Episode 380 w/ Special Ed

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
He is drink Chess, motherfucking podcast. He's a legendary queens rapper.
He ain't agreed. That's your boy in O R E.
He's a Miami hip hop pioneer. What Up it's DJ.

Speaker 2 (00:22):
E f N. Together they drink it up with some of.

Speaker 1 (00:24):
The biggest players, you know what I mean.

Speaker 2 (00:26):
And the most professional, unprofessional podcast and your number one
source for drunk.

Speaker 1 (00:31):
Fast drink chants. Motherfuck post every day.

Speaker 2 (00:33):
Is New Year's s E. Listen, it's time for drink champs,
drink up, motherfucking.

Speaker 3 (00:38):
Mother would a good be hoping he's gonna should be.
This your boy in O R E? What Up?

Speaker 1 (00:47):
Is DJ E f N?

Speaker 2 (00:49):
And this is.

Speaker 3 (00:49):
Motherfucking classic drink Chess make And right now, when I
tell you, man, this man basically raised me with his music.

Speaker 1 (00:58):
Man legend.

Speaker 3 (00:59):
This man has been out here, you know what I mean,
a monkey foot in the game for years. We've been
working out to it all week, listening to his music.
Just the brush up on what's going on.

Speaker 2 (01:12):
Man.

Speaker 3 (01:12):
The man is. It's a legend of legend. He's an icon.
His wordplay, the ship that he was doing back then,
Holy moly, guacamole is still doing now still got festival,
still got.

Speaker 1 (01:24):
Shit going on. In case you don't know the fun
we about.

Speaker 2 (01:31):
Now.

Speaker 3 (01:31):
This is a song where I was going through your catalog.
This is a song immediately and never go back?

Speaker 1 (01:37):
Yeah, Man, is that?

Speaker 2 (01:39):
Can I live sample? Nah?

Speaker 1 (01:42):
Can I live sample? Never go back?

Speaker 3 (01:44):
That's what I'm saying, That's what I mean.

Speaker 2 (01:47):
Well, I came out first with it. That was produced
by hit Man How We Tea? And first, let me
just tell T send my love and respect in regards
to hit Man How We te Man?

Speaker 1 (01:55):
He changed my life.

Speaker 2 (01:57):
He changed a lot of people's lives man, but mind
especially Man since I was fifteen years old.

Speaker 1 (02:03):
Wow.

Speaker 2 (02:06):
He's also produced for Chub Rocks absolutely chub Rock, Little
Sean Pumo, Whistle U TF folder, Real Rock Saying, and
the list goes on and on.

Speaker 3 (02:15):
Yeah, So let's let's get back to what we were
talking about being for that.

Speaker 2 (02:20):
Never go back the sample.

Speaker 3 (02:22):
Because I'm listening to it. Wow, did Jay get that
off for you?

Speaker 1 (02:27):
Absolutely?

Speaker 2 (02:28):
At least at least I did because I put it
out first. I mean, the way it goes and hip
hop is when you hear something and then.

Speaker 1 (02:35):
You do it. You did it based on what you heard.

Speaker 2 (02:38):
Is it.

Speaker 1 (02:40):
How we did that, I don't know.

Speaker 2 (02:41):
We could look on like Isaac cays, you can look
on whose sample or whatever, but yeah, how we I
just coming, I just come in the studio, and how
we got it playing. I actually wrote that joint in
probably about thirty minutes the whole song, because that's how
charged I was.

Speaker 1 (02:56):
Off the beat. I was like, oh, this ship is hard, and.

Speaker 2 (02:59):
It's the kind of yeah, it's the kind of vibing
level you could really kind of freestyle. But there was
factors involved. He was at the time, he was working
with Little Vicious. Yeah, so I threw them in there.
Donovan shout outs to the hustler. You know what I'm saying,
and that see you got the Saint Norir hosest.

Speaker 1 (03:20):
All praises.

Speaker 2 (03:27):
Do I need one man sat ed candle burn that
shit all day?

Speaker 1 (03:34):
Yeah. I'm Jamaican ja.

Speaker 4 (03:38):
Yeah.

Speaker 2 (03:38):
And that's one of the reasons why my first record
I said I'm not a Puerto Rican because coming from
Brooklyn and so much cultural diversity in the New York,
everybody thought I was everything Dominican Puerto Rican every day.
So I had to kind of dispel that one time.

(03:59):
But I never got the answer Jamaican from anybody, right.

Speaker 3 (04:04):
Because I always I mean, listening to your music, we
always hear when you pick up the flat buysh and
all that. I always thought that you were Guyanese. I
always thought that to me, Guyanese like Jamaica's cousins.

Speaker 1 (04:14):
Right, well, we's all from the Caribbean.

Speaker 2 (04:16):
It's all the Caribbean, same areas, you know what I mean,
Puerto Rican, Cuba, Yeah, yeah, yeah, yeah, it's just the colonizes.
I believe language the colonizer spoke right right, yeah, I believe.

Speaker 3 (04:28):
The first time I met you, I said, are you
a Puerto Rican? I was like, this motherfucker said that ship.

Speaker 1 (04:32):
He's not a Puerto Rican.

Speaker 3 (04:33):
And I said, listen, all right, let's let's.

Speaker 2 (04:40):
Do you know.

Speaker 3 (04:41):
You have arguably one of the best beats ever made
in hip hop.

Speaker 1 (04:49):
Howie Tea once again?

Speaker 2 (04:51):
I got it made, how made ty? How We Tea
changed my life. He actually produced the entire first album,
Young and Youngest in Sharks, and at the time I
was fifteen years old, so I was just really r
y Ronan. But I was actually going through the crates
with him and I was doing some producing myself, and
he actually wanted to give me producer credit and I refused.

(05:14):
I was now, man, I was like back then, yeah,
back then, because I was just honored to have.

Speaker 3 (05:20):
Him, as you'd have been the first, off, daddy, the first, like.

Speaker 1 (05:23):
I am the first.

Speaker 2 (05:25):
I am unequivocal.

Speaker 3 (05:32):
Me now.

Speaker 2 (05:33):
And in terms of that, now, let's talk about that
we are we invented all that remix ship period, so
they could claim whatever they want, but how We Tea
was the one. How we remix everything, and not just
for me, for every other artist as well. So when
they talk about remix this and we the remix that, no,

(05:53):
y'all not man, how we Tea Brooklyn, New York, let's go,
it's like Harry.

Speaker 1 (06:00):
I can't even put it on blasts.

Speaker 3 (06:01):
And so last night, because I got the worst phone
in the world, I'm gonna send this to hash. You
got the better phone, right, I mean, yes, this.

Speaker 2 (06:09):
Was this last time we tea to remain one.

Speaker 3 (06:12):
Kids hooked up so you could play it.

Speaker 1 (06:15):
Your little Bobby, how did you guess? Connect you and
Howie te how we tea?

Speaker 2 (06:20):
Howie Tea lived across the street from my first cousins flat,
So yeah, so we grew up right across the street.
From each other, and they were friends, family friends, so
I seen it, neew them all my life, like when
they first came out, we'll like get tough in like
eighty two eighty three.

Speaker 4 (06:40):
Like we was.

Speaker 1 (06:41):
We was there. I was there when it was making.
He's brock cousin.

Speaker 2 (06:45):
Oh okay okay, And I believe actually little Sean had
to bring him to Howie he you know, he was bashful.
I guess you know what I'm saying, But I wasn't.
So I went to my cousin and I was like, yo,
take me across the street. When I was little, they
used to hold my hand to walk across the street.

Speaker 1 (07:08):
No, I was that little, was always was.

Speaker 2 (07:13):
But that's how long I've been around how we tea
and production and all that stuff. So they used to
take me across the street to watch them make mixtapes.

Speaker 1 (07:23):
They used to have to set outside and DJ and hap.

Speaker 2 (07:27):
Yeah, because they used to have the crew out there
with the mics, And to me as a little dude,
it was like incredible. I was like, oh ship, they
up here performing in the driveway in the backyard type shit.

Speaker 1 (07:40):
But they making mixtapes.

Speaker 5 (07:42):
I mean.

Speaker 2 (07:42):
And that was my first real hands on exposure, and
then one time he made a mixtape and he remade
the Bubble Bunch Beat. Shout out to Jimmy Spicer Man
because that's my other biggest influence because he was from
Flatbush two he was from Brooklyn and super round Bubble
Bunch Dollar Bill y'all. Yeah, that was Jimmy Spicer Man.

(08:04):
I used to listen to that religiously.

Speaker 3 (08:06):
So you said you had You just did a concert
in Cony Island.

Speaker 1 (08:09):
Oh yeah, I curate. I do concerts.

Speaker 2 (08:11):
I did Coney Island Hip Hop fiftieth with Summer Stage
with City Parks Foundations. Yeah, and I got another one
coming up on Sunday. I'm doing a Native Tongues tribute
with Red Alert, Jungle Brothers, Chili, Black Sheep, Dress, Money Love. Yeah,
Sunday Sunday Sunday was incredible. I had an incredible line up, man,

(08:38):
and it was a bunch of cl smooth, nice and smooth.
It was a man I got a flyer, but my memory,
but it was like twelve acts on it, even even
Joe Skie Love Oh wow, yeah, yeah who I had
on this Sparky d Yeah, sweet Tea.

Speaker 1 (08:56):
What's up with's moving?

Speaker 3 (08:57):
P rock Man?

Speaker 1 (08:58):
They can't get along. Well, I'm I don't know, man,
you know that's between them.

Speaker 2 (09:02):
But I do know that I'm you know, family with
both of them, and I always encourage them to get
the people what they want because that's what it's about,
you know what I'm saying. Anytime I see discord, you know,
I know what that's about. You know, we donet been
through it. I don't been through it. I've been in
this game over thirty years, so I know how to go,
you know what I'm saying. And the most important thing though,

(09:23):
is not to destroy the brand, the legacy, because that's
what the people want. Sure they'll enjoy you separately, but
at the end of the day, it's really about that.

Speaker 1 (09:34):
Yeah, that original energy. You know what I'm saying. Do
you recognize Flat Push anymore?

Speaker 3 (09:38):
Do me? You?

Speaker 4 (09:40):
Oh?

Speaker 2 (09:40):
I recognize it. But I'm in awe of all the
buildings they put up and the whole is out. I
don't know if they got whole foods, but they got
a whole foods look alike Flatbush and fall Time, Yeah yeah,
and they got a whole bunch of little eateries and shit,
it's so many other ethnicities there. Sometimes I think it's

(10:01):
police man, Like, what the funk going on? Is this
an operation investigation?

Speaker 3 (10:06):
Because I used to go to Brooklyn around the eighties
and and things like that, and I would never since that.
It's a place called Dumbo in Brooklyn. Have you ever
have you been to Dumbo?

Speaker 2 (10:15):
Yeah, Dumbo is all under the Brooklyn Bridge. But that's
man by the days, back in the days, that was abandoned.
That was like really it was warehouses. We actually shot
Crookling down there. Get the fun out of here, man.

Speaker 1 (10:27):
Crooklyn was shot in Dumbo.

Speaker 5 (10:29):
It was.

Speaker 1 (10:33):
Oh, buck shot in Master.

Speaker 2 (10:35):
Ace was on the show in Coney Island, and we
did Crookland absolutely shout out of the buck shot at Ace.
See my memory. I'm getting old, but you know, I know,
I know what we're doing. Oh yeah turned saint nor
no man so because I'm not gonna lie.

Speaker 3 (10:53):
But but Brooklyn is still Brooklyn though, like like you
you still get it because like this is place in
Dumbo and.

Speaker 2 (11:00):
I enjoy going to Dumble.

Speaker 1 (11:02):
All that is on the other.

Speaker 2 (11:03):
Side of the side.

Speaker 1 (11:04):
They still haven't given a proper.

Speaker 2 (11:06):
Attention to the rest of Flatbush, Brown Bill, East New York,
Red Hook, even Coney Island.

Speaker 1 (11:12):
Like it's even though they fix up the park.

Speaker 3 (11:14):
In the beach and the second did a couple of
things Coney Island as well.

Speaker 1 (11:18):
Well.

Speaker 2 (11:18):
Absolutely, I mean everybody's trying to do what they can
for this for the town. It's just a matter of
the city actually putting those dollars into our communities and
not just where they gentrifying, you know what I'm saying
that that's what's happening. And we gotta as a people
understand how this works. We have to go to the
city planning meetings and see what's happening. That's how they

(11:40):
come in and moving by everybody out because they know
what's going to happen.

Speaker 1 (11:43):
That's exactly that's how it's going down. Yeah.

Speaker 4 (11:51):
Yeah.

Speaker 2 (11:52):
And the thing the thing about that is you have
to sample our record because if you try to get
the original, you ain't you ain't gonna it ain't gonna
sound like the sample because of how we processed it. Wow,
it's an og production secret behind that.

Speaker 3 (12:09):
So no matter what if they try to go to
the original, they still have to go to the.

Speaker 2 (12:13):
Original that y'all made, right, because the original, when you
sample it, it ain't gonna have that picture or that
tone or to it, it's gonna sound totally.

Speaker 3 (12:21):
Look, I just want you to look read the message.
He just sends me this record out the blue and
there's no look, just out the blue. That's the record
right there. And I say, I say, crazy, crazy crazy,
and interview specially add tomorrow it's good. Wow, we're dealing
with we're dealing with natural and supernatural forces.

Speaker 1 (12:43):
Right that was?

Speaker 2 (12:45):
That was like I was like, cause I was like yo,
And you.

Speaker 3 (12:47):
Know, usually I put out uh when I interview an artist,
I'll say, you know, you got questions for him, but
I didn't do that to this morning, so there's no
way that he could understand that. I was like, Yo,
the snetic energy is working man. So so how many
people have sampled that record?

Speaker 1 (13:02):
Man?

Speaker 2 (13:02):
I can't start the count. Wow, bunch like a dozen
from R and B.

Speaker 1 (13:07):
To hip hop.

Speaker 2 (13:10):
Yeah, and a lot of them is you know, unreleasing
new artists that you might not hear, but you know
they've had some that have gone a little bit and
got a little airplay, a little buzz. But me personally,
I feel like I don't touch that record because it's
a classic, right, and I don't want to even you know,
tarnish the reputation. You know what, you know, it's the

(13:31):
killer though, the killer is the killer bought to that is.
I recorded this song at fifteen years old.

Speaker 1 (13:42):
I wrote.

Speaker 2 (13:44):
You are Stupid before I wrote it prior to recording,
So when I wrote that was probably between yeah, yeah, thirteen,
fourteen years old.

Speaker 1 (13:54):
Okay.

Speaker 2 (13:55):
Yeah.

Speaker 3 (13:55):
To describe the session, you go to Hobbie t Yeah,
and he's already got to be playing.

Speaker 1 (14:00):
I got it made.

Speaker 2 (14:01):
Yes, I believe we went through the digging and the
sampling because I heard the process. I heard of how
he truncated it and chopped it and s now fifty, I'm.

Speaker 1 (14:09):
Gonna get y'all a little, a little Joels. You know,
s now fifty got some tools on it.

Speaker 2 (14:14):
So yeah, he went through that and chopped it up,
and I was like, oh, yeah, that's hard. Oh and
then what I started doing was piecing together my braggadocious
round right.

Speaker 1 (14:23):
You know what I'm saying, because that was the style
back right right right.

Speaker 2 (14:27):
Well, see, it was either gonna be a story or
I'm a diss you, or I'm a talk shit, right,
So I said I'm gonna talk shit.

Speaker 1 (14:35):
Yeah, and I got it made. Yeah, that's it.

Speaker 3 (14:41):
Yeah, but that record has outlived the test of time.

Speaker 1 (14:47):
Amen.

Speaker 3 (14:47):
Like I don't think there's no party in the world.
I was gonna say America, but I don't think there's
no party in the world that you can't put that on.

Speaker 1 (14:55):
And everyone knows that record.

Speaker 2 (14:56):
Well, well, you know what it is.

Speaker 1 (14:58):
It's about programming.

Speaker 2 (15:00):
So the same way they programming negativity, I was programming
positivity and empowerment.

Speaker 1 (15:06):
I'm your idol, handled right.

Speaker 2 (15:09):
So when you say those words, you're empowering yourself. You
manifested greatness, godliness. You feel me. So that's what that
was really about, and that's why it resonates in my opinion,
that's why I still resonate the way it do. And
then in addition, I wasn't talking brand names and dating myself. Wow,
you'll free no free advertising, y'all ain't free advertising?

Speaker 1 (15:34):
Okay, then I was not.

Speaker 2 (15:38):
I was never into that you feel me? And I
was ghost writing too at that age. Like when I
was fifteen years old, I go, so I wrote a
record for the real rock sannes. Oh wow, right, and
they never pay me. So I like, fuck ghost.

Speaker 1 (15:53):
Like you're rocking little your rocking kids records.

Speaker 3 (16:00):
You know what I'm saying that Robin kids Man who
was Select Record, wasn't that game?

Speaker 2 (16:04):
Oh yeah, Redmano owned it. But Chuck was on Select
and I think was Utfo on Select. I'm not sure,
but there was some a lot of There was a
lot of artists. Yeah, he had a good catalogue. You
know what I'm saying. He was just a fuck fucked
up business man. You know what I'm saying now, It
was you know, thank you for going to there. Now.

Speaker 1 (16:25):
It seems like.

Speaker 3 (16:28):
From the Melly Mail days, right, yeah, up until eighty
nine's and then in the nineties, I would say to
past ninety five, the record contracts got got better. What
was these record contracts like when you when you.

Speaker 2 (16:42):
Guys, Well, they were trying to take everything and then
they were to give up. Yeah, they was trying to
take the publishing. And I was like, nah, they got
it was oh yeah. I was explained by my lawyer
because what happened is I read it for myself and
then the lord young age you hell yeah, that's the
hen Look. I read it for myself and what I

(17:06):
did was I questioned certain things because it was assigning
rights to people.

Speaker 1 (17:11):
I'm like, they ain't right. My shit, So why is
they getting this?

Speaker 2 (17:15):
And then what I was told was that for the
record deal, that's their interest is the publishing.

Speaker 1 (17:22):
So I had to give up half of it. You know, well,
this is the thing.

Speaker 2 (17:28):
Now. The management I had at the time was trying
to take the other half, and I was like, hold
the fuck up. They ain't write my ship and why
are they interested in my publishing? I was like, nah,
what do I get if they get fifty and they
get fifty or the fuck I'm left with?

Speaker 1 (17:43):
So I was like, nah, they dead on that. So
I got my fifty and then the label got fifty.

Speaker 2 (17:48):
But as far as points, they was on, did they
pay you for the that they took?

Speaker 1 (17:53):
No, they ain't paying me. It's part of the deal
and whatever's coming in for it was part of the contract.

Speaker 2 (17:57):
This was fucked up. Yeah, it was fucked up worse.
It was like Motown for hip hop you feel me?
And then you know that was the terms. And the
points was like twelve points or some shit over one
hundred points out of the guns. Wow, so a point
is a percent of y'all at trying to figure it out.
So when they say point, they just fancy talk four

(18:19):
percent and.

Speaker 3 (18:20):
I heard you say earlier, My bad for jumping around.
You heard it say earlier. You say you've been in
the game thirty years. Now over, it's these albums reverting
back to you because we.

Speaker 2 (18:28):
Heard about to right now. Because I don't follow all
my paperwork for the revers it thirty years.

Speaker 1 (18:33):
It's thirty five. I believe it. You just told us
I've been hearing thirty five. I always heard it with thirty,
so it changed.

Speaker 2 (18:40):
I just got to read read the laws. Okay, the
copyright at thirty. You can begin the process, okay, all right, Yeah,
you can begin the process and start filing your paperwork
and sending your letters out. So I did that like
three four, five times. I'm making sure I get my ship.

Speaker 3 (18:56):
Wow.

Speaker 1 (18:57):
So so what happens if you get your back? Oh,
I get all my ship back.

Speaker 3 (19:01):
And then you can you you you take these albums
and then you essentially put them out.

Speaker 1 (19:06):
How does how does that work?

Speaker 2 (19:07):
You own all the rights to it, all the publishing rights,
all the mechanical rights, and you are able to now
have ownership of your material.

Speaker 3 (19:15):
You could now at wants to do a deal with you,
like to put it. You would be the licensing right
and right now.

Speaker 2 (19:22):
I still get paid fifty percent, but they do the
admin and then do that, so you don't know how
to shake them up for my ship.

Speaker 3 (19:29):
Yeah, Like I just finished shaking them up for my
ship for real. But what do you mean like what
they had the weight hand? Can they're holding his money?

Speaker 2 (19:38):
I mean a lot of people sample, but the money
come from different places. So I get my money from Sony,
but then profile still got an interest in it, and
I gotta go be like, Yo, where my bread?

Speaker 1 (19:48):
Bro? You know what I'm saying, And then they send
me some bread, right goddamn it, man, goddamn.

Speaker 2 (19:54):
I had to learn patients though, because I wasn't that
patient back in the days. Man, it was really about
to go down. They sold out their back as well.
Yeah men, yeah, well time Tom all.

Speaker 1 (20:05):
Okay ship shit he said time? Yeah you said, Tom,
Well not.

Speaker 2 (20:11):
That time. They are up to their thirty something rights
as well.

Speaker 1 (20:17):
They had to fight for it.

Speaker 3 (20:17):
Was the time was I believe I believe their deal
was messed up. I believe they explained it that time,
because I believe they split. They split that twenty five
percent that was left of they publishing. I believe I
might be misquoting them and they split that twenty five
amongst themselves.

Speaker 1 (20:32):
So that's what happened.

Speaker 2 (20:33):
Yeah, so that the label's interest is your publishing, so
they tried to take as much as they can and
then whatever it's left, you have to split as a group.
You know what I'm saying. And I was a solo artist,
so you know what I'm saying. But yeah, damn so how.

Speaker 3 (20:49):
About and you said how we tea produced that whole album?
Absolutely so did how we team make out good?

Speaker 2 (20:53):
Or yeah, how we making out good?

Speaker 1 (20:56):
We tee you all right?

Speaker 2 (20:57):
And he split publishing too, okay, okay, and that's how
go oh he has to producer portion?

Speaker 1 (21:03):
Yeah yeah, yeah, yeah, absolutely, yeah.

Speaker 3 (21:05):
Hell yeah god that You artists gotta listen to this
ship because it is real.

Speaker 2 (21:09):
Man, And they've been taking advantage of artists for years
because there were no standardizations, there were no rules.

Speaker 1 (21:17):
Whatever the whatever you signed for is what the deal
is then.

Speaker 2 (21:22):
But as time progress and we start knowing our worth,
just like with the shows before, we getting whatever the performing.
Now they getting a million dollars to perform, feel me
half a million dollars a million dollars to fifty one
hundred and fifty. They getting real numbers to.

Speaker 3 (21:40):
Perform, right, Yeah, definitely, yeah, to get it out. So
let me let me ask you, how did it feel? Man?
I was a kid, I'm forty five years old, I'll
be forty six September. But me watching this and me
seeing these records, like, how did it feel back then to.

Speaker 2 (21:58):
Be the man?

Speaker 3 (21:59):
Back then?

Speaker 1 (22:00):
Hip hop really madtered?

Speaker 3 (22:02):
You know what I mean?

Speaker 4 (22:02):
Good?

Speaker 2 (22:02):
But I was always grounded because I knew what entertainment
was and what it consisted of. Man, And I never
let that shit get to me in that way, you
know what I'm saying. And I was never one of them,
you know, one of the bandwagon type people. I never
followed other entities and other racial identities down those roads,

(22:23):
like I ain't let nobody lead me in, you know,
because I was already being abused since the beginning. So
I was watching everybody like the fuck away from me.
And it's that situation. So I kept I kept a
real perspective on everything. I knew what media and marketing
and all that was, and I knew what it made you.
I knew how the people reacted to you. But I

(22:45):
was still on the ground, looking at everything from a
ground view, But.

Speaker 3 (22:50):
It had to because you know, right now, my person
couldn't continue to take a record and they throw it
out in Japan tomorrow. But back then you had to
actually go market to market to market, and you having
one of the most powerful records in the universe.

Speaker 1 (23:03):
How did it feel going to your.

Speaker 3 (23:05):
First time the Philly or your first time to Delaware
because at the time it was just New York. Yeah,
if you hot in New York, you hot in the world.
But then you had to travel to these places, right,
How did it feel like going to these places and
they know who you are?

Speaker 1 (23:16):
Well?

Speaker 2 (23:16):
It felt great, man, especially when you on stage and
they singing the songs with you. That's a feeling you
can't you know what I mean, You damn you know. Hey,
I'm about to give y'all a mic.

Speaker 1 (23:26):
You feel me?

Speaker 2 (23:26):
So it's one of those feelings. It's just still knowing
the other end in the back end. You know, you
can't abuse your power, you know what I'm saying. And
that's what a lot of people go too far. They
abuse their power, and you know they don't they don't
respect the game. They just run, I mean until they

(23:46):
fall and break their fucking ankle, right, so let.

Speaker 3 (23:51):
Me now, it's admission not a small time thing. That
video was like the first time I seen a theatrical Yeah,
and and in in videography cinema, like you know what
I mean, like in black cinema, like like like it
was like a movie to.

Speaker 1 (24:09):
Me watching that that then and I see that that that.

Speaker 3 (24:12):
Video to me Birth like the Biggie Smalls videos where
he's like, you know what I mean, like like the
movie style videos.

Speaker 2 (24:19):
Was that something you planned on doing?

Speaker 3 (24:20):
Well?

Speaker 1 (24:21):
I think that stemmed from think About It.

Speaker 2 (24:24):
They Think About It, had the hovercraft, the helicopters, and
then it went into the mission where that was another story.

Speaker 1 (24:32):
It was chases and all kind of stuff going on.

Speaker 2 (24:34):
Karate fight yeah, yeah, yeah, yeah, So I think it
just went into that direction. But Cheacob Bruce, a female director,
is the one that Birth and came up with the
whole treatments and the video for Think About It. Oh wow,
And that's the one where you know we went on
the whole chase and it was actually the whole theme

(24:56):
of it was Bud mcmilman. He probably did in Peace,
but the old man, the old dude, he was like
the symbolism of the hierarchy of the industry, and he
was kind of trying to destroy my career in the
video this is it is about. And so he sent
these henchmen, which was two black dudes to chase and

(25:19):
ruined my career, feel me. So that's what it was about,
about the white man hiring two black men to go
ruin my career, feel me. And they started chasing me
through the streets on boats, on hovercrafts, on helicopters.

Speaker 1 (25:35):
All the ruined me. So that was the storyline.

Speaker 2 (25:39):
But it birthed that type of dramatic scenery and the
whole theatrical elements, and yeah, you know, everybody started getting
real theatrical with their videos.

Speaker 1 (25:51):
I feel like you birthed that.

Speaker 3 (25:53):
I feel like those two videos, like you said, think
about it, and and the fact that those budgets were
open for I forgot. It was like to be continue,
wasn't it. I'd like to be continue. I feel like
you grated that well cheek of Bruce Man.

Speaker 2 (26:06):
I gotta give it up because at that time, once again,
I didn't come up with the treatment I was. I
was sixteen that by then, you know what I'm saying.
And I never shot a video or directed or produced
a video on my life. So all the praises do
the cheek of Bruce a female director.

Speaker 1 (26:24):
You feel me?

Speaker 3 (26:25):
How come him when they were sixteen? They were so
bright and he's sixteen year olds fucking high?

Speaker 2 (26:32):
Well, what happened is because back then we was actually
going through a struggle and it was actually real economic
hardships that we had to overcome. I could see him
being from Queen's Bridge, queen Bridge still fucked up.

Speaker 1 (26:46):
You feel me?

Speaker 2 (26:47):
And me coming from Brooklyn. We're trying to find a
way out of the debts, you know what I'm saying.
We're trying to find a way out of poverty and
not jumping into poverty and then having the resort to
doing wherever youbody else in the street doing robbing people,
selling drugs, going to jail. You know what I'm saying, dying?

Speaker 1 (27:06):
You feel me?

Speaker 2 (27:07):
So it was for me just trying to find a
reasonable solution where I ain't got to watch my back.
You know what I'm saying, Well, I still got to
watch my back, but not in a negative way where
I've done somebody some wrong.

Speaker 3 (27:19):
Feel me.

Speaker 2 (27:20):
I'm not out there doing crime, selling drugs, looking for
the police.

Speaker 1 (27:24):
I don't give two fucks about the police. Ain't nothing
on me. But what examples did you have at that
age that At that age.

Speaker 2 (27:31):
The examples were everybody dying and going into you just
didn't want to do that exactly.

Speaker 1 (27:36):
I was not going in that direction, you know what
I'm saying. And it was easy. It was easy to do.
I mean, there was access to everything.

Speaker 2 (27:42):
We had opportunity, but me knowing better and having four
older brothers to learn from as well, because they all
went through those pitfalls, you know what I'm saying.

Speaker 1 (27:52):
And I was like, no, I'm not doing that. I'm
not going to jail, I'm not going to die.

Speaker 2 (27:57):
I'm not standing out here on the streets selling drugs,
you know what I'm saying. And to me, that wasn't
enough money because when once you re up, you left
with a couple of dollars, you're gonna buy sneakers like
I wasn't with that. I need real money, you know
what I'm saying. And I ain't working for nobody. I
ain't working for them. I ain't working for nobody think
they're gonna work me or rule me. Ain't nobody ruling me,

(28:20):
you know, I feel me ain't no man above me
on this earth period. And that's how I feel about
it all, you know what I'm saying. So I found
my own way and my own path to do it intelligently.
I felt like I'm smart enough and intelligent enough to
get it like anybody else.

Speaker 1 (28:35):
Goddamn. Now, how did you get the name special AD?

Speaker 2 (28:43):
Was you in special AD?

Speaker 3 (28:44):
Nah? Man? Because I was a special and resource room
and I probably amen.

Speaker 2 (28:48):
Okay, hey, how that go? How that go is?

Speaker 1 (28:56):
Obviously my name is ed.

Speaker 2 (28:57):
But my man e Dot came to me, he got
from Flatbush, and he was like, Yo, you should call
yourself special LED. I had a personality you feel me.
I wasn't in Special LED, but I had a personality
like a motherfucker. And at the end of the day
after he said that, I thought about it, and I
could have took it two.

Speaker 1 (29:17):
Ways, but I was like, nah, this is my bro.
He ain't gonna be town.

Speaker 2 (29:22):
Special education was frowned upon.

Speaker 1 (29:24):
It was frown upon. But I thought about that, and
I was like, you know what, fuck that?

Speaker 2 (29:29):
Because for one, I can change the dynamics of how
it's perceived, and for two, I'm gonna teach y'all.

Speaker 1 (29:37):
Motherfucker something, and for three, my.

Speaker 2 (29:40):
Name ed and I'm special, So it was way too
many reasons why I should as opposed to watch. I'm
just fuck what class y'all think, I'm in whatever, whatever,
y'all gonna know how intelligent I am when y'all hear
this shit or when I speak.

Speaker 1 (29:54):
So I wasn't really worried about that. And I think
that whole special.

Speaker 2 (29:58):
Led thing is just you know, their way of saying,
we don't know how to deal with that's all. We
don't know how to deal with this because some ain't
nothing wrong, ain't nothing wrong with you. It's just a
matter of not being the common every day motherfucker that
they can deal with the behavior. But I know they
was lying.

Speaker 1 (30:18):
And sometimes it's what you say.

Speaker 2 (30:20):
Sometimes they want to railroad you because you got a
brain and you got a voice, and you have an opinion.

Speaker 3 (30:26):
You know what I'm saying. Yeah, it's it's how they
set you back. When I want to bet award, we
wanted to bet award. I grab my thing and I
was like, everyone, there's a special education. My DMS lit
up from all the special education teachers.

Speaker 2 (30:41):
It was like use speech. I was like, I think
it's just part of that, you know, it's part of that,
like the School of Prison pipe right right for basically
what it what it is, It's part of the School
of Prison pipeline. Other than there are some kids with
special needs and don't have you know, don't have it

(31:02):
together where they need that extra attention. But half of
the kids is just they don't give a fuck. They're like,
y'all talking to me crazy shit like that. You know
you ain't dealing with that. I feel you, And that's
why I took the name. I was like, you know
what fuck that I'm special at so what that's right? Goddamnit,
I'm taking.

Speaker 5 (31:24):
So look, you're still really young coming out of the
gate Lyrically something is inspiring your or is it really
just coming out of your own ether?

Speaker 2 (31:32):
Well, like I was inspired by Yeah, I was inspired
by the Ogs, like I said, Jimmy Spicer for one,
because Jimmy Spicer put out a fifteen minute record with
like ten stories in it.

Speaker 3 (31:46):
And because you definitely come from a special ad of storytelling.

Speaker 2 (31:49):
Storytelling, so he inspired me on the storytelling special my
bad because he told stories about Dracula, about different and shit,
and it was right creative. It wasn't just like some
you know, it wasn't boring. It was humorous, it was creative,
and that inspired me. And then I listened to shit

(32:10):
like you know, Mellie Mel Curious five and the message
that inspired me, Howie t CD three Get Tough, that
inspired me. So it was the content that inspired me
more so. And I was like, damn, I gotta be
saying something. I got to amuse you know what I'm saying,
confuse and all that. I gotta tell a story, you

(32:32):
know what I'm saying. Like even the mission that wasn't
the original story that was now. I had an original
story that I submitted, but it was too hardcore, so
they made me do it over and then I had
to do the song over and that's where the mission
that we all know came from.

Speaker 3 (32:49):
You know, that's a very interesting question because a lot
of people should say back then that the record labels
had more of a control over the music.

Speaker 1 (32:55):
Was it like that back then?

Speaker 2 (32:57):
Like, well, it was they there wasn't a bunch of
explicit records like this. Now you could say anything because
there's no label control at all. And then the labels, uh,
you know, came up with their agenda later, but back
then in the early eighties, they definitely didn't want They
wanted songs that could play on the radio. They wanted
songs that they could sell openly. They didn't want a

(33:19):
bunch of hardcore ship. So really, until n w A
came out, they had a certain level of discretion. But
what what what?

Speaker 3 (33:29):
Because you came out of eighty nine, correct, yeah, eighty nine,
So then what what what? What?

Speaker 2 (33:33):
W came eight nine and I think the single, the
single was eighty eight, the album was eighty nine.

Speaker 1 (33:39):
Yeah, it was the single the police knowing no, it
was my single, I got it. Yeah.

Speaker 2 (33:44):
But then n w A came out and they ship
was hardcore, and I was like, see they could say
what they want, right, but the label didn't want to
market me in that way. And I had I had
hard ship, like I was a battle rapper on the street,
so that's what I did, and they didn't want that.

Speaker 1 (34:02):
They wanted commercial belt. Yeah, making belt.

Speaker 2 (34:06):
I had a few. I had a future making belt
yeah yeah, everything the ratchet to Ratchet and the switch
blade in.

Speaker 1 (34:18):
The belt yeah yeah yeah yeah.

Speaker 2 (34:20):
Flat was a wild hell yeah yeah, Flatbush myself yeah
for real, and he Hall was I'm gonna tell the truth.
He Hall was like one of the worst schools in
the city, especially when I got in there, Like they
had big ass gaping holes.

Speaker 1 (34:34):
In the walls on the hallway and the boards. It
was like, you motherfuckers, what you're doing here?

Speaker 6 (34:40):
Yeah?

Speaker 2 (34:41):
Serious, So we had to deal with that, and it
was But when you in it and you that young
and you feel this, it ain't nothing. But thinking back
as an adult now, I'm like, come on, y'all had
a budget cleaning ship up back then. Yeah, me and
Buster Rhymes went to elementary school together, the school like

(35:03):
this is and Walt Whitman Junior High School especially as well.
But yeah, we definitely went to school together, came up together,
and you know, and and Rampage lived across the street
from the school too, and he was a little younger,
he like a year or two younger than us, But
Rampage two came up in the neighborhood.

Speaker 3 (35:24):
Did that help the native tongue affiliation because Buster was
considered native tongue, right, Yeah?

Speaker 2 (35:31):
Probably so. I don't know, though, I mean, you know,
they had their own vibe with the leaders of the
new school. I think Chuck bred them. Chuck d shout
out to Chuck d. He bred the leaders of the
New School. I think came up with the whole group.
He named name the group right in the group. So yeah,
and the busters from around my way. What happened is

(35:53):
he moved to Long Island and then that's when he
started rapping and came back and you know, back to
the hood. Yeah right, you ever throw hip hop VI
this far? Man, not this far, but this is billions
of dollars later. I knew it was something though, because
of the energy that it had and the way it
brought everybody together. Because even just to be honest, hip

(36:18):
hop brought everybody together Black people, Hispanic people, white people,
all people through hip hop, and that was the one
thing that could do that. Like not many things was
bringing people together that way, aside for money, but hip hop,
just the music and the vibration, you know what I'm saying,
united people. So I knew it was very strong. But

(36:40):
until I saw when I saw a run DMC, I
knew there was a plan. I knew something was gonna
pop because it had a frenzy. It just like it
took it to TV. They was a helicopters, they had
the big chains, they was doing Madison Square Garden. I
wanted to be on the Fresh Veest. I was rapping then.

Speaker 1 (36:59):
I guess I was too.

Speaker 3 (37:00):
I mean, yeah, yeah, I appreciate run DMC, but I
couldn't really like I mean, they kind of hushered in
that global the glow.

Speaker 1 (37:09):
Yeah, you know movement of hip hop. Yes, of course
Bambada and then were doing it before, but I feel
like run DMC took it. They took it to the
next level commercially.

Speaker 2 (37:18):
Yeah, and that and that's one of the reasons why
I was eager to sign with Profile Records because that
was the label that's signed to. We were on the
same label, and when I was like Profile, I was like, oh,
that's right. They could do for me what they did
for run DMC. So that's why I jumped on it.

Speaker 3 (37:33):
I was like, hell yeah, but you know, me going
through your music and me listening, Yo, you sound like
absolutely nobody.

Speaker 1 (37:40):
How come you was a hot m C back back
then and still is?

Speaker 3 (37:45):
But right right now, I can listen to fifteen people
that's out all. I can't even that's right now though,
that's right now that you know what I'm saying.

Speaker 1 (37:53):
If you blindfold me, I'm like that's him.

Speaker 2 (37:56):
Oh, that's him, that's him, that's him.

Speaker 3 (37:57):
Like right now, I can listen to your voice, I
can listen to this great voice. I can listen to EPMD.
I will not say that they sound like anybody. How
come it was like that back then? And how come
it's not like that now?

Speaker 2 (38:07):
Because we all wanted to be original, we wanted to
own identities. Now it's a bandwagon effect. It's like, oh,
this sold a million records, let me make a copy cat. Yes,
So it's really about cloning right and making it a
commodity that makes money. The industry doesn't care about the culture.
They just like this works, okay, keep going right going,

(38:28):
and they keep pushing out the same shit back to back.

Speaker 3 (38:30):
Right, what happens to this artist? Because I remember La Red.
I remember me going to see La Reed, right, me
picking a single off of my album, Me saying yo,
I wanted to go with this album, and La Reed
saying I think you should go with this Automatically, I'm like,
all right, cool, let me go with him. Because if
I make a mistake, then then it's your miss then

(38:51):
it's my mistake. He makes a mistake, where's the artist
that stand up to that.

Speaker 2 (38:56):
Well, the independent artist now they put out whatever the
fuck they want. However, with a train air and the
understanding of the way, you know, radio plays and marketing goals,
you got to have something that is listenable, that is
digestible to the audience, and something that you could play

(39:17):
like you want something you could play on a soul
train or you can play on television and it's not risky,
you know, and it's not destructive. But now destructive is
selling all day, that's what they's selling.

Speaker 1 (39:30):
Are you listening to any new music now?

Speaker 3 (39:33):
Be honest, I barely listen to music. Brokay, Okay, he's
kind of new.

Speaker 1 (39:38):
I mean't.

Speaker 2 (39:39):
I don't listen to any particular artists. I'm gonna keep
it real. I don't have nobody album. I don't google
nobody name. What I might do is put on like
my R and B shit like I like, if I
could listen to something that calmed me down.

Speaker 1 (39:54):
That's what I listened to.

Speaker 2 (39:55):
You taking your girl to show my wife?

Speaker 1 (39:57):
Nah, I ain't taking. No. I don't the concerts unless
I'm in them. No, I said, you're just mad niggas wiggas.

Speaker 2 (40:08):
Serena.

Speaker 1 (40:09):
I don't even I don't even know what happened.

Speaker 2 (40:11):
But I don't go.

Speaker 1 (40:13):
I don't go to concerts. I'm sorry. I don't go
to concerts.

Speaker 2 (40:19):
I don't go nowhere. I'm not getting paid.

Speaker 1 (40:21):
I's just doing ure is going.

Speaker 2 (40:25):
He's performing.

Speaker 3 (40:26):
Whoever is like girls in the ground, He's going to
them and singing to them.

Speaker 2 (40:30):
You got it, you got it bad. See well, he's
an R and B crewner. I know usher since he
was a child.

Speaker 1 (40:39):
Damn it.

Speaker 2 (40:40):
His mama introduced me to him when he was a child,
goddamn it. So you know, I wish him all the
success in the world. Whatever tactics he feels he needs
to use to make money and stay famous. Oh he's
doing it more power tool.

Speaker 1 (40:55):
I just meant for me.

Speaker 2 (40:56):
I don't go to any concert that I'm not a
part of or getting paid. Sometimes, however, I may have
good friends that are performing, and I might go, like
I went to a New Addition concert just to see them.

Speaker 1 (41:07):
I fucks with them. That's not people. You know what
I'm saying.

Speaker 3 (41:09):
If we need you up here, but you ain't going
to the Drake concert.

Speaker 2 (41:12):
Oh you know what. When I was in New Orleans
one time I went to a Drake concert with some
friends just on the random, really, but it was just
me falling in because that's what they was doing. But
like I said, I don't really go to concerts like
that too often at all.

Speaker 4 (41:28):
Man.

Speaker 1 (41:28):
I don't look for it it, don't you know. I
ain't got nothing to do with me. You know what
I'm saying.

Speaker 2 (41:32):
I go with it, I go away.

Speaker 1 (41:34):
I'm picking up that back in. You know what I'm saying.

Speaker 2 (41:39):
If I'm throwing the concert, as in the case with
the City Parks and my concert, I got one coming
up Sunday, you know what I'm saying, shout outs to
the violators. Rest in peace, baby, Chris. I'm doing this
for y'all. Man, I'm doing this for Red Alert. And
that's pretty much it. Man, that's a concert.

Speaker 3 (41:56):
Let me let me do recommend two concerts for you
would like to attend. I didn't see the fifty and Buster,
and I believe Jeremiah I was on that tour. I
didn't see it wasn't physically there, but I last stream
it every fucking night. It's fucking awesome. But I went
to the nas and the Wu Tang Joint, and I

(42:18):
kid you not, I.

Speaker 2 (42:19):
Went to one of those when the game, the Charlotte
my Man, my Man divined com. He was like, yo,
we and Charlotte he just hit me today him out
there and Arlot Yeah yeah yeah. So basically that's it, man,
they got to invite me, right if they don't, like,
I don't know.

Speaker 1 (42:40):
I don't know, I'm not paying attentions. I write myself though,
I was.

Speaker 2 (42:45):
I pulled up on them and it was.

Speaker 3 (42:46):
So dope because you know, when you get to see
these groups like that, like NAS and Wu Tang, you
would think that NAS will come out and perform and
the Wan will come out and the form and the
Wan come. No, they actually did it like as as,
like like NAS does five songs and they come out
and it's like I was like a mixtape on stage
and I was like, oh, l roots that pretty.

Speaker 2 (43:04):
It's pretty dope to yeah, yeah, yeah, well they got
that from us, the alumni. We've been doing that for
ten years old, myself, Chub Rock, Dame to Dane Kwame,
Money Love and Greg Nice. We've been performing together like
one group for ten years the fuck because so that's.

Speaker 1 (43:24):
Where they got that.

Speaker 2 (43:25):
Who's the people going to say again? Special Led Chuck Rock, Dana,
Dane Money love mo Ma, Greg Nice Nice.

Speaker 1 (43:34):
That's what I'm saying.

Speaker 2 (43:34):
We all classic iconic hip hop artists and we've been
doing that shit over ten years. So when they say, yeah,
we're doing this and doing that year, we did that
ship already. Thank you.

Speaker 1 (43:48):
Yeah you're welcome, man, Thank you and your welf. It's
an honor to be honored. What do you think about
hip Hop fifty? Hip Hop fifty is it's appropriation.

Speaker 2 (44:04):
It's appropriation because what they're doing now is they putting
together these great lineups and then they're gonna overcharge the public.
See the concerts I'm doing for the fifty is free
to the public. It's free for the people. I'm doing
it with the city. I'm doing it where the people
could pull.

Speaker 1 (44:20):
Up for free. I ain't overcharging for a ticket. How
do you get paid that? How do you make the city?

Speaker 2 (44:28):
Okay?

Speaker 3 (44:28):
All right?

Speaker 2 (44:32):
And I pay the artists? No, but see I pay
the artists. Let's get that straight. I ain't saying I'm
saying I pay all My artists get paid period. That's
how I operate. I've been a booking agent for overd
for like twenty years now. I provide income opportunities for
all artists.

Speaker 3 (44:52):
Let me stop you for one second. You know what
I always said, memes. What's the names? M No, not
nims men, memes, your boy with the drags, memes. He
booked us one time. Oh damn name artists, artists. When

(45:18):
he booked me, he did everything everything as an artist
would do us. Usher booked me. He did everything like,
I didn't ask for nothing. Artists know how the Book
of the Artists, right, we know how to treat other artists.

Speaker 2 (45:30):
So I got that from Prince booked me before Rest
of Peace.

Speaker 1 (45:35):
Yeah, you gotta tell us this. Yeah, he had a club.

Speaker 2 (45:39):
You ain't gonna just say that.

Speaker 1 (45:41):
It's just like go, okay, okay, so hold on, hold on.

Speaker 3 (45:47):
Time you chilling in the crib and somebody say, Prince
want to book you for a show.

Speaker 2 (45:53):
Well, I didn't even know until the gig was going
on and they said, oh, you know that's Prince's club.
It was in that GLAMs Yeah. Yeah, glam Slam was
in LA back in the days. L Yeah, we did
the one. We did the one in l A, I
believe it was.

Speaker 4 (46:10):
And yo.

Speaker 1 (46:11):
I respected that.

Speaker 2 (46:12):
I was like, oh ship, Prince got a clumb and
then he booked me and then the other person is
uncle Luke.

Speaker 1 (46:19):
So Luke Luther Camp but what o g.

Speaker 2 (46:23):
So so back in the days they had like the
Goomba Festival and all that, Yeah, goom bab Yeah yeah,
jamaic it yeah. So so so Luke booked me for
that and it was like, I was like, man, you
you are artist yourself. So when I saw Luke do
that and then Prince did that, it put me in

(46:44):
the mind frame of oh, I could provide opportunities for
other artists. So that's how that came to be. And
I just started booking all. I booked everybody. I booked
nas before. Yeah, I booked everybody, Lil Kim, Rock Kim,
every Kim.

Speaker 1 (47:00):
I don't what made you start doing that?

Speaker 2 (47:03):
Well, just like I said, booked me, Prince booked me,
and I respected that and I thought that that was
cool that an artist would had a mindset to provide
opportunities for other artists. So that's what I do. I
provide income opportunities for other artists. I've been booking, That's
what I do.

Speaker 1 (47:21):
Did you get to meet Prince? Yeah, I got to
meet him that night in the plug Yeah.

Speaker 3 (47:26):
Did it taste like did it feel like velvet, he said, taste,
you know what I mean.

Speaker 5 (47:39):
It was.

Speaker 2 (47:39):
It was a long time ago, but yeah, we greeted
each other and and I was honored just to be
able to get booked by him in his club because
I was a fan period.

Speaker 1 (47:48):
You know what I'm saying, He's an icon to me.

Speaker 2 (47:51):
You know what I'm saying, He's not even in the
rap game, but he booked me as a young rap artist.
So I was like, Yo, that ship like enlighten me
and just just showed me that, oh, you could do
other things, you could provide you know, I provided income
opportunity for everybody, man, trust me.

Speaker 1 (48:08):
You know.

Speaker 3 (48:08):
It was ill about Prince, Like he was so ahead
of his time that I heard that so many artists
used to come up to him and try to sample
his music, and.

Speaker 1 (48:15):
He would tell them go own your masters first.

Speaker 3 (48:19):
And at the time, artists was like, were we were
so happy of getting our advents? He were so happy
to traveling to Japan and they said.

Speaker 2 (48:26):
Oh we holding long times.

Speaker 3 (48:28):
Did y'all really say that?

Speaker 1 (48:29):
Okay?

Speaker 3 (48:30):
Really like and meanwhile, but meanwhile, he was really like
the first person that was owning this advocating like even
even even when he changed his things to the slave
thing like that because they owned his things, Like I
didn't even realize that. So I had to change my
name from Norriega to Norway at one point I had
to change it because they had invested their component in Norriega,

(48:53):
so they had owned that.

Speaker 1 (48:54):
So it was like it was crazy. So yeah, yeah,
he was business.

Speaker 2 (48:58):
He taught a lot of business lessons and advanced a
lot of artists understanding of ownership in the music.

Speaker 1 (49:04):
Business man shout out to princeman Peace. Did you get
a chance to man think like something like that or No?
It was just like not just meeting him through that event,
that's all.

Speaker 3 (49:13):
You know.

Speaker 2 (49:14):
I hadn't come across him too many times other than that.
Did you meet with Donna before Donna? Madonna?

Speaker 1 (49:20):
Madonna?

Speaker 4 (49:21):
Nah?

Speaker 2 (49:21):
I hadn't met like I can feel like, yeah, but
you know, I wasn't a chaser, like I ain't. I
ain't fuck with people just because they did this or
did that. There had to be situations where, you know,
we we were together organically, you know, we met organically
ship like that.

Speaker 1 (49:39):
Because I see you got to ring on your finger?
How long I just got married last year?

Speaker 2 (49:43):
Okay?

Speaker 1 (49:43):
Way for this, Yeah, yeah, yeah, you was knocking down
a lot of things.

Speaker 5 (49:46):
Man.

Speaker 2 (49:47):
Man, it's been out.

Speaker 1 (49:52):
It's been from fifteen. I'm fifty one now, so it's
been a while.

Speaker 2 (49:56):
Man, I've been you know.

Speaker 1 (49:57):
And it's a thing in all community. When you got good,
you get some good pussy. Well see, yeah, that's absolutely correct.

Speaker 2 (50:08):
Yeah, but we got We gotta also understand, though, even
though we as a culture glorify that, we have to
understand who we are as men and as spiritual beings
and learn how to control ourselves that period and master
that because a lot of times I look back from

(50:30):
the age of sixteen when the record came out until now, Yeah,
it was very wild, but I feel like a lot
of that was also abuse, not just from them, but
me on my end, abusing myself like a lot of them.
I ain't had to be with a lot of them people,
a lot of them didn't deserve.

Speaker 1 (50:48):
To be with me me absolutely.

Speaker 2 (50:54):
So you have to understand your value and your worth
and you can and it's be giving yourself out to
any of everybody.

Speaker 1 (51:03):
Man, You draining your energy, you draining your spirit.

Speaker 2 (51:10):
No, seriously, though, man, we just gotta be more serious
about ourselves and our self worth. You feel me, because
I look back in a lot of people, I'd be like, damn,
fun was I doing?

Speaker 1 (51:21):
You feel me?

Speaker 2 (51:22):
So it's just about realizing that and not just glorifying
sluty ratchet behavior.

Speaker 3 (51:28):
Where was your favorite place to perform?

Speaker 1 (51:31):
My favorite place? Yeah?

Speaker 2 (51:33):
Man, anyway they paying me, that's my favorite place to perform.
Where our money?

Speaker 4 (51:39):
Yeah?

Speaker 2 (51:40):
Yeah?

Speaker 1 (51:41):
What's there?

Speaker 3 (51:42):
A lot of promo going on back then, because let
me let me lie is, let me tell you, let
me tell you what I radio. I remember for years, Yeah,
I would have to drop an album and I would
have to go state to state, go to the morning shows.

Speaker 1 (51:55):
That's going to make my promo.

Speaker 3 (51:56):
Go to the morning shows, Go to the retail you
go to the marketing stores, go to the Wiz, the
Sam Goodies. I know I'm old school saying the Wiz
the Sam Goodie. I know they're not open no more,
but I'm just saying to get people.

Speaker 1 (52:07):
We did some of that.

Speaker 3 (52:08):
Yeah, But I remember for the first five years of
my career, I wouldn't they would call it promo. I
would not get paid. But what I would notice was
like the street team people were getting paid. Everyone else
was getting paid. But besides the artists. Well they say
it was to sell your record. I ain't really do
too much of that free ship. I'm gonna be honest.
I went to a few retail spots.

Speaker 2 (52:29):
I did some in stores, but as far as performances,
very few free performances.

Speaker 1 (52:37):
Fuck that.

Speaker 2 (52:39):
Even back then, even back then, you knew you don't
pay me, damn, because y'all getting paid. Everybody getting paid
to pay me to I did some radio station shows
that were favorable and less than I would normally get,
But that was for the station, for the spens, Yes,
for the relationship really, because it ain't directly for no

(53:01):
certain amount of spends. But you gain that rapport and
that favorable you know, that favoritism from the station.

Speaker 3 (53:07):
You know, I was fucked up when I would do
I would do free radio shows, and then I would
see like an artist just a little bit bigger than
me going and collecting the check, and I'm like, what
the fuck am I doing here?

Speaker 2 (53:18):
Like you know what I mean, Like I went needed
to do that at that time, you know what I'm saying,
Especially starting out, they expect that of you. But see
my record flew off the shelf. It was all over
the country, all over the world. So that was the promo.
So when I pop up, Now, yeah I did some
radio station shows, but they still had to cover my

(53:40):
expenses compensate me somewhat.

Speaker 1 (53:42):
You know what I'm saying.

Speaker 2 (53:43):
It wasn't just like all free. They wasn't dragging me
around like no puppy or some shit.

Speaker 1 (53:47):
You feel me. Yeah, now we don't do that nah
man oh.

Speaker 3 (53:51):
Man, Yeah, holy shit, I'm just thinking of that times
because like you got to go, you got to sell
records where person have to pick your cassette, have to
pick up your CD.

Speaker 1 (54:02):
Like I don't believe these streams.

Speaker 3 (54:05):
I'm sorry, Like like this this kids out there with
forty million streams and I don't know noting one person
that know one of their words, right, and they got
forty million streams.

Speaker 2 (54:15):
It's automated. It's automated. Is they buy a lot of
that ship. And at the end of the day they
made up besides the box, they made up a whole
pay structure out of fucking thin there.

Speaker 1 (54:27):
Like we ain't got nothing to do with that. We
we didn't agree that, we didn't sign Yeah, we didn't
sign off on nothing saying that we're okay with that.
You feel me.

Speaker 2 (54:37):
They just decided that this is what we're gonna pay,
and it's like a fraction of a penny like came out.
Yes the radio, everybody I know, even Dresses is on
one about that. We all on well really, but they're
actually taking action, you know, And I would love to
be a part of any action because I ain't agreed
to none of that shit neither.

Speaker 3 (54:58):
You know, Chuck d sue the whole He sued the
whole universal on behalf of us, and he won.

Speaker 1 (55:04):
Good, he won, right, I believe, so, yeah, he won.

Speaker 3 (55:07):
I don't know. I believe he only took his portion
on what he felt he was old. Yes, class action lawsuit.
I just can't believe like how bad it was. I
don't want to say bad because it did save.

Speaker 2 (55:22):
It's bad right now because they getting ripped off for
this streaming shit.

Speaker 1 (55:27):
It's terrible. Yeah, you're terrible.

Speaker 2 (55:29):
Like if you made your own platform and collected your
own earnings off of your intellectual property, it would be
much more than you getting from these Spotify and all
this shit going on right now. And I don't even
like name dropping fuck that, you know what I'm saying.
But any of these services, they're not paying you what

(55:50):
you weigh. They paying you what they feel like you weigh,
you feel me, So that's still unfair practice. So even
though these new artists feel like, yeah, eighty millions dreams
and shit, yeah, but you're getting peanuts for it, you
should be getting eighty million dollars for your shit, you
feel me? Yeah?

Speaker 3 (56:08):
Yeah?

Speaker 2 (56:09):
Anyway, equity in those platforms, yeah, at something, but you
know it's all really based around advertising and marketing and
merch at this time.

Speaker 1 (56:18):
You know that's where the money at all your data money, yep.
So that's really what it is.

Speaker 2 (56:23):
Man.

Speaker 1 (56:23):
They getting money in other ways.

Speaker 2 (56:25):
It's not necessarily for somebody just listening to They get
money in other ways.

Speaker 3 (56:30):
You talk about the artists, you talk about the labels.

Speaker 4 (56:32):
Both.

Speaker 1 (56:33):
Some artists are doing it.

Speaker 2 (56:34):
Independent artists are doing it and understand it, and they
understand how it is. It's an opportunity to other avenues
to sell your merch, your shirts, your hats, your sneakers,
your whatever you sell.

Speaker 3 (56:46):
Made up your saxty deal, right, he made up? He
make it up, I believe.

Speaker 2 (56:50):
So.

Speaker 1 (56:50):
I believe.

Speaker 3 (56:51):
Maybe he didn't make it up like how we go,
but the people that usually go applied it. I believe
it's something like that. And the thing about it is
for me. Leo has always been a great CEO to me. Right,
I'm not saying he didn't have unfair practices with other people.

Speaker 1 (57:05):
I'm not saying that. What I'm saying is for me.

Speaker 3 (57:07):
But how did he have the foresight to see that
records won't sell as much as they will in the future,
so they have to start marketing because no one asks,
no one. You had to put people in there on
your shows.

Speaker 2 (57:19):
I tell you how he knew when that MP three
shit started, because that was the beginning of that end.
That was the beginning of the end of conventional record
labels and record sales because now you could share peer
to peer online without paying nobody no mind, you feel me.

(57:41):
So even though they regulated that at a certain point,
then you know it was understood like, oh damn, it
ain't no going back now, Ain't nobody buying nothing?

Speaker 1 (57:51):
Now you understanding.

Speaker 2 (57:52):
Now it's even worse because they just if it ain't
on their phone, they ain't gonna hear it.

Speaker 1 (57:57):
You ain't gonna hear nothing unless you hear it on
your phone house, you gonna hear it.

Speaker 2 (58:03):
Ain't nobody really up there on the laptop all day
everywhere they go. But they got that phone everywhere they go.
So it's all mobile, it's all online, it's all technology now,
and the only way to really make some money is,
oh shit, I want that shirt he got on. Oh
ship them kicks is hard? Let me get that oh
that had his fire, you know what I'm saying. And

(58:24):
you sell shit or drink, so whatever it might be,
it might be a bottle of this. You know what
I'm saying, Well, that's exactly what it is. This marketing
is selling other products and that's how they're doing it
because records ain't selling you.

Speaker 3 (58:41):
So let me ask you, Like how we spoke earlier,
you said, like me and you both agreed that artists,
you know, booking artists is probably one of the best things,
right because we know.

Speaker 1 (58:50):
How to treat each other artists.

Speaker 3 (58:51):
Why isn't it more artists basic record labels?

Speaker 1 (58:54):
Like I respect what Rick Ross does.

Speaker 3 (58:56):
I really think that he takes care of his artists,
And I respect what Yo Gotti does, really think he
takes care of his artists. And that's like it's like
one and so many. Why doesn't you own your own
record label? Why I came on their own record label.

Speaker 1 (59:11):
You know, so on and so and forth.

Speaker 3 (59:13):
Cares one to try to like nurture these new artists.

Speaker 2 (59:16):
Well I do.

Speaker 1 (59:17):
I have an artist, City the Great. But what I
did more so is empower him.

Speaker 2 (59:21):
And he has his own label, and I show him
how to move independently and how to be an entrepreneur.
Instead of me trying to you know, own them or
diddim or some shit, you feel me, I teach him
how to be his own boss and how to make
his own move.

Speaker 1 (59:37):
Shout out to City the Great man.

Speaker 2 (59:39):
And you know he's come from you know, some adversities,
let's say, and now he's flying high man.

Speaker 1 (59:47):
He was just on the show in Coney Island with me.

Speaker 2 (59:49):
I give him a platform, give him opportunities, and it
changed his lives.

Speaker 1 (59:54):
Man. So it's the education is the most important part.

Speaker 3 (59:57):
Man.

Speaker 2 (59:57):
If you can give somebody the information and help them
to succeed, empowerment, that's what I do. I have a
nonprofit organization and that's my whole life mission right now
is because of my life's experience as a young child artist,
I go out there and teach children how to perceive
this and operate in this landscape. It's called special ed

(01:00:20):
art so literacy. We call it SEAL. Yeah, special arts
so literacy seal. So that's seal Artsoliteracy dot org. You
know what I'm saying. And our mentor I go do
motivational speaking keynot speaking. I go to schools. I go
to the worst schools too. I don't care where they at.
You know what I'm saying. I go talk to them
kids and get their mind right, and so they don't

(01:00:43):
come out here and end up like a lot of
people ending up the mortality rate and hip hop is
through the rule. Yeah, and that's because they're approaching it
with the wrong mindset. They going out here flashing money,
flashing guns, behaving reckless because this no direction.

Speaker 3 (01:01:01):
But a right that that was so dope what you
just said, right, because what we're saying, we're saying like that.
The kids nowadays they hold the money to the ear
they're doing. But I'm looking at the old school videos.
I'm looking at them cell phones, the ones that didn't fold.

Speaker 2 (01:01:18):
Yeah, I have, so I'm looking And that was a
form of flossing as well back then, flossing and communication.
Because now you have the ability to communicate mobile wherever
you at and go get that money. You can be
out traveling and answer your phone and do business. At
the same time I was doing business, I was actually

(01:01:40):
the youngest in charge.

Speaker 1 (01:01:41):
I was really in charge of my ship. Yeah, absolutely,
so I.

Speaker 2 (01:01:44):
Was making moves, making calls, making decisions. I wasn't just
running along behind what people say. I never did that.

Speaker 1 (01:01:52):
You know what I'm saying because I learned.

Speaker 3 (01:01:54):
But what I'm saying is they're talking about the lifestyle then,
like the lifestyle like if for some reason, and I'm
not trying to just the new generation, let me reiterate
what I'm trying to say. It felt like when they
was flassing back then, it was like a responsible flaws
as opposed to what it looks like. And I'm not
saying they're not responsible. I'm saying it looks like it's
just people just throwing money. Like just see kids throwing

(01:02:17):
money in them all, and it's like, that's.

Speaker 1 (01:02:19):
Not resk like that, that's not one in real life.

Speaker 2 (01:02:22):
That's actually content driven for the grant, that's for the
grand social that's for any social media, that's what it is.
But they don't have any social responsibility. Nobody is guiding
them or teaching them properly.

Speaker 1 (01:02:36):
So that's what I do.

Speaker 2 (01:02:37):
I go and talk to the kids that may have
an interest in becoming artists or entrepreneurs or media creators,
and I give them some perspective, some insight on how
to think, how to behave, how to present yourself, how
to be professional, so that you're just not out here
while they' I really needed and bond. Then you're not there.

Speaker 1 (01:02:57):
You feel me.

Speaker 2 (01:02:58):
You need to be able to survive this game. You
know what I'm saying. This is a long term thing.

Speaker 3 (01:03:03):
This is not you.

Speaker 2 (01:03:04):
You don't want to do this for two years and
then disappear. Yeah, you understand, And that's what's happening because.

Speaker 1 (01:03:09):
You're doing it for six months now. Disappearance crazy man.
At least at least back then.

Speaker 3 (01:03:14):
They had two years, you had a hit record, you
could go on to all you can feed your family now.
And what's fucked up about it is no one's schooling
these kids, That's what I'm saying, not telling them hold
that money, don't buy that car, don't buy that that
They're just.

Speaker 1 (01:03:28):
Letting them go and then that money is gone, specially
at arts and literacy. That's what we do.

Speaker 2 (01:03:34):
We teach them better. We teach you better, and so
you know better and you do better and you succeed.
That's what I'm on. That's all I'm on right now.
I don't compete with nobody. I ain't out here putting
out a new single, this, that, and the third. No,
I'm out here talking to these kids. I'm going to
the hoods. I'm on my way to Chicago. I'm in Philly,
I'm in New York. I'm everywhere I need to be.

(01:03:56):
I'm in North Carolina, like just wherever it's at. Oh,
I'm national. Nah, I'm between the South. I'm all over. Man,
I got a few cribs. I just chill, man, I don't.
I don't even disclose that.

Speaker 4 (01:04:10):
No more.

Speaker 7 (01:04:11):
Man.

Speaker 1 (01:04:11):
That's a part of flaws, and that's a part of
right here, come get me.

Speaker 2 (01:04:19):
But but yeah, you know, I invest wisely, and that's
a part of it, investing things that appreciate. Go buy
some houses. You know what I'm saying. You can get
a nice car, but make sure you got a nice
house first. You know what I'm saying, Something that's going
to appreciate and make you money year after year.

Speaker 1 (01:04:34):
Absolutely, what are you what are you telling the youth
and how to navigate social media. How to navigate social media,
that's like the one of the biggest issues.

Speaker 2 (01:04:44):
Right right It is not to be reckless, not to
be offensive, be mindful of how you direct your energy
and to whom you direct your energy. Don't start you know,
don't start problems. This this kids right now that is
actually using social media to beef yea and to take
over right and to take lives. And that's you know,

(01:05:06):
that's that's the misuse of it first of all. But
then if you think about it, that's that sound like
an agenda to me. That sounds like they making they
designing this ship. Brother, They designing this ship just for
such the willing giving into it, where before we already
were like nah, nah no, no, we need to do
better and teach our children better.

Speaker 4 (01:05:26):
You know.

Speaker 2 (01:05:26):
And there's a lot of kids out here that may
not have one or both parents, but you still have
a community, you know what I'm saying, And a lot
of them get caught up in what they would call
a gang. But you know, it's up to the gang
to direct them correctly and not to destroy themselves and others.
You know what I'm saying, It's a responsibility that come

(01:05:46):
with all of that. You could be a OG. But
what kind of og are you? You know what I'm saying.
Are you teaching them how to make money, how to
get it out there and not die and go to jail?
Or you just sending them off to the wall. You're
sending them out the door with the ratchet goat?

Speaker 1 (01:06:02):
You feel me?

Speaker 2 (01:06:02):
You can't do that, man, That's like you gotta be
a real o G. You can't just be you know,
using children. You know what I'm saying, You can't use
and abused children. Man, that's not looked upon. You know,
that's not good real so karma karma real, and you're
gonna get all that back, you feel me?

Speaker 5 (01:06:22):
What's your We talked a little bit before, but is
there an affiliation with low lives with my boy Thirsty?

Speaker 1 (01:06:27):
Oh? Like he's the way he leads, the way you know,
from showing that whole community that he was a part
of a different way. Yeah, absolutely, it's turning.

Speaker 2 (01:06:38):
What was I wouldn't say negative because they was trying
to survive, you know, and they found the lane hustling
gear seed you.

Speaker 1 (01:06:48):
Never shot lifted, but they did. They did absolutely, you know,
and I grew up with them, you know.

Speaker 2 (01:06:53):
I grew up with with them in Brooklyn, and when
I came out, you know, they was everywhere there was
around I went to school, My man guests actually shout
out to my main guests. I used to cut out
of school with him and he used to have moms
with we go to the crib. He lived on Rockaway
a lot of guests. Yeah, he was, and then he

(01:07:14):
lived next door to fee fee Ware.

Speaker 1 (01:07:16):
To feel.

Speaker 2 (01:07:18):
Right, they was all surrounded by everybody else all low.
There was low life, there was fee Low, guests, low everybody.

Speaker 4 (01:07:26):
Yeah.

Speaker 1 (01:07:26):
So they more more than just polo.

Speaker 2 (01:07:28):
Now, it was a bunch of it was brands, but
that was the lucrative brand that they could sell and
monetize in the streets.

Speaker 3 (01:07:36):
I like it that Ralph loren actually included them in
his Man.

Speaker 2 (01:07:40):
They partially responsible for the success of his brand, just
in the fact that they was, you know, criminalized stealing
it and selling it, like they stole millions of dollars
worth of that ship, but it was also wearing it.

Speaker 1 (01:07:53):
Yeah, that's what we do.

Speaker 2 (01:07:55):
I was like then, absolutely, oh yeah, I'll be square
mall hell yeah, Brooklyn, New York. That was that was
a landmark Dad in King's Plaza. You know what I'm saying.
Anyway up in down Fulton Street, you know what I'm saying. Yeah,
downtown Brooklyn.

Speaker 3 (01:08:10):
Yes, well you supposed to. Our show is about giving
people all they flowers while they're.

Speaker 1 (01:08:14):
Alive, and we wanted to give you. I appreciate that
you are I call my brother. I appreciate that.

Speaker 3 (01:08:25):
I can't wait.

Speaker 1 (01:08:26):
I can't wait.

Speaker 2 (01:08:26):
And this Sunday and she said this Sunday. No, No,
we did cony out last Sunday. What Sunday coming up
is gonna be in Marcus Garvey Park uptown in Harlem.
Oh okay, Yeah, And I'm doing the Native Tongue tribute
for Red Alert and Rest in Peace Baby Chris Chris
Lighty And it's gonna feature Red Alert, the Jungle Brothers,

(01:08:48):
Black Sheep Dress, Chili Money Love and yeah, we're doing
it like that. And you were signing Chris light was No,
it was just my boy man, like we was friends.

Speaker 1 (01:08:58):
How did y'all connect?

Speaker 2 (01:08:59):
We connected through the industry through him being a violator
in the native tongue. I fucked with them. They was
all my people. I toured with them, you know. I
toured with trip called quests a lot. You know what
I'm saying. There was native tongue too. They are you
feel me? And just being family. Man. We treated each
other with respect. Man, like I don't he done took me.

(01:09:20):
I don't spend the night by the crib just chilling.
You know what I'm saying up in the Bronx. I
used to be up in the Bronx all the time. Man,
I went, I went anywhere. I pleased on this, in this,
on this planet. You look like Jesus.

Speaker 1 (01:09:34):
That's it, Jesus.

Speaker 2 (01:09:36):
Hey, I was gonna say, I was gonna say, I'm
basically like Jesus in the street.

Speaker 1 (01:09:42):
Yeah, that's that's what it was.

Speaker 2 (01:09:47):
You want to heal?

Speaker 4 (01:09:51):
Yeah?

Speaker 1 (01:09:51):
How much? How much Beijing do you use? I don't
use none. I don't use nothing. I'm gonna tell you.

Speaker 2 (01:09:59):
I had one law the Gray here right here, and
I got upset when it broke. My ship broke.

Speaker 1 (01:10:04):
You had one. I had one in my.

Speaker 2 (01:10:08):
I got I got a few little here and there,
I think, But this is genetic, man, you know what
I'm saying. You know, I'm blessed thanks to my moms
and poss who gave the drops of Loti berries, just
regular eating fruits and berries.

Speaker 1 (01:10:20):
I'll put the ship in my head now.

Speaker 2 (01:10:24):
America girl. Yeah yeah, now that the not just the
mother and father gift that they gave me. Man, they
blessed me. But I'm glad.

Speaker 3 (01:10:37):
But back in the days, that was like the ship
to have an esque girl and you got good hair.

Speaker 1 (01:10:41):
Did anybody ever accused you of having the esk girl? Well,
now I think they could tell.

Speaker 2 (01:10:45):
They could see from you know, the grade or whatever,
you know, the grater heir, you know, just my my complexion.
They would think I was you know, like Dominican, Puerto Rican,
trinid Dad, Guyanese and those are all people with more
curly or straight here.

Speaker 3 (01:10:58):
So you ain't never like act like he was one
of them to get some pussies up.

Speaker 6 (01:11:01):
No, I ain't never had the hat. I ain't never
had the hat. I mean I just full back and
let that. I ain't never had to do nothing for it. Okay, Well,
we got a game on our show. It's called quick
Time of Slim. You're not drinking, so you could pick
any one of these butters that drink for you.

Speaker 3 (01:11:21):
I suggest you picked the Haiti because he used to
rocking Jamaican bell.

Speaker 2 (01:11:24):
He had no permission for no yard.

Speaker 3 (01:11:27):
I suggest you picked the Haitian because because yeah, yeah,
because he had.

Speaker 1 (01:11:32):
No permission in rock the yard mane belt. I could
do it with the coconut water. No, no, no, you
have n't you have him take the shot?

Speaker 2 (01:11:39):
Sure? All right?

Speaker 1 (01:11:39):
Cool and you you you're good, you're gonna do stay cool?

Speaker 3 (01:11:43):
All right? Pumo or Pete Rock or Friend and roots
a ry the spreending rum. Yeah, spending rules is if
you pick both, then he drinks. If you be politically
you reckon, you say neither, then he drinks. But if
you pick one, then know what he drinks. Okay, okay,
you ready?

Speaker 5 (01:11:58):
All right?

Speaker 3 (01:11:59):
Pre or Pete Rock both. Yeah, he understands this. Yeah,
but this is my people, This is my family. You
know it's okay this d MX or Biggie.

Speaker 1 (01:12:18):
X or Biggie.

Speaker 3 (01:12:22):
Biggie Okay, Brooklyn Brooklyn, Guru or big Al.

Speaker 2 (01:12:27):
That's a good one, Guru, Guru because he done gave
me a haircut. That's that was my my man, like
my man, my man, like I'd have been to his crib.

Speaker 1 (01:12:36):
Was a good.

Speaker 3 (01:12:39):
Yeah.

Speaker 2 (01:12:39):
Yeah, Guru was a buck. I was too.

Speaker 1 (01:12:41):
I used to cut here before I started rapping.

Speaker 2 (01:12:43):
Yeah yeah, I cut my hood. I cut all the hair.
But one time we was at the New Music semin
off in the city and gu was like, yo, I
got run to my crib real quick.

Speaker 1 (01:12:54):
I was like, yo, I come with you. Fuck it,
let's go. So we went to his crib.

Speaker 2 (01:12:57):
I got a little shape up and ship and then
we went back to the New Music seminar.

Speaker 1 (01:13:01):
You up, yeah yeah?

Speaker 2 (01:13:03):
Got man. Rest in Peace, My man, Holly Rock rest
in Peace introduced me to him from East New York
because he was down with the East New York crew,
and we kind of came out at the same time
and did a lot of things together, you know. We
we little side shows, inside hustles. We did a lot
of ship together.

Speaker 8 (01:13:21):
Man.

Speaker 1 (01:13:21):
He was also a youth counselor.

Speaker 2 (01:13:23):
Wow.

Speaker 1 (01:13:24):
Yeah, he was a counselor.

Speaker 9 (01:13:25):
Man.

Speaker 1 (01:13:25):
Guru was a little I ain't gonna lie. I got
drunk with Google a lot. Yeah yeah, yeah, yeah, yeah.

Speaker 3 (01:13:35):
Yeah, Okay, I like this one. You want to take
this one?

Speaker 1 (01:13:38):
Okay?

Speaker 8 (01:13:39):
Caine or Ell Caine Brooklyn damn straight out, straight out,
no hesitation on.

Speaker 2 (01:13:50):
That, and it ain't I'm gonna tell you well, I
ain't gonna tell you we got up to Yeah Kane,
shout outs to big Daddy Kane. That's the o G.
Matter of fact, he was like a big brother the
me too. Like he doesn't come to church after the
hood to pick me up. We go to Apollo hang out, chill,
go watch all one of them little blaxploitation flicks at

(01:14:11):
the crib. Chill, we laughing, get gigging it up. He
was a big brother man, like I respect. The ship
out of a big Day came May cut at the time.
Probably probably so drag drag for the k I know,

(01:14:31):
I know what you're gonna pick up with this one.

Speaker 3 (01:14:33):
Howie t Or Eric Sherman, Howie Tea Man Brooklyn Okay, Chub.

Speaker 1 (01:14:40):
Chub Rock Brooklyn like his loyalty. I like it. New
Jack City or Juice Juice? How did you get in
the Juice? I forgot that.

Speaker 3 (01:14:53):
Well.

Speaker 2 (01:14:54):
I wasn't really really supposed to be in the movie
at all. Actually, yeah, what happened was I read for
the part because I wanted to be in the movie
at the time, so I read for the part of
the curly head kid.

Speaker 1 (01:15:08):
Of course you did.

Speaker 2 (01:15:08):
So when I went to the set, I went to
the set to go fuck with Poc.

Speaker 1 (01:15:12):
That was my man, Like, we was tight. So I
produced records for people to talk about this.

Speaker 3 (01:15:18):
Y Yeah.

Speaker 2 (01:15:20):
Yeah. So I went to the set to go chill
with Pac, and when I saw who they casted for
the part I read for, I was like, how the
funck y'all get a look alike?

Speaker 1 (01:15:30):
Why y'all ain't get the real nigga? Right?

Speaker 2 (01:15:32):
So Pac was like, yo, you read for this move.
I was like, yeah, son, they gave it to the
other curly head dude, what the fun?

Speaker 5 (01:15:39):
Right?

Speaker 2 (01:15:40):
Who is this other curly So that was right?

Speaker 1 (01:15:42):
He right there?

Speaker 2 (01:15:43):
Yeah right?

Speaker 1 (01:15:44):
And I end up taking this girl right So so.

Speaker 2 (01:15:49):
So Pack was like he acted like he was He
acted like he had to do something. So he was like, Yo,
I'm gonna be right back. I'll be right back. So
he left and when he came back, he was like, yo, ed,
I got you a little part in the movie.

Speaker 3 (01:16:02):
Man.

Speaker 2 (01:16:02):
It ain't a big part, but it's a little cameo.
I ain't even know he was doing that. I was like,
come on, son, you ain't.

Speaker 3 (01:16:08):
Had to do that.

Speaker 2 (01:16:10):
Give thanks though, And then I went out there and
they had this this drop top jeep, you know, them
wranglers with no top and it had like a fuzzy
steering wig and I was like, oh, hell no, I'm
not driving that ship.

Speaker 1 (01:16:25):
Thanks for the part, but I'm gonna drive my ship.

Speaker 2 (01:16:28):
So they looked at my sit and was like I
had the red pasat with the foods, with the food sir, rims,
the chrome ship.

Speaker 1 (01:16:34):
Yeah yeah, only only me, Only me and the shop
owner had them rims.

Speaker 3 (01:16:40):
Yeah.

Speaker 2 (01:16:40):
So I spent the little paper on them. But they
saw my whipping it was like, all right, we use
your car. So we found a little crackhead that was
washing cars and was like, all right, clean my ship up.

Speaker 1 (01:16:50):
We're gonna do this. And we did the scene in Harlow. Yeah,
we did the scene.

Speaker 3 (01:16:55):
But talk to us about pocat me and I don't
think you ever met Park none, never had a chance
to meet popping up to outlaws and everyone.

Speaker 2 (01:17:03):
Yeah, so a lot of questions about no worries.

Speaker 3 (01:17:06):
It's not because because I just never I'll never get
that back.

Speaker 2 (01:17:10):
What it is is I met Pop through through a
mutual friend and through Latifa's crew.

Speaker 1 (01:17:17):
I used to date one of our dances, right, I
feel me.

Speaker 5 (01:17:20):
Yeah.

Speaker 2 (01:17:20):
So they were on tour with Digital Underground at the time,
and I had spot dates that I used to do
with them. I toured with all of them, but they
introduced me to Tupac. He was a roadie for Digital
Underground at the time, and I met all of the
money be Shot Gen. We we all tight, like I
still fuck with money be now Rest in Peace, Shot
Gress in Peace, and you know we met then it

(01:17:43):
was organic and we was all just cool.

Speaker 1 (01:17:46):
We all fucked with each other. When I went to
l A, I called him.

Speaker 2 (01:17:50):
Up one time too, and he was like, damn, I'm
in the bay, but I come fuck with you, and
he drove all the way to LA to countries.

Speaker 1 (01:17:57):
With a right maybe we went out. We went hanging
out and ship.

Speaker 2 (01:18:01):
But then when he came to New York all the
time he'd call me and act too, and then he
would come by the studio. And that's how we ended
up producing for him because he said they had put
him on and he had a record deal now, so
he was like, if you got any beats, you know
what I'm saying, Woo woo whoop. So he came through
and we put him on some beats and did some

(01:18:23):
production for him. So you know, that was a blessing.
But that was organic too, Like, I didn't try to
jump on a record because he had a deal.

Speaker 1 (01:18:32):
I just produe. I did what he acts.

Speaker 3 (01:18:34):
But it's funny you say that because we could clearly
see the relationship that Park had with you. We clearly
see the relationship that Park had with Buck Down.

Speaker 1 (01:18:45):
Yeah.

Speaker 2 (01:18:47):
He was a great dude. Man, He was a good dude.
It was biggie early on.

Speaker 1 (01:18:51):
Yeah, he had like a Brooklyn connection.

Speaker 2 (01:18:53):
Yeah.

Speaker 3 (01:18:53):
I mean he was just a real dude period. He
was stretching a live squad too in Queens too.

Speaker 2 (01:18:58):
Yeah.

Speaker 3 (01:18:59):
But what I'm saying is, what's there a difference that
you could notice recognize from the pocket you knew from
Digital Underground days to the park that did you meet
the pocket from on Death Row Pocket?

Speaker 2 (01:19:10):
Well, at that time, well meet, I already knew him,
but I didn't see him when he came home and
got on death Row and all that. And actually I
was in La one time, and I was that's when
I used to smoke.

Speaker 3 (01:19:23):
Man.

Speaker 2 (01:19:23):
Matter of fact, let me just say, man, I stopped
smoking weed after forty years. Wow, I'm Jamaican, so that
shit come with the family. But I stopped smoking weed.

Speaker 1 (01:19:35):
This year.

Speaker 2 (01:19:36):
Yeah, I just stopped a few months ago. Man, don't
get excited. Don't get excited. That's all fresh. It's just control.
It's just self control. You know what I'm saying. I
controlled myself.

Speaker 1 (01:19:48):
So what I was saying against my pot.

Speaker 3 (01:19:49):
But hold on, we're gonna get back to pop. Make
sure we go back to pop. But hold on, what
made you stop smoking?

Speaker 1 (01:19:54):
I want to know that part. Well, I've been doing
it so long. I'm like, when am I gonna stop? Okay?
How am I going to dish? Destroyed myself in the process?
I stopped smoking cigarettes? Am I gonna kill?

Speaker 2 (01:20:04):
Yeah? I had to do that too. When I was
a teen, I used to smoke new Ports. At one
point I smoked black and Miles. I had to stop,
like step by step when I moved to the South.
I moved to the South, down South. I moved to
the South, and yeah, okay, I stopped now long years ago,

(01:20:27):
years ago, years ago. I stopped smoking new Ports, probably
over ten fifteen years ago. And then I stopped smoking
black and Miles a few years ago because I was
in the South. And that's like a I picked that
ship up from like Mark Sparks and shiit like North Carolina,
they all they all doing some shit with them and
get I just loosen it up like this and smoke

(01:20:49):
it like what I'm saying. But they used to take
it apart and peel shit off. I'm like, this ain't weed.
But yeah, shout out to Mark Sparks and the whole
team out there, Charlotte man for real.

Speaker 3 (01:20:58):
So let me actually because two right, I mean, this
was a totally different person.

Speaker 2 (01:21:03):
Yeah. So what happened was I was in l A
one time and I was smoking some pie grade and
I passed out. My boy, My boy, my boys went
to the party and see pot and I woke up tight.
I woke up and I'm in there by myself. I'm like,
what the fuck going on? Everybody at they at the party.

Speaker 1 (01:21:24):
I'm like, I was so pissed at these motherfuckers.

Speaker 3 (01:21:26):
Boy.

Speaker 2 (01:21:27):
And then they come back and you, yeah, they were
hide you. Yeah, it was up. I'm like, your motherfucker man.
They was like, yo, sir, we seen pac. I was like,
get the fuck away from me. Did you have a
relationship with Big Yeah? Yeah, I had a relationship with
Big through and it started through my man Klepto. And
actually that's another person. I went to elementary. Yeah, I

(01:21:49):
went to elementary with him. Okay, I got a picture
online and me and him like this tall with our
little slacks and button ups like this, you know, stunting.
But we was in elementary. We grew up together. So anyway,
he came by. I had a studio in Brooklyn called
a Dollar Cab Lab.

Speaker 1 (01:22:06):
Dollar Cab Lab.

Speaker 2 (01:22:07):
Yeah, that's the dollar van.

Speaker 1 (01:22:08):
To go to church, exactly, dollar van. So that's why
we call it dollar cat an people. Hell yeah, dollar yeah.

Speaker 2 (01:22:20):
So the Dollar Cab Lab. We I say it again.
We don't win in a tangent. Oh yeah yeah.

Speaker 3 (01:22:28):
Okay.

Speaker 2 (01:22:28):
So Clip came by the studio and everybody used to
come by the studio, but he came byn and was like, yo,
big putting us on, and we're gonna do an album
once again.

Speaker 1 (01:22:37):
You got some beats, oh come on? Hell yeah.

Speaker 2 (01:22:40):
I got a whole team by that time. I had
probably like five six producers with me in the Dollar
Cab Lab. What I did was I had all the
equipment in the studio and then I called all my
homies and I said, look, I'm gonna show y'all how
to use this ship. So I taught all of them,
how to use the machines, how to sample, how to
loop up, how to sequence all that shit, and so

(01:23:03):
we always had beats.

Speaker 1 (01:23:04):
We had a gang of beats Dollar Cavet.

Speaker 8 (01:23:08):
Yeah.

Speaker 2 (01:23:08):
Two we did like two or three we did like
I think it was two joints on the Junior Mafia album. Yeah, yeah,
well that's the only album they did. But we did
two joints on their Murder Ones and oh my lord,
oh wow.

Speaker 3 (01:23:25):
Yeah.

Speaker 2 (01:23:25):
Yeah.

Speaker 3 (01:23:25):
Did you ever think, because uh you know who Biggie
was and who Park was, that they would ever crosspath
and to get this bad No?

Speaker 2 (01:23:36):
Actually, you know, I think that was all third party
in entourage ship, and that's that's really the problem. Is
just sometimes the people you around and what they add
to the mix, they add either negativity or positivity, you
feel me. So that's what happened, man. I think between
them too, as individuals, they was never in a problem.

(01:23:59):
You know, I think it more so of the things
that happened, and Pop blaming Big for not warning him,
for warning him or informing him, right, you know.

Speaker 1 (01:24:10):
What I'm saying.

Speaker 2 (01:24:11):
And I think that's where they got it got tumultuous.
But as men, as individuals, man, we all had love
for each other.

Speaker 1 (01:24:18):
Period.

Speaker 3 (01:24:18):
We had warm and g sit here the other day
and Warren G said that he actually met with Big
and he had a message to relate to Pac. He
never had got it to Park. He said that he
thinks single handled one of those messages might have changed
the whole trajectory of this whole situation.

Speaker 1 (01:24:33):
You think, you think.

Speaker 3 (01:24:34):
Because that lack of communication, because you know, if they
would have probably got in the phone with each other,
they probably say, yo, bro, I'm not beefing with you.

Speaker 2 (01:24:41):
I'm not doing that. You think that that was a
big part. Yeah, I think that was a big part.
But also I think there was a lot of fire
and Park at the time. I mean, he got shot up,
you know what I mean. Regardless of how it happened
or what happened, the fact is that it happened in
our home.

Speaker 1 (01:24:59):
You feel me.

Speaker 2 (01:25:00):
That's like if we go to LA and something happened
in the studio where they at, it's gonna feel like, yo, bro.

Speaker 1 (01:25:07):
It's gonna automatically feel weird. Yeah, it's gonna feel weird.

Speaker 2 (01:25:09):
So I think that energy, you know, just ran off
and took a life of its own without men getting
to speak man the Man and heal the situation, you
know what I mean?

Speaker 10 (01:25:20):
I agree, Yeah, you want to go to the next one.
We lost some icons yet, resting peace to both of them. Men,
all right, Mop or black Moon?

Speaker 2 (01:25:34):
Oh Man, drink Man? Can they both from Brooklyn? And
I foxed with both of them. They all, you know,
little fame, that's my little they all come on man.

Speaker 1 (01:25:47):
Yeah.

Speaker 2 (01:25:47):
And then Buckshot in boot Camp actually came up in
the Dollar Cab Lab in my studio.

Speaker 1 (01:25:53):
Yeah.

Speaker 2 (01:25:53):
So when they started recording boot Camp Click, when they
started the boot Camp Click and started recording all their
albums ogc Healter, Skelter, et cetera, rocking rock and all that,
they started in my studio in Brooklyn, the Dollar Cab
Lat it used to be like ten fifteen of them
just laid out everywhere because you know, we had a fit.

(01:26:16):
It was a it was like a not it was
an apartment, but we turned into a studio and it
was different rooms all over. We had video game rules
and roots.

Speaker 3 (01:26:26):
Yeah.

Speaker 2 (01:26:27):
So yeah, shout them out. Yeah, yeah, they know, just
ask them about the Dollar Cab last.

Speaker 5 (01:26:33):
Yeah.

Speaker 2 (01:26:33):
I wish I would have been there, Dollar Cab Lab. Hell, yeah,
you'd have been welcome. We welcomed everybody. Everybody been there.
And when they came through Brooklyn, they came and stopped
off and chill. Even if they didn't record, they came
by to chill.

Speaker 1 (01:26:46):
You feel me. It was a family, it.

Speaker 3 (01:26:47):
Was it was a vibe good fab or Jadakiss, Jadakiss.

Speaker 2 (01:26:55):
I know Fab is from Brooklyn, But me and Jada
I have always had a relationship, like me and the Locks.
Like see certain groups, you know, certain groups we gravitate
to just on the strength of realness. And I spent
a lot of time on Yonkers too. I used to

(01:27:16):
go fuck with him down down the road and all that.
And you know they show love so and I haven't
seen them all over the country. You feel me out
and those see if Jada was having a show or
some ship, I might go pull up, yo, what up
some like that. So you know he's been out the Charlotte.
I've ran up on him in La, this, that and
the third. Like that's the type of relationship we got.

(01:27:39):
So I would just say, Jada, man, yeah, and I
don't know if this is a for skill off of
the relationship.

Speaker 3 (01:27:48):
Yeah, yeah, like this pick right now, Yeah, this is
all your criteria jay Z or nots jay Z.

Speaker 2 (01:27:54):
Or nos'ma, I'm gonna give it to Brooklyn. I'm gonna
give it to Brooklyn just because I'm from Brooklyn. But
I love them both, you know, and to be real,
to be really real, they both showed me love. I
probably spent a lot more time around Nas and just

(01:28:15):
fucking with Nas. But and I booked Naves before you know,
we brought him to Charlotte. But you know, shout out
to boy man, you should drink for that. But I'm
I'm gonna spend fucking drink drink for that one man,
Both drink Okay, o C or lawfulness, O C or
Lord forness? You can got ahead and just drink again. Okay, No,

(01:28:42):
you have a problem. You have a drinking problem like
I don't have a problem. Or biz Markey, Oh man, Okay,
I'm gonna just have to say biz Markey. They both Brooklyn,
but biz Marcky, I've I've had a big bro relationship

(01:29:04):
with biz Markey's for thirty something years since the beginning
of my career.

Speaker 1 (01:29:10):
It's out. I have to watch the rest in peace
to biz Markey.

Speaker 2 (01:29:16):
He has always been the most loving, the most genuine,
the most real of.

Speaker 3 (01:29:23):
People period, and I wanted to play him in the movie. Okay,
if a movie come out the Juice Crew, I'm gonna go.

Speaker 1 (01:29:32):
And let me tell you a little you're going to start.

Speaker 2 (01:29:35):
Let me tell this a story about buz Man back
in the days, and he changed my perspective on some things.
One of them was we had a show in Puerto
Rico and Biz comes to the show with no luggage, nothing.
He just had a walkman on. I'm like, and the

(01:29:55):
whole time it's just bus and a walkman. Ain't no
bag nowhere, no nothing. I'm like, oh, this thing is real. Meantime,
I got all kinds of bag. I got a robe
in my ship, I got Fendy luggage. I'm like, and
it's only a one nice show. But the lesson I
learned is, man, fuck all this. If you in and out,

(01:30:16):
you in and out. I might carry a little bag
here and there now, but I learned from Biz like, man,
fuck this, it ain't really all about all that. Just
go in, get your money, what you got doing. Go yeah, man, shout.

Speaker 1 (01:30:31):
Out the biz Man. He really rest in peace.

Speaker 4 (01:30:34):
Man.

Speaker 1 (01:30:35):
Oh yeah yeah.

Speaker 2 (01:30:37):
This was a real big bro.

Speaker 1 (01:30:38):
His connections was ill and I don't want to ruin it,
but people need to watch that documentary. It's it's dope,
all right. Next one, Havoc or Large Pro, I.

Speaker 2 (01:30:47):
Would say, yeah, I would say Large Pro because of
my relationship with Large Pro. I done been through his
crib and Queen's Bridge in the apartment. As matter of fact,
that's where I first met Nas at was in Large
Pro crib. You feel me because Nas lived in Queen's
Bridge at the time and I went to Large Pro

(01:31:08):
crib to get some tracks and hear some beats, and
Nas popped in and we actually had a little cipher.
You know what I'm saying, just me and him in
Large Pro. So shout out to Large Pro. And like
I said, shout out to Nas. That's why I say, man,
you know you got to drink because you know what
I'm saying me and you know that's that's the little
homie there.

Speaker 1 (01:31:28):
That's a little bro.

Speaker 2 (01:31:30):
Right.

Speaker 1 (01:31:30):
The next one Kris One or Chuck D, Chuck N.

Speaker 2 (01:31:35):
Chuck D. So Chuck D.

Speaker 1 (01:31:36):
Now you know why Chuck D has always been stand up.

Speaker 2 (01:31:41):
Yeah. And we used to tour and one thing I
learned from Chuck touring is that to take this business
seriously because while we was wild and now smoking weed,
getting drunk, this, that, and the third, we were going
to a truck stop and Chuck d is sitting at
the table with the whole team around the table, and

(01:32:05):
there is some deep ass conversation doing the knowledge you
feel me. And I always looked at that like, man,
I'm out here to have fun. But I had to
take and learn from what I saw from Chuck, and
that was to take this business serious and to treat
it serious. You feel me, So I would say, Chuck

(01:32:28):
d unequivocably.

Speaker 1 (01:32:30):
You met Nas at Large Pro House?

Speaker 2 (01:32:32):
Yeah, I met Na's at Large Pro House in Queensbridge,
and I remember, I remember, Yeah, we had a little sipher.
We was playing beats Me and Na start spitting. We
had to get down low for the speakers and the
mic feedback. So we're down low, crouching, spitting and shit.
But one of the neighbors must have been complaining because
this shit was banging. Large Pro is getting on our rate,

(01:32:55):
got the ratchet. I'm like, yo, just easy, son, you
gotta I'm like, yo, Son, I'm like, you gotta live here, son,
chill out, like what you're gonna do?

Speaker 1 (01:33:02):
Shoot out?

Speaker 2 (01:33:03):
The window.

Speaker 1 (01:33:03):
Come on, son, shout out to large pro man, that's
the that's the honey Ellmatic or ready to die Ellmatic
or ready to die. So he could drink for that. Yeah,
drink for that.

Speaker 2 (01:33:17):
He ain't got no problems but a drinking problem. Az
or Cormega, ac or Cormega. They they're in the same team,
ain't they.

Speaker 1 (01:33:36):
Yeah, but you still gotta pick.

Speaker 2 (01:33:40):
There was like partners an they was on the same
records and ship right somewhat.

Speaker 1 (01:33:45):
Okay, he could drink for that. Cool they cool? MC
light or Queen Latifa.

Speaker 2 (01:33:52):
Oh man, I'm gonna say MC Light and I've had
I've had a great relatelationship with Latifa, but I think
throughout the years i've seen and been around and had
more communication with Light.

Speaker 1 (01:34:08):
But you know, we used to tour together.

Speaker 2 (01:34:10):
Like I've shared my tour bus with Latifa in them man,
like we've been Yeah, flavor units, shout out shot him,
shout out the whole team.

Speaker 1 (01:34:19):
You know what I'm saying. Recipeace withs owings.

Speaker 2 (01:34:23):
You know what I mean. But matter of fact, it's
drink to that man. But Light is Brooklyn. Light is Brooklyn.
But you're gonna still drink Okay Tupac or Easy Tupac?

Speaker 1 (01:34:38):
Have you heard? I didn't meet him. I've seen him.

Speaker 2 (01:34:42):
He was with Dre at a party in the what
was that Mars or some ship back in the days
on the West Side Highway and him and Dre came
to the party. We were standing outside at the door
waiting to get in. That's the only time I've ever
seen Easy. I've seen Dre plenty of times. I done
been to Dre study shout outs to Dre man one love.

(01:35:03):
But yeah, definitely, uh who I picked? Come on son?
The tracks you said you produced for Poker on the
albums absolutely one was on the album strip Strictly for
my niggas and one no, the album was called Strictly

(01:35:26):
and then the other one was uh posts his passing.
They put out a project and they asked for the
record because it was never released.

Speaker 1 (01:35:35):
It was called open Fire and shout out the DJ
action too. Video music box, all your own TV raps,
Video music box.

Speaker 2 (01:35:45):
Uncle Ralph Brooklyn once again, but problem from Queens Well,
I always see Ralph and Brooklyn. Ralph from to me,
but nah, but Ralph because he's still added, he's still going.
Matter of fact, I had Ralph hosts The Coney Island

(01:36:05):
Show and Ralph is hosting in Harlem with me. I
always incorporate Ralph. He always showed me love. He showed
me more love than most you feel me throughout my
entire career, like period. So Uncle Ralph all day. You
know what I'm saying. I mean, you know at Love
and Doctor Dre, I love y'all too, But Ralph is
my O G man.

Speaker 1 (01:36:26):
That's that's unk. Yeah as well. Yeah, n w A
O Wu Tang clan Wu Tang Wu Tang is for
the kids.

Speaker 4 (01:36:38):
Now.

Speaker 2 (01:36:39):
You know what besides that, man Wu Tang was dropping
knowledge and positivity.

Speaker 1 (01:36:44):
You know, n w A brought the age of destruction,
Damn Jesus. N w A brought the age of destruction
to our children and our culture.

Speaker 2 (01:36:56):
Period. Hey, I respect all of them as men, but
as the art form, and you want me to speak
on the RD form, I'm gonna tell you what it is.
That's where it started. Wow, that's where the agenda started,
and that's where the destruction.

Speaker 3 (01:37:12):
Began against the rap You will give that to them
or was it iced.

Speaker 2 (01:37:15):
T well iced t? Yeah? Iced T did that.

Speaker 1 (01:37:18):
I ain't say they started against the rap.

Speaker 2 (01:37:20):
But what happened was when the President sent them that letter,
they went hand with that shit like you know, and
they had more of a presence.

Speaker 5 (01:37:31):
You know.

Speaker 1 (01:37:31):
Iced T did his numbers back, you know, he did
his thing. That's my old G two iced T.

Speaker 2 (01:37:35):
But and w A ran away with it in such
a way where it was like, for real, that's all
we gonna do.

Speaker 3 (01:37:44):
You know.

Speaker 2 (01:37:44):
It was genius for them, and they made millions of
dollars off of it, But look at what it caused
the police early. Yeah, we always saying fucking the police.
But they said it on record, absolutely for the record,
and I respect them for that too.

Speaker 1 (01:38:01):
Shappa Ranks or Shop Ranks or Bougou.

Speaker 2 (01:38:10):
Hmmm, shop of the o G boy, you're gonna drink
for that? They both from yard big up our yard man.
Drink for the yard man. Name Belly or shot us.

Speaker 1 (01:38:26):
Belly or shot Yeah, I know, I know. Hm hmm.
I would say, shatas.

Speaker 2 (01:38:36):
You took the water, you took the watts too far?
Now that the shot? Yes, I remember there was filming
right around the corner.

Speaker 3 (01:38:50):
Yeah, I went, so you went with shotas okay, Master
Ace or Jay Wood the damage.

Speaker 1 (01:39:04):
Hmmm.

Speaker 2 (01:39:06):
I would go with Ace because of our long standing relationship,
and I do have a long standing relationship with Jay
Rue as well, but I think I've had more interaction
and then sharing the Crookland soundtrack Crooklyn going back and
talking about going back to Crookland.

Speaker 1 (01:39:22):
Hold on super Cat or Bounty Killer. I don't know
why Jamaica keep coming out of me. Well, see one
is the og and Bounty is actually now a OG.
I actually Supercat, your cousin. I could tell Actually, I'm
gonna tell you though.

Speaker 2 (01:39:41):
I did the first hip hop collab with Bounty Killer
Wow on my album. It's called just a Killer Wow. Yeah,
it was on my album Revelations. I actually flew down
to Jamaica to King Jammy's studio with the cash, with
the cash and paid the man when you know he

(01:40:02):
was he you know, before he had all the hip
hop fame on ninety four, I believe, Yeah to the.

Speaker 1 (01:40:10):
Yard, yeahsh yeah, very dangerous.

Speaker 2 (01:40:14):
Yeah yeah yeah.

Speaker 1 (01:40:15):
I'm a dangerous guy. Man, don't get tristed.

Speaker 2 (01:40:18):
I'm Jesus on the street. But you know I'm also
you know, I'm many things. Respect my family. My family
is from Kingston, Jamaica.

Speaker 3 (01:40:31):
You know, all of them you know, my favorite place
in Kingston, Jamaica is Tivoy Gardess.

Speaker 4 (01:40:35):
Okay, enjoy that. Enjoy yourself for me, this is the
last one.

Speaker 1 (01:40:45):
You want to take it. Loyalty or respect, loyalty.

Speaker 2 (01:40:52):
Because you're gonna get respect, but loyalty, loyalty, you know
what I'm saying, because then you know you can trust
and you know, you know who you could fuck with.

Speaker 1 (01:41:01):

Speaker 2 (01:41:02):
Anybody could respect you, you could scale them more fucking
too respecting you. But that don't mean they're gonna be loyal.
You know what I'm saying, They gonna run and go
tell the police. You know what I'm saying. I take
that loyalty now, I know I could trust you with whatever.
We're good, right, Yeah.

Speaker 1 (01:41:18):
Right, I respect that. I respect that. Yeah.

Speaker 2 (01:41:24):
Hey hey, I'm gonna take I take my respect. I
take my respect period. But loyalty is rare. Loyalty you
gotta really be loyal. You got and not everybody's loyal.

Speaker 1 (01:41:38):
You feel me. You can always take your respect because
that's what I've been doing. Like fuck that.

Speaker 2 (01:41:43):
I'm gonna take my respect, But loyalty you can't. You know,
by time you turn your back you know, you don't know,
it might be a knife in it. You feel me?

Speaker 1 (01:41:52):
Yep, yeah? Did you?

Speaker 2 (01:41:53):
Did you?

Speaker 3 (01:41:54):
I know you say you don't go to concerts, but
did you get to see clips of the Hip Hop
fifty concert in Yankee Stadium?

Speaker 2 (01:42:01):
No, it'd been on my timeline, but I just keep scrolling.
I don't fuck with appropriation. Appropriation, what do you mean
by that? I mean, motherfucker's trying to come up off
of the people that ain't. That wasn't done by nobody
I could respect in this industry. That was done by uh,

(01:42:25):
you know, the man, that was put together by the man,
that was exploited by the man.

Speaker 1 (01:42:33):
And they I don't know what the ticket prices was,
but I could imagine.

Speaker 7 (01:42:37):
But you don't think that was a good thing. I
think that was a good thing overall. No, overall it
was a good thing. But for them to do it wasn't.
I would have rather seen Red Alert do that. I
would have rather seen Ralph McDaniels do that. I would
rather see.

Speaker 2 (01:42:50):
Somebody in the culture win from that, rather than these
entities the vampires come in and do that and then
not really respect the actual culture and not value the culture.

Speaker 1 (01:43:05):
They came to me.

Speaker 2 (01:43:07):
I mean, I'm gonna say this, Both Rock the Bells
and the Yankee Stadium Ship both came to me and
low ball me, and I felt disrespected, Like, Nah, y'all
gotta pay. Y'all can't come to me and offer me
half of what I want the fuck out of here.
Y'all not doing that to the other groups. Y'all ain't

(01:43:28):
doing that to run DMC. I know that for a
fact period.

Speaker 1 (01:43:34):

Speaker 2 (01:43:34):
But you ana come to these other artists and think
you can determine what they're worth, and that's not how
this works.

Speaker 1 (01:43:42):
But who's finished. But what I'm asking Sometimes.

Speaker 3 (01:43:49):
Sometimes I feel like the culture does deserve a pay
cut sometimes when it comes from the culture.

Speaker 1 (01:43:54):
Like the fact that it's coming from l it ain't
come from now. Man.

Speaker 2 (01:43:57):
Look, look, he got his own brand and his thing going,
and that's wonderful. But he don't speak for me, and
he don't speak for my genre or my timeline. He
don't even speak for half the artists that I fuck with.
You understand, I see he's speaking for queens. That's cool,

(01:44:17):
But I'm from Brooklyn. I'm from I kept. Do you
want to stand all the money I donetook, man, But listen,
but I can't.

Speaker 3 (01:44:28):
I can't say that because I've been on one rock.

Speaker 1 (01:44:31):
You're from Queen's. Well, see, he came to you and
he treated you properly.

Speaker 2 (01:44:38):
Yeah, okay, Well.

Speaker 1 (01:44:39):
I took a pay cut. I did, I did, I did.

Speaker 3 (01:44:42):
But what I'm trying to say is I think that
sometimes it's unfair to.

Speaker 2 (01:44:46):
Like but hold on, how you going to take a
pair of cut? But he charging the ship out the audience.

Speaker 1 (01:44:51):
I just can't tell.

Speaker 2 (01:44:52):
I Well, see I can. I could tell anybody, no, nobody,
don't run. It ain't no old man on this earth
above me. I'm your idol, the highest title nigga. Please,
so when you come to me, step to me correctly.
That's it.

Speaker 1 (01:45:12):
That's all I asked. You're a grown man. You already know.
I'm toured with LL before.

Speaker 2 (01:45:18):
I mean, when I was coming out and my ship
was hot on the street, he put me on spot
days to sell tickets.

Speaker 1 (01:45:25):
I'm familiar with the process, you know what I'm saying.

Speaker 2 (01:45:28):
I'm also familiar with the fact that you know what
I'm saying. There was a lot of people that wasn't
around for a very long time. But now they want
to come back and take everything.

Speaker 1 (01:45:37):
Come on, bro, all right, but and Yankee Stadium was
involved in that's appeal, well, he kind of that. That
was Na's whole stance with em.

Speaker 3 (01:45:45):
She sham was to say that he's involved, meaning that
he took the money, but like he didn't necessarily have everything.

Speaker 1 (01:45:52):
To do with the actual book.

Speaker 2 (01:45:53):
And now this is what I'm trying to tell you.
It's no and hey listen, even with I'm gonna just
say this, even with a the bells, even with a
mass appeal, these are other entities involved that are pulling
the strings.

Speaker 3 (01:46:08):
Period. Prove me wrong. But Massive Pill got a hip
hop museum. I feel like they're a museum.

Speaker 1 (01:46:15):
All of that shit is appropriation. Bro.

Speaker 2 (01:46:18):
It's museums everywhere, museums popping up everywhere, museums overseas, museums
every fucking where.

Speaker 1 (01:46:25):
Bro.

Speaker 2 (01:46:26):
That ain't nothing but another person doing what they got
to do to make money off of hip hop.

Speaker 1 (01:46:32):
Wow. That is not the participants of the art.

Speaker 2 (01:46:37):
Wow.

Speaker 1 (01:46:38):
Call me when read Alert got a museum, what.

Speaker 3 (01:46:41):
Would you have done different if they came to you,
like you said, you curated right, So if they came
to you, if Yankee Stadium. They got mass appeal to
take out rock the Bells at L let's say, just
Yankee Stadium right themselves said Yo, and we've been loving
what you been doing.

Speaker 1 (01:46:57):
Can this is in your hands? What would you have done?

Speaker 2 (01:47:02):
I would have contacted all the artists that deserve to
be recognized and I would have gave them recognition and
participation in the event.

Speaker 1 (01:47:13):
At what they asked, artists, you have booked? Yeah, I can.

Speaker 2 (01:47:19):
But that's a whole love. Uh, that's a fucking assignment
like that. I gotta dig into my I gotta ship.
But yeah, I mean just in general, I don't even
know who was there who was not?

Speaker 1 (01:47:30):
You feel me?

Speaker 2 (01:47:30):
I saw some flyers you know this and that and
the third Yeah, who Hurk is everywhere? Respect shoutouts to
cool Hurk. And I'm gonna just say, man, who Hurk?
You know he's he's Jamaican. He brought his set outside,
he had a party. You know what I'm saying. He
did what Jamaicans do. You know what I'm saying. And
I'm glad that they appreciated that in the Bronx and

(01:47:54):
I'm glad that they attribute that to hip hop. Are
you trying to say that's like normal, that's that's what
we do, that's what's been doing.

Speaker 1 (01:48:01):
Come outside the big speakers.

Speaker 2 (01:48:02):
If you look at all the speakers, even in the
historical photographs and ship you see the Jamaican flags on
them and the horns and yeah they sound they sound
system they sets. Yeah. Yeah, man, that's that's a that's
a part of the that's a part of the culture.

Speaker 1 (01:48:19):
You know what I'm saying. All Right, I think crazy
like said something like that. Like you just said, yeah
that there was a lot of parties around that time.

Speaker 2 (01:48:25):
Well, what I want to say, yeah, party is a party.
I'm not going to blame anything on one party. But
what I do want to say is I hear a
lot of people talking about, oh, well I invented this,
and I invented that, and I invented that. Come on, bro,
y'all need to ease up. Talk to DJ Hollywood man. Yes, yeah, man, man,

(01:48:46):
Like I mean, it's good. We can all have a
credit for our contributions. But when you start talking about
you inventing ship, like go patent something.

Speaker 3 (01:48:56):
And when you say DJ Hollywood was that technically the first.

Speaker 2 (01:49:00):
He well technically he can break ship down as a
og and that you know what was happening during that
time because a lot of people claiming a lot of ship.

Speaker 1 (01:49:09):
You feel me and I respect everybody. I respect the.

Speaker 3 (01:49:14):
Lessons they say Cochla rock was the first time the
folk first the see but then I'm hearing like as
far as rocking the party, DJ Hollywood was the first
person like to want the mic.

Speaker 2 (01:49:25):
Well, see, that's between them. I wasn't even there. I
wasn't even there. But I do know a party is
a motherfucking party. And unless y'all started a part, like
the whole concept of having a party, I mean, talk
to me.

Speaker 3 (01:49:40):
Because essentially that's when they say hip hop was born
out of a party.

Speaker 2 (01:49:43):
A girl, I don't think it was just the party.

Speaker 1 (01:49:45):
I think the fact that he was bringing the breaks
back and forth at that party, at that party. Yes,
what there's what is being said. What do you believe?
What a special?

Speaker 3 (01:49:54):
I believe what I believe aliens came down as came
down right now, especially how the hip hop gets start.
What would you say?

Speaker 2 (01:50:01):
Okay, there was a whole lot of crooners and people
making records, rapping right as far as having parties.

Speaker 1 (01:50:09):
Yet cool Hurk is from Jamaica.

Speaker 2 (01:50:11):
And then Jamaica they bring the sound set outside because
you have a lot of oppressed people. The South Bronx
was an oppressed people at that time, but Jamaica has
been an oppressed people in a third world country. And
how they find peace within themselves or a little happiness
out of life, it's through the tunes and through the
bringing the sound system outside and playing, and that's what

(01:50:35):
that's what's been going on. So Hurt brought the same
thing to the Bronx. That's amazing, wonderful. Thank you cool Hurt.
We love you and we appreciate you. I love and
appreciate everybody. But I just want to get the notion
and the concept that you know, this is not one
action started this, not one I don't think one party

(01:50:59):
specific started this. It's the whole concept of bringing some
sort of happiness to a desolate environment, bringing people together
to unify.

Speaker 1 (01:51:13):
You feel me.

Speaker 2 (01:51:14):
I mean, you go to a third world hut. You've
you've been to Jamaica, You've seen.

Speaker 1 (01:51:18):
What it's like. Well, how did they bring peace?

Speaker 3 (01:51:21):
They blessing Cryptis, diplomats and Republicans there we are, I said.

Speaker 1 (01:51:27):
Diplomats, same same way, same gangs.

Speaker 2 (01:51:32):
They talk about gangs, this and that and the third
where gangs started, and this and that. Third shit is
very political and historical. Think I'm saying politics definitely like
Jamaica politics.

Speaker 1 (01:51:47):
But ay wait, I think something important that Grandmaster Cas
told us and mc shyrock. Okay, they said hip hop
didn't invent anything. It reinvented everything, right, that's my point.
I don't think it was a specific or particular invention.
I think that they reinvented everything.

Speaker 2 (01:52:08):
And then the art form of sampling and reinventing music
and reinventing the rap.

Speaker 1 (01:52:14):
And the way we record and poetry is tom riots.

Speaker 2 (01:52:19):
Come on, now, we're talking about ancient shit, you know
what I'm saying. We're not talking about some shit that's
fifty years old. Were talking about some shit that's thousands
of years old.

Speaker 1 (01:52:29):
You understand.

Speaker 2 (01:52:31):
Yeah, yeah, simply when they were saying that. Yeah, but
I love them all. I want them all to get props.
I want them to get paid. How about that? How
about we fucking make sure who hurt gets paid? How
about DJ Hollywood gets paid? How about everybody that did
not get paid gets paid? Period? Give them something, give

(01:52:52):
them royalties. You got sponsors. You got these people doing
these big ass concerts, making millions of dollars.

Speaker 1 (01:53:00):
The older stadium. I saw it and said, fundraiser. I
guess we gotta look into what the fundraising was. Oh,
ain't looking at this ship. Yeah no, I'm gonna look
into it. I don't want to go through investigation. But
my thing is the people. Should the people, yeah, exploit?

Speaker 2 (01:53:17):
Should the people have to pay more for us to
celebrate our anniversary?

Speaker 5 (01:53:22):
Right?

Speaker 1 (01:53:23):
I don't think so. I think it should be free?

Speaker 2 (01:53:28):
Right, billions of dollars later, fifty years later, you made
billions of dollars. You can't throw a free fucking concert
for the people. Pay the artists and let the people
in free. What the fuck?

Speaker 1 (01:53:41):
What are you celebrating?

Speaker 3 (01:53:42):
It's true, but a free concert and Yankee Stadium might
be a little loose.

Speaker 2 (01:53:47):
Nah, use the same staff, same staff. And then they
climited tickets. They mean they sell their hot dogs and beer, right,
niggas love them glizzies. You only got so many tickets.
You're talking about a billion dollar industry. Yeah, first, first serve,
sign up whatever, have two concerts three? I don't care.

Speaker 1 (01:54:07):
You know, great story, he said, I'm just sticking.

Speaker 2 (01:54:17):
I'm just saying, man, that that's that's how you show
your appreciation by you know, and the government needs to
treat I mean, whether it needs to or not.

Speaker 1 (01:54:29):
The fact is hip hop is really is the number
one cultural export of the United States exactly, traveled the
world ten times over, exactly, So why not celebrate for real.
That's not a celebration.

Speaker 2 (01:54:42):
That's an exploitation, that's an opportunist Come on, bro, I mean,
I want.

Speaker 3 (01:54:50):
To agree with you, and not agree with you to
a certain extent, but I also want to see the good.
You know.

Speaker 2 (01:54:55):
No, I see the good. I see the good that
we here fifty years later and we're doing it right.
But I also see where they ain't doing it for everybody?

Speaker 3 (01:55:04):
Right?

Speaker 1 (01:55:04):
Yeah, period, I put in work.

Speaker 3 (01:55:07):
But isn't that like with everything, like like somebody's always
gonna get Yeah, someone's like someone's always like recently recently.

Speaker 2 (01:55:17):
Oh, but it's come to the point, hold on, it's
come to the point where they appropriating and certain OG's
and legends can't even get into the events. True, they
can't even go to the events. That's disrespectful, okay, but
how the are you going to talk about?

Speaker 3 (01:55:33):
Definitely advocate for a second, because the other day they
had Queensbridge Day, right, and on Queensbridge Day they had
they hired Big Daddy Kane and they hired somebody else,
so they actually didn't hire no one from Queensbridge. But
I had to listen to their complaints and I'm listening
and tragedies are a close friend of mine of the
tragedy was like, yo, he kind of didn't want to

(01:55:54):
He didn't he say. He said that Caine invited him,
but he said that when he got there, he kind
of didn't even want to hit the stage. He was
just like, yo, I just he wanted to be there
and supporter Kinge right, but not in the support of
the hood. But but what I was trying to explain
to him, which which I had nothing to do with,
well that has what I was saying.

Speaker 1 (01:56:13):
You could take it from there.

Speaker 3 (01:56:14):
What I said to him was like, yo, a lot
of the times it'sould be an outside promo to how
you was just saying. And it's like people from Queensbridge
are going to them like a curator.

Speaker 1 (01:56:22):
They don't know who to go through the cure rate.

Speaker 3 (01:56:24):
It's just saying, whoever can get in contact with these
artists right, and then that's how it's happening.

Speaker 1 (01:56:28):
So that's the problem.

Speaker 2 (01:56:30):
The problem is the organizers, the organizers or whoever it
gets hired to do the task, and sometimes they're putting
the wrong organizers in place, and they're not respecting the
culture or where they at.

Speaker 1 (01:56:45):
Like it took Caine from Brooklyn to know.

Speaker 2 (01:56:49):
To invite a queensband guy right Trad to the event
instead of the organizers saying Trad very correct, you're a
community leaders, you're og from the community.

Speaker 1 (01:57:02):
We need your.

Speaker 2 (01:57:04):
Extra p we need you whoever, we need you, havoc,
we need you feel me. But instead y'all just go
with whatever.

Speaker 1 (01:57:16):
And that's been happening since basically since people have figured
out they can make money off of hip hop.

Speaker 2 (01:57:22):
Well that's what dissected it. And that's exactly what appropriation is.
That's why I said it like ten times.

Speaker 3 (01:57:32):
Now because I mean obviously, like like I see the
effects of hip hop.

Speaker 1 (01:57:39):
Like, like I tell you the truth.

Speaker 3 (01:57:42):
One of my favorite places to go is to go
out of the country, is to perform is because I
feel like the black man is gone everywhere else but
America right like it's.

Speaker 2 (01:57:51):
And that's the that's the whole reverse psychology because the
black man in America is god too original.

Speaker 1 (01:57:58):
Yes, it just don't feel like it right.

Speaker 2 (01:58:00):
Well, because they came here, took our ship, and then
let us think that this wasn't our ship, right, but
we yeah, over over time and manipulation and media.

Speaker 3 (01:58:11):
So but when I go to like places like Europe
and like that, like I can go to a club
and this would be all blank right, And by the
time I come in and I come out, they have
Compona and Norriego all over there doing grammedy and and
they break dancing, and I'm sitting back and I'm like,
what the fuck? And like I sat there one time
the moota gave me my money and just disappeared, and

(01:58:34):
I'm just like, where the fuck is he at? And
then come to find out the end of the night
he had all types of paint on his hand. This
motherfucker was actually sitting there.

Speaker 9 (01:58:42):
And ship and then motherfucking and then he didn't set
it up for for as soon as us to walk out,
it was to be a breakdance carser as soon as
we walked out.

Speaker 1 (01:58:52):
So me and walked out, and these guys are.

Speaker 3 (01:58:54):
Just breakdancing and just battling like it's b Street. But
in Europe and I'm like hip hop is living out
and sat.

Speaker 1 (01:59:00):
Let me speak to that in the Vatican.

Speaker 2 (01:59:04):
In European countries they worship mellenated people, yes, but here
in this country is the opposite because they mind fucking
us and took our land and took our country. So
they can't educate you and worship you at the same time.

(01:59:27):
They oppressing you. But all around the world, and they've
done it already all around the world. But the history
is known. They're educated. They know who the mellenated are.
You understand, but they can't tell you that here. Can
they tell you that here? And you figure out who

(01:59:47):
and what you are, it's over for them, you feel me.

Speaker 3 (01:59:51):
I remember going overseas when Obama was in office. That
was like the first time I kind of didn't feel racism.

Speaker 2 (01:59:57):
They was like, oh baba.

Speaker 5 (01:59:58):
I was like.

Speaker 2 (02:00:00):
They didn't really know like that. That was like racist.

Speaker 3 (02:00:04):
It's like anything they see the black person, it's like America.

Speaker 2 (02:00:07):
I was like America. It's like, I was like, oh shit,
they secretly worship you. Yes, they they kiss your statues,
they pray to your images.

Speaker 1 (02:00:19):
You understand me.

Speaker 3 (02:00:21):
Been in Japan. No, okay, Japan is like that for
the black man. I'm telling you. That's why you look
at step.

Speaker 1 (02:00:28):
I'm telling you.

Speaker 2 (02:00:28):
The world is like that for the black man, the melanated. Okay,
the whole world is like that. But here in America
they cannot do that. It's the opposite, right, because they
were still under the mind control. Well most are. I
ain't under ship. I know why.

Speaker 1 (02:00:44):
I'm Jesus on the three right.

Speaker 3 (02:00:46):
Amen, Listen, if you had anything to do over, what
would you do over?

Speaker 1 (02:00:51):
What would I do over?

Speaker 3 (02:00:53):
Mmm?

Speaker 2 (02:00:56):
Just maybe some of the business some of the business
moves that I've made, and some of the deals that
I agreed to, are the deals that I made I
would change, you know what I'm saying.

Speaker 1 (02:01:09):
Yeah, that's about it.

Speaker 2 (02:01:11):
Otherwise, life's experiences make you who you are, right, And
if I changed anything other you know, I might not
be have the same perspective on mindset. You feel me
because because I think a lot of people come in
the game with a strong mind, but then they get
let up. They get you know, delusion by whatever. You

(02:01:32):
know what I'm saying, Drugs, fantasies of you know, delusions
of grandeur. Yeah, shit like that. And then they turn
into something else. They save themselves. You feel me. It's
about how can I win? How can I save myself?
How can I become rich? How can I get the
mansion in the yacht?

Speaker 1 (02:01:51):
You feel me? And they forget about the plight of
the people.

Speaker 2 (02:01:56):
They forget about their families, They children run, You feel me?

Speaker 1 (02:02:02):
Yeah? If you? If you? If aliens came down, I
know touching this. I love aliens.

Speaker 3 (02:02:06):
W Aliens came down, and I want to learn hip hop.
And you have one album to give them, Just one
album for the Aliens to go back Intoday's spaceship or whatever,
the Martians, whatever.

Speaker 1 (02:02:18):
My ship, youngest in charge.

Speaker 2 (02:02:23):
The first thing that go is I'm your idol, the
highest title held. Yeah, yes, I mean, I mean you know.

Speaker 3 (02:02:36):
Because I honestly you know, I know we've been playing around.
But you looking so good like Kelly's young brothers. Like
how you can maintain this type of regimen because like
you said, I think you say it's fifty one and
you're looking like you fucking fucking twenty one.

Speaker 4 (02:02:48):
Bro.

Speaker 1 (02:02:49):
Like I'm trying to look for the Beijing. It's not
coming out us, No, it's not coming out.

Speaker 3 (02:02:56):
Real.

Speaker 1 (02:02:56):
Wea one thing is. One thing is genetics. That's for one.

Speaker 2 (02:03:03):
For two is exactly what you put into your body,
what you consumes. No, not yet. I'm kind of more
pescatarian issues. Okay, but I'm more conscious. I'm more conscious
than anything, you know what I'm saying. When we're younger,
we tend to eat anything, and we eat anything they sell.
But when I was younger, I was conscious, and I

(02:03:26):
stopped eating pork at a very young age, a boxtail.
I stopped eating beef. I stop eating pork. I stop
eating chicken. For the most part, I eat chicken sparingly.

Speaker 1 (02:03:38):
Okay, yeah that much.

Speaker 2 (02:03:43):
But the fact is, the fact is I'm drinking the
proper liquid. I don't funk with sodas and all that. Fruits,
fruits and vegetables, fruits and berries. Vegetables is what you eat.
You are what you eat. The energy you get when
you eat fruits and a salad.

Speaker 1 (02:04:02):
It's way different than you eat a play a steak
and you go to sleep. You understand. So you have
to deal with reality.

Speaker 2 (02:04:10):
Now, you have to deal with what's going to sustain
you and keep you alive and keep you in good
physical condition.

Speaker 3 (02:04:16):
I said, you make it what was the hardest food
to cut off by?

Speaker 1 (02:04:20):
Just the beef? Oxtail? I love pepper steak. I used
to love pepper steak.

Speaker 2 (02:04:25):
Yeah, man, oxtail, curry goat, come on, man, yeah, I
stop all of that. I might once a year, I
might eat my mom's curry goat. She'll make something and
I eat some curry goat once a year. But even
when I do that, it's different. I feel different, smell different.

(02:04:52):
But you have to know what these things do inside
your body. They stay in your body, they rot, and
that cannot be good for you or your digestive system.

Speaker 3 (02:05:03):
I tell you, I was vegan for like eight months
to a year, and the favorite foods I ever ate
when I was had that vegan expirits had always came
from the island and came from vegetarian Delight. It's a
place out here. They coconuts. Well, it's all Jamaica. It's
all seasoning, right. Seasoning determines everything. Like I love salads,

(02:05:25):
and you can just put whatever dressing you like. But
I love like when I say I love salad, I
love salad.

Speaker 1 (02:05:32):
Man and fruits. Fruits is the best ship on the
earth of your kale. Guy nah kale is cool.

Speaker 2 (02:05:38):
I put everything I like spinach, lettuce, romaine, spring mix,
and I do a little bit of food science, so
I don't do too much iceberg, lettuce and ship that
has no nutritional value.

Speaker 3 (02:05:52):
Water.

Speaker 2 (02:05:53):
But for the most part, you just have to understand
what you're eating and how it helps you.

Speaker 1 (02:05:58):
Okay, and do that.

Speaker 5 (02:06:00):
Man.

Speaker 2 (02:06:00):
You know I'm into you know, the ginger, turmeric, all
kind of shit, lemon like, I deal with natural substances.

Speaker 3 (02:06:08):
Man.

Speaker 2 (02:06:08):
That's what we have to get back to, is ship
with one ingredient. What it is You eat an orange,
you know, it's a fucking orange, you know what I'm saying.

Speaker 3 (02:06:16):
But you eat some other ship. It got a whole
list of ship on way too much. There you go
big up money love too. She's she's like on that too.
She's Jamaican too. It's your Jamaica's with the good jeens. Yeah,
you don't get it twisted, and some Jamaicas some fucked
up geens.

Speaker 2 (02:06:28):
Now, it's an individual. It's how much you care for
your data, mind, your temple, and your consciousness of what
you are doing to yourself. It's just like me, stop.
I stopped drinking. Yeah, I used to drink. I stopped smoking. Yeah,
I used to smoke so.

Speaker 1 (02:06:46):
And not all the time. Was I who I am?

Speaker 9 (02:06:49):
Now?

Speaker 1 (02:06:49):
You take edibles?

Speaker 2 (02:06:50):
No, I don't even do edible because because I stopped drinking.
Because alcohol, alcohol causes poor behavior. Alcohol is poisons. And
would you drink a whole bottle of cough medicine at once?

Speaker 1 (02:07:07):
Yeah?

Speaker 2 (02:07:07):
That has that has a that has a percent of alcohol. See,
you also got to be mobile. You gotta a body
in motion, stays in motion, So you gotta do shit too.

Speaker 1 (02:07:21):
I walk, I ride bikes, I swim, I do whatever
you feel me. I love the ocean. I love the ocean.

Speaker 2 (02:07:28):
So who you battling in versus? First of all, I
just call you right now. Say if Swiss called me,
he got to tell me a dollar amount. Damn period.

Speaker 1 (02:07:39):
I need to hear about the money. I need to
hear worth.

Speaker 2 (02:07:44):
I'm not doing this for TV. I don't need to
be on TV like that. I've been on TV for
thirty years. I'm not doing this just to have an
episode or some shit on TV. I'm doing this so
because I respect what y'all doing.

Speaker 1 (02:08:00):
And we appreciate that.

Speaker 2 (02:08:03):
And you have to tell your story or else somebody
else wanna try to tell your story. So I'm here
to inform.

Speaker 1 (02:08:11):
I'm here to educate and let it be known. But okay,
let me just ask.

Speaker 3 (02:08:16):
Let's supposed Swiss call you and say, on special ad,
I want you to pick your oppony. Who would in
your mind? You say, all right, I'm supposed to dollar
mint is great, right, dollar mine is great? I pick anybody.
I don't give who would you pick them?

Speaker 2 (02:08:30):
Swiss? Do a poll, y'all, niggas, do whatever y'all want.
Put whoever you want on that stage. Okay, yeah, I'm
gonna do. I'm gonna get them all bucks shorty. Hell yeah, Okay.
I'm versus with anybody. That's the point.

Speaker 1 (02:08:47):
Okay, I'm versus with anybody.

Speaker 2 (02:08:48):
Y'all pay me.

Speaker 1 (02:08:49):
I'm gonna be there.

Speaker 2 (02:08:50):
I'm versus anybody who else is as I'm versus in anybody.

Speaker 1 (02:08:56):
Now. Daddy came win already though, No, but I'm just
saying for him. I just want to Granddaddy, you would
have been a good one. Granddaddy.

Speaker 3 (02:09:05):
Yeah.

Speaker 1 (02:09:06):
Uh oh.

Speaker 2 (02:09:10):
Man, listen, I verse I ain't no challenge. That's the
whole point. That's how I got where I am today
because I ain't turned down. No, I used to walk
down the streets of Brooklyn and just run up on
Cypher's like me, Skinny. I used to be like a
buck thirty, like skinny, little nig like I run up
on anybody and battle anybody matter of fact. When I

(02:09:31):
first got to Erasmus at first, yeah, when I first
got to Erasmus whole high school, my first week in
high school, I looked for the nicest MC and I
battle him for his name.

Speaker 1 (02:09:44):
Damn straight for the name.

Speaker 2 (02:09:46):
I'm going for the Gusto jail style mentality. We're gonna
wear the hardest way where it's at.

Speaker 1 (02:09:51):
Okay, come on.

Speaker 2 (02:09:52):
So that's what I did. Man, I wasn't I challenged anybody.
You know what I'm saying. I walked down the street.
I don't give a fu how tough anybody. Look, I'm
taking titles out here.

Speaker 1 (02:10:03):
Yeah, well, man, you.

Speaker 3 (02:10:05):
A motherfucking legend. Man, I'm so glad you got to
sit down with us. Man, just let you know this
is your platform. If you want to come in here
and promote pink toenails. We don't care, like we don't
know what.

Speaker 2 (02:10:18):
Promoted lady, but you know we.

Speaker 3 (02:10:22):
Want you to know, man, because you know, in our
our our genre, our music, so many people want to
say that you got ten years or more, that you know,
your old school and you're washed up. And I hate
that because you know, they.

Speaker 1 (02:10:34):
Don't have that in jazz, they don't have that in
rock and roll, they don't have that in any other
job space.

Speaker 3 (02:10:38):
They don't even have it in dance hall, you know
what I'm saying.

Speaker 2 (02:10:41):
They like.

Speaker 3 (02:10:43):
So the fact that they have it in hip hop,
this is something to me and my partner wanted to
change from the beginning. He was just like, you know what,
if we got a platform, we want to salute the
people who's been there before us and give them their
flowers and tell them to they face, you know what saying.
So now everyone wants to give people flowers. Me and him,
we didn't invent the phrase, but we may reinvent it.

(02:11:03):
And you are one of the people that definitely wanted
to give the flowers to because you deserve it.

Speaker 1 (02:11:07):
You are a legend, you an icon. You continue to
do it.

Speaker 3 (02:11:10):
You out here monkey footing the games because you're out
here still throwing shows, doing what you gotta do. Man,
I want to show you love. I appreciate it, and
I forgot to ask what you got going coming up
besides the shows? You got anything else coming up?

Speaker 2 (02:11:26):
Well, more shows I'm doing. We're going out to Chicago.
What I've been doing is this stop the violence movement?

Speaker 3 (02:11:31):
You feel me?

Speaker 2 (02:11:33):
Shortly after pnb Rock got killed, Corrupt called me and
he was like, yo, man, we need to you know,
do something about this. We need to unify because he
always called me for enlightenment. You know what I'm saying,
that's a big bro. And I agreed, and I said,
you know what, let me see what we can do

(02:11:54):
to make all of this happen. And we started bringing
everybody together on these calls for to Stop the Violence movement.

Speaker 1 (02:12:03):
And that's a part of my mission.

Speaker 2 (02:12:05):
What I'm out here to do is just utilize all
of our resources and our influence to help these youths
redirect their energies because their energies is up.

Speaker 1 (02:12:18):
In the air.

Speaker 3 (02:12:19):
Man.

Speaker 2 (02:12:19):
It's getting very negative and very very very hectic out
there for kids. These is our children, man, These is
like teenagers. We can't let them destroy themselves. So that's
my mission. So I'm going around everywhere and I'm talking
to all the kids I can, all ages, and just

(02:12:41):
letting them know and based on giving them my life's
experience what I had to go through, you know, from
a child till now, and showing them as an example
of you can be successful. You don't have to compromise
your integrity. You don't have to go follow the crowd.
You don't have to you know, follow the gang mentality
if it's not positive, because there are organizations that are

(02:13:05):
positive and have changed how they approach that whole gang
quote unquote mentality. So we turning, were turning everything into
a positive right now. That's my whole goal. I ain't
in no competition. I don't care about the record industry.
It's done enough.

Speaker 1 (02:13:26):
What did you get to that level where you were
just like, you know a few years.

Speaker 2 (02:13:30):
Ago, it's been some years now. I just see everybody
like it's like a rat race. I see what they
do for money. I see how they use and abuse artists,
and how they just undermine people's value and.

Speaker 1 (02:13:46):
The work that they put in.

Speaker 2 (02:13:49):
You know what I'm saying, it's like shit going back
and forth with og artists, pitting them against newer artists
and doing all kinds of dumb shit like this is
not a petition in that sense. I think we need
to bring it back to something more, more more pure,
man more organic, and stop stop trying to create rivalry

(02:14:12):
all the time.

Speaker 3 (02:14:13):
I remember me looking up to artists that came before me.
Do you think these new artists they lost that?

Speaker 2 (02:14:19):
Yeah? I think they lost it because we're not going
back out there and speaking to them and engaging and
teaching them. But I do. That's my whole point in
my purpose is what I'm doing with my organization special
at Arts and Literacy SEAL, And that's my whole mission
right now. I don't care about the music game and

(02:14:40):
the industry because I know what it comprises, what it
consists of.

Speaker 1 (02:14:44):
It's it's a road to destruction for most. So I
ain't even worried about that no more.

Speaker 2 (02:14:50):
I'm worried about how do I change the minds of
these children so that they don't destroy themselves. You you
don't have to die to be famous. You understand, you
don't have to die to be famous.

Speaker 3 (02:15:06):
Or get hurt or get hurt, because that's what a
lot of people are doing now too. They're getting hurt
and then it's like it's a vived or stabbing or
something like that.

Speaker 2 (02:15:13):
Right, And it's the mentality. It's like they're going out here.
They've taken stunting to a whole other level, and then
they're endangering themselves and then they have to arm themselves,
which is causing more gun violence. You feel me, and
then they get their feelings hurt, and then they want
to pull the gun out because they feelings is hurt.

Speaker 1 (02:15:35):
You understand, that's not what this is based on.

Speaker 2 (02:15:38):
You use a firearm to protect yourself, to protect your life,
not to go and threaten or endanger or take someone
else's life or rob somebody. That's not what you use
a firearm for. You know what I'm saying. That's called crime.
That's criminal. You feel me, and we don't want them
to believe that that's what they need to be out

(02:15:59):
there doing.

Speaker 4 (02:16:00):
No.

Speaker 2 (02:16:01):
I mean shit, I've had a fire on my entire life.
I never accostant or threatened anybody with it. You know
what I'm saying. It's for me to defend myself and
my family and what I have, my possessions. I'm not
out here flashing. I've had a file since I was
a teen, before I made records. You understand me, before

(02:16:21):
I before the age of fifteen, I had a fire
arm and I never had to pull it out and
flass it. Not legally, nah, but now it's legal. Ever
since I became of legal age and got into a
legal situation where I could do it legally. We're good,
you feel me? And that's a right, that's our that's

(02:16:42):
our rights as what they call this citizens. Here we go,
this is my right as a citizen. I'm just exercising
my right. So yeah, so and responsibly not to intimidate
or harm anybody.

Speaker 1 (02:16:58):
And that's the thing they out here, trying to intimidate and.

Speaker 2 (02:17:01):
Harm people and broadcasting it and broadcast Yeah, and that's
not what we want.

Speaker 1 (02:17:05):
That's not what we own, you know what I'm saying.

Speaker 2 (02:17:07):
We want to just teach the kids better from a
young age so that they don't grow into because once
they become a teenager and they mindset and they ready
to go, they ready to go to so so I
try to get them a little earlier.

Speaker 1 (02:17:21):
And even with the teens, I talk to them too.

Speaker 2 (02:17:24):
But once they gone and they you know, clap that
thing a few times, they get that energy, Yeah, they
go to their heads.

Speaker 1 (02:17:30):
So we got to stop that.

Speaker 2 (02:17:32):
We got to prevent that, you know, and the one
thing I can say, and the one thing I would
love to say, please, And I would say to all
the youth out there, all you thugs, have you ever
pointed your gun at someone else other than your own
brother or sister?

Speaker 1 (02:17:52):
Have you ever ever?

Speaker 2 (02:17:57):
No, I don't see you pointed at anyone else except yourselves.
You might as well point it in the mirror, you
feel me, because you're only killing yourselves. You're not standing
up for yourselves against the real oppressors, against the real
people that are really oppressing you and taking from you
and causing you to be in poverty. And in these conditions,

(02:18:21):
you're not pointing a gun at them. You pointed at
your own family. Don't point your gun in no mellenated people.
That's all I'm saying. Stop pointing your guns at melaninated people.
That's like killing yourself, and don't. I don't want you
killing yourself, right.

Speaker 1 (02:18:49):
Damn, man, that was that was hard. I don't even know.

Speaker 5 (02:18:55):
Yo.

Speaker 3 (02:18:55):
Man once again, especial that man. We appreciate you mas
coming through man. Like I said, this is your house, man,
anytime you want to come and promote it. Man, I appreciate,
we appreciate, we appreciate you showing uh the ogs that
you can actually still maintain into this this environment. And
I really want to respect your company because that's what

(02:19:16):
artists should be taking care of artists.

Speaker 1 (02:19:17):
From the beginning, I knew that.

Speaker 3 (02:19:19):
I didn't know that you actually had a company that
was catering to towards that. So I knew that from
from from from the first person, I was like, Yo,
he kind of like did everything everything I asked for,
Like he already did it.

Speaker 1 (02:19:32):
So I love that man.

Speaker 3 (02:19:33):
I just want to continue to support you. Get all
bless this man. Like I said, give you your flowers,
my brother.

Speaker 1 (02:19:44):
Dave Man, I appreciate it. Got that flowers.

Speaker 2 (02:19:47):
Wow.

Speaker 5 (02:19:48):
Drink Champs is a drink Champs LLC production and association
with Interval Presents hosts and executive producers n O r
E and d j E f N from Interval Presents
executive producers Alan Coy and Jake Kleinberg.

Speaker 1 (02:20:05):
Listen to Drink.

Speaker 5 (02:20:05):
Champs on Apple Podcast, Amazon Music, Spotify, or wherever you
get your podcasts. Thanks for joining us for another episode
of drink Champs hosted by Yours truly, dj EFN and
n r E. Please make sure to follow us on
all our socials. That's at Drink Champs across all platforms,
at the real noriegon Ig at norieg on Twitter, mine

(02:20:27):
is at Who's Crazy on ig at djefn on Twitter,
and most importantly, stay up to date with the latest releases,
news and merch by going to drink champs dot com

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Episode 380 w/ Special Ed