got the most ship?

Speaker 15 (45:08):
Fun?

Speaker 27 (45:09):
And then you know, the the the Y two K pass,
and then the New Millennium came in and shit start
getting my space, my space stout and ship and you
know it was on the baby we was hyphed up
and Little John and then was crunked up.

Speaker 24 (45:23):
It was it was, it was doing it, man, I
was I was just about to ask you not to
cut you off speak to you meeting Little John, because
a lot of people don't understand.

Speaker 2 (45:33):
You was the first.

Speaker 27 (45:35):
But you know, I'm at this time, I'm an og brouh,
I'm an og in the nineties. But they're like, what
up o g You know what I'm saying. I've been
there and fucking I'm coming on the West and this
hyphe is brewing, like early two thousands hyphe is brewing
and fucking.

Speaker 10 (45:53):
It's just a whole new energy for me.

Speaker 27 (45:55):
Man, I had I had already been in pocket with
Little John when the hype came along. Little John literally
had did a show or something he did. He was
in Oakland for something in the Bay and he called me.
He's like, man, I'm in the bay and they got
the ship out here called Haifi, Like, bro, we gotta
do some of this ship.

Speaker 10 (46:11):
Like he came back hyped up on the ship. So
prior you want to know the Little John story, Little.

Speaker 1 (46:18):
John is uh.

Speaker 10 (46:22):
In about what. I don't know. The mid nineties.

Speaker 27 (46:25):
He's an employee and so so deaf, and he's over
there producing songs. I think one of the ones always
members of is that my boo song somebody singing I don't.

Speaker 8 (46:35):
Know boom, I can't sing, so you know, uh not
the usher booze, uh.

Speaker 2 (46:44):
The baby.

Speaker 24 (46:45):
Oh damn. I think.

Speaker 18 (46:48):
So so deaf.

Speaker 27 (46:54):
So Little John produced them kind of beas for so
so Deaf. He worked for Jermaine Dupree, got an office
over there and ship, but he's also a DJ around
Atlanta and the niggas a pretty good damn DJ. So
I was a fan of Little John to DJ. I
always was at the fucking clubs and when he dj'
it was just different. He started DJing and he's playing records,

(47:14):
but he's talking and then next thing you know, he
got the crowd saying shit. He just it turned into
a fucking concert by DJ. And then he put this
record out, who Get Crunk?

Speaker 10 (47:24):
Who You With?

Speaker 2 (47:25):
Who You With?

Speaker 27 (47:26):
Just a bunch of fucking chants to the flock, getting
look to the flock. And I pull up on him
and I'm like, bro, you need to let me do
a remix to that, like put some raps on it.
And he's like, nah, nah, that song already came and win.
He's like, let's make some new ship. So he put
up to my studio one day and left me a
song that ended up being a couldn't be a better player,

(47:47):
and and he left the song. I wasn't there when
he came. He just left this fucking song tracked out
on the on the machines.

Speaker 10 (47:56):
He sat there. I don't know if he mailed him.

Speaker 1 (47:58):
It was just there.

Speaker 10 (47:59):
So I put some rap so it got it back
to him.

Speaker 2 (48:02):
We liked it.

Speaker 27 (48:03):
We uh went to go shoot the video and ship
the song blew up, and then he's he's in a
situation with an independent label in Atlanta, a label that
was an associated mind. I knew to god, I had
just some business with him. He was cool, wasn't no,
wasn't no. It wasn't no friction or nothing. But he

(48:26):
said Little John owed him some money, and he just,
you know, fucked Little John. Little John was like he's shady.
Whatever the whatever it was, the dispute fuck him, so
they was gonna fuck you for life. So I just
stepped in and was like, brouh, how much money is it.
I've got some business going on with Little John. Okay,
you know this this whatever broke him off on you know,

(48:49):
some homie ship. And then fucking came to Little John.
I was likely free to go, and I could have
signed Little John to my label, but I knew who
he was already did a couple of songs that blew
the fuck up because of him.

Speaker 12 (49:04):
He went out there, Oh yeah, yeah, Lil.

Speaker 27 (49:10):
Jones, the kind of dude who had a network in
the DJ.

Speaker 10 (49:12):
Couldn't shake a record and he.

Speaker 27 (49:14):
Had been doing that for so so deaf, and he
did that for his couple of singles that he had
and shipped, as well as the song that he had
with me. So instead of ME going are you under
me now, let's roll, I was just like, bro, you
know you're free to go, man.

Speaker 10 (49:28):
And all I asked for him return was beats. I
was just I want beats. I knew the nigga had
them beats so for life. The nigga was just slide
me hits like just for life.

Speaker 27 (49:38):
And then the greatest ship ever, he slid me shake
that monkey, which lasts forever.

Speaker 10 (49:45):
And the very next year he gave me blow the whistle.

Speaker 27 (49:48):
And I'm like, you know, thank you sir, and then
he and then he proceeded to make some of the
best hyphe beats ever did tell me what he didn't
want to keep the sneaks yep shit he was he was.
He was doing it like, I just want to help
snap the ship, the same as me and forty. But

(50:09):
you know that those are the type of things man,
when you're coming up in the game. Yeah yeah, it
might be with a younger player, a younger coach or something,
and you fucking help somebody along the way and then
they turn around and there in the position to help him,
and it's just this ship is just way better than
going through life going give me my gim you know,
just I'm the motherfucking one. You just kind of gotta

(50:31):
have a little humble too it, man, And when you
recognize somebody with the game, you just give him a
stepping stone, give him some more game, give him a chance,
give him opportunities something.

Speaker 12 (50:47):
Welcome to the show master, p.

Speaker 2 (50:49):
How did know Lima come about? Like the record? But
how did it blow like that?

Speaker 28 (50:52):
It ain't blow at first, right, I was opening act
for two.

Speaker 11 (50:58):
That you know, by me being from the nobody would
never know that that was opened up.

Speaker 2 (51:02):
I was.

Speaker 28 (51:02):
I was opening act so but I started on the
roll like years.

Speaker 2 (51:06):
You're like around what time was this?

Speaker 13 (51:07):
That was?

Speaker 8 (51:08):
What that was early two or early nineties?

Speaker 28 (51:10):
Now because he passed in ninety six, I believe. So
this was like right them two years before that, like
I was the opening act on there. Uh so the guy,
the white guy who announced me be mister Peter country
singer because I'm from New Orleans. Man, that's the first
time I wanted to fight, is this old man? I'm like, bro,

(51:30):
look you do that again?

Speaker 2 (51:32):
What fuck you.

Speaker 11 (51:35):
Against mister p from New Orleans?

Speaker 28 (51:39):
And so you know, I got his mind right. And
I'm out there performing right and I'm singing bout it,
bout it And one dude on him was drunk or whatever.
He was bouncing what man bounce? I walked off the
stage twenty thousand people to him, give him a no limity.
I said, you like that? He said, man, I love

(52:01):
that woo woop. And then my brother said, why are
you so happy? I said, I got one?

Speaker 5 (52:05):
He said one?

Speaker 28 (52:06):
What I said A fan?

Speaker 18 (52:09):
I said, I turned that one in.

Speaker 28 (52:10):
A million and we walked up. I get on a
bus with Twupot and them. Man, man, I mean they
was just good dudes to me, Like every time I
was around them, they cared about people, like for easy
to take me down to the radio station. You know
what I'm saying, Like that was love but he seen

(52:31):
my hustle in my drive.

Speaker 2 (52:32):
I was ready to go.

Speaker 28 (52:33):
I went any hood wherever.

Speaker 2 (52:34):
That's when he was a hustler.

Speaker 11 (52:36):
So I show up with my concess.

Speaker 28 (52:38):
You know, I don't know nothing about out here with
the gang banging and stuff. I'm trying to sell my CD.

Speaker 2 (52:43):
You know.

Speaker 28 (52:44):
Do like, Man, where you from?

Speaker 2 (52:45):
What you got out?

Speaker 28 (52:46):
I said, Man, I'm from New Orleans. Man, he said,
what you said? I say, I'm selling a CD. He said,
you know where you're at? And I say, no, sir,
he said. I said, I'm just trying to sell a
CD and make it. Said man, how much? When I
said I want twenty dollars? He said, man, I get
I've seen the gun. I'm like, I take the tent,
you know.

Speaker 2 (53:05):
And that's what like.

Speaker 28 (53:06):
He's was like, Man, some of these places you can't go,
but I wouldn't use it.

Speaker 2 (53:09):
I'm from the South Mound.

Speaker 28 (53:11):
Yeah, we move around. We don't really know that. And
it's like, you know, that's when I started really understanding
the neighborhood.

Speaker 8 (53:17):
The culture.

Speaker 28 (53:18):
Yeah, the culture and stuff. Because even in the Bay,
the Bay was different. The Bay, we were just hustlers
out there. You know what I'm saying. It wasn't like, man,
we go to the call show, turn up. You know
what I'm saying, go to Fessor but the lake the lake.
Yeah so now man, But it's it's knowing those different

(53:39):
cultures and then taking that uh and getting on the
road with it. So I think that was my biggest strength,
Like I said, showing up, going to everyhood. I went
to New York, Chicago, Texas. I just start showing up.
And I mean I started watching the other people at
that time. Rapp a Lot was so big. I studied,
they moved, you know, swab House was so big. I'm like, man,

(54:02):
big Drake. You know what I'm saying. So I'm like,
but we celebrate each other, right, we don't do that now. Man,
were jealous of each other and we somebody own I say,
we have to change that narrative. I think we got
the young people got to go back. And that's what
I love about the TV series I'm about to put
out so they could see how I celebrated Uncle Luke.
I celebrated you know, Jay and all those Lowes. I

(54:23):
mean I celebrated them because they can't before me. So Na,
it wasn't no inspirational Yeah, that's what That's what it's about.

Speaker 8 (54:37):
Legend in the game Buster Ron Legend.

Speaker 2 (54:40):
What's it going to be with the with the lovely
Missus Janet Jackson.

Speaker 29 (54:43):
Again Buster Mom some on some calm shit. I just
combined it with the speed Wrap. But that song came
about as a result of Janet touring for the Velvet
Rope album that she did. She was on Hot ninety

(55:06):
seven with Angie Martinez at the time when Angie was
there before she went to Power one on five and
she was doing an interview with Angie and I'm driving
from Long Island to the city and at the time,
I owned the Toyota Form Runner.

Speaker 2 (55:19):
It was my second whip that I ever had.

Speaker 5 (55:23):
It's ninety eight. I also had a Benz.

Speaker 29 (55:27):
And I didn't drive the Benz this particular day because
I was in a rush and I had twenties on
the Benz and I was always running into a situation
where you hit a pothole and the ship was the
most annoying shit. So Angie asks Janet what rappers has

(55:50):
she never worked with that she would like to work with.
She said, bust the rhyms. Nigga almost crashed my ship.
I pulled over and I'm on the belt Parkway. I
pulled over and I immediately called Mona Scott Young from
Violator and I said, Mona, you need to get in

(56:14):
touch with Janet now. She said high ninety seven. She
said she want to work with busts the motherfucking rhymes
until her. I got the perfect song for it, and
I ain't have no song, so we had to find
a song. And a brother named Delight produced the record

(56:38):
and he got a young lady I forget her name
to write the hook pen the hook for Janet. When
I heard it, I fell in love with the shit
immediately because nothing had sounded like it at the time
on the radio, and it was something that it actually
played into me being able to speed rap on it perfectly.

(57:00):
I immediately got the record, Mona, got in touch with Janet,
sent it to Janet. I didn't write the rhymes yet.
We picked us, We pick us. She picks the studio
session and it's somewhere in a different state from New York,
and we go to the studio and I researched everything

(57:24):
that Janet likes, what type of flowers she like, what
type of candles she like. With the fragrances is that
she like, and we dressed the fucking studio up exactly
with all of the shit that she likes. Her security came,

(57:45):
they advanced that shit. They walked around, searched every fucking
room like they was screening and looking for fucking wiretaps
and bugs everywhere. Some president shit. This was probably like
three four hours before she showed up. And then when
the Queen showed up, I gave her a nice brief greeting,

(58:07):
hugged her, asked if she needed anything, and left her
with the track with all the vocals on it for
her to sing them over. And I bounced. I ain't
even want to be around her long enough to do
some shit wrong. I'm not fucking this moment, not even
by accident. Right, Pierman Ain't nothing fashion than pem money, Right,

(58:34):
I got the fun about it. There nothing faster than Pune.

Speaker 2 (58:40):
Yeah.

Speaker 29 (58:40):
I went in another room next door and I wrote
all the verses and then I spit them. Then I
came back and I let the engineer imported in a session, revived,
listened to it a couple of times. She was happy.
I was super bugging out, couldn't believe this moment was real.
And then when it came video to shoot time and

(59:03):
that terminated. Two movie came out and I saw that shit.
I said, yeah, this is all that liquidy make you wet, shit,
wet dream all at talk called Hype Williams. I said,
this is what we're doing. Big Bro called Sylvia Roon.
I was scared they had that conversation because when Hype

(59:24):
sent the budget back, that shit was two point four
million dollars for that video to him, most expensive hip
hop video ever shot to this day, and that was
in fucking ninety eight. Imagine that terminated two million and
fucking and fucking Titanic. The special effects company that did

(59:47):
the Titanic movie was called Digital Domain. They did the
effects for that video. O d overcharging niggas because they
won all them fucking Oscars for the Titanic movie at
that time, so there wasn't no negotiating with them.

Speaker 12 (01:00:05):
You just got robbed.

Speaker 29 (01:00:07):
I mean, the finished product was phenomenal, but it's so
funny when you compare the prices to the shit that
they charged me then to amazing shit that I'm able
to do now. Of course, times is different and technology
advanced a lot, but it was crazy when you did
the research to find out what the fuck they was

(01:00:28):
charging you for a while, was they charging you like that?
Later on, not too long after neither, I would say
two three years ago. I just was starting to be
really confused about why did I get charged like this?
And you know, we was getting so much money. We
didn't even care. Man, it was like, fuck a royalty.
You know, we're getting publishing deal money millions, and were

(01:00:50):
getting touring millions, and we're getting.

Speaker 2 (01:00:54):
All types of other shit.

Speaker 11 (01:00:55):
It was just like whatever.

Speaker 29 (01:00:57):
But again, that was an unbelievable moment, and in Janet,
by the time it got time to shoot the video,
all of that nervous shit was out the window because
now I'm fright in front of the camera. I gotta
make it look like that's my wife.

Speaker 2 (01:01:11):
That wasn't That wasn't hard. That wasn't hard at all.
Easy for the Ward is Bar.

Speaker 10 (01:01:17):
Now.

Speaker 2 (01:01:17):
But big up to Janet Jackson.

Speaker 29 (01:01:19):
Night Front twenty twenty three was the first time that
we got to perform that record together together in twenty
five years, because last year was the twenty fifth anniversary
of that song and that album. So thank you to
Janet for bringing me out at the garden where I
was able to celebrate twenty five anniversary of that song
in my backyard in New York, and I tried to

(01:01:41):
recreate the whole environment in the studio because after the song,
I bought all of them flowers in the same shit
that we had in a stool on stage to give
her her flowers.

Speaker 2 (01:01:50):
Yeah, br welcome to the show.

Speaker 8 (01:02:01):
Dang Dash Kanye West. Actually eighteen years ago Colline dropout dropped.
But before that, thoughts on him when you met him?
Did you see it in him order right away?

Speaker 23 (01:02:16):
M hmm.

Speaker 30 (01:02:18):
I didn't see that one coming pause. I thought he
could make good beats, just like a just Blaze or
you know other producers. And you know, I didn't see
him as a rapper. I really still don't. I think
he's the best producer that could rap. But I know

(01:02:38):
he wants to be a rapper, you know what I'm saying.
But now, I didn't know that he was going to
do that when he broke his jaw. That's when I
knew he was gonna do that when he came back
through the wire. But really, Bigs had brought that to
my attention, like I think we should pay attention to Kanye,
and what was happening was the Young Guns had a
single album, Can Style, and and that ship was going

(01:03:02):
crazy on the radio. And I was trying to put
Kanye's out just because because Big was at the time,
Big was trying to get more involved because that's what
Jay was beefing about, so he was doing all this shit.
He was like, Yo, let's focus on this dude. And
I went to Leyre and was like, Yo, I'm gonna
put out Kanye and he was like, no, We're gonna

(01:03:23):
focus on such and such, and I was like, I'll
take him someplace else cause I had to kind of.

Speaker 10 (01:03:27):
I had so much work.

Speaker 30 (01:03:28):
I had deals with Atlantic with Rock Rockefell Atlantic and
Rockefeller Sony as well, and me it wasn't there, and
I forgot what the fuck was over there. But anyway,
and then you know, you saw what they did, Camerton
did and Jimmy with Cotch, and I just had so
much work that I was just wasn't even exclusive. So
I was taking them to Atlantic and I forgot it

(01:03:50):
was it Craig Cole.

Speaker 11 (01:03:51):
Now I wasn't Craig, it.

Speaker 8 (01:03:52):
Was whoever it was.

Speaker 30 (01:03:55):
Was giving me the same kind of dumb shit as
death jab and I was like, fuck it, I just
put it out through here and he started to catch
fire and they had no choice. But you know, I
didn't know. I didn't know Kanye was gonna do what
he did today. I thought that we were going to
be able to leverage him. Like to me, Kanye was

(01:04:17):
a guy that could knock at the door and they
were gonna let him in and then all of us
were going to run it because you know, we were looking.

Speaker 23 (01:04:23):
You know, he was wearing a different he had a.

Speaker 30 (01:04:25):
Different thing going, you know, but I didn't know that
he was gonna do what he did and be so consistent,
And I didn't know that he had such work. I
knew he had work ethic because I was impressed by
you know, even looking at how he is now. You know,
he's on one hundred, like he really deserves everything that

(01:04:46):
he has because he does work that hard his whole
He's dedicated his whole life to it.

Speaker 8 (01:04:58):
We got a very special guest today in Chef.

Speaker 31 (01:05:00):
I never wanted to be an actor, never wanted to
be a rapper. But I'm sitting in the fourth season
hotel and the guy says, hey man, my Hollywood producer
here's my card doing a movie called Blue Chips. I
think you should do it now. I'm not a good
I don't know. I've never acted in my life. You
gotta do is play basketball, play yourself. Nah, we're gonna
get you three million.

Speaker 5 (01:05:20):
Ho much, he said, what I'll do it?

Speaker 31 (01:05:23):
So just playing, you know, with And that's how I'm
at Penny and know everything happens for a reason. And
same thing with the rap thing. When I first get drafted,
like Cenio Halls bucket me. You know, Mayne want you
to be on the show. I don't want to be
like everybody else. I don't want to go get no
fifteen hundred dollars suit talking. I said, let me do
that and then let me wrap that the end. So

(01:05:45):
I did something with foo snickings. My agent called me.
He said, man, hein' not gonna believe this. He said
what he said, jib, I'll offer you a three album
deal ten million.

Speaker 5 (01:05:53):
I'm taking that.

Speaker 13 (01:05:55):
Yeah.

Speaker 31 (01:05:55):
But then but then I meet with job. I said, look,
nobody wants to hit me rap by myself, me rap
it out of my favorite So as a kid that
was on punishment, it's like a dream come true.

Speaker 2 (01:06:06):
Look out of them dead Snoop.

Speaker 31 (01:06:09):
Peter Guns, Lord, Tariq Nas, Jay Z, Fat Joe, Like,
I don't know, Michael, Yes, you can't stop the ring.
That's what it was about for. It ain't about being
like because you know, rappers don't rappers don't make no money.
You gotta you gotta be Travis Scott to make money. Yeah,

(01:06:32):
Like because I went platinum and I got to check
for a million dollars, I was like, what is this?
But you know I had the commitments. It was fun. So,
you know, we don't get a lot of opportunities. I
was always taught to take advantage of my opportunities. So
every time I get opportunity, I'm always taking advantage of it.

Speaker 5 (01:06:55):
Period.

Speaker 8 (01:07:04):
Our brother Gibbs, another notable name something ain't know.

Speaker 32 (01:07:07):
Michael Jackson, Yeah, Michael Jackson to beat my daddy ass
and the talent shows.

Speaker 12 (01:07:12):
Really my dad has some talent.

Speaker 32 (01:07:13):
Yeah, my dad seen my dad in the shotlights. Matter
of fact, you know what I'm saying. So but like
he you know what I mean, Like, you know, tried
to go because him and Mike the same age, so
you know, they was always bumping heads in the talent
shows and Michael fucked that nigga up.

Speaker 2 (01:07:24):
I was like, man, you can't fuck with Mike.

Speaker 32 (01:07:30):
And then nigga and niggas did the talent show like
Mike brought the whole group out on his motherfucker Dad.
I'm like, you up that solo. He got t th Jermaine,
they all doing the step, they got moves, they got Joe,
you know what I'm saying. Like they had Joe pushing him.

Speaker 2 (01:07:42):
Niggas.

Speaker 11 (01:07:43):
You ain't have nobody.

Speaker 32 (01:07:43):
You just had your mama telling you yes, my baby,
like Mike had a team niggas. So yeah, niggas, he
couldn't fuck with Mike. You dad, but you know you
can't fuck with you. God damn well, you can't fuck
with Mike. Uh, Michael's fucking you up. Your whole life.

Speaker 2 (01:08:05):
May be watching fucking Michael Jackson on TV.

Speaker 1 (01:08:08):
Turn that off.

Speaker 8 (01:08:09):
Want to see no part of it.

Speaker 11 (01:08:10):
He listened to it on the low though, love.

Speaker 8 (01:08:21):
Welcome to the show, the legendary DJ Quick.

Speaker 14 (01:08:24):
Did you know that when you're creating a sound, that
it would be a sound that last and standard test
of time?

Speaker 6 (01:08:30):
Uh?

Speaker 23 (01:08:31):
No, I didn't, Honestly, I was just doing it as
a means to an end. I just wanted a car.
You know, I want to Jetta and put some rams on.

Speaker 12 (01:08:38):
You said, you want to put on the Jetta.

Speaker 23 (01:08:42):
Low ambitions gold. I bought a gold jettis JL Yep,
that was what I got. It like killing, that's all
I wanted, you know, that's all.

Speaker 33 (01:08:49):
I'm gonna sell about a thousand copies because I got
out of the we were talking about this last night.

Speaker 23 (01:08:53):
Me an exhibit the problem.

Speaker 33 (01:08:55):
How you know, I was selling cassetts like I got
out a whole dope game, trying to help so you know,
cracker whatnot.

Speaker 23 (01:09:02):
It's like this, this ain't for me. I don't like
doing this to my people.

Speaker 33 (01:09:05):
So I turned that hustle into making cassettes and music
and selling them, you know, hand to hand, and it
just it overwhelmed me.

Speaker 23 (01:09:12):
The people really wanted these cassettes.

Speaker 33 (01:09:14):
I was personalizing and putting certain people's names in them,
and they'd be like, let me buy the whole box.
So I got to sit up here and make duplicates
of cassettes like I ain't cut off of this. You know,
I sell one hundred cassettes. I'm tired. Even though I
made money off of them. I'm like, you know, that's
real work. Back then, Oh my god, I need a deal.

Speaker 23 (01:09:31):
Somebody else got to do this because I had a demand.

Speaker 33 (01:09:34):
People was buying my cassets, and people was telling me that,
hey man, they got your people playing your music in
Salt Lake City.

Speaker 23 (01:09:39):
I'm like, get the fuck out of here. Where's Salt
Lake City?

Speaker 2 (01:09:43):
Exactly?

Speaker 33 (01:09:44):
But the cassette to start moving across the state lines
by itself. People was dubbing it and passing it on,
and before you know it, I had a little reputation
with the little cassetts. Then I did this one called
the Red Tape with my boys Second and nine AMG
and it blew. So I was selling a bunch of them.
I was handwriting all of them. Like, we had no distributors.
So I go buy the blank cassettes, get this duplication

(01:10:05):
machine and just run them off and put the little
sticker on them and write our names on it. You
know then about stamping and you know, printing press all that.
We was just doing it by hand by hand, you know,
hand in hand. And you know, I ended up buying
all the equipment that I wanted and it was cool,
but I didn't know it was going.

Speaker 23 (01:10:23):
I didn't always gonna go platinum. I'm like, you know,
people like it.

Speaker 33 (01:10:28):
But then I started writing songs about everything we was experiencing.
So I was just a voice of us, us being
the youth, us being who we were at that time,
and it resonated with a lot of people. Songs like Tonight,
Sweet Black Pussy, you know, Born and Raising Compton, them songs.
It made sense people could relate, and so passed a
little thousand copies. One of my home boys used to

(01:10:50):
work at the Warehouse Records in Inglewood, and my record
debuted on January seventh, nineteen ninety one. So we called
up there see how I was doing. He said, Bro,
you sold out, he said, he showed out. All your
albums sold out on one day, Like we got to
order again. I was like, okay, all right. So they're

(01:11:11):
telling me, like, dude, you're nominated for American Music Award.
I got to meet Dick Clark, nominated for American Music
Award on my first single, shot a cool video, you
know what I mean?

Speaker 8 (01:11:20):
At this point, mm hmm, freshman.

Speaker 33 (01:11:23):
So it was it was it was a lot to
take in, bro, But you know, my thing is I
just wanted to be DJ quick. I wanted to be
behind the scenes, just DJ for like penthous players clicking
second and none and AMG and whatnot, and they just
kept pushing me off front.

Speaker 23 (01:11:39):
It's like whatever, you know, it was anxiety and coming
with a lot of people don't know.

Speaker 2 (01:11:44):
It's like, you know, I.

Speaker 33 (01:11:46):
Produced like three albums albums in my first year, you know,
as a debut artist, I was. I stayed in the studio.
I missed you know, I missed a lot of touring
because I just wanted to stay in the studio and
just keep hashing out, you know, keep creating the sound.

Speaker 2 (01:12:03):
You know, as as best as you can. Because it's
one of my favorite songs too.

Speaker 14 (01:12:08):
Can you take uh, take us like to the studio
with you making tonight the night you made this song? Like,
what was what was the vibe like in the studio
that night?

Speaker 33 (01:12:17):
It was I did a house two thousand and one
brown and bull Browning Avenue in La Like the whole
scene looked like the boys in the Hood movie and
it was that kind of house in a.

Speaker 23 (01:12:29):
Little kitchen nook s p. Twelve hundred.

Speaker 33 (01:12:32):
I was producing my boy player Ham at the time,
and you know I sampled that beat one of the
one of the homies brought the album over and I
remembered that that clear album, but it was just hard
to find at that point.

Speaker 23 (01:12:44):
Somebody found it, let me use it.

Speaker 33 (01:12:46):
I sampled it and just kept looping it and you know,
did the drums to it and just kind of let
it just you know, back then, we let the beat just.

Speaker 23 (01:12:53):
Run for like a whole day. Yeah, you hear, you
hear some inspiration.

Speaker 33 (01:13:01):
At this time, I'm nineteen and we experimenting with you know,
eight ball Old English eight hundred and weed and shooting
dice and stuff.

Speaker 23 (01:13:10):
So I'm like, this is what is this is what's fun.

Speaker 33 (01:13:14):
So I just started writing about that ship right, And
during the the writing of it, I came up with
the hook, you know, I you know, i'm playing records.
I'm just using what I got basically, and I had
a you know, Betty Right record Tonight is the Night.

Speaker 23 (01:13:27):
So I sampled it tonight and scratch it in Tonight
is the Nice.

Speaker 33 (01:13:31):
Spin it back, you know, keep working on it until
it's on beat and third verses open player.

Speaker 23 (01:13:38):
Hamp didn't want to get on it. It was like,
go ahead and finish it.

Speaker 11 (01:13:40):
That's you.

Speaker 33 (01:13:42):
So the homie Shaney comes over with some gin and
this is before you know, I was drinking hard, like
it was just you know, a beer.

Speaker 23 (01:13:48):
At that point, my man was like boom, like you know, poor.

Speaker 33 (01:13:52):
The big bumpy face with the super socco was drinking it,
drinking it, drinking.

Speaker 23 (01:13:57):
I'm like, man, this is bomb. You know, this is
before I there's a limit. It's like it's so it's
sweet good, all right, bad news man, too good?

Speaker 2 (01:14:07):
Hit it again.

Speaker 33 (01:14:09):
I started spinning, start tripping. They said, you know that
your homemades have to tell you what you was doing
last night. I was like, I did what I did?

Speaker 23 (01:14:16):
What?

Speaker 2 (01:14:17):
You know? That ship? You just had one of those
last night thanks to.

Speaker 23 (01:14:24):
So I'm like the next day, I'm like, oh man,
I got the flu. I had the flu. It was
a hangover.

Speaker 11 (01:14:32):
The fuck is this?

Speaker 23 (01:14:34):
We got to go in there and hug that toilet
and get rid of that ship. Like and I was like,
I ain't never drinking again.

Speaker 33 (01:14:41):
Ever, I was cool and I didn't for a while,
but that ended up being the last verse. I just
wrote it still like hungover wrote that ship that just
it was like I documented it right there.

Speaker 8 (01:14:51):
As soon as they come.

Speaker 12 (01:14:52):
We're doing the same old thing to.

Speaker 23 (01:14:53):
That's what happened. It was like you got to you
gotta get your your tolerance self? Is what are these
words y'all talking about?

Speaker 2 (01:15:03):
You know what I mean?

Speaker 12 (01:15:03):
So that's fun.

Speaker 11 (01:15:04):
That's that was the story.

Speaker 33 (01:15:05):
I've ended up recording the song, put it on the
mixtape and everybody loved it, you know. So, and it
was dirty. It had real hood references, you know, because
I was grinding back there. I was mentioning all the
niggas with they surnames. They had blood in their name,
cripping their name, you know this nigga loak and all this,
just putting their whole name in it, like keeping it real,
you know what I'm saying.

Speaker 23 (01:15:28):
So I had to clean that ship up for.

Speaker 2 (01:15:29):
The radio, and I did.

Speaker 11 (01:15:30):
I just swished it right over.

Speaker 8 (01:15:39):
The one that was Ludacris Mali two thousands. You cross
paths with many legends. We try to compile a list
when we tell you the name and the song, just
tell us a little bit about it. Uh Nate dogg
and area codes. Wow, man, that's my peace.

Speaker 7 (01:15:55):
I'm the biggest Nate Dog fan in the world, man.
People know, and I think I've done more songs with
Nate Dogg collectively than any other artists maybe Sierra, but
Nate Dogg was just man, He's just amazing.

Speaker 2 (01:16:07):
He's just amazing.

Speaker 7 (01:16:08):
He smoked the whole wherever you at, he'll smoke that
whole shit down, and uh, you know he just you
throw on the beat, he'll smoke. Take him about an
hour or two. When he jumps in that booth, everybody's
paying attention. Kills it every single time. But just such
an a dope demeanor about himself, cool, calm, collected, and

(01:16:29):
you know, just how he chose his melodies and how
he chose to do certain things musically was just always
surprising to you because it was out of the unexpected.
I know people would say talk about his tone and stuff,
but he was one of the most complex individuals when
it comes to singing not only hooks, but just entire

(01:16:49):
songs that I ever encountered.

Speaker 2 (01:16:51):
So I'm huge Nate Doggh.

Speaker 8 (01:16:53):
Man man uh thrailing the Neptune's Southern hospitality.

Speaker 7 (01:16:59):
I was gonna something just came to mind when I
was like one of my favorite rap lines I said
on one of Nate dogs songs, and I said something
like something something going to bed. You got a frog
in your throat like miss Piggy giving head.

Speaker 1 (01:17:13):
I was just like God damn.

Speaker 7 (01:17:14):
Sometimes I'll be saying, some of the artists in the world, okay, sorry,
put me up there. Man, come on, come on man.

Speaker 12 (01:17:35):
Welcome Roy Jones memorable ring walks.

Speaker 8 (01:17:38):
She once appeared in the back of the Radio City
Auditorium in the tux joined by Red meth.

Speaker 2 (01:17:46):
Man.

Speaker 34 (01:17:46):
Let me explain something to you, Hbo, who also made me,
helped make me help the world get to know who
Jon's dream was.

Speaker 11 (01:17:57):
But it really messed me up that particularly calls.

Speaker 34 (01:18:01):
They showed movies with cursing and all kind of stuff
after now after seven o'clock at night, this boxing.

Speaker 11 (01:18:08):
This is the first time ever.

Speaker 34 (01:18:10):
Now mind you, this now first time ever that rap
music was in Radio City Music Hall. First time ever
radio see the music hall never had rapping it before.
That was the first time ever. Also had Whitt in
Houston singing God Bless America.

Speaker 11 (01:18:25):
So you got such a big night that.

Speaker 34 (01:18:29):
You're gonna mute the audio because of lyrical contact of
rap music.

Speaker 11 (01:18:34):
But all the movies you play with all the bad
lyrical content in it. Once again, I'm gonna get the short.

Speaker 5 (01:18:39):
In the stick.

Speaker 34 (01:18:40):
You feel, and that was the best ring interest that
I've seen to this day. Me met and read all
dancing rapping. Come on, you don't get no better than
the mute the audio because y'all worry about the lyrical content.
What more can they say that the movies y'all playing
after seven o'clock.

Speaker 11 (01:18:59):
Saying it's worse on the movie you feel so.

Speaker 34 (01:19:04):
Completely they completely wiped out the best ring interest of
all times.

Speaker 11 (01:19:09):
That if it would have been if you could have
heard the lyrical and now people still loved it, them wrong.
But if you could have heard it and really felt
what we felt energy, you would have felt the whole
energy of it.

Speaker 34 (01:19:18):
You missed the energy because they wouldn't play the lyrics
the lyrical content over the TV screen cold game. But
and the second my second paper window was I didn't
want to pourt an organ. I think briand Jordan and
Nike you had sponsored the fight for me important that
I came about the flow and I had the girls

(01:19:39):
dancing and I did one of my own songs.

Speaker 35 (01:19:41):
That was my second paper, The legendary ice cube in
the building today.

Speaker 8 (01:19:52):
Your relationship was easy. Your reconciliation before it's passing. Uh
talk to us about that and how important it was
to reconcile with him before its untimely passing.

Speaker 36 (01:20:02):
Man, it was very you know, I feel very you know,
satisfied because I was able to do that. I think
I would be you know, real restless, you know about
it a little more if if he didn't know what
he really meant to me, you know what I'm saying

(01:20:23):
outside the bullshit, and I was able to express that
and we was able to truly get past it. You know,
sometimes you could say, you know, we squashed this shit, right,
and it's like, yeah, yeah, all right, yeah, we squashed
all right, you know, but you ain't about to mess
with dude ever again, you know what I'm saying. But

(01:20:44):
sometimes you can squash it and it really be squashed
and you just continue like it never even happened. Almost,
And I knew that I was gonna reach out to him.
I was gonna work with him if he wanted to,
if he could put NWA back together and get Dre
back on, I was gonna work with So, you know,

(01:21:08):
I just knew that, you know, we really squashed our
beef that day.

Speaker 8 (01:21:15):
So it was great your departure for NWA. Obviously, it
was portraying the film and you can read about it,
and we know about it, but for those who don't,
what was your main reason behind leaving NWA?

Speaker 36 (01:21:25):
I just felt like we wasn't the top priority of
the management. I felt like it was a conflict of
interest in a lot of ways that Jerry Heller was

(01:21:46):
so close to owning and running Ruthless with Easy, that
him being our manager, that he would look out for
Easy and not really in WA. So that was one conflict.
And he just proved me right on how he was

(01:22:07):
dealing with my business in particular, and he straight up
lied on my momhums, you know what I'm saying, Like
he lied on that for no reason. There's no reason
to lie. And so as a youngster, all the other
things you can kind of get with, but one thing

(01:22:28):
is the start. It breaks the camel's back.

Speaker 18 (01:22:31):
And that was it.

Speaker 36 (01:22:32):
And I'm like a man that a lie to a
dude about his own mama, it's not a man to
be trusted. I didn't trust him. I didn't sign the
contracts when they was presented, and they ostracized me. And
what was crazy is like once I left the group,

(01:22:53):
they started to pay me. Like once I had a
solo deal. They started to pay me, and I didn't understand,
and I went to my manager, Pat Sharpnay, and I'm.

Speaker 18 (01:23:06):
Like, why why they?

Speaker 11 (01:23:10):
Yeah, why they paying me now?

Speaker 36 (01:23:11):
It's like they cause all this ship we got fuse
in the street, we got records against against each other
and all kinds of ship. Like, why they paying me now?
He said, because you were right and they don't want
you to see him? And I said, well, why didn't
just pay me when I was in the group. He said, well,

(01:23:32):
they would have had to pay everybody else, so they
rather get you out the way and not have to
pay for other people.

Speaker 5 (01:23:42):
You know what I'm saying.

Speaker 23 (01:23:43):
So bullshit, dirty game.

Speaker 2 (01:23:54):
Welcome to the show, David Banner. How do you make
beats while you're homeless?

Speaker 6 (01:23:58):
Oh man, that's dope, great question. I tell kids this. Bro, Like,
I went to Walmart and got a what's the thing
that tread It takes the electricity? You put it in
a converter. Yeah, I went to Walmart and got a
converter and built the studio of my van and bro

(01:24:20):
like a lot of my homeboys didn't want to get
on the road with me, dude, and so I turned
that the passenger side literally into a studio.

Speaker 18 (01:24:27):
But I ain't.

Speaker 14 (01:24:28):
I'm me personally. I'm deeper than that. I ain't talking
about the equipment. I'm talking about mentally, like how you
even keep yourself focused? To know you homeless? I gotta
do this to you, know what I mean?

Speaker 3 (01:24:38):
All right?

Speaker 6 (01:24:38):
I tell you why, Because I did some research, bro,
and I found out there's two types of rich people.
There's rich people who become rich because they have family
and their parents have influence, so their parents have friends,
like they can show you the way. Or you could
be so fucking poor that you don't have no fucking choice.

(01:24:59):
You either gonna make it, you're gonna die. So I
didn't know no rich people. I didn't have to be homeless.

Speaker 2 (01:25:04):
Bro, we didn't hear ship.

Speaker 6 (01:25:06):
I didn't have to be homeless. But I knew that
either I can be lower middle class and work at
a bank and have a fucking boring ass life because
to me, hell is working in the fucking office and
doing the same fucking thing every day. Bro, I probably
blow my fucking brains up. As hard as it is
for us, there is not one day in any of
our lives that's the same. This ship is actually like

(01:25:29):
being on the fucking Gandalf or something. I'm serious, bro Like,
it's like being a fucking wizard. Every day we create magic. Yeah,
Lord of the Ring. Yeah, like, bro, we this ship is.
This ship is fun.

Speaker 2 (01:25:44):
Bro Like.

Speaker 6 (01:25:45):
Honestly, we at work high. I mean a lot of
y'all at work high.

Speaker 2 (01:25:49):
But y'all faking y'all.

Speaker 6 (01:25:51):
Y'all can't say y'all high.

Speaker 2 (01:25:53):
Everybody on our staff is fine.

Speaker 14 (01:25:54):
Oh y'all high.

Speaker 6 (01:25:55):
Yeah, fucking light up here.

Speaker 2 (01:25:57):
We do it as a team. Oh that's what you
think about it. Every we do everything.

Speaker 18 (01:26:02):
We do everything.

Speaker 2 (01:26:05):
It's just a high rainbow over there, yeah everybody.

Speaker 6 (01:26:09):
But no, man, I knew that in order for me
to be successful, I had to burn the bridges. Not
only I not only burn the bridges, I burned the boats.

Speaker 2 (01:26:18):
Doug.

Speaker 6 (01:26:18):
I was SGA president at Southern bro. They said I
was one of the best SGA presidents in history ever, bro, Like,
I could have I could have done that corporate shiit bro.
I was a semester in the thesis. I'm I'm a
semester in the thesis.

Speaker 18 (01:26:30):
Away from my master's.

Speaker 6 (01:26:31):
Degree, I had a three point nine nine eight seven
an Accelerated Masters program is like a paper. So yeah,
I've always been intelligent, always, bro. When I was in
when I was in the third grade, i read on
a junior and college level. I could count to a million.

Speaker 2 (01:26:49):
I knew that. That's funny because I knew that, right,
you're looking at everything.

Speaker 1 (01:26:53):
It's like, what, look at my brother?

Speaker 11 (01:26:56):
You know what the thesis is?

Speaker 8 (01:26:57):
Right?

Speaker 6 (01:26:57):
And so for me, it's so for me, it was
just it was just like I had to burn the bridges, man,
and I had to get out there man, and it
was crazy man.

Speaker 2 (01:27:07):
Like.

Speaker 6 (01:27:08):
I went back to the streets twice, bro, Like I
made it out and then I went back and created
it my own company.

Speaker 20 (01:27:15):
Huh, just twice, yeah, just twice, Just twice, Okay, okay,
just twice.

Speaker 6 (01:27:23):
I'm different than these other negroes. I'm not proud of
that ship, Bro'm a I'm sort of embarrassed some of
the ship that I did. Like we talked about outside,
I'm not happy about that.

Speaker 2 (01:27:32):
Shit.

Speaker 6 (01:27:32):
Ain't nothing cute about that ship at all.

Speaker 8 (01:27:34):
Bro.

Speaker 6 (01:27:35):
You know, I'm just happy that we are able to
talk about it.

Speaker 14 (01:27:38):
Now, tell me this, with the record business being so shady,
how how did you learn it and navigate through it
being independent.

Speaker 11 (01:27:48):
I didn't know.

Speaker 6 (01:27:50):
Eric Abatu taught me this like in some cases, and
you know, I'm a man of knowledge. I never say
that ignorance is cool. But like, Bro, I really thought
that ship was real. Bro, I really thought that that.
Like I looked at hip hop. My little homeboy man
who just got out the streets. He used to tell
me that shit all the time. He said, Man, this
rap shit hurt you, like it's a girl or something. Bro, Like,

(01:28:13):
I really love the rap. Bro, I really thought that
shit was real. Motherfuckers don't care nothing about us. Bro.
You know, Pimp taught me that, Bro, like we got
to care for us. I got this theory, man, that
the story of Jesus, the story of Jesus isn't about
a man coming down bearing a cross for you. I
believe the story of Jesus is about a man coming

(01:28:34):
down to show you how to bear your own cross.
So like hip hop, hip hop ain't fair hip hop
being pay attention to us until the Bay Area in
Texas showed us how to be independent, how to make
our own record companies. They only cared about Southern hip
hop because we were making more money than they were
as a whole. We didn't look at ourselves. Imagine little

(01:28:57):
flip thugger David Ludacris pastor Troy E forty two short
master p. Imagine how many to the South Park Mexicans,
how much money we were making as a conglomerate.

Speaker 18 (01:29:11):
Bro.

Speaker 6 (01:29:12):
So what they did is they signed all of us,
got us all out of the way, and then motherfuckers
fell off.

Speaker 32 (01:29:18):
Bro.

Speaker 6 (01:29:19):
But together we were putting the dent in that shit, y'all.
And we didn't have the We didn't have the foresight
to see what they did. And then watch this, watch this,
this fuck your head up.

Speaker 10 (01:29:34):
Then we learned how to get mom and pop stores.

Speaker 6 (01:29:38):
We had a Southwest distribution, we had Gonzales, we had
our own distribution companies. They sucked the distribution companies up,
bought the distribution companies, sick the fans on the main
DJs and the mom and pop stores. Then they sucked
the mom and pop stores up, then closed the Virgin
Mega store. Right when we had learned, br I just

(01:30:00):
got to the point where I was getting nine dollars
a fucking album. Dog. If I would have sold one
more album, Bro, and then nigroes wan to stream I'm
about to getting nine dollars and you tell me now,
I'm getting a fraction of a penny. Shit, Bro, This shit, Bro,
it's actually genius. Racism, Bro, and imperialism is actually genius.

(01:30:24):
Me and Scott was talking about this in the back.
If you take away the fact that they fucking over us,
the shit is actually genius.

Speaker 13 (01:30:31):
Bro.

Speaker 6 (01:30:32):
And they got us happy about streaming. Man, that shit
so fucking stupid, you know. But what I will say
bro again, Bro, Like, all we have to do is
be successful, Bro, and then we can change the shit
for these kids. Cause think about what they have successfully done.
There is now one generation of children that have never
bought anything, so it's hard to convince them to give

(01:30:57):
you nine dollars an album for something that they have
always gotten for free. And then we're giving our money
to tech companies, not even people who care about us,
who care about music, who even know who we are. Bro,
it's funny. I'm about to be I'm about to go
meet with the dude from Spotify. But the real truth is, Bro,
from a business perspective, you my enemy. And it's hard

(01:31:22):
bro when it's just one of us. Bro, that shit
so fucking lonely dog when God has blessed you with
the information to know better. Bro, and niggas look at
you like you crazy or like you wet. And then
sometimes because we're in flesh, sometimes you start tripping, like damn,
am I fucked up? You know who knows

All Episodes

Episode Transcript

Hosts And Creators

Stephen Jackson

Matt Barnes

Popular Podcasts

Stuff You Should Know

Dateline NBC

The Girlfriends: Trust Me Babe

.css-15opob5{left:0;position:absolute;top:0.8rem;} All Episodes

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}20 Wild Rap Stories From ALL THE SMOKE That Changed the Game