Too $hort breaks down his journey from acting in Menace II Society to his new role in Freaky Tales, while reflecting on the Bay Area’s influence on Tupac and the golden era of rap. Symba brings the laughs with wild studio stories, a surprise freestyle, and real talk on groupies, collaborations, and how the rap game has changed. Things heat up when Stak admits he didn’t believe in Steph Curry, sparking a fiery debate over Curry vs. LeBron, MJ’s GOAT status, and the all-time Warriors starting five.
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Episode Transcript
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Speaker 1 (00:00):
M m.
Speaker 2 (00:10):
Mm hmmmm mm hmm.
Speaker 3 (00:24):
Welcome back to all the smoke La. Good to see you, bro,
my boy, We're yes.
Speaker 4 (00:30):
We got two friends of the program today promoting their
new film project Legendary Legendary Fellows Welcome to the show,
too Short and my brother Simba.
Speaker 3 (00:44):
What's up?
Speaker 4 (00:45):
So you guys are on a tour right now promoting
Freaky Tales. How does this type of tour and promotion
differ from the music side of it or is it similar?
Speaker 5 (00:56):
Man?
Speaker 6 (00:57):
It's time you just it's the grind, man, when you
when you got to go out and hit the spots
and let people know about it.
Speaker 3 (01:05):
You really don't get paid for that.
Speaker 6 (01:06):
So that's that's the part of the grind, the promotional
side where you know it ain't all listened glamour. I
personally don't like moving around for free, but but it's
a part of y'all. Man, You got to you gotta
get out there and promote. Man, I'm getting on these
planes waking up early. I think it took me on
sit almost two hours to drive here this morning, but
I'm clacking off six thirty.
Speaker 3 (01:28):
Gonna do it, man, But what's it like for you?
Speaker 4 (01:30):
Obviously he's been in the game since shit, we was
little kids.
Speaker 3 (01:33):
Yeah, it's different for you. It's new for you. It's
newer for you.
Speaker 5 (01:36):
Yeah, it's definitely a newer for me. But it's a
dope experience, especially sitting alongside him, hearing a lot of
stories I didn't know, just getting a lot of game.
But me personally, man, I love it, you know what
I mean. I love just being a part of this industry,
being able to get out here and have something to
put out to the world and get out here and
talk about it promoted, and especially something as good as
(01:58):
Freaky Tales.
Speaker 4 (02:00):
How was the game changed from when you came up
in it and we're in your prime to what the
game is now and he's kind of coming up in
it and entering his prime.
Speaker 3 (02:10):
I was. I was coming in on the wave of
fun hip hop. You know.
Speaker 6 (02:15):
We got it from New York City and it was
about rocking the party and you know what I'm wearing
party rocking. And then it started getting real real serious,
like run DMC came out of Mellie mel and Grandmaster
flash the message. But we got in the game, and
we didn't get in the game to get rich. I
remember what my dream was when I was a young rapper,
(02:36):
I really wanted to hear myself on the radio, and
I really just wanted to whatever the next show was,
I just wanted to rock the crowd.
Speaker 5 (02:43):
That was it.
Speaker 6 (02:44):
If I could rock the crowd, We're gonna do that.
But if I hear myself on the radio, I'm like, way,
we're doing it. It was a big deal, this game
that they in from the moment they dream of it,
they go, I'm about to get up in here and
get it, and not just get famous. I'm about to
get some paper because the exactly have already been set.
You can get a lot of money rapping, producing, managing,
(03:05):
just any part of this hip hop. You just get
a slice of the pie. It's money in on it.
So I love the business part of it. I love
the fact that I survived long enough to be, you know,
a part of young hip hop when it was just
dancing and break dancing and we wasn't getting paid for
a show to you.
Speaker 3 (03:23):
Know, wire the money, bro.
Speaker 6 (03:25):
And I'm watching my young homies come in quick though,
quick and getting a bad quick because if you get popular,
you got multiple ways to get money.
Speaker 3 (03:34):
That's the one thing I like about you. Is your
versatility in this space.
Speaker 4 (03:36):
Obviously you came in and rapping, but you got your
hands in a little bit of everything, particularly acting now
with this project.
Speaker 3 (03:43):
But how how has the journey been for you?
Speaker 5 (03:45):
And I think the beauty of what he just said
was like they paved the way for us to dream bigger,
you know what I mean. So they didn't technically have
the social media's and certain things when they was coming
up short. They had to get it out the trump
you know what I mean, to really get to the people.
So the way to pave the path they took allowed
(04:05):
us to kind of diversify ourselves and look at things bigger.
I remember as a kid seeing short movies, you know
what I mean. A lot of people wasn't doing movies
at that time, but as a kid, that was something
I wanted to do. Seeing pot you know what I mean,
seeing DMX, seeing these prominent characters be rappers, but be
actors and can also do commercials and write films as well.
(04:28):
So that was just always something I wanted to do
and it's a blessing that I'm doing it now.
Speaker 7 (04:33):
Playing playing Young Short and Freaky Tails. What was that process? Like,
I mean, we all grew up and know how you talking,
know how you rap? How was that process of becoming him?
Speaker 5 (04:42):
Man, it was like the coolest shit ever cause it
was like I'll be telling the story all the time.
We was on set one day and I made it
this theme to not break character while I was on set,
like I'm gonna be too short, even when I walked
to the trailer when they cut everything. So I'm getting
ready to go back to the trailer and have lunch,
(05:03):
and I got on the old school starter jacket.
Speaker 3 (05:06):
Yeah, the Green Boys.
Speaker 5 (05:07):
So one of the director, if it was a director,
somebody was working with the crew. It was like, man,
that jacket's dope. I was like, thanks, bitch, was.
Speaker 3 (05:22):
Like he was doing with it.
Speaker 5 (05:25):
It was cool as ship to get to just.
Speaker 3 (05:27):
Feel like.
Speaker 7 (05:32):
You played the cop and you also narrate through the movie.
Well you ever thought you played a cop in the movie.
Speaker 6 (05:37):
I feel like I really didn't play a cop, man.
I just I just did a cameo. I really didn't
get it, to know, you know, all the way ice
team mode and like people and stuff. I just they
tried to slide me in on the cameo. It was
a good scene, and uh, you know, I knew I
was gonna be the.
Speaker 3 (05:53):
Narrator, and I accepted that.
Speaker 6 (05:56):
I was also a part of like some of the
authenticity parts to the movie where they just need to
know it was being done right. And yeah, you didn't
see me with a bad It was just a little
little pop up for you know. They wanted me to
say bitch in the movie, so that's how they wrote
it in.
Speaker 3 (06:15):
I don't know about the cop playing.
Speaker 6 (06:17):
Yeah, unless I can get on that, what's that show?
I see his own many years?
Speaker 7 (06:25):
Yeah, did you got a star study cast? Did y'all
get to hang out with Tom Hanks?
Speaker 6 (06:30):
No, Tom Hanks was you pretty much look at that scene.
That's probably who got to hang out with him? Him
in Pagro. Yeah, he got up out of there now.
But Tom Hanks is from Oakland, California. A lot of
people don't know that, and I think from what I
heard and the wind, tom Hanks kind of had a
sort of passion for the script the movie that it
was shot in Oakland and he just wanted to show
(06:52):
some love, so he did.
Speaker 3 (06:53):
He did a big cameo big.
Speaker 7 (06:55):
The big theme in the movie is Nazis and my
skin heads and stuff like that. You did you have
your own personal experience back in they seventh.
Speaker 3 (07:02):
So I watched the movie.
Speaker 6 (07:03):
I saw the movie actually a couple of years ago
at one of the early screenings, and.
Speaker 3 (07:09):
I just I was there. Everything is so real about
the movie.
Speaker 6 (07:12):
I actually talked to some some og punk rockers and
they said, yeah, them skinheads used to come fuck with us.
I'm from East Oakland, California. I looked at the movie.
I was like, we never saw them dudes ever, like ever, ever, ever,
And I just think it would be so interesting if
on one of the nights in the truck with the
fucking shit they ride around fucking with people.
Speaker 3 (07:33):
They pulled up on like a house party in East Oakland,
well on.
Speaker 6 (07:36):
The corner where niggas was hanging out. That ship would
have been interesting. But they never came around. I don't
I talked to all my hommies. I'm like, you remember
the Skinheads, Like, I don't know.
Speaker 3 (07:45):
I heard about them. I think they was. They was
going to other areas.
Speaker 5 (07:48):
And one of the dudes, I think he was on
set when they had remade to guil me the spot
where the skin heads came to attack him, and he
started crying because he was like man, remember yea.
Speaker 3 (08:01):
Them, they have to fight them motherfuckers, like they.
Speaker 5 (08:03):
Had to really go through it with them. So we
probably never seen it. But that was a side of
the Bay Area that was real, were real quick.
Speaker 3 (08:11):
It was shot in open right. Yeah, what did that
mean to you?
Speaker 4 (08:15):
Because normally they'll go to Atlanta or find somewhere else
that's taxing.
Speaker 6 (08:18):
Yeah, you know, from what I hear from people who
had problems shooting stuff in the past, you can't get
the permits.
Speaker 3 (08:25):
I can tell you firsthand.
Speaker 6 (08:27):
We barely ever were was allowed to shoot any video
missic videos in Oakland. We had to go renegade. We
had to get subjugated to like a little neighborhood. That's
I don't know what the rules were, but I've heard
from other people who had like productions like Blind Spotting,
that it's difficult to shoot in Oakland because of all
(08:47):
the rules and regulations coming from city hall wherever.
Speaker 3 (08:50):
So you you gotta get.
Speaker 6 (08:51):
The shot, shoot and get and then you gotta go
somewhere else and film this shit. So the people who
did Freaky Tails, the production and everybody who was the
powers to be to make it happen ran into those challenges.
And they said that they just kicked up the extra money.
There was a decision, do you want to do it
like this, Let's just shoot what we could shoot in
(09:13):
Oakland and then we'll just go shoot the rest of
the movie elsewhere. And the directors were like, it's got
to be done in Oakland. So whatever that extra cost was,
I'm glad they did it. I think it's opening doors
for other productions in the future All the time. When
you have an example something that happened, the next people
come along, go where they shot, nothing happened.
Speaker 5 (09:31):
It was cool.
Speaker 6 (09:32):
Look at the fuck you know, like we see San
Francisco movies, we see La movies, we see movies from
a lot of cities. By the time we start seeing
some Oakland movies.
Speaker 7 (09:44):
Exactly how was that role with minutes and how did
that come about?
Speaker 3 (09:50):
Well, you know, I got my part. What year was that? Yeah?
Speaker 6 (09:59):
Exactly, somebody down there, somebody walk up say what blue Local?
That was my character and minister Society. I got my
part because if you notice, the star power is minimal.
You got my man with Charles Dutton, he played the
rock whatever he was, he was popping back.
Speaker 3 (10:16):
Then Jada was like, like, nobody she was.
Speaker 1 (10:19):
That was one of her.
Speaker 6 (10:20):
Yeah, Tupac was in the movie and invited heard the
story to fight Tupac the directors and ship. He was
supposed to play the part of No. No, he was
gonna play the righteous to Kansas. Yeah, he was gonna play. Yeah,
he was gonna play.
Speaker 1 (10:42):
Somebody. I heard the story different.
Speaker 3 (10:43):
But he didn't want to play that character.
Speaker 1 (10:47):
Yeah. I thought it was gonna be Yeah, I thought
it was gonna be.
Speaker 6 (10:49):
O Dog Sharif checked the research, believe you said, just
woke a lot of ways too.
Speaker 1 (10:56):
Yeah, we went exactly when they lost part.
Speaker 6 (11:02):
They needed some they needed they want to rap her name,
and they just called me and found found a slot
for me. They gave me some cool little scenes though,
because my couple of little scenes is like real.
Speaker 1 (11:11):
So do you really burn the ribs? That? Did you
really burn the ribs?
Speaker 3 (11:15):
Was burned?
Speaker 2 (11:15):
Well?
Speaker 3 (11:16):
Probably on the first takes.
Speaker 6 (11:17):
They wasn't burn Okay, just look like somebody.
Speaker 3 (11:25):
Somebody else was cooking the ribs. I just stepped in.
But that take their camp, you see that. I remember that.
Speaker 6 (11:37):
It was some wild ship around there shooting man like
they were shooting over and and fucking Jordan Down's projects.
Speaker 3 (11:44):
Man fucking up where the Great Streets is at.
Speaker 6 (11:47):
And it was some dudes that came up and start
harassing to set a little bit, and m C eight,
who is from Compton, went over a couple of familiar faces,
you know, he chopped it up with him and he
came back and he was telling me, it's like, look,
they said, they're not gonna suck y'all up, but there's
some other little niggas that run around here younger than
them that if they come over here, nobody can control them,
(12:10):
so you might just want to you know.
Speaker 3 (12:12):
You know, they didn't.
Speaker 6 (12:13):
They didn't do the proper introduction to the hood coming
in and saying, hey, we're gonna be around for a
few days, can we make it happen.
Speaker 3 (12:20):
They didn't do that, and.
Speaker 6 (12:21):
It was it was a little close call. They ended
up having to shut down a little early. That's that
alley scene they were shooting with the crackhead and ship.
They probably would have got a little bit more, but
it was a fun shooter.
Speaker 5 (12:32):
Man so quick.
Speaker 6 (12:35):
You know, I'm the only nigga in the movie that
point the pistol at old Dog. He don't never really
have no I'm like they gave me a and I
humble a little nigga he like, you know, I had
him scared for a minute and he was a plug
too exactly.
Speaker 1 (12:48):
You have.
Speaker 3 (12:50):
My guy po man got a little kick.
Speaker 1 (12:52):
You know who was in there?
Speaker 3 (12:54):
They minutes maw you know. Hopefully Freaky Tales.
Speaker 6 (12:58):
It's gonna be one of them movies that you know
for years to come and have little scenes that people remember.
Speaker 3 (13:03):
You know, that's dope.
Speaker 4 (13:05):
As someone who lived it, you grew up looking at it.
What was the eighties and nineties rap scene to you?
And what inspired you the most? You touched on it earlier,
But like break that down, man, it.
Speaker 5 (13:16):
Was just fly you know what I mean. Like I
remember being a kid, my mom like dressing me up
in my school pictures and feelings, swist suits, you know
what I mean. He was telling me how to pose
and different things like that. So it was always just
fly seeing you know what I mean? Seeing forty faute,
(13:37):
you know what I mean. Everything was always just player.
We was always before the bay got labeled. It's just
like an aggressive ass place. It was how I've seen
it from my experience. It was real player. Everybody was player.
You had your women, you spoke to him a certain way.
You know what I mean. You stayed out of people's
business and minded your own. So for me, that's kind
(13:59):
of like the ETA theology is always tried to model
growing up. Its handle your business. Be a man of
your word, you know what I mean, Keep a player,
keep it cool. Uh, you ain't gotta be no gangster,
but don't be no bitch, you know what I mean.
Speaker 7 (14:12):
You Fingerwaves never win finger because ain't that.
Speaker 1 (14:18):
A lot of the boys finger went fing away man
rock four finger Waves wave it.
Speaker 7 (14:25):
You gotta curl, yeah, yeah, yeah, send itself had to curl.
Speaker 6 (14:29):
I'm like that was a bad We had special hair
stylists that did pip hair.
Speaker 5 (14:34):
Dude, how did they keep that ship up like that.
Speaker 1 (14:38):
Always?
Speaker 6 (14:39):
Because I just kind of look right here, I assure
that once by the time.
Speaker 3 (14:42):
But from what I heard, the pimp got to like,
you know, a nigga might have to just sleep like
this nigga, you know Techne look at the he said,
(15:13):
you might have to.
Speaker 4 (15:18):
For someone that kind of helped create the sound coming
out of the Bay. Obviously we heard New York and
we you know, and then you come to the West
coast and there's some in La by someone who is
instrumentally in building the sound of the Bay Area. I
mean probably in the moment you didn't realize that. But
how prideful were you as being a part of that.
Speaker 6 (15:35):
Well, you know, I'm I'm an older dude, older than
damn near all the Bay rappers like Hammer might be
older than me. He might, he might get me by
a year, but forty on down mac dre on down,
they're all a little younger man.
Speaker 3 (15:49):
I'm like, I'm of age.
Speaker 6 (15:51):
I was ten years old when George Clinton landed the
Mothership in the coliseum, and I'm like a fifth grader.
Speaker 3 (16:02):
Something like some shit like that.
Speaker 6 (16:03):
And it don't mean nothing to say George Clinton leonard
a spaceship on the stage. But nigga had ten years
old and the p funk and the music, and my
mama let me go to that concert with my brother
and we just you know, no rental advisory. Were just
funking out little niggas because the world wasn't while back then.
(16:23):
You can tell a little nigga, you could say, go
to that concert, be standing right here at fucking nine pm.
Speaker 3 (16:31):
The nigga be standing right there. And it was that
kind of world so I got I got to see
the funk.
Speaker 1 (16:36):
Man.
Speaker 6 (16:36):
I've seen at a young age. I've seen that Rick
James live on stage. I've seen Cameo, I've seen all
that shit. And when I got a chance to start
making music, I was just so funked out, just so
Boosy Parliament funk the fuck out that I'm listening to
all the hip hop coming from New York.
Speaker 3 (16:57):
The first early records was Disco Records. All this shit on.
Speaker 6 (17:00):
Sugarhill Gang, sugar Hill Records, and shit, a lot of
the early songs was on Curtis Blow. He was on
the disco vibe. It was like because disco was hot
coming out the seventies. And then they instantly went into
James Brown. So the East Coast rappers sample every fucking
thing you could think of James Brown, every little loop
you could find the funk. James Brown is the inventor
(17:22):
of the funk. Parliament Boosy is the next generation. They
got it from James Brown. So listen to the ship.
And it's my turn to step up to the plate.
And I'm like, all we all we fucking want to
do is Parliament, go listen to Doctor Dre All the
ship when he first starts, he's fascinated with Parliament. Listen
to forty and it's just funk, funky as funk. So
(17:44):
we wasn't, you know, we wasn't really high in it,
that thing. We was trying to be listen to digital underground,
fucking Parliament, like that's the ship. So I just wanted
to do my version of George Clinton really slow, funky beats.
The baseline, you know, drum beat got a little kick
to it, and the baseline funky as hell. And then
I added on to that shit just a lot of
(18:04):
shit talking and didn't really have any style of it
than talk a lot of shit. I had a rap
partner in the early days. His name was Freddie b
and we used to sit around and we would just
make tapes. Like a certain day would be make tape
making day, other days to be taped selling day, and
we would we would just be like just viving on
(18:24):
what's moving around the streets and.
Speaker 3 (18:26):
Just be like, talk hell of shit. So just talk shit.
Speaker 6 (18:29):
And I think in the midst of styles of MC's
in the whole world of hip hop, when they start
talking about this style, that style of the flow, he
speed up.
Speaker 3 (18:39):
He'd do this cadence. That cadence, they really didn't really
had that category called shit talking.
Speaker 6 (18:46):
So all these years later they were like, well it's
too short still relevant. Well, you know, two Short wasn't
ever the best rapper, but I was the best shit talker.
Speaker 3 (18:53):
The niggas just don't getting it.
Speaker 6 (18:54):
They wasn't realizing I was just rattling the fuck out
the speakers with the hell of base and just talking
a lot of shit. And I think that shit went
all over the Bay because the next nigga's up to
bat was e forty.
Speaker 3 (19:05):
Here he come a whole lot of bass, talking a
lot of shit.
Speaker 6 (19:08):
Next nigga up, Mac Dre. Everything he's doing, talking shit?
We kicko Fota from the city. What's he doing? He's
just talking a lot of shit. So I think all
the Bay rappers we wanted to just lingo it up
like the pimpsl was talking, like the street hustles was talking.
And then all of a sudden, it was like the
rappers was talking. So we set that tone. And if
you listen to a young Bay rapper right now, seventeen eighteen,
(19:31):
what is he doing?
Speaker 3 (19:32):
Shit? He's just talking a gang of shit.
Speaker 6 (19:34):
Even when a sob came out. Everybody, just every little
era that comes out. The Russell now punchlining like a motherfucker.
Just l Russell ain't even a bad guy. His image
is not a bad guy image. Street talking that shit.
So that's our legacy out there. I think, you know,
the world should know they was, you know, all the
(19:55):
motherfuckers who was all a lyrical super lyrical shit.
Speaker 1 (20:00):
Hmm.
Speaker 3 (20:01):
Should have put a little shit talking in there.
Speaker 7 (20:02):
Mane you can't forgetting mac mall either. Man, all of
us we.
Speaker 1 (20:10):
Grew.
Speaker 3 (20:11):
There's a whole bunch of us. Man, we just forty
calls us game.
Speaker 4 (20:15):
Spinners with The little girl's name is Dope from out
that way.
Speaker 3 (20:20):
Now Paris Knights, Yeah, period. I like her.
Speaker 4 (20:28):
The Bay can be considered its own little almost world.
It's so much different energy from bridge to bridge. What
did you guys, how did you guys embrace park and
and and master p when they came and set up
shop out there in the early nineties.
Speaker 6 (20:40):
I think, uh, they made a lot of friends and
and it became home. So you know, I always I
always referred to two Pocks quote when they said where
are you from? He said, if I got to call
someplace home. I'm gonna called Oakland home because that's where
I got the game. And I think, uh, that's a
big statement because he's from an area in the Bay
called Marine City, proud of being from there. But he
(21:01):
was just like I came to Oakland and got this
certain game. Bruce Lee came to Oakland and got that.
Speaker 3 (21:06):
Game shit back before hip hop. It's out there.
Speaker 6 (21:09):
I heard people like Kat Williams say he went out
to Oakland to live for a while just to figure
his comedy shit out a little more so. Master PM
has a lot of alliances in the Bay with people
who were doing that independent hustle. How he learned it
and how he figured out how to do it his way.
He had a record store in Richmond, and he just
(21:33):
absorbed it, man like, he was the record store owner,
worked in his store and he was watching all this
shit sell independently.
Speaker 3 (21:40):
So you know, he figured it out. But it's shot.
Speaker 6 (21:43):
G said he pimped his way across the USA to
get to Oakland to motherfucking make music because wanted to
be out there, you know what I Meanuck, A lot
of motherfuckers know that I was born and raised in
La I moved to Oakland at fourteen turned the fuck out.
I never had a dream of rapping or nothing too short.
I got to open and they fucking turned me into
this shit. So it's just like it's like that, bro,
(22:05):
it's in the water Man. If you knew the history
of the Bay Area music, if you just knew the history,
it's a lot of fucking history before hip hop.
Speaker 3 (22:14):
Good shit, Ablue.
Speaker 7 (22:15):
Is it anything that you that you are envious about
that the eighties and nineties rappers got that you didn't that, y'all?
I'm getting this area this era. I think it was
way more solid.
Speaker 5 (22:26):
I think one thing God say is like, because it
was a limited amount of resources, they had to be
more creative. Yeah, facts, And I feel like sometimes my
air gets lazy on the creative side because of everything
we got at our disposal. When you hear some of
(22:47):
them real Like he was telling me he had to
rap Freaky Tales all the way through. I'm telling him, like,
you know how long it took me to punch that shit?
Like I had to rewrap it for the movie, And
it took me, like damn, there like a whole day
to like rap that shit, and I'm punching, taking five
minute breaks going and he was like, nah, I have
to wrap it all the way through. He like, that's
(23:07):
why you could hear certain things in the background, that's all.
But he was like, man, I used to like it
like that. The Flaws is cornered.
Speaker 3 (23:12):
The studio time, either on album.
Speaker 5 (23:17):
Yeah, So I think the creativity. I'm somebody that like,
I kind of overthink a lot, especially when it comes
to write my raps, because I never I never want
to feel like I'm wasting thoughts or just saying something
to say it. I'm always trying to say something that's important,
especially when it comes to hard culture. And I get
that from the nineties, you know what I mean, From
(23:38):
the eighties, from the Bay you know what I mean,
even like he was just talking about shit talking. One
of my biggest moments was the La Leakers freestyle and
when I said I never let a woman make me
feel less of a man because I don't want to
buy a burking. That line actually came from when Sweetie said,
if he don't buy you a burk, and send him
back to the streets, you know what I mean saying.
(24:00):
So I was like, well, send me back to the streets,
and I send you back to your mama house. You know,
like you said, ship talking, it's just but having something
to say, you know what I mean, having something to
stand on for my community and my culture or what
we believe in is what I take for them.
Speaker 1 (24:19):
Same question for you, Shure.
Speaker 7 (24:20):
But flip it around, like they have access to so
much social media and all that is anything that you
wish that y'all would have had, that you kind of
image that they.
Speaker 6 (24:28):
Have now, well, the tools, the tools are way better,
you know, technology. It's a it's a give and take
for me though, because what technology brought along was a
way to reach the masses.
Speaker 3 (24:44):
But then there was also a really.
Speaker 6 (24:47):
A really fun aspect of not everybody knowing everything instantly.
It was it actually to me, it gave songs a
longer lifespan and it I don't know, it just I
used to meet people by doing the show and jumping
off stage and walking through your city and just meet people.
(25:08):
I didn't have, you know, social media, I probably would
have never did that shit. I'd have been like, I
got five hundred thousand followers, Why the fuck I gotta
go walk around.
Speaker 3 (25:15):
Your city, you know what I mean?
Speaker 6 (25:17):
So it just I like the personal shit, But at
the same time everything is so one hundred times more.
Of course, I would have loved the fucking in the nineties,
I fucking made six platinum albums in a row. I
couldn't get a fucking endorsement of nothing. They wouldn't actually
hip hop artist to endorse snow for motherfuckers just sold
six million albums in six years, and you wouldn't want
(25:39):
them to endorse your product.
Speaker 3 (25:40):
Product. And now you know, now that they know.
Speaker 6 (25:43):
How influential hip hop is, if you just get a
little spark, they're like, oh, you know, you want to
this clothing line, you want this, and they understand the
value of the popularity. But back then it was I mean,
they were trying to stop us from doing tours. They're
trying to stop us from any fucking thing we do.
We pull up, it's like, those are the hip hoppers,
(26:04):
the bad guys.
Speaker 8 (26:04):
So I would love to be in the era of
floating ship through this fucking digital these ones and zeros
and just send my ship to London in a listening
to m P three and fucking how are we sending
a fucking song across the ocean in ten seconds?
Speaker 7 (26:21):
The fuck is that you gave, you gave, you gave me,
You gave me a hard drive about fifty thousand songs
on the word fucker. Man, it's still listening to the
motherfucker the nineties.
Speaker 6 (26:31):
I would have had to give you like fucking twenty
crazy hey, but it's lovely.
Speaker 3 (26:36):
Man. The only thing with right now, the only thing
I don't like is the way that.
Speaker 6 (26:44):
The streets are entwined with the rap ship. Because the
streets always hip hop. The streets was always the backing
the banker of hip hop movements, but the street guys
would be like this all legitimate thing, keep it legit,
staying in a certain place. Now it's like Nigga the
rapper himself would get off stage and shoot you, did
(27:07):
you just.
Speaker 3 (27:08):
Throw that like this?
Speaker 6 (27:09):
Like crazy that that we was thug the fuck out
rolling with me, any type of vibe you want to
think about. But the ship had a certain level of
it made sense. And I just think that if you
got something so valuable as hip hop, we pull up
in the room. This the nigga who gets all the
(27:30):
money for the movement. He the last nigga that's gonna
get in trouble. He the last nigga that's gonna get hurt.
The movement is shielding him, like, Nigga, we gotta do
some dirt, get him to the car.
Speaker 3 (27:41):
That's that's the bag.
Speaker 6 (27:42):
Why is the bag over here in the middle of
the fucking fight, Like it ain't making no sense?
Speaker 5 (27:46):
So I think the thing with that, because you're right,
I think the problem with our generation is like they
kind of start disrespecting the support. Right, so niggas starts
feeling like day the reason so you able to move
this way and move around the hood and have this
influence because of us, But then you start making this
(28:07):
money and start believing it's because of you. So now
the people who was funding that is like, Nigga, you're
really rapping about my life. I could do this too,
you know.
Speaker 1 (28:15):
What I mean?
Speaker 5 (28:16):
So now they didn't put themself in front of the
camera and made that same amount of money, And it's like,
what I'm back you for now when I could do
the same thing. And because of this, they made the
world one big neighborhood. How he can't get to the
people or it.
Speaker 6 (28:30):
Says a billion dollar business and motherfuckers need to like
fight somewhere else.
Speaker 1 (28:38):
They are not.
Speaker 6 (28:38):
They are not fighting on the courts, Max.
Speaker 3 (28:42):
They're not fighting on the course no more.
Speaker 1 (28:45):
It's a it's a bag. That's a bad.
Speaker 5 (28:48):
Shout out to Uncle V too, man. Uncle VV came
out and rocked with me for All Star Weekend. You
know that's one of my favorite people in the world.
We'll be on the fight black man. That motherfucker right there, Man,
the mother fucking Peppovich. Man, I couldn't god that motherfucker. Man,
that mother.
Speaker 1 (29:06):
I love man. Shout out the man in the building
eighties and nineties or today? Who got the best group?
Is the best looking group to groupies?
Speaker 5 (29:18):
That's the part you left. You would crazy Instagram because you.
Speaker 7 (29:23):
Know you basically build the bitch today, build the whole
perfect man.
Speaker 3 (29:27):
When I was coming up, if the girl had a
big ass, it was real. That was a big ass.
Speaker 1 (29:32):
Yeah that was real.
Speaker 6 (29:33):
There was no nothing but her grandmom and her mama.
Speaker 1 (29:37):
That was beans and rice all over. Man, And yeah, I.
Speaker 6 (29:40):
Feel so bad for the from my generation, for the
kids who inherited that ass, who got to compete with
fake ass.
Speaker 3 (29:50):
That ship is that ship is like religious. Man is special. Man,
That motherfucking that you could build one. That fact.
Speaker 6 (30:00):
I've seen too many real ones that even I can't.
I can't honor, Yeah, I can't.
Speaker 5 (30:07):
But like I said, y'all paved the way. You see community,
y'all paved the way they got to explore.
Speaker 1 (30:17):
Now you know.
Speaker 4 (30:20):
We're you ain't never had the nineties group got to
be nineties I'm thinking nineties nineties?
Speaker 5 (30:28):
What was the nineties groupie?
Speaker 3 (30:30):
Natural beautiful? After they leave, they just be happy.
Speaker 6 (30:34):
Ain't no no posting, no motherfucking up secret adortion?
Speaker 5 (30:40):
Okay, okay, lies after the ship that happened, come on,
give it changed?
Speaker 3 (30:47):
Everything is getting fluid out?
Speaker 7 (30:49):
Wasn't the thing that's back?
Speaker 5 (30:55):
When that's back? When what happened in Vegas actually stayed
in Vegas?
Speaker 1 (30:59):
Yeah?
Speaker 3 (31:00):
When when a T shirt meant something?
Speaker 1 (31:03):
Expectations now are crazy? Expectations now are crazy.
Speaker 7 (31:07):
You survived every era of hip hop to say, to
be honest, what do you think was the golden age
of hip hop?
Speaker 1 (31:13):
Or if you would say it was a golden age.
Speaker 6 (31:15):
Well, we know they have an actual golden era that's
labeled late eighties and early nineties that's supposed to be
the peerst form of hip hop when it was young
in the commercial stages and everything was original.
Speaker 3 (31:30):
Everybody was a one off man. All these erarors were.
Speaker 6 (31:34):
Fun like that era is how I got in the gang,
just being too short of my own lane. But the
next one that came in with the bling bline, we
all got money and sh was fun. I was looking
at Atlanta and she was fun and fucking who got
the most shit fun? And then you know, the Y
two K pass and then the new Millennium came in and.
Speaker 3 (31:57):
Shit started getting my space, my.
Speaker 6 (31:59):
Spaced out, and you know, it was on the Bay.
We was hypheed up and Little John and then was
crunked up. It was it was, it was doing it, man,
I was.
Speaker 5 (32:07):
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 he was the first.
Speaker 6 (32:16):
But I'm 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 hyphee is brewing, like early two thousands hype.
Speaker 3 (32:31):
He is brewing and fucking It's just a whole new
energy for me.
Speaker 1 (32:36):
Man.
Speaker 6 (32:37):
I had, I had already been in pocket with Little
John when the hyphe 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 was like, man, I'm in the bay and they
got the ship out here called Haife, Like, bro, we
gotta do some of this ship.
Speaker 3 (32:52):
Like he came back hyped up on the ship.
Speaker 6 (32:54):
So prior you want to know the Little Johan story,
Little John is uh.
Speaker 3 (33:03):
And about what I don't know. The mid nineties.
Speaker 6 (33:06):
He's an employee and so so deaf and he's over
there producing songs. I think one of the ones I
always members of is that my boot song somebody singing
I don't.
Speaker 3 (33:16):
Know boo I can't sing, so you.
Speaker 5 (33:19):
Know, uh not the usher booze.
Speaker 1 (33:26):
Baby Oh.
Speaker 3 (33:27):
I think.
Speaker 6 (33:30):
So so deaf, thank you so blue John producing him
kind of beast for so so deaf. He worked for
Jermain Dupree. You got an office over there and ship.
But he's also a DJ around Atlanta and the niggas
a pretty good damn DJ.
Speaker 3 (33:45):
So I was a fan of Little John to DJ.
Speaker 6 (33:48):
I always was at the fucking clubs and when he DJ,
it was just different.
Speaker 3 (33:52):
He started DJing.
Speaker 6 (33:54):
And he's playing records but he's talking and then next
thing you know, he got the crowd saying ship he
he just it turned into a fucking concert by DJ.
And then he put this record out.
Speaker 3 (34:04):
Who You Get Crunk? Who You With? Who You With?
Speaker 6 (34:08):
Just a bunch of chants to the flu 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,
(34:28):
and and.
Speaker 3 (34:32):
He left the song. I wasn't there when he came.
Speaker 6 (34:34):
He just left this fucking song tracked out on the
on the machines he sat do don't know if he
mailed him.
Speaker 3 (34:39):
It was just there. So I put some raps on it,
got it back to him. We liked it. We uh
went to go shoot the video and ship.
Speaker 6 (34:47):
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 the 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
said Little John owed him some money, and he just,
(35:12):
you know, fucked Little John.
Speaker 3 (35:13):
Little John was like he's shady, whatever the whatever.
Speaker 1 (35:16):
It was the.
Speaker 6 (35:17):
Dispute fucking so they was gonna fuck you for life.
So I just stepped in and was like, bro, how
much money is it. I've got some business going on
with Little John. Okay, you know this this whatever broke
him off, you know, some homie ship, and then fucking
came to Little John.
Speaker 3 (35:33):
I was like, you free to go.
Speaker 6 (35:34):
And I could have signed Little John to my label,
but I knew who he was. We had already did
a couple of songs that blew the fuck up because
of him. He went out there, oh yeah, yeah, get
Little John was the kind of dude who had a
network of the DJ record and he had been doing
(35:55):
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.
Speaker 3 (36:02):
So instead of me going are you under me?
Speaker 1 (36:05):
Now?
Speaker 3 (36:05):
Let's roll, I was.
Speaker 6 (36:06):
Just like, bro, you know you're free to go, man.
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. And then the greatest
ship ever, he slid me shake that monkey which lasts forever.
(36:27):
And the very next year he gave me blow the
whistle and I'm like, you know, thank you, sir, And then.
Speaker 3 (36:38):
He proceeded to make some of the best hyphe beats ever.
Speaker 6 (36:41):
Like he did tell me what he didn't want to
keep the snakes, yeh, he was, he was. He was
doing it like I just want to help snap the ship,
the same as me and forty. But you know that
those are the type of things, man, when you're coming
up in a game, it might be with a younger
player or younger coach or something, and you fucking helped
somebody along the way, and then they turn around and
(37:03):
they're in the position to help you, and it's just
this ship is just way better than going through life
going give him my you know, just I'm the motherfucking one.
Speaker 3 (37:12):
You just kind of gotta have a little humble to it.
Speaker 1 (37:13):
Man.
Speaker 6 (37:14):
And when you recognize somebody with the game, you just
give him a stepping stone, give him some more game,
give him a chance, to give him opportunity, something.
Speaker 3 (37:21):
Speaking to blow the whistle.
Speaker 2 (37:23):
Uh.
Speaker 3 (37:23):
Gilly brought that.
Speaker 4 (37:24):
Back around and made the theme of the of the
Philadelphia and they won the Super Bowl?
Speaker 3 (37:30):
And what was that like? And did that really that
ran the streams back up? Didn't it? I can only imagine.
Speaker 6 (37:35):
Yeah, the first time I saw him, after you start
doing it, I'm like, I'm like, what's up?
Speaker 3 (37:39):
Bra, You're like in streams is up?
Speaker 4 (37:49):
And you went out to his house and did some
ship with him in the front yard with the neighbor
and everything.
Speaker 6 (37:53):
Then motherfucking snow one football Sunday playoffs.
Speaker 3 (37:58):
You got to respect bro. Yeah.
Speaker 6 (38:00):
I jumped on the flight and with the Philly I
am not a Philadelphia Eagles.
Speaker 3 (38:04):
Fan, but I love I love Gillian Wallow and you know, the.
Speaker 6 (38:08):
City of Philly has shown me some love over the years.
It was it was, it was given tape. They started
off my first show in Philly. The niggas was throwing
ship at me. I don't get ship thrown at me,
a no show man. Yeah, that's how that's how we started,
but then all right, we evolved and I love Philly.
Speaker 4 (38:27):
There was a video that went viral from All Star
of you doing blow the whistle at faster faster what
you call it? Yeah, well ll Russell and splash, that's
what it's called.
Speaker 3 (38:38):
That splash. You got that video. It's the Steph party. Yeah,
it was in that.
Speaker 1 (38:43):
Term cracked it.
Speaker 5 (38:49):
At that day's timbo. He was telling her to shake
it faster.
Speaker 4 (38:55):
Uh so they want to catch step saying Stephanie saying
under his breath.
Speaker 3 (39:01):
Steph with the beard man.
Speaker 6 (39:03):
Remember remember Steph with the little boy step slick face.
Speaker 4 (39:06):
That's what jacks when Jack left the team because he
didn't believe in him.
Speaker 5 (39:09):
Yeah, wait a minute, Wait a minute, wait a minute,
you ain't believing Steph.
Speaker 6 (39:12):
There was a whole bunch of people that's mad about
the my taste ship was mad.
Speaker 1 (39:16):
Bro. Just you gotta think when.
Speaker 3 (39:18):
I did you watch my tape? Like he was gone, but.
Speaker 7 (39:22):
Left, Al left, Beani enough, j redche left, everybody was
gone with the fucking I'm the only old nigga here.
Speaker 1 (39:29):
I don't need to be here with all these He
needed to get out of here. He step didn't take
a person.
Speaker 5 (39:37):
Steph did have a lot of ankle injuries early too.
Speaker 7 (39:40):
Yeah, he got fifty five ft on the rookie here, Jenny's.
Speaker 6 (39:45):
A whole lot of people said, man, you traded my
tape for the nigga with the weak ankles.
Speaker 3 (39:49):
For a lot of that, a lot of that. He
was like a little boy.
Speaker 1 (39:52):
Man.
Speaker 3 (39:52):
They didn't know. They didn't know. If I would have known,
ain't nobody do.
Speaker 1 (39:55):
If I would have known, I told.
Speaker 7 (39:56):
Me, I would have known he was going end up
like that, motherfucker. I would have stayed mans right there.
Speaker 4 (40:01):
I should shout out to stock X, one of our
big partners. Short, you've been through so many eras. Give
me one sneaker from the eighties in the nineties that
was a must half.
Speaker 3 (40:14):
Oh you funny man. You know what, I'm the craziest
nigga on earth. I buy.
Speaker 6 (40:20):
I be buying shoes like I'm warning Vans right now.
I be buying shoes that niggas're walking. Oh, nigga, you
got the I'm like, I don't even know.
Speaker 3 (40:27):
I just like the color. So you're not even a
sneaker head like that. But I buy the best ship.
Speaker 6 (40:36):
I have, like some collector ship, and wear their motherfuckers
to coach Chilla or something man and fuck them up.
Speaker 3 (40:41):
Like I don't. My mind ain't focused on the ship.
Speaker 6 (40:44):
So you know, I spend you know, a crazy amount
on a pair of shoes, but then I won't respect them.
So would on the cover of Quarterias, I was gonna say,
that's probably the only shoe.
Speaker 3 (40:55):
I can name.
Speaker 6 (40:56):
Fucking Quartia is only when I memorize the name and
Jordan's only I don't know to Jordan's numbers.
Speaker 3 (41:01):
You just know I don't know me either.
Speaker 1 (41:03):
Didn't right, you didn't rock the Marrimax.
Speaker 3 (41:06):
I don't know, man, It's like asking me what was
every the name of every girl I had sex?
Speaker 1 (41:11):
Really, he's really not.
Speaker 9 (41:16):
Said, remember I remember today I wore ned the you know.
Speaker 4 (41:29):
So sports shift the sports a little bit obviously. Bron
and Steph and and k D and hand full of greats.
This will what I want, Steph. If Steph ends up
with more rings than Bron, where does that put Steph
in the hierarchy of the game. Just go, I know
you're a huge, but we're Bron fans.
Speaker 5 (41:50):
If James uh So as president of the Lebron James
Finn Club, no one can ever be greater than mister
James period, never any error, No one can ever do it.
The man went to nine straight finals. We're talking about
somebody that can play every position. We're talking about somebody
(42:12):
that's elevated every team he went to. We're talking about
somebody that changed the culture of the NBA as far
as picking where you want to land. We're talking about
somebody that elevated his friends in business. We're talking about
Rich Paul, We're talking about Maverick Carter. Like, I love Steph,
I'm a Golden State Warrior, but I'm also a Golden
State Laker.
Speaker 10 (42:31):
But but, but, but but what about the player who
he said if he gets more rings and he changed
the fucking game, like he changed the game?
Speaker 4 (42:44):
Definitely question So technically this is and I don't disagree
with Bron's greatness, but on Bron's watch, someone got more
rings than he did.
Speaker 3 (42:53):
Man changed the game. That's hypothetical.
Speaker 1 (42:58):
A couple of people.
Speaker 5 (42:59):
Well, look at what he was up against, what he
had to deal with k D and the Warriors for
two years.
Speaker 3 (43:04):
But he got to of his rings playing with Boshtond.
Speaker 5 (43:08):
Yeah, but they had to they had to round up
for the Celtics. Celtics had a lot.
Speaker 3 (43:15):
The Warriors got to the words got to he got to.
Speaker 5 (43:17):
But but it wasn't like Bron went and got another
top three players. I'm saying when he went to Cleveland
were leaving Miami out of this.
Speaker 3 (43:28):
Okay, I think.
Speaker 5 (43:37):
Stephen right now, yes, but has drafted there.
Speaker 4 (43:39):
It wasn't like the top five power four before he
went there and sacrificed this whole game.
Speaker 5 (43:47):
What y'all got against Lebron?
Speaker 4 (43:50):
Because I know you from the Bay and you're a
Lebron fan. That's why I asked the question.
Speaker 5 (43:53):
I think, to me, Steph Curry has changed the game.
If you get another ring to me, no, to a
logical theory, yes, but I would say right.
Speaker 3 (44:07):
Now, man, personal opinion.
Speaker 6 (44:08):
Man as ambassadors of the game and accolades in their careers,
I put them brothers, even Steven. They have done so
much for basketball just because they fly the straight eraw
of not tainting the brand as so many players be
our sales.
Speaker 3 (44:26):
I'm a player. I'm not a basketball player, but I'm
a player be our sales. You know what I'm saying.
Speaker 6 (44:33):
So I just think, man, I don't think either one
has surpassed the other one at this point, So another ring,
I don't think another ring would even make it when
it when it's when it's said and done. Because of
how long they played and what they did all the
way through their entire careers, they still gonna it's gonna
be the Lebron Steph ra for It's not gonna be
the Jordan era or the or the Magic era.
Speaker 3 (44:54):
It's gonna they both will have to share that forever, and.
Speaker 5 (44:56):
They both like change the game. Like I'm saying, Steph
made the pointer almost just as exciting as a dunk
as a at this point change the game for ever.
So I'm just the biggest Lebron fan because that was
always my favorite player growing up, and he rocked with
my music. So I'm always being Lebia's James.
Speaker 7 (45:14):
Yeah, I don't think Steph can pass uh Lebron on
my list. I think Lebron's gonna always be number three,
regardless if Steph would another championship, just at the career Lebron.
Speaker 5 (45:24):
You got before Lebron.
Speaker 1 (45:25):
Come on, man, don't play me. It's only two people.
Speaker 5 (45:27):
I'm just asking a serious question.
Speaker 1 (45:29):
Being in MJ, like you put Mike Belfure Lebron.
Speaker 7 (45:32):
Yeah, because he's a better basketball.
Speaker 1 (45:34):
Player than Lebron.
Speaker 5 (45:35):
Gosh, here we go with a better basketball player.
Speaker 1 (45:38):
Lebron, had Broun had a better career.
Speaker 7 (45:40):
He has the best career in everybody talking about on
the court playing basketball. It ain't two people better than
Lebron in.
Speaker 1 (45:47):
The Jordan in any era just gonna be the same thing.
Speaker 5 (45:50):
Jordan would have been nice in this era. But would
it would it look like that I looked in the nineties.
Speaker 7 (45:54):
Yeah, they say, they say my average fifty.
Speaker 3 (45:56):
Now they couldn't play.
Speaker 5 (45:57):
No, I've seen I've seen somebody send me a clipped
This more than of a player Jordan Duncan on Barkley
with something. Somebody passed them a base one drop step.
Draymond would have never let that happen. Draymond would never
Draymond would never let that.
Speaker 6 (46:11):
You would have never left that ain't.
Speaker 7 (46:14):
Nothing that bill Rick Mahorn, they was doing the same
thing that the worst they busting his lip.
Speaker 5 (46:19):
They wouldn't let that happen.
Speaker 7 (46:21):
Man, Man, I don't think so, I ain't going nowhere.
Speaker 3 (46:26):
We just had this to the point where.
Speaker 1 (46:31):
They Moon would have got dunked on too.
Speaker 4 (46:32):
So we round in this interview. Man, we obviously appreciate
the time. Freaky tails out right now ya? How excited
are you just about this again? I heard you talking
before You're taking acting? You're taking this shit serious? How
exciting is this kind of this trans not necessarily a
transition because you're still doing music, but being able to
step into into Hollywood and be an actor as well.
Speaker 1 (46:51):
Not putting yourself in the box.
Speaker 5 (46:53):
That Yeah, Like I said, man, it's a blessing. You
grew up as a kid watching the entertainment space and
just want to be a part of it, you know
what I mean. I feel like for so many years
in the beginning, I was just happy to be here,
and then it was like, Okay, now it's time to
lock in and really focus on the things I want
to do. So, you know, I went through a situation
with my label kind of was pigeonheled on trying to
(47:15):
get music out, and at that time I needed something
new to fire me up and inspired me. And this
was the perfect opportunity. I got to play one of
my role models unk somebody I called for advice and
always give me game. So it was really like a
place of reinsurance, you know, for me to get back
to what I've been missing, And we got a lot
of new music on the way, and we got a
(47:36):
lot of new acting roles on the way.
Speaker 3 (47:40):
Yeah you tell me about a big one.
Speaker 5 (47:41):
I was like, Yo, yeah, yeah, we work it, We
work it. We on new way.
Speaker 4 (47:45):
Man gratulations short. You collabed with a lot of legends
in this space. Do you have one that kind of
stands out? On one or two that stand out? Is
just the experience overall was different because you I mean,
although it was you collab with people back when everyone
used to get in the studio together and do it,
does anyone stand out?
Speaker 6 (48:03):
I mean, yeah, man, I've been I've been in the
hot water with the fucking like the best of the
best in that studio.
Speaker 3 (48:09):
Like you said, we're in the same session and you
got to keep up.
Speaker 6 (48:12):
And it's fucking jay Z, It's Notorious Big, it's Tupac,
fucking Snoop Doggy Dog and Scarface and eat Fody and
just you know, pimp.
Speaker 3 (48:22):
See like niggas are get in the studio and give
you a problem like you like you.
Speaker 6 (48:27):
They stretch you out because when they do their vocals,
it's like, fuck, like what are you gonna do?
Speaker 1 (48:31):
You know?
Speaker 3 (48:31):
What I mean, like, for real, man, it should be
serious bro.
Speaker 6 (48:35):
So, like I said, I always refer to game spitting
because a lot of these motherfuckers are dance circles around
you rapping and they rap styles and ship and the
cadence and ship and the rhythm of it.
Speaker 3 (48:45):
And I just I just come in there like real slow,
like yeah, bitch, that's what I thought. Niggas be all complicated.
Speaker 6 (48:54):
I'm like all right, so you know, I just I
just feel like my favorite artist always work with with
E forty. That's why we have so many fucking songs together.
But I love being in the studio with guys like
pimps because these niggas are also musicians.
Speaker 3 (49:10):
We make beats. Who would do the hook?
Speaker 6 (49:12):
And you know, like you're making a song and you
just sitting there starting to write a verse and see
already got the hook in some you know, you know niggas,
you know, a pimpcy for like his rapping and ship.
Speaker 3 (49:24):
But listen to how many UGK songs this.
Speaker 6 (49:25):
Nigga is singing, singing, kep in the studio really singing and.
Speaker 3 (49:29):
Got a good voice.
Speaker 7 (49:31):
He got a real voice, like the corner all the time.
Speaker 3 (49:35):
So it was just fun like what fucker's come in?
Speaker 1 (49:38):
Uh?
Speaker 3 (49:39):
Spark the weed up. Eric Simmon is another one. Hit
the beat, the beat he made the beat.
Speaker 6 (49:44):
He just when he make a beat, he just hit
the drummer scenes so fast and the ship like you
want to keep wanting them motherfuckers really fast. And then
he going to booth and just spit at sixteen like nigga,
what the fuck did you put that together? And they
just they just had that talent. Man sho, I ain't
got no rhymes on deck right now.
Speaker 3 (50:04):
There's nothing. If you said spit had nothing. Where's the
solo as y'all one?
Speaker 1 (50:16):
Yeah, we need one.
Speaker 3 (50:16):
That's your solo right there.
Speaker 5 (50:18):
Penitentiary chances, record label advances. Predatorial practice is keeping us
from advancing. They put a price on your Innocen's ignorance
is in fashion. Eulogies in our captions, Dying became a passion.
The Internet converted corporations to a catfish exaggerated status. Only
validate your capy see I G replaced the og Some
(50:39):
of them stagni because the examples that they set was
modified to move us backwards. I'm on the phone with
Uncle Shorty talking up about so much that I can't discuss.
I listened to him because every key gave me open doors.
I couldn't get into a lot of y'all advice, lack
experience and principles. Came up off advantages of niggas. You
was living through. Ran into a bread and got some
bird and that was food. Niggas playing keep up chasing
(51:02):
everything these bitches do. Okay, you gotta bens. I gotta bens.
But the difference is I've drove every class from the
principal drop top g Wag Louis Vatan, Ski mask, Tusking
leather seats. I sink in them like bean bags. My
new bitch, bad ass, soft of the sea bass. She
sticked to the cold. That Kuchie came with a keypad.
I bust down the broad to create barriers for niggas.
(51:24):
I pull up in their ghost. It's getting scarier for niggas.
See real GE's moving silace. Like Wayne said, everyone's a
minute till they end up like Kane, did you niggas
bring dead.
Speaker 3 (51:40):
Ship.
Speaker 1 (51:41):
That's what we got. That's what we got to look
forward to. Huh Wig Hitters.
Speaker 4 (51:44):
First thing to come to mind all time Warriors starting
five y'all.
Speaker 3 (51:48):
Can do it together. Oh, Steph was team. You're putting
together the five dudes in any era.
Speaker 5 (51:57):
Stephan show.
Speaker 6 (52:00):
My first one will be Mitch Richmond rich and that's
that's that's that's the real Michael Jordan's.
Speaker 5 (52:06):
I'm going on my nigga stack. Yeah, I'm going my niggas.
We got Steph mitche you pick water Whick. One more
Baron Davison, Davis small.
Speaker 4 (52:21):
You better get somebody tall, and I'm gonna gomall ball anyway.
Speaker 3 (52:26):
About to say the Warriors changed the game. Bro with
the shooters man.
Speaker 5 (52:29):
Talking about Draymond Green.
Speaker 1 (52:30):
Yes, sir, that's Draymond. That's one through ten. Yeah, everybody
in the building.
Speaker 4 (52:37):
One album, y'all cauld listen to with no Skips short
start with.
Speaker 3 (52:40):
You album with no skips.
Speaker 5 (52:45):
Anything?
Speaker 3 (52:45):
Ice Cube, mate, I run all. Ice Cube was front
the back for me.
Speaker 5 (52:50):
I always say fifty cent. Get Richard Dutch silent.
Speaker 3 (52:54):
That's another good Yeah.
Speaker 4 (52:55):
Starting to send a childhood crush Kyle the Prey, Oh wow,
just bad.
Speaker 3 (53:03):
Shortened ship. Pam Grid motherfucking.
Speaker 6 (53:09):
Childhood Pam Grid as a little boy going to the movies.
You got to see Pam Gris titties man a little
bit boy.
Speaker 3 (53:19):
So yeah, that would be.
Speaker 4 (53:20):
That would be my first guy to see him. Guilty
pleasure that you can talk about.
Speaker 3 (53:28):
I plead the fifth guilty pleasure.
Speaker 1 (53:34):
Man.
Speaker 6 (53:34):
Free ship, free ship. I walk in places with a
pocket full of money. They keep giving me free ship,
kicking aprecip.
Speaker 11 (53:42):
Appreciate, appreciate it. Man, get out of here. Last question,
go ahead.
Speaker 7 (53:53):
If you guys can see one guest on our show,
who would it be? But you have to help us
get your answer on the show.
Speaker 5 (54:00):
I'm gonna say the same thing I said last time.
Speaker 3 (54:03):
Lebron you're the president of the fan.
Speaker 5 (54:08):
They recently they recently I talked to Math.
Speaker 3 (54:12):
They're outside to a little bit.
Speaker 5 (54:14):
They're going to upgrade me to Bronnie's fan club.
Speaker 3 (54:18):
Yeah, we'll take him to.
Speaker 5 (54:19):
I'm gonna talk. I'm gonna talk to the team and
I get back.
Speaker 3 (54:25):
Hey, who should y'all get on this show?
Speaker 1 (54:28):
Man?
Speaker 6 (54:28):
Let me think, man, somebody good for all the smoke?
I don't know somebody that's a super smoker. Man like
who who we.
Speaker 3 (54:38):
Just smoked with all of them? We haven't had Kenny Rogers.
That would be he's a real good conversation man, like yeah, yeah, that.
Speaker 4 (54:47):
Be legend in the game, well that's a rap man.
We appreciate you guys. Freaky Tails out now go check
it out. And obviously a lot of other stuff coming
down the pipeline with both these dudes, but man.
Speaker 3 (55:00):
Thank you guys for your time. We appreciate you.
Speaker 4 (55:01):
Can catch on all the Smoke Productions YouTube and the
Draft Kings Network.
Speaker 3 (55:05):
We'll see y'all next week.
M m.
Speaker 2 (00:10):
Mm hmmmm mm hmm.
Speaker 3 (00:24):
Welcome back to all the smoke La. Good to see you, bro,
my boy, We're yes.
Speaker 4 (00:30):
We got two friends of the program today promoting their
new film project Legendary Legendary Fellows Welcome to the show,
too Short and my brother Simba.
Speaker 3 (00:44):
What's up?
Speaker 4 (00:45):
So you guys are on a tour right now promoting
Freaky Tales. How does this type of tour and promotion
differ from the music side of it or is it similar?
Speaker 5 (00:56):
Man?
Speaker 6 (00:57):
It's time you just it's the grind, man, when you
when you got to go out and hit the spots
and let people know about it.
Speaker 3 (01:05):
You really don't get paid for that.
Speaker 6 (01:06):
So that's that's the part of the grind, the promotional
side where you know it ain't all listened glamour. I
personally don't like moving around for free, but but it's
a part of y'all. Man, You got to you gotta
get out there and promote. Man, I'm getting on these
planes waking up early. I think it took me on
sit almost two hours to drive here this morning, but
I'm clacking off six thirty.
Speaker 3 (01:28):
Gonna do it, man, But what's it like for you?
Speaker 4 (01:30):
Obviously he's been in the game since shit, we was
little kids.
Speaker 3 (01:33):
Yeah, it's different for you. It's new for you. It's
newer for you.
Speaker 5 (01:36):
Yeah, it's definitely a newer for me. But it's a
dope experience, especially sitting alongside him, hearing a lot of
stories I didn't know, just getting a lot of game.
But me personally, man, I love it, you know what
I mean. I love just being a part of this industry,
being able to get out here and have something to
put out to the world and get out here and
talk about it promoted, and especially something as good as
(01:58):
Freaky Tales.
Speaker 4 (02:00):
How was the game changed from when you came up
in it and we're in your prime to what the
game is now and he's kind of coming up in
it and entering his prime.
Speaker 3 (02:10):
I was. I was coming in on the wave of
fun hip hop. You know.
Speaker 6 (02:15):
We got it from New York City and it was
about rocking the party and you know what I'm wearing
party rocking. And then it started getting real real serious,
like run DMC came out of Mellie mel and Grandmaster
flash the message. But we got in the game, and
we didn't get in the game to get rich. I
remember what my dream was when I was a young rapper,
(02:36):
I really wanted to hear myself on the radio, and
I really just wanted to whatever the next show was,
I just wanted to rock the crowd.
Speaker 5 (02:43):
That was it.
Speaker 6 (02:44):
If I could rock the crowd, We're gonna do that.
But if I hear myself on the radio, I'm like, way,
we're doing it. It was a big deal, this game
that they in from the moment they dream of it,
they go, I'm about to get up in here and
get it, and not just get famous. I'm about to
get some paper because the exactly have already been set.
You can get a lot of money rapping, producing, managing,
(03:05):
just any part of this hip hop. You just get
a slice of the pie. It's money in on it.
So I love the business part of it. I love
the fact that I survived long enough to be, you know,
a part of young hip hop when it was just
dancing and break dancing and we wasn't getting paid for
a show to you.
Speaker 3 (03:23):
Know, wire the money, bro.
Speaker 6 (03:25):
And I'm watching my young homies come in quick though,
quick and getting a bad quick because if you get popular,
you got multiple ways to get money.
Speaker 3 (03:34):
That's the one thing I like about you. Is your
versatility in this space.
Speaker 4 (03:36):
Obviously you came in and rapping, but you got your
hands in a little bit of everything, particularly acting now
with this project.
Speaker 3 (03:43):
But how how has the journey been for you?
Speaker 5 (03:45):
And I think the beauty of what he just said
was like they paved the way for us to dream bigger,
you know what I mean. So they didn't technically have
the social media's and certain things when they was coming
up short. They had to get it out the trump
you know what I mean, to really get to the people.
So the way to pave the path they took allowed
(04:05):
us to kind of diversify ourselves and look at things bigger.
I remember as a kid seeing short movies, you know
what I mean. A lot of people wasn't doing movies
at that time, but as a kid, that was something
I wanted to do. Seeing pot you know what I mean,
seeing DMX, seeing these prominent characters be rappers, but be
actors and can also do commercials and write films as well.
(04:28):
So that was just always something I wanted to do
and it's a blessing that I'm doing it now.
Speaker 7 (04:33):
Playing playing Young Short and Freaky Tails. What was that process? Like,
I mean, we all grew up and know how you talking,
know how you rap? How was that process of becoming him?
Speaker 5 (04:42):
Man, it was like the coolest shit ever cause it
was like I'll be telling the story all the time.
We was on set one day and I made it
this theme to not break character while I was on set,
like I'm gonna be too short, even when I walked
to the trailer when they cut everything. So I'm getting
ready to go back to the trailer and have lunch,
(05:03):
and I got on the old school starter jacket.
Speaker 3 (05:06):
Yeah, the Green Boys.
Speaker 5 (05:07):
So one of the director, if it was a director,
somebody was working with the crew. It was like, man,
that jacket's dope. I was like, thanks, bitch, was.
Speaker 3 (05:22):
Like he was doing with it.
Speaker 5 (05:25):
It was cool as ship to get to just.
Speaker 3 (05:27):
Feel like.
Speaker 7 (05:32):
You played the cop and you also narrate through the movie.
Well you ever thought you played a cop in the movie.
Speaker 6 (05:37):
I feel like I really didn't play a cop, man.
I just I just did a cameo. I really didn't
get it, to know, you know, all the way ice
team mode and like people and stuff. I just they
tried to slide me in on the cameo. It was
a good scene, and uh, you know, I knew I
was gonna be the.
Speaker 3 (05:53):
Narrator, and I accepted that.
Speaker 6 (05:56):
I was also a part of like some of the
authenticity parts to the movie where they just need to
know it was being done right. And yeah, you didn't
see me with a bad It was just a little
little pop up for you know. They wanted me to
say bitch in the movie, so that's how they wrote
it in.
Speaker 3 (06:15):
I don't know about the cop playing.
Speaker 6 (06:17):
Yeah, unless I can get on that, what's that show?
I see his own many years?
Speaker 7 (06:25):
Yeah, did you got a star study cast? Did y'all
get to hang out with Tom Hanks?
Speaker 6 (06:30):
No, Tom Hanks was you pretty much look at that scene.
That's probably who got to hang out with him? Him
in Pagro. Yeah, he got up out of there now.
But Tom Hanks is from Oakland, California. A lot of
people don't know that, and I think from what I
heard and the wind, tom Hanks kind of had a
sort of passion for the script the movie that it
was shot in Oakland and he just wanted to show
(06:52):
some love, so he did.
Speaker 3 (06:53):
He did a big cameo big.
Speaker 7 (06:55):
The big theme in the movie is Nazis and my
skin heads and stuff like that. You did you have
your own personal experience back in they seventh.
Speaker 3 (07:02):
So I watched the movie.
Speaker 6 (07:03):
I saw the movie actually a couple of years ago
at one of the early screenings, and.
Speaker 3 (07:09):
I just I was there. Everything is so real about
the movie.
Speaker 6 (07:12):
I actually talked to some some og punk rockers and
they said, yeah, them skinheads used to come fuck with us.
I'm from East Oakland, California. I looked at the movie.
I was like, we never saw them dudes ever, like ever, ever, ever,
And I just think it would be so interesting if
on one of the nights in the truck with the
fucking shit they ride around fucking with people.
Speaker 3 (07:33):
They pulled up on like a house party in East Oakland,
well on.
Speaker 6 (07:36):
The corner where niggas was hanging out. That ship would
have been interesting. But they never came around. I don't
I talked to all my hommies. I'm like, you remember
the Skinheads, Like, I don't know.
Speaker 3 (07:45):
I heard about them. I think they was. They was
going to other areas.
Speaker 5 (07:48):
And one of the dudes, I think he was on
set when they had remade to guil me the spot
where the skin heads came to attack him, and he
started crying because he was like man, remember yea.
Speaker 3 (08:01):
Them, they have to fight them motherfuckers, like they.
Speaker 5 (08:03):
Had to really go through it with them. So we
probably never seen it. But that was a side of
the Bay Area that was real, were real quick.
Speaker 3 (08:11):
It was shot in open right. Yeah, what did that
mean to you?
Speaker 4 (08:15):
Because normally they'll go to Atlanta or find somewhere else
that's taxing.
Speaker 6 (08:18):
Yeah, you know, from what I hear from people who
had problems shooting stuff in the past, you can't get
the permits.
Speaker 3 (08:25):
I can tell you firsthand.
Speaker 6 (08:27):
We barely ever were was allowed to shoot any video
missic videos in Oakland. We had to go renegade. We
had to get subjugated to like a little neighborhood. That's
I don't know what the rules were, but I've heard
from other people who had like productions like Blind Spotting,
that it's difficult to shoot in Oakland because of all
(08:47):
the rules and regulations coming from city hall wherever.
Speaker 3 (08:50):
So you you gotta get.
Speaker 6 (08:51):
The shot, shoot and get and then you gotta go
somewhere else and film this shit. So the people who
did Freaky Tails, the production and everybody who was the
powers to be to make it happen ran into those challenges.
And they said that they just kicked up the extra money.
There was a decision, do you want to do it
like this, Let's just shoot what we could shoot in
(09:13):
Oakland and then we'll just go shoot the rest of
the movie elsewhere. And the directors were like, it's got
to be done in Oakland. So whatever that extra cost was,
I'm glad they did it. I think it's opening doors
for other productions in the future All the time. When
you have an example something that happened, the next people
come along, go where they shot, nothing happened.
Speaker 5 (09:31):
It was cool.
Speaker 6 (09:32):
Look at the fuck you know, like we see San
Francisco movies, we see La movies, we see movies from
a lot of cities. By the time we start seeing
some Oakland movies.
Speaker 7 (09:44):
Exactly how was that role with minutes and how did
that come about?
Speaker 3 (09:50):
Well, you know, I got my part. What year was that? Yeah?
Speaker 6 (09:59):
Exactly, somebody down there, somebody walk up say what blue Local?
That was my character and minister Society. I got my
part because if you notice, the star power is minimal.
You got my man with Charles Dutton, he played the
rock whatever he was, he was popping back.
Speaker 3 (10:16):
Then Jada was like, like, nobody she was.
Speaker 1 (10:19):
That was one of her.
Speaker 6 (10:20):
Yeah, Tupac was in the movie and invited heard the
story to fight Tupac the directors and ship. He was
supposed to play the part of No. No, he was
gonna play the righteous to Kansas. Yeah, he was gonna play. Yeah,
he was gonna play.
Speaker 1 (10:42):
Somebody. I heard the story different.
Speaker 3 (10:43):
But he didn't want to play that character.
Speaker 1 (10:47):
Yeah. I thought it was gonna be Yeah, I thought
it was gonna be.
Speaker 6 (10:49):
O Dog Sharif checked the research, believe you said, just
woke a lot of ways too.
Speaker 1 (10:56):
Yeah, we went exactly when they lost part.
Speaker 6 (11:02):
They needed some they needed they want to rap her name,
and they just called me and found found a slot
for me. They gave me some cool little scenes though,
because my couple of little scenes is like real.
Speaker 1 (11:11):
So do you really burn the ribs? That? Did you
really burn the ribs?
Speaker 3 (11:15):
Was burned?
Speaker 2 (11:15):
Well?
Speaker 3 (11:16):
Probably on the first takes.
Speaker 6 (11:17):
They wasn't burn Okay, just look like somebody.
Speaker 3 (11:25):
Somebody else was cooking the ribs. I just stepped in.
But that take their camp, you see that. I remember that.
Speaker 6 (11:37):
It was some wild ship around there shooting man like
they were shooting over and and fucking Jordan Down's projects.
Speaker 3 (11:44):
Man fucking up where the Great Streets is at.
Speaker 6 (11:47):
And it was some dudes that came up and start
harassing to set a little bit, and m C eight,
who is from Compton, went over a couple of familiar faces,
you know, he chopped it up with him and he
came back and he was telling me, it's like, look,
they said, they're not gonna suck y'all up, but there's
some other little niggas that run around here younger than
them that if they come over here, nobody can control them,
(12:10):
so you might just want to you know.
Speaker 3 (12:12):
You know, they didn't.
Speaker 6 (12:13):
They didn't do the proper introduction to the hood coming
in and saying, hey, we're gonna be around for a
few days, can we make it happen.
Speaker 3 (12:20):
They didn't do that, and.
Speaker 6 (12:21):
It was it was a little close call. They ended
up having to shut down a little early. That's that
alley scene they were shooting with the crackhead and ship.
They probably would have got a little bit more, but
it was a fun shooter.
Speaker 5 (12:32):
Man so quick.
Speaker 6 (12:35):
You know, I'm the only nigga in the movie that
point the pistol at old Dog. He don't never really
have no I'm like they gave me a and I
humble a little nigga he like, you know, I had
him scared for a minute and he was a plug
too exactly.
Speaker 1 (12:48):
You have.
Speaker 3 (12:50):
My guy po man got a little kick.
Speaker 1 (12:52):
You know who was in there?
Speaker 3 (12:54):
They minutes maw you know. Hopefully Freaky Tales.
Speaker 6 (12:58):
It's gonna be one of them movies that you know
for years to come and have little scenes that people remember.
Speaker 3 (13:03):
You know, that's dope.
Speaker 4 (13:05):
As someone who lived it, you grew up looking at it.
What was the eighties and nineties rap scene to you?
And what inspired you the most? You touched on it earlier,
But like break that down, man, it.
Speaker 5 (13:16):
Was just fly you know what I mean. Like I
remember being a kid, my mom like dressing me up
in my school pictures and feelings, swist suits, you know
what I mean. He was telling me how to pose
and different things like that. So it was always just
fly seeing you know what I mean? Seeing forty faute,
(13:37):
you know what I mean. Everything was always just player.
We was always before the bay got labeled. It's just
like an aggressive ass place. It was how I've seen
it from my experience. It was real player. Everybody was player.
You had your women, you spoke to him a certain way.
You know what I mean. You stayed out of people's
business and minded your own. So for me, that's kind
(13:59):
of like the ETA theology is always tried to model
growing up. Its handle your business. Be a man of
your word, you know what I mean, Keep a player,
keep it cool. Uh, you ain't gotta be no gangster,
but don't be no bitch, you know what I mean.
Speaker 7 (14:12):
You Fingerwaves never win finger because ain't that.
Speaker 1 (14:18):
A lot of the boys finger went fing away man
rock four finger Waves wave it.
Speaker 7 (14:25):
You gotta curl, yeah, yeah, yeah, send itself had to curl.
Speaker 6 (14:29):
I'm like that was a bad We had special hair
stylists that did pip hair.
Speaker 5 (14:34):
Dude, how did they keep that ship up like that.
Speaker 1 (14:38):
Always?
Speaker 6 (14:39):
Because I just kind of look right here, I assure
that once by the time.
Speaker 3 (14:42):
But from what I heard, the pimp got to like,
you know, a nigga might have to just sleep like
this nigga, you know Techne look at the he said,
(15:13):
you might have to.
Speaker 4 (15:18):
For someone that kind of helped create the sound coming
out of the Bay. Obviously we heard New York and
we you know, and then you come to the West
coast and there's some in La by someone who is
instrumentally in building the sound of the Bay Area. I
mean probably in the moment you didn't realize that. But
how prideful were you as being a part of that.
Speaker 6 (15:35):
Well, you know, I'm I'm an older dude, older than
damn near all the Bay rappers like Hammer might be
older than me. He might, he might get me by
a year, but forty on down mac dre on down,
they're all a little younger man.
Speaker 3 (15:49):
I'm like, I'm of age.
Speaker 6 (15:51):
I was ten years old when George Clinton landed the
Mothership in the coliseum, and I'm like a fifth grader.
Speaker 3 (16:02):
Something like some shit like that.
Speaker 6 (16:03):
And it don't mean nothing to say George Clinton leonard
a spaceship on the stage. But nigga had ten years
old and the p funk and the music, and my
mama let me go to that concert with my brother
and we just you know, no rental advisory. Were just
funking out little niggas because the world wasn't while back then.
(16:23):
You can tell a little nigga, you could say, go
to that concert, be standing right here at fucking nine pm.
Speaker 3 (16:31):
The nigga be standing right there. And it was that
kind of world so I got I got to see
the funk.
Speaker 1 (16:36):
Man.
Speaker 6 (16:36):
I've seen at a young age. I've seen that Rick
James live on stage. I've seen Cameo, I've seen all
that shit. And when I got a chance to start
making music, I was just so funked out, just so
Boosy Parliament funk the fuck out that I'm listening to
all the hip hop coming from New York.
Speaker 3 (16:57):
The first early records was Disco Records. All this shit on.
Speaker 6 (17:00):
Sugarhill Gang, sugar Hill Records, and shit, a lot of
the early songs was on Curtis Blow. He was on
the disco vibe. It was like because disco was hot
coming out the seventies. And then they instantly went into
James Brown. So the East Coast rappers sample every fucking
thing you could think of James Brown, every little loop
you could find the funk. James Brown is the inventor
(17:22):
of the funk. Parliament Boosy is the next generation. They
got it from James Brown. So listen to the ship.
And it's my turn to step up to the plate.
And I'm like, all we all we fucking want to
do is Parliament, go listen to Doctor Dre All the
ship when he first starts, he's fascinated with Parliament. Listen
to forty and it's just funk, funky as funk. So
(17:44):
we wasn't, you know, we wasn't really high in it,
that thing. We was trying to be listen to digital underground,
fucking Parliament, like that's the ship. So I just wanted
to do my version of George Clinton really slow, funky beats.
The baseline, you know, drum beat got a little kick
to it, and the baseline funky as hell. And then
I added on to that shit just a lot of
(18:04):
shit talking and didn't really have any style of it
than talk a lot of shit. I had a rap
partner in the early days. His name was Freddie b
and we used to sit around and we would just
make tapes. Like a certain day would be make tape
making day, other days to be taped selling day, and
we would we would just be like just viving on
(18:24):
what's moving around the streets and.
Speaker 3 (18:26):
Just be like, talk hell of shit. So just talk shit.
Speaker 6 (18:29):
And I think in the midst of styles of MC's
in the whole world of hip hop, when they start
talking about this style, that style of the flow, he
speed up.
Speaker 3 (18:39):
He'd do this cadence. That cadence, they really didn't really
had that category called shit talking.
Speaker 6 (18:46):
So all these years later they were like, well it's
too short still relevant. Well, you know, two Short wasn't
ever the best rapper, but I was the best shit talker.
Speaker 3 (18:53):
The niggas just don't getting it.
Speaker 6 (18:54):
They wasn't realizing I was just rattling the fuck out
the speakers with the hell of base and just talking
a lot of shit. And I think that shit went
all over the Bay because the next nigga's up to
bat was e forty.
Speaker 3 (19:05):
Here he come a whole lot of bass, talking a
lot of shit.
Speaker 6 (19:08):
Next nigga up, Mac Dre. Everything he's doing, talking shit?
We kicko Fota from the city. What's he doing? He's
just talking a lot of shit. So I think all
the Bay rappers we wanted to just lingo it up
like the pimpsl was talking, like the street hustles was talking.
And then all of a sudden, it was like the
rappers was talking. So we set that tone. And if
you listen to a young Bay rapper right now, seventeen eighteen,
(19:31):
what is he doing?
Speaker 3 (19:32):
Shit? He's just talking a gang of shit.
Speaker 6 (19:34):
Even when a sob came out. Everybody, just every little
era that comes out. The Russell now punchlining like a motherfucker.
Just l Russell ain't even a bad guy. His image
is not a bad guy image. Street talking that shit.
So that's our legacy out there. I think, you know,
the world should know they was, you know, all the
(19:55):
motherfuckers who was all a lyrical super lyrical shit.
Speaker 1 (20:00):
Hmm.
Speaker 3 (20:01):
Should have put a little shit talking in there.
Speaker 7 (20:02):
Mane you can't forgetting mac mall either. Man, all of
us we.
Speaker 1 (20:10):
Grew.
Speaker 3 (20:11):
There's a whole bunch of us. Man, we just forty
calls us game.
Speaker 4 (20:15):
Spinners with The little girl's name is Dope from out
that way.
Speaker 3 (20:20):
Now Paris Knights, Yeah, period. I like her.
Speaker 4 (20:28):
The Bay can be considered its own little almost world.
It's so much different energy from bridge to bridge. What
did you guys, how did you guys embrace park and
and and master p when they came and set up
shop out there in the early nineties.
Speaker 6 (20:40):
I think, uh, they made a lot of friends and
and it became home. So you know, I always I
always referred to two Pocks quote when they said where
are you from? He said, if I got to call
someplace home. I'm gonna called Oakland home because that's where
I got the game. And I think, uh, that's a
big statement because he's from an area in the Bay
called Marine City, proud of being from there. But he
(21:01):
was just like I came to Oakland and got this
certain game. Bruce Lee came to Oakland and got that.
Speaker 3 (21:06):
Game shit back before hip hop. It's out there.
Speaker 6 (21:09):
I heard people like Kat Williams say he went out
to Oakland to live for a while just to figure
his comedy shit out a little more so. Master PM
has a lot of alliances in the Bay with people
who were doing that independent hustle. How he learned it
and how he figured out how to do it his way.
He had a record store in Richmond, and he just
(21:33):
absorbed it, man like, he was the record store owner,
worked in his store and he was watching all this
shit sell independently.
Speaker 3 (21:40):
So you know, he figured it out. But it's shot.
Speaker 6 (21:43):
G said he pimped his way across the USA to
get to Oakland to motherfucking make music because wanted to
be out there, you know what I Meanuck, A lot
of motherfuckers know that I was born and raised in
La I moved to Oakland at fourteen turned the fuck out.
I never had a dream of rapping or nothing too short.
I got to open and they fucking turned me into
this shit. So it's just like it's like that, bro,
(22:05):
it's in the water Man. If you knew the history
of the Bay Area music, if you just knew the history,
it's a lot of fucking history before hip hop.
Speaker 3 (22:14):
Good shit, Ablue.
Speaker 7 (22:15):
Is it anything that you that you are envious about
that the eighties and nineties rappers got that you didn't that, y'all?
I'm getting this area this era. I think it was
way more solid.
Speaker 5 (22:26):
I think one thing God say is like, because it
was a limited amount of resources, they had to be
more creative. Yeah, facts, And I feel like sometimes my
air gets lazy on the creative side because of everything
we got at our disposal. When you hear some of
(22:47):
them real Like he was telling me he had to
rap Freaky Tales all the way through. I'm telling him, like,
you know how long it took me to punch that shit?
Like I had to rewrap it for the movie, And
it took me, like damn, there like a whole day
to like rap that shit, and I'm punching, taking five
minute breaks going and he was like, nah, I have
to wrap it all the way through. He like, that's
(23:07):
why you could hear certain things in the background, that's all.
But he was like, man, I used to like it
like that. The Flaws is cornered.
Speaker 3 (23:12):
The studio time, either on album.
Speaker 5 (23:17):
Yeah, So I think the creativity. I'm somebody that like,
I kind of overthink a lot, especially when it comes
to write my raps, because I never I never want
to feel like I'm wasting thoughts or just saying something
to say it. I'm always trying to say something that's important,
especially when it comes to hard culture. And I get
that from the nineties, you know what I mean, From
(23:38):
the eighties, from the Bay you know what I mean,
even like he was just talking about shit talking. One
of my biggest moments was the La Leakers freestyle and
when I said I never let a woman make me
feel less of a man because I don't want to
buy a burking. That line actually came from when Sweetie said,
if he don't buy you a burk, and send him
back to the streets, you know what I mean saying.
(24:00):
So I was like, well, send me back to the streets,
and I send you back to your mama house. You know,
like you said, ship talking, it's just but having something
to say, you know what I mean, having something to
stand on for my community and my culture or what
we believe in is what I take for them.
Speaker 1 (24:19):
Same question for you, Shure.
Speaker 7 (24:20):
But flip it around, like they have access to so
much social media and all that is anything that you
wish that y'all would have had, that you kind of
image that they.
Speaker 6 (24:28):
Have now, well, the tools, the tools are way better,
you know, technology. It's a it's a give and take
for me though, because what technology brought along was a
way to reach the masses.
Speaker 3 (24:44):
But then there was also a really.
Speaker 6 (24:47):
A really fun aspect of not everybody knowing everything instantly.
It was it actually to me, it gave songs a
longer lifespan and it I don't know, it just I
used to meet people by doing the show and jumping
off stage and walking through your city and just meet people.
(25:08):
I didn't have, you know, social media, I probably would
have never did that shit. I'd have been like, I
got five hundred thousand followers, Why the fuck I gotta
go walk around.
Speaker 3 (25:15):
Your city, you know what I mean?
Speaker 6 (25:17):
So it just I like the personal shit, But at
the same time everything is so one hundred times more.
Of course, I would have loved the fucking in the nineties,
I fucking made six platinum albums in a row. I
couldn't get a fucking endorsement of nothing. They wouldn't actually
hip hop artist to endorse snow for motherfuckers just sold
six million albums in six years, and you wouldn't want
(25:39):
them to endorse your product.
Speaker 3 (25:40):
Product. And now you know, now that they know.
Speaker 6 (25:43):
How influential hip hop is, if you just get a
little spark, they're like, oh, you know, you want to
this clothing line, you want this, and they understand the
value of the popularity. But back then it was I mean,
they were trying to stop us from doing tours. They're
trying to stop us from any fucking thing we do.
We pull up, it's like, those are the hip hoppers,
(26:04):
the bad guys.
Speaker 8 (26:04):
So I would love to be in the era of
floating ship through this fucking digital these ones and zeros
and just send my ship to London in a listening
to m P three and fucking how are we sending
a fucking song across the ocean in ten seconds?
Speaker 7 (26:21):
The fuck is that you gave, you gave, you gave me,
You gave me a hard drive about fifty thousand songs
on the word fucker. Man, it's still listening to the
motherfucker the nineties.
Speaker 6 (26:31):
I would have had to give you like fucking twenty
crazy hey, but it's lovely.
Speaker 3 (26:36):
Man. The only thing with right now, the only thing
I don't like is the way that.
Speaker 6 (26:44):
The streets are entwined with the rap ship. Because the
streets always hip hop. The streets was always the backing
the banker of hip hop movements, but the street guys
would be like this all legitimate thing, keep it legit,
staying in a certain place. Now it's like Nigga the
rapper himself would get off stage and shoot you, did
(27:07):
you just.
Speaker 3 (27:08):
Throw that like this?
Speaker 6 (27:09):
Like crazy that that we was thug the fuck out
rolling with me, any type of vibe you want to
think about. But the ship had a certain level of
it made sense. And I just think that if you
got something so valuable as hip hop, we pull up
in the room. This the nigga who gets all the
(27:30):
money for the movement. He the last nigga that's gonna
get in trouble. He the last nigga that's gonna get hurt.
The movement is shielding him, like, Nigga, we gotta do
some dirt, get him to the car.
Speaker 3 (27:41):
That's that's the bag.
Speaker 6 (27:42):
Why is the bag over here in the middle of
the fucking fight, Like it ain't making no sense?
Speaker 5 (27:46):
So I think the thing with that, because you're right,
I think the problem with our generation is like they
kind of start disrespecting the support. Right, so niggas starts
feeling like day the reason so you able to move
this way and move around the hood and have this
influence because of us, But then you start making this
(28:07):
money and start believing it's because of you. So now
the people who was funding that is like, Nigga, you're
really rapping about my life. I could do this too,
you know.
Speaker 1 (28:15):
What I mean?
Speaker 5 (28:16):
So now they didn't put themself in front of the
camera and made that same amount of money, And it's like,
what I'm back you for now when I could do
the same thing. And because of this, they made the
world one big neighborhood. How he can't get to the
people or it.
Speaker 6 (28:30):
Says a billion dollar business and motherfuckers need to like
fight somewhere else.
Speaker 1 (28:38):
They are not.
Speaker 6 (28:38):
They are not fighting on the courts, Max.
Speaker 3 (28:42):
They're not fighting on the course no more.
Speaker 1 (28:45):
It's a it's a bag. That's a bad.
Speaker 5 (28:48):
Shout out to Uncle V too, man. Uncle VV came
out and rocked with me for All Star Weekend. You
know that's one of my favorite people in the world.
We'll be on the fight black man. That motherfucker right there, Man,
the mother fucking Peppovich. Man, I couldn't god that motherfucker. Man,
that mother.
Speaker 1 (29:06):
I love man. Shout out the man in the building
eighties and nineties or today? Who got the best group?
Is the best looking group to groupies?
Speaker 5 (29:18):
That's the part you left. You would crazy Instagram because you.
Speaker 7 (29:23):
Know you basically build the bitch today, build the whole
perfect man.
Speaker 3 (29:27):
When I was coming up, if the girl had a
big ass, it was real. That was a big ass.
Speaker 1 (29:32):
Yeah that was real.
Speaker 6 (29:33):
There was no nothing but her grandmom and her mama.
Speaker 1 (29:37):
That was beans and rice all over. Man, And yeah, I.
Speaker 6 (29:40):
Feel so bad for the from my generation, for the
kids who inherited that ass, who got to compete with
fake ass.
Speaker 3 (29:50):
That ship is that ship is like religious. Man is special. Man,
That motherfucking that you could build one. That fact.
Speaker 6 (30:00):
I've seen too many real ones that even I can't.
I can't honor, Yeah, I can't.
Speaker 5 (30:07):
But like I said, y'all paved the way. You see community,
y'all paved the way they got to explore.
Speaker 1 (30:17):
Now you know.
Speaker 4 (30:20):
We're you ain't never had the nineties group got to
be nineties I'm thinking nineties nineties?
Speaker 5 (30:28):
What was the nineties groupie?
Speaker 3 (30:30):
Natural beautiful? After they leave, they just be happy.
Speaker 6 (30:34):
Ain't no no posting, no motherfucking up secret adortion?
Speaker 5 (30:40):
Okay, okay, lies after the ship that happened, come on,
give it changed?
Speaker 3 (30:47):
Everything is getting fluid out?
Speaker 7 (30:49):
Wasn't the thing that's back?
Speaker 5 (30:55):
When that's back? When what happened in Vegas actually stayed
in Vegas?
Speaker 1 (30:59):
Yeah?
Speaker 3 (31:00):
When when a T shirt meant something?
Speaker 1 (31:03):
Expectations now are crazy? Expectations now are crazy.
Speaker 7 (31:07):
You survived every era of hip hop to say, to
be honest, what do you think was the golden age
of hip hop?
Speaker 1 (31:13):
Or if you would say it was a golden age.
Speaker 6 (31:15):
Well, we know they have an actual golden era that's
labeled late eighties and early nineties that's supposed to be
the peerst form of hip hop when it was young
in the commercial stages and everything was original.
Speaker 3 (31:30):
Everybody was a one off man. All these erarors were.
Speaker 6 (31:34):
Fun like that era is how I got in the gang,
just being too short of my own lane. But the
next one that came in with the bling bline, we
all got money and sh was fun. I was looking
at Atlanta and she was fun and fucking who got
the most shit fun? And then you know, the Y
two K pass and then the new Millennium came in and.
Speaker 3 (31:57):
Shit started getting my space, my.
Speaker 6 (31:59):
Spaced out, and you know, it was on the Bay.
We was hypheed up and Little John and then was
crunked up. It was it was, it was doing it, man,
I was.
Speaker 5 (32:07):
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 he was the first.
Speaker 6 (32:16):
But I'm 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 hyphee is brewing, like early two thousands hype.
Speaker 3 (32:31):
He is brewing and fucking It's just a whole new
energy for me.
Speaker 1 (32:36):
Man.
Speaker 6 (32:37):
I had, I had already been in pocket with Little
John when the hyphe 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 was like, man, I'm in the bay and they
got the ship out here called Haife, Like, bro, we
gotta do some of this ship.
Speaker 3 (32:52):
Like he came back hyped up on the ship.
Speaker 6 (32:54):
So prior you want to know the Little Johan story,
Little John is uh.
Speaker 3 (33:03):
And about what I don't know. The mid nineties.
Speaker 6 (33:06):
He's an employee and so so deaf and he's over
there producing songs. I think one of the ones I
always members of is that my boot song somebody singing
I don't.
Speaker 3 (33:16):
Know boo I can't sing, so you.
Speaker 5 (33:19):
Know, uh not the usher booze.
Speaker 1 (33:26):
Baby Oh.
Speaker 3 (33:27):
I think.
Speaker 6 (33:30):
So so deaf, thank you so blue John producing him
kind of beast for so so deaf. He worked for
Jermain Dupree. You got an office over there and ship.
But he's also a DJ around Atlanta and the niggas
a pretty good damn DJ.
Speaker 3 (33:45):
So I was a fan of Little John to DJ.
Speaker 6 (33:48):
I always was at the fucking clubs and when he DJ,
it was just different.
Speaker 3 (33:52):
He started DJing.
Speaker 6 (33:54):
And he's playing records but he's talking and then next
thing you know, he got the crowd saying ship he
he just it turned into a fucking concert by DJ.
And then he put this record out.
Speaker 3 (34:04):
Who You Get Crunk? Who You With? Who You With?
Speaker 6 (34:08):
Just a bunch of chants to the flu 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,
(34:28):
and and.
Speaker 3 (34:32):
He left the song. I wasn't there when he came.
Speaker 6 (34:34):
He just left this fucking song tracked out on the
on the machines he sat do don't know if he
mailed him.
Speaker 3 (34:39):
It was just there. So I put some raps on it,
got it back to him. We liked it. We uh
went to go shoot the video and ship.
Speaker 6 (34:47):
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 the 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
said Little John owed him some money, and he just,
(35:12):
you know, fucked Little John.
Speaker 3 (35:13):
Little John was like he's shady, whatever the whatever.
Speaker 1 (35:16):
It was the.
Speaker 6 (35:17):
Dispute fucking so they was gonna fuck you for life.
So I just stepped in and was like, bro, how
much money is it. I've got some business going on
with Little John. Okay, you know this this whatever broke
him off, you know, some homie ship, and then fucking
came to Little John.
Speaker 3 (35:33):
I was like, you free to go.
Speaker 6 (35:34):
And I could have signed Little John to my label,
but I knew who he was. We had already did
a couple of songs that blew the fuck up because
of him. He went out there, oh yeah, yeah, get
Little John was the kind of dude who had a
network of the DJ record and he had been doing
(35:55):
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.
Speaker 3 (36:02):
So instead of me going are you under me?
Speaker 1 (36:05):
Now?
Speaker 3 (36:05):
Let's roll, I was.
Speaker 6 (36:06):
Just like, bro, you know you're free to go, man.
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. And then the greatest
ship ever, he slid me shake that monkey which lasts forever.
(36:27):
And the very next year he gave me blow the
whistle and I'm like, you know, thank you, sir, And then.
Speaker 3 (36:38):
He proceeded to make some of the best hyphe beats ever.
Speaker 6 (36:41):
Like he did tell me what he didn't want to
keep the snakes, yeh, he was, he was. He was
doing it like I just want to help snap the ship,
the same as me and forty. But you know that
those are the type of things, man, when you're coming
up in a game, it might be with a younger
player or younger coach or something, and you fucking helped
somebody along the way, and then they turn around and
(37:03):
they're in the position to help you, and it's just
this ship is just way better than going through life
going give him my you know, just I'm the motherfucking one.
Speaker 3 (37:12):
You just kind of gotta have a little humble to it.
Speaker 1 (37:13):
Man.
Speaker 6 (37:14):
And when you recognize somebody with the game, you just
give him a stepping stone, give him some more game,
give him a chance, to give him opportunity, something.
Speaker 3 (37:21):
Speaking to blow the whistle.
Speaker 2 (37:23):
Uh.
Speaker 3 (37:23):
Gilly brought that.
Speaker 4 (37:24):
Back around and made the theme of the of the
Philadelphia and they won the Super Bowl?
Speaker 3 (37:30):
And what was that like? And did that really that
ran the streams back up? Didn't it? I can only imagine.
Speaker 6 (37:35):
Yeah, the first time I saw him, after you start
doing it, I'm like, I'm like, what's up?
Speaker 3 (37:39):
Bra, You're like in streams is up?
Speaker 4 (37:49):
And you went out to his house and did some
ship with him in the front yard with the neighbor
and everything.
Speaker 6 (37:53):
Then motherfucking snow one football Sunday playoffs.
Speaker 3 (37:58):
You got to respect bro. Yeah.
Speaker 6 (38:00):
I jumped on the flight and with the Philly I
am not a Philadelphia Eagles.
Speaker 3 (38:04):
Fan, but I love I love Gillian Wallow and you know, the.
Speaker 6 (38:08):
City of Philly has shown me some love over the years.
It was it was, it was given tape. They started
off my first show in Philly. The niggas was throwing
ship at me. I don't get ship thrown at me,
a no show man. Yeah, that's how that's how we started,
but then all right, we evolved and I love Philly.
Speaker 4 (38:27):
There was a video that went viral from All Star
of you doing blow the whistle at faster faster what
you call it? Yeah, well ll Russell and splash, that's
what it's called.
Speaker 3 (38:38):
That splash. You got that video. It's the Steph party. Yeah,
it was in that.
Speaker 1 (38:43):
Term cracked it.
Speaker 5 (38:49):
At that day's timbo. He was telling her to shake
it faster.
Speaker 4 (38:55):
Uh so they want to catch step saying Stephanie saying
under his breath.
Speaker 3 (39:01):
Steph with the beard man.
Speaker 6 (39:03):
Remember remember Steph with the little boy step slick face.
Speaker 4 (39:06):
That's what jacks when Jack left the team because he
didn't believe in him.
Speaker 5 (39:09):
Yeah, wait a minute, Wait a minute, wait a minute,
you ain't believing Steph.
Speaker 6 (39:12):
There was a whole bunch of people that's mad about
the my taste ship was mad.
Speaker 1 (39:16):
Bro. Just you gotta think when.
Speaker 3 (39:18):
I did you watch my tape? Like he was gone, but.
Speaker 7 (39:22):
Left, Al left, Beani enough, j redche left, everybody was
gone with the fucking I'm the only old nigga here.
Speaker 1 (39:29):
I don't need to be here with all these He
needed to get out of here. He step didn't take
a person.
Speaker 5 (39:37):
Steph did have a lot of ankle injuries early too.
Speaker 7 (39:40):
Yeah, he got fifty five ft on the rookie here, Jenny's.
Speaker 6 (39:45):
A whole lot of people said, man, you traded my
tape for the nigga with the weak ankles.
Speaker 3 (39:49):
For a lot of that, a lot of that. He
was like a little boy.
Speaker 1 (39:52):
Man.
Speaker 3 (39:52):
They didn't know. They didn't know. If I would have known,
ain't nobody do.
Speaker 1 (39:55):
If I would have known, I told.
Speaker 7 (39:56):
Me, I would have known he was going end up
like that, motherfucker. I would have stayed mans right there.
Speaker 4 (40:01):
I should shout out to stock X, one of our
big partners. Short, you've been through so many eras. Give
me one sneaker from the eighties in the nineties that
was a must half.
Speaker 3 (40:14):
Oh you funny man. You know what, I'm the craziest
nigga on earth. I buy.
Speaker 6 (40:20):
I be buying shoes like I'm warning Vans right now.
I be buying shoes that niggas're walking. Oh, nigga, you
got the I'm like, I don't even know.
Speaker 3 (40:27):
I just like the color. So you're not even a
sneaker head like that. But I buy the best ship.
Speaker 6 (40:36):
I have, like some collector ship, and wear their motherfuckers
to coach Chilla or something man and fuck them up.
Speaker 3 (40:41):
Like I don't. My mind ain't focused on the ship.
Speaker 6 (40:44):
So you know, I spend you know, a crazy amount
on a pair of shoes, but then I won't respect them.
So would on the cover of Quarterias, I was gonna say,
that's probably the only shoe.
Speaker 3 (40:55):
I can name.
Speaker 6 (40:56):
Fucking Quartia is only when I memorize the name and
Jordan's only I don't know to Jordan's numbers.
Speaker 3 (41:01):
You just know I don't know me either.
Speaker 1 (41:03):
Didn't right, you didn't rock the Marrimax.
Speaker 3 (41:06):
I don't know, man, It's like asking me what was
every the name of every girl I had sex?
Speaker 1 (41:11):
Really, he's really not.
Speaker 9 (41:16):
Said, remember I remember today I wore ned the you know.
Speaker 4 (41:29):
So sports shift the sports a little bit obviously. Bron
and Steph and and k D and hand full of greats.
This will what I want, Steph. If Steph ends up
with more rings than Bron, where does that put Steph
in the hierarchy of the game. Just go, I know
you're a huge, but we're Bron fans.
Speaker 5 (41:50):
If James uh So as president of the Lebron James
Finn Club, no one can ever be greater than mister
James period, never any error, No one can ever do it.
The man went to nine straight finals. We're talking about
somebody that can play every position. We're talking about somebody
(42:12):
that's elevated every team he went to. We're talking about
somebody that changed the culture of the NBA as far
as picking where you want to land. We're talking about
somebody that elevated his friends in business. We're talking about
Rich Paul, We're talking about Maverick Carter. Like, I love Steph,
I'm a Golden State Warrior, but I'm also a Golden
State Laker.
Speaker 10 (42:31):
But but, but, but but what about the player who
he said if he gets more rings and he changed
the fucking game, like he changed the game?
Speaker 4 (42:44):
Definitely question So technically this is and I don't disagree
with Bron's greatness, but on Bron's watch, someone got more
rings than he did.
Speaker 3 (42:53):
Man changed the game. That's hypothetical.
Speaker 1 (42:58):
A couple of people.
Speaker 5 (42:59):
Well, look at what he was up against, what he
had to deal with k D and the Warriors for
two years.
Speaker 3 (43:04):
But he got to of his rings playing with Boshtond.
Speaker 5 (43:08):
Yeah, but they had to they had to round up
for the Celtics. Celtics had a lot.
Speaker 3 (43:15):
The Warriors got to the words got to he got to.
Speaker 5 (43:17):
But but it wasn't like Bron went and got another
top three players. I'm saying when he went to Cleveland
were leaving Miami out of this.
Speaker 3 (43:28):
Okay, I think.
Speaker 5 (43:37):
Stephen right now, yes, but has drafted there.
Speaker 4 (43:39):
It wasn't like the top five power four before he
went there and sacrificed this whole game.
Speaker 5 (43:47):
What y'all got against Lebron?
Speaker 4 (43:50):
Because I know you from the Bay and you're a
Lebron fan. That's why I asked the question.
Speaker 5 (43:53):
I think, to me, Steph Curry has changed the game.
If you get another ring to me, no, to a
logical theory, yes, but I would say right.
Speaker 3 (44:07):
Now, man, personal opinion.
Speaker 6 (44:08):
Man as ambassadors of the game and accolades in their careers,
I put them brothers, even Steven. They have done so
much for basketball just because they fly the straight eraw
of not tainting the brand as so many players be
our sales.
Speaker 3 (44:26):
I'm a player. I'm not a basketball player, but I'm
a player be our sales. You know what I'm saying.
Speaker 6 (44:33):
So I just think, man, I don't think either one
has surpassed the other one at this point, So another ring,
I don't think another ring would even make it when
it when it's when it's said and done. Because of
how long they played and what they did all the
way through their entire careers, they still gonna it's gonna
be the Lebron Steph ra for It's not gonna be
the Jordan era or the or the Magic era.
Speaker 3 (44:54):
It's gonna they both will have to share that forever, and.
Speaker 5 (44:56):
They both like change the game. Like I'm saying, Steph
made the pointer almost just as exciting as a dunk
as a at this point change the game for ever.
So I'm just the biggest Lebron fan because that was
always my favorite player growing up, and he rocked with
my music. So I'm always being Lebia's James.
Speaker 7 (45:14):
Yeah, I don't think Steph can pass uh Lebron on
my list. I think Lebron's gonna always be number three,
regardless if Steph would another championship, just at the career Lebron.
Speaker 5 (45:24):
You got before Lebron.
Speaker 1 (45:25):
Come on, man, don't play me. It's only two people.
Speaker 5 (45:27):
I'm just asking a serious question.
Speaker 1 (45:29):
Being in MJ, like you put Mike Belfure Lebron.
Speaker 7 (45:32):
Yeah, because he's a better basketball.
Speaker 1 (45:34):
Player than Lebron.
Speaker 5 (45:35):
Gosh, here we go with a better basketball player.
Speaker 1 (45:38):
Lebron, had Broun had a better career.
Speaker 7 (45:40):
He has the best career in everybody talking about on
the court playing basketball. It ain't two people better than
Lebron in.
Speaker 1 (45:47):
The Jordan in any era just gonna be the same thing.
Speaker 5 (45:50):
Jordan would have been nice in this era. But would
it would it look like that I looked in the nineties.
Speaker 7 (45:54):
Yeah, they say, they say my average fifty.
Speaker 3 (45:56):
Now they couldn't play.
Speaker 5 (45:57):
No, I've seen I've seen somebody send me a clipped
This more than of a player Jordan Duncan on Barkley
with something. Somebody passed them a base one drop step.
Draymond would have never let that happen. Draymond would never
Draymond would never let that.
Speaker 6 (46:11):
You would have never left that ain't.
Speaker 7 (46:14):
Nothing that bill Rick Mahorn, they was doing the same
thing that the worst they busting his lip.
Speaker 5 (46:19):
They wouldn't let that happen.
Speaker 7 (46:21):
Man, Man, I don't think so, I ain't going nowhere.
Speaker 3 (46:26):
We just had this to the point where.
Speaker 1 (46:31):
They Moon would have got dunked on too.
Speaker 4 (46:32):
So we round in this interview. Man, we obviously appreciate
the time. Freaky tails out right now ya? How excited
are you just about this again? I heard you talking
before You're taking acting? You're taking this shit serious? How
exciting is this kind of this trans not necessarily a
transition because you're still doing music, but being able to
step into into Hollywood and be an actor as well.
Speaker 1 (46:51):
Not putting yourself in the box.
Speaker 5 (46:53):
That Yeah, Like I said, man, it's a blessing. You
grew up as a kid watching the entertainment space and
just want to be a part of it, you know
what I mean. I feel like for so many years
in the beginning, I was just happy to be here,
and then it was like, Okay, now it's time to
lock in and really focus on the things I want
to do. So, you know, I went through a situation
with my label kind of was pigeonheled on trying to
(47:15):
get music out, and at that time I needed something
new to fire me up and inspired me. And this
was the perfect opportunity. I got to play one of
my role models unk somebody I called for advice and
always give me game. So it was really like a
place of reinsurance, you know, for me to get back
to what I've been missing, And we got a lot
of new music on the way, and we got a
(47:36):
lot of new acting roles on the way.
Speaker 3 (47:40):
Yeah you tell me about a big one.
Speaker 5 (47:41):
I was like, Yo, yeah, yeah, we work it, We
work it. We on new way.
Speaker 4 (47:45):
Man gratulations short. You collabed with a lot of legends
in this space. Do you have one that kind of
stands out? On one or two that stand out? Is
just the experience overall was different because you I mean,
although it was you collab with people back when everyone
used to get in the studio together and do it,
does anyone stand out?
Speaker 6 (48:03):
I mean, yeah, man, I've been I've been in the
hot water with the fucking like the best of the
best in that studio.
Speaker 3 (48:09):
Like you said, we're in the same session and you
got to keep up.
Speaker 6 (48:12):
And it's fucking jay Z, It's Notorious Big, it's Tupac,
fucking Snoop Doggy Dog and Scarface and eat Fody and
just you know, pimp.
Speaker 3 (48:22):
See like niggas are get in the studio and give
you a problem like you like you.
Speaker 6 (48:27):
They stretch you out because when they do their vocals,
it's like, fuck, like what are you gonna do?
Speaker 1 (48:31):
You know?
Speaker 3 (48:31):
What I mean, like, for real, man, it should be
serious bro.
Speaker 6 (48:35):
So, like I said, I always refer to game spitting
because a lot of these motherfuckers are dance circles around
you rapping and they rap styles and ship and the
cadence and ship and the rhythm of it.
Speaker 3 (48:45):
And I just I just come in there like real slow,
like yeah, bitch, that's what I thought. Niggas be all complicated.
Speaker 6 (48:54):
I'm like all right, so you know, I just I
just feel like my favorite artist always work with with
E forty. That's why we have so many fucking songs together.
But I love being in the studio with guys like
pimps because these niggas are also musicians.
Speaker 3 (49:10):
We make beats. Who would do the hook?
Speaker 6 (49:12):
And you know, like you're making a song and you
just sitting there starting to write a verse and see
already got the hook in some you know, you know niggas,
you know, a pimpcy for like his rapping and ship.
Speaker 3 (49:24):
But listen to how many UGK songs this.
Speaker 6 (49:25):
Nigga is singing, singing, kep in the studio really singing and.
Speaker 3 (49:29):
Got a good voice.
Speaker 7 (49:31):
He got a real voice, like the corner all the time.
Speaker 3 (49:35):
So it was just fun like what fucker's come in?
Speaker 1 (49:38):
Uh?
Speaker 3 (49:39):
Spark the weed up. Eric Simmon is another one. Hit
the beat, the beat he made the beat.
Speaker 6 (49:44):
He just when he make a beat, he just hit
the drummer scenes so fast and the ship like you
want to keep wanting them motherfuckers really fast. And then
he going to booth and just spit at sixteen like nigga,
what the fuck did you put that together? And they
just they just had that talent. Man sho, I ain't
got no rhymes on deck right now.
Speaker 3 (50:04):
There's nothing. If you said spit had nothing. Where's the
solo as y'all one?
Speaker 1 (50:16):
Yeah, we need one.
Speaker 3 (50:16):
That's your solo right there.
Speaker 5 (50:18):
Penitentiary chances, record label advances. Predatorial practice is keeping us
from advancing. They put a price on your Innocen's ignorance
is in fashion. Eulogies in our captions, Dying became a passion.
The Internet converted corporations to a catfish exaggerated status. Only
validate your capy see I G replaced the og Some
(50:39):
of them stagni because the examples that they set was
modified to move us backwards. I'm on the phone with
Uncle Shorty talking up about so much that I can't discuss.
I listened to him because every key gave me open doors.
I couldn't get into a lot of y'all advice, lack
experience and principles. Came up off advantages of niggas. You
was living through. Ran into a bread and got some
bird and that was food. Niggas playing keep up chasing
(51:02):
everything these bitches do. Okay, you gotta bens. I gotta bens.
But the difference is I've drove every class from the
principal drop top g Wag Louis Vatan, Ski mask, Tusking
leather seats. I sink in them like bean bags. My
new bitch, bad ass, soft of the sea bass. She
sticked to the cold. That Kuchie came with a keypad.
I bust down the broad to create barriers for niggas.
(51:24):
I pull up in their ghost. It's getting scarier for niggas.
See real GE's moving silace. Like Wayne said, everyone's a
minute till they end up like Kane, did you niggas
bring dead.
Speaker 3 (51:40):
Ship.
Speaker 1 (51:41):
That's what we got. That's what we got to look
forward to. Huh Wig Hitters.
Speaker 4 (51:44):
First thing to come to mind all time Warriors starting
five y'all.
Speaker 3 (51:48):
Can do it together. Oh, Steph was team. You're putting
together the five dudes in any era.
Speaker 5 (51:57):
Stephan show.
Speaker 6 (52:00):
My first one will be Mitch Richmond rich and that's
that's that's that's the real Michael Jordan's.
Speaker 5 (52:06):
I'm going on my nigga stack. Yeah, I'm going my niggas.
We got Steph mitche you pick water Whick. One more
Baron Davison, Davis small.
Speaker 4 (52:21):
You better get somebody tall, and I'm gonna gomall ball anyway.
Speaker 3 (52:26):
About to say the Warriors changed the game. Bro with
the shooters man.
Speaker 5 (52:29):
Talking about Draymond Green.
Speaker 1 (52:30):
Yes, sir, that's Draymond. That's one through ten. Yeah, everybody
in the building.
Speaker 4 (52:37):
One album, y'all cauld listen to with no Skips short
start with.
Speaker 3 (52:40):
You album with no skips.
Speaker 5 (52:45):
Anything?
Speaker 3 (52:45):
Ice Cube, mate, I run all. Ice Cube was front
the back for me.
Speaker 5 (52:50):
I always say fifty cent. Get Richard Dutch silent.
Speaker 3 (52:54):
That's another good Yeah.
Speaker 4 (52:55):
Starting to send a childhood crush Kyle the Prey, Oh wow,
just bad.
Speaker 3 (53:03):
Shortened ship. Pam Grid motherfucking.
Speaker 6 (53:09):
Childhood Pam Grid as a little boy going to the movies.
You got to see Pam Gris titties man a little
bit boy.
Speaker 3 (53:19):
So yeah, that would be.
Speaker 4 (53:20):
That would be my first guy to see him. Guilty
pleasure that you can talk about.
Speaker 3 (53:28):
I plead the fifth guilty pleasure.
Speaker 1 (53:34):
Man.
Speaker 6 (53:34):
Free ship, free ship. I walk in places with a
pocket full of money. They keep giving me free ship,
kicking aprecip.
Speaker 11 (53:42):
Appreciate, appreciate it. Man, get out of here. Last question,
go ahead.
Speaker 7 (53:53):
If you guys can see one guest on our show,
who would it be? But you have to help us
get your answer on the show.
Speaker 5 (54:00):
I'm gonna say the same thing I said last time.
Speaker 3 (54:03):
Lebron you're the president of the fan.
Speaker 5 (54:08):
They recently they recently I talked to Math.
Speaker 3 (54:12):
They're outside to a little bit.
Speaker 5 (54:14):
They're going to upgrade me to Bronnie's fan club.
Speaker 3 (54:18):
Yeah, we'll take him to.
Speaker 5 (54:19):
I'm gonna talk. I'm gonna talk to the team and
I get back.
Speaker 3 (54:25):
Hey, who should y'all get on this show?
Speaker 1 (54:28):
Man?
Speaker 6 (54:28):
Let me think, man, somebody good for all the smoke?
I don't know somebody that's a super smoker. Man like
who who we.
Speaker 3 (54:38):
Just smoked with all of them? We haven't had Kenny Rogers.
That would be he's a real good conversation man, like yeah, yeah, that.
Speaker 4 (54:47):
Be legend in the game, well that's a rap man.
We appreciate you guys. Freaky Tails out now go check
it out. And obviously a lot of other stuff coming
down the pipeline with both these dudes, but man.
Speaker 3 (55:00):
Thank you guys for your time. We appreciate you.
Speaker 4 (55:01):
Can catch on all the Smoke Productions YouTube and the
Draft Kings Network.
Speaker 3 (55:05):
We'll see y'all next week.
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Stephen Jackson
Matt Barnes
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