Agree To Disagree

Willie D takes Scarface to task about his recent performance on behalf of Geto Boys minus Willie D. Was the Grammy's complicit in not reaching out or should Scarface have wielded some power to ensure that the GBR was fully represented for the Grammy's 50 Years of Hip Hop tribute? Tune in to listen to both perspectives and join the conversation in the socials below.

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Episode Transcript

Speaker 1 (00:01):
Get gett boys. It's back and reoaded all in your mind. Yeah,
not deep throating. This is for the streets, the reel,
the railroading, the distant franchise, the truth escape building. And
they ain't knowing we speak the truth, so they quoted
because we wrote it. The north south East coat is
the g be my tree, keeping your head bobbing. It

(00:21):
ain't no stopping and wants to be drops head by
then the system is so corrupt they throw the rock
out of their hands and then blame it on us.
Don't get it twisted on code and me and danced
for no buttament biscuits. It's Willie de y'all scarfaces in
the building. Collectively we are the Ghet old Boys reloaded,

(00:43):
reloaded with another episode of information and instructions to help
you navigate through this wild, crazy, beautiful world in the studio.
Ghet old ghett Old Ghett old Boys, Yo, Ghetto boys,
Get old boys, what's going on? Not get old boy? Well?

(01:03):
Are you still on this ship? Yeah? I'm on that ship. Man.
Come on, you had an interesting weekend. Let's talk about it.
Let's talk about it. I mean ship like I gotta
got a chance to go up and be a part
of the fifty years of hip hop. And I saw
some of my classmates and that was about it. Nothing

(01:29):
nothing too great, nothing too great, but to be a
part of something that was that that looked like a fat,
that that everybody thought was a fat back then to
last for fifty years and then, you know, turn out

(01:51):
a fucking award show. Like in my opinion, I think
that that um performance that it, that segment of the
show was unbelievable. So the elephant in the room, you

(02:12):
feel like you were slighted. I feel beyond slighted. Like
what I'm trying to figure out is, first of all,
like I ask you Wednesday when we left here, I said,

(02:33):
what you got for the weekend? You say, I'm gonna
go fun with this Grammy stack. I said, all right, Matt,
safe travels, because you know that's how we do it. Saturday, Calm.
I'm looking at the I'm looking at the I'm online
and our article comes across about the Grammys, and I

(02:53):
see ghetto boards and scar face. Let me see that.
I don't have it now. I want to see where
it says ghetto bays scar face. No, it's no. This
is what I'm saying, want to say, I don't want
to never get ghetto boys and scarface intertwined ever, because
I don't need ghetto boys to be scar face, you
feel me. So if it said scarface, ghetto boys and

(03:14):
scarface and any of that ship too together, then they're
wrong for that because I can stand on my own
two feet with no ghetto boys. And this is why. So,
this is why what was so baffling, because everybody knows
that right, you carve dot a place in history for yourself.
You were so good at what you did as a

(03:36):
solo artist. You get that. Can't nobody deny that. So
I ain't no hate, ain't no jealousy whatsoever. You know.
Remember I'm the one that said, hey man, you are
to call yourself scar face. You know what I'm saying.
So I'm I ain't gonna never hate on you never.
I mean I want when I see you win, and
I see Ghetto boys winning because we are a group.

(03:56):
So when when when somebody said, start talking about scar
Face standing on his own I said the minset I said,
were scar Face got enough hit songs where he don't
need to. How I get be doing a ghetto boys song?
He could have just done a scar face song. If
you would have done a scar face song, that would

(04:17):
have been different. A scar face song is a scar
face song that's on scar Faces catalog, not Ghetto Boys catalog.
And to do a song on that's from the Ghetto
Boys catalog, my mind's playing tricks. A song that I
co wrote, and to not have me included in that.
Let's let's go back to how the song came about
two until you did have a um a verse on

(04:41):
that record. Um those three verses. We all know where
those three verses and the music came from. You put
another verse on it. But do you recall back when
you heard that song and Jay was trying to get
you to rap on that motherfucker, but you didn't like it.
Do you remember that. I don't know everybody didn't like
the song, but I didn't think it was anything phenomenal. Okay,

(05:02):
well it's phenomenal, And actually, now I think about it,
it's a lot of ship that I do that's phenomenal,
and I think that the the the reversal of trying
to put that ship on me because you didn't go
there to the Grammys is fucked up. Because my my
phone rang okay, And if a motherfucker didn't reach out

(05:25):
to you, it's not my fault. So don't put that
ship on me, Willie. That's not cool. I'm not cool.
And if I performed that song, I don't get mad
when you go out and perform that song, bro, and
I don't. I wouldn't even give a funk if you
got the call. That's not that's not how I'm made like.
I don't care about that. Have you ever went on
before my mind playing tricks somewhere before without me? Okay? Well,

(05:47):
me too, Okay, okay. So here's the difference. We're not
talking about just performing. We're not just talking about performing
a song anywhere everywhere like we all do, every last
one of us have done it. We're talking about that.
We're talking about a moment in history, the fifty year,

(06:08):
a fifty year tribute to hip hop, a moment that's captures,
a moment that's captors encapsulated in history, a moment that
people ain't gonna never forget. Now. I understand that it
was short time, but here's where I'm at with that.
For something like that, for you to sit across this
table for me weekly and knowing that you're gonna go

(06:29):
to the Grammars and perform that song? Let me hold
up the time out. I didn't know I was gonna
do that. So at what point did you? Did you know?
When I got there? Okay, so all right, okay, so
you know you was, but you you didn't know you
was gonna perform my mind's plan. But when you found out,
did you did? Did you even think to say, man,
this is a big moment. I'm performing to get old
boys song, something that me and Willie D wrote. Yeah.

(06:51):
I wrote three verses, but will wrote one. He was
on the song he is a ghet old boy that
they want to get old boys song. Did you think
for one moment to say, yo, will you know, even
if even if time was running out on you, you you
didn't think for one moment to say, man, let me
just at least call Wheelless and let him know what's
going on. It didn't. It didn't cast your mind to

(07:12):
say that. It didn't cross my mind, Willie, It didn't
cross my mind. M Hm. I don't believe you. You
don't believe you know. I'm just I'm just I'm just saying, man,
I don't believe you, bro, because I know you're smarter

(07:33):
than that. Well I didn't, I know, I know, and
it was. It's it's so much ship going on a
lot of things, and it's so much. Let me tell
you something too, so you know it's so much ship
going on, Willie. Until I don't know if you got
the call or not. I don't know what's happening with
you on your side of it. Come on, bro, I
don't know. I don't I don't know who handled your business.
And as a matter of if the Graham is called

(07:55):
about me, I didn't know that. I didn't even know
that the call was. I didn't even know that the
car was for sure until that Wednesday, that day you
knew if I did not know, Listen, let's say you
knew that day and and here's the thing. Okay, now, okay,
time out. I know every motherfucking thing. Now, how does

(08:15):
it change it? How does it change? It? Is? Over? Well?
What what what the motherfucker gave me? The whoever the
producer was, gave me four bars? That's it? Wait waiting
for bars? What was it? I think he did eight?
But in any event, in any event, that that's the

(08:35):
his I mean for measures. So how how how does
it change? How does it? You said? You said, how
does it change it? How does it change anything that
we talked about on a daily basis, Like we talked
about a lot of ship and how does this us
talking about what we talked about the changes what I
didn't I didn't know that I was doing my mind
playing tricks on me for one and for two, um,

(08:59):
and then I can do about it. Now the ship
is over with. Yeah, this ship, the ship is over with.
But the end, the end all, the end all is
for me two two, express to you how I felt
about the ship you did. That's not and you know what,
not just what you did. But the Grammys did the

(09:21):
dudes that the ship that I did, Willie, This is
what I'm saying. So you don't think so you don't
see nothing wrong with going up on that stage and
performing a get old Boys song by yourself? You don't.
You don't see nothing wrong with that? Like hold on,
hold on, hold on, And we're talking about we're talking
about at the Grammys at you know, for a fifty
year tribute. Now listen, listen what I'm saying. First of all,

(09:44):
let me let me say this all but let me
get you. But let me get this out. Let me
get this out now. I shouldn't have got I shouldn't
have got on the plane. I should have went to
the shouldn't have got on stage. I shouldn't have wrapped
that song. I shouldn't have walked off stage. And I
should got back on the plane and came home. It's
all my phone, bro, if you I'm gonna speak on
this though. Yeah, I'm gonna speak on this, so you

(10:05):
ain't finish. I'm so I'm so glad that they called
me Willie. I'm gonna speak. I'm so glad the quest
reached out to me to do that motherfucking song. Bro,
I'm happy about that. I'm glad people got a chance
to see me, man, because people don't really get this chance.
They don't really get a chance. That you're selfish. I
would have never done enough ship like well, I don't know, Bro,

(10:26):
I would have never I would have I would have
never done no ship like that. The moment was too big, Bro,
the moment was too big. I would have never done that.
And let me say this, but let me but let
me say this, Brad, I don't give let me say
let me chase it and let me finish. I really
don't give a funk about the Grammys. I don't care
about none of them, get keeping ass niggas, none of
that ship that they do. What I care about is

(10:47):
the ghetto boys. You know, Like when we decided to
do this podcast, I did this podcast for the for
the sake of the brand. I didn't do it to
say that. Okay, So I didn't do that. Actually, I
understand it was your idea to do it, but I
had to agree to it. So we're doing it by yourself.
So we're doing this. But that's why it's called get

(11:08):
Old Boys, so I said, So, I said, Okay, the
reason why I had my I had my own podcast
ship going on already, it was already doing big numbers.
So so so I it took me. I built that brand.
I built the podcast brand will with Willie d Live.
I built that. And so when when we decided we
was gonna bring this do this right here, I brought

(11:31):
my audience like over here like this. So my thing
was like let's bring let's and and let's let's grow
this thing and keep keep our brand going, keep it strong,
keep it keep it going. You didn't have to do this.
I didn't have to do this, but I did it
for the brand. You said you did it for the brand.
I take your word, but look, the thing is this,

(11:53):
in that situation where you have a fifty year tribute
to the gether to to to hip hop, you should
have done it for the brand. You should have said,
you know what, if you ain't gonna sunk with Will,
I ain't working with it. If it ain't, if Willy
ain't coming, I'm not. If they'd have called me the
roads were the verse, I don't give a funk but
what my level of success was as a solo artist,

(12:14):
it's the principle. I would not have done it without you.
I would not move like that without you. That ain't
I didn't. I didn't, and all honestly, I didn't really
feel like it was that fucking important. I'm just saying, listen,
let's know what I'm saying. I didn't really feel like
it was that important for whoever did the motherfucker I don't.

(12:34):
I don't. It's not a big deal to me. It's
been it's been times, and like, do you remember the
last time you did um when when we were supposed
when you did them the Dome, the rodeo. I didn't
do that, you know why. Yeah, but you had that choice. Yeah,
I didn't do what It was your choice. I didn't
do it. It was your choice. You decided you didn't
do it because you didn't want to do what you did.

(12:56):
You was given a choice, but you did it. I
did it because I was giving a choice. We we communicate,
remember from day one, when we found when you found out,
I found out, We got on the phone and we communicated.
So we didn't do that with this. That was a
big moment. No, that was That was a big moment.
But that was just the biggest moment in music history.
That was it was the best, biggest was a big moment,

(13:19):
Willie and I didn't do that moment because you wouldn't
you too, okay, because you didn't know. But you didn't
give me. But I didn't happen if they didn't call you?
What what you want? What you wanted me to do?
So you wouldn't stand up for your dog want? Why
did why did up? Why? They got the comment I
told you to do the fucking show? What do it?
You didn't say you couldn't do what you said? You

(13:40):
wouldn't do it, Okay, well I could. That's a difference.
They wouldn't do it. That's difference. But you did it.
Come on, bro, you really the same thing. That's a
false equivalencyt bro. Come on, you ain't stupid. You know
this ship, brod, I can't say that this. You know that. Bro,
it's the same thing. Come on, man, you know that.
And I was that choice, bro. But you know what

(14:04):
you could have done if you felt some kind of
way about me doing it because you don't want to
do you know what you could have done. You could
have voiced your opinion, say well, I don't think you
should funk with it in the name of the brand.
I don't think you should do it. So if we're
gonna be on the same page, we get old boys.
If you get old boys, it's ghetto boys. You know, like, yeah,
you got your own ship going in your own right

(14:24):
and you're all right. You did a great job for
yourself as a solo artist. You did a great people.
But listen what I'm saying. But every like you did
your ship, I did my ship, you know, saying your
name is strong and and and for what you do,
My my ship is strong for what I do. You
know what I'm saying, neither of us need each other
when we come together with more powerful We know that

(14:45):
we know the Ghetto Boys. We know that the Ghetto
Boys brand is more powerful. Neither one of us, no
matter how much success we've attained all these years, neither
one of us brand and and and and and and
and and the fact did not go out on television
and shipped on this brand. Okay, I didn't shoot on it.
I represented it. And if you feel like it was

(15:07):
supposed to be Ghetto Boys, then we'll address that. But
how can you not feel like it was supposed to
be Ghetto boys? If you do a Ghetto Boys song
on the ground, you know, on on stage at the
on the biggest platform in music, how can you not
feel like it's a Ghetto Boys moment? So now you
reverse everything back to me. That's it's it's not that
it's not that the Grammys didn't call you to do it.

(15:27):
It's that they called me to do it. It's the
understand It's it's no, it's that we didn't do it. I
I don't give a funk who they called. It's that
we didn't do it together. It don't matter who they called.
Brad if they called me, you're gonna know if they
called you, I should have known. Well that's the point, Okay, Okay,

(15:48):
So I take full responsibility. Ghetto Boys Reloaded podcast will
be right back after the street. You know when I
when I made that video, Bro, I made the video
because like, I don't even feel comfortable like having these

(16:11):
type of this type of discussion with you to them,
because I know a lot of them don't give a
funk about you or me. They just talk ship. They
got a few seconds to think about what they wanted,
what they think about what we're talking about, and they
be and that's it. They're gone, and they they drop
a bomb and they just turn their back and they
don't give a funk what happened after that. Don't care
how what happened with our relationship. Don't you funk about

(16:31):
get old boys like that. They're not they're not invested
like that. So when the motherfucker say something like, well,
you know, I didn't see it being such a big
deal that he wasn't on stage or whatever scar face
represented whatever, that's because your motherfuckering ass ain't put thirty
three years in the game. You know, you ain't set
up in the motherfucking studio, writing songs and and and
thinking and and and and stressing over ship and beefing

(16:53):
and bumping heads with with with with motherfucker's that's in
your in your band. You ain't been on the road
when the mother bust broke down, you know what I'm saying.
You ain't been a mother You didn't go to motherfucking
New York for the first time and got booed and
didn't have to come back and build yourself all the
way back up and come back and sell out Madison
Square Garden. You don't have to do nothing. You ain't
went through none of that, you know what I'm saying.

(17:13):
So you don't know the journey. You ain't part of
the journey. You ain't got the blood, sweat and the
tears and the work in So you don't have as
much invested in this ship as I have in it.
And other people who were who would not represent it
right in that grammar situation. You know what they should
have done for that moment. They should have not have
done it, because you cannot represent fifty years of hip

(17:35):
hop in fourteen minutes. That ship should have been on
his own platform. Fuck the Grammars. The Grammars ain't big
enough to hold hip hop. Hip Hop is bigger than
the Grammys. It's way bigger than the ground. I'm gonna
agree with you on that they should not have done that.
I'm you know, if that hip that hip hop and
four team and it's a twelve minutes and having long,
it was like it needs way more time. But what

(17:57):
I what? I what? What? What I wouldn't do is
be upset because you weren't know on it. I wouldn't know.
I wouldn't be upset with is Dale so upset at pause,
I don't know. I haven't talked to Okay, well is
wul Tane Clan upset at method Man, I don't know, Okay,
But don't be upset at me for going up there
with this. This is this is us, This is okay, Okay.

(18:19):
I don't know what's going on with Andre and and
and and and and and and Big Boy. I don't
know what's going on with Pons and all these guys.
You know what's going on. What's what I'm saying? I
just said, I take full responsibility for going up there
and representing this brand, all right. I did that. I
did the funk out of that, And I think that

(18:40):
people love that song even more so now you know
what I mean. Well, I think because I think they
love it even more so now, Willie, because they've seen
it done again. Maybe that's how you feel about it,
and maybe that's what you heard people say. But and
I've heard both ways. I've heard people say, yeah, you
represented and warm, but I've all had so heard people
feel like they were robbed. I heard many people say

(19:02):
they felt raw. I heard many people say I was
looking at In fact, my god daughter watched the show
with her mother and her mother told me, uh, she
knew it was coming show was coming on. She didn't
know what was going on, but she knew the show
was coming on. So she was watching the show and
she said that she wanted to surprise her and she said, oh,

(19:23):
that's car face and she got all excited and ship
and she said, oh, Zancho will coming out and Zanco
will coming s is it? And she was just no,
uncle will see. So so that might be cool with
you and the people that you heard from, but that's
other people out there who felt like that they were
robbed from that, that that that experience. It's other people
you know your kids. I'm sure your kids were proud

(19:44):
of you to see daddy on that stage like that,
on the stage that be I'm sure your kids were
very proud of you, and they should be. But my
kids were robbed of that opportunity to see their dad
on that stage and in a moment in time for
or a genre of music that he heavily contributed to. Now,
I may not have built the motherfucking room in that

(20:06):
motherfucking Matsion, but I put some goddamn paint on the wall,
and the calls it somewhere. I gotta break in that
motherfucker somewhere that can't be denied because if you look
at this fucking music that we did, you know you
wrote your verses. I wrote my verses. You wrote song
for Bill. I wrote most for Bill. So most of
the ship that came out of Bill Moth came out
of my head first. So a motherfucker can't say they

(20:28):
love ghetto boys what I love and Willie d That's
that's disingenuous, you know, Like I deserved to be on
that motherfucking stage just like other people deserve to be
on there. But like I said, I can't fight their battles.
You know what I'm saying. I can only speak on
my ship, And I just felt like if if it
was me, if the shoe was on the other foot,
I absolutely would have represented you also. I would have

(20:51):
included you. First time I got a call, it would
have been yo, man. The Grahams wanted what you wanna do?
That's how I've always done you any time I've gotten call.
But I didn't. I didn't get the I didn't get
the call Willie. I didn't get the ghetto boys call. Okay, alright,
but and and and and and let me finish. They
could have called me to do any one of my songs,

(21:16):
all right, So why you didn't do it? Because that
wasn't the way that they had it set up in
the in the in the show, they had already been
practicing this ship. I didn't know until I got the
rehearsal world. What were they practiced. There was practicing my plan.
It was practicing all of that ship, and they all
that ship ran on together. But they did my mind's
playing tricks. The fact that they did my mind's playing

(21:37):
tricks tells me they wanted ghetto boys. That's what it.
Maybe they wanted something that you did you call them.
That sounds that you called them and actually called the
executive producers. But he but he didn't called me back.
I actually called him several times and I finally said,
you know what, let me let's leave a message, let
me let me, let me shoot him a text. And

(21:58):
he never returned my call. You see. And I also
called Questen. Let me back up. I didn't call a
quest I had somebody else puts the calls into him.
You know, he never called me back. You know a
few other people who was involved. And I get it,
you know what I'm saying. I'm sure they ain't calling
a lot of people back right now. I'm sure a
whole lot of people as fiss, which which this is

(22:20):
what I'm saying. Man Like, for a while, we had
to deal with gatekeepers in hip hop. They did not
want us to be involved in this thing called music.
I remember a time when I would go to the
clubs and that was only one club in Houston that
would play hip hop, and that was the Ryan Stone Rankler.

(22:42):
Every other club pride of itself on not playing hip hop.
And I remember black people, specifically with brag about how they, oh,
I don't wrap, I don't listen to that, and they
be all snobby about listening to wrap. I don't even
listen to hip hop. I don't listen. They thought that
that was some kind of some type of badge of honor,
to not listen to hip hop, the music of the children,

(23:04):
to not listen to it, to not respect them, to
not know it. You know, they thought that was a
badge of honor. I remember going to the Bars nightclub
and pushing up on the DJ and telling the DJ
play this song that song. Gangster Love played the song.
The DJ said, I can't play it. I'm gonna lose
my job. I remember telling that DJ, you want to

(23:27):
lose your job or you want to lose your teeth.
I did that for for for for the culture. That's
the type of ship I put the work, kind of
work I put in And dude did not play the
play the record at that moment, but he said come
back and I play it. We came right back and
stood over his ass. They had and they had their
people in that, and I had a whole bunch of

(23:48):
people in that and they was like, they put that
goddamn song on and only two people got on the floor.
They d asked the gamester love two people. But that
was a start. Now you can't go to a club
in Houston without playing hip hop without listening to hip hop.
You can't go nowhere. And people take that ship for granted.
They think like this ship just miraculously happened all by itself,

(24:12):
like boom poom poof this ship is happening. No, I
put real work in bro so I deserve to be
on that motherfucking stage as much to anybody. But again,
like I said, we we we had the gatekeepers at
one point, and now hip hop is old enough to
where some of us are gatekeepers. And some of us
who are gatekeepers now have decided that we are going

(24:35):
to keep others who are in the culture outside of
the culture the longest rearing. It's all good. Some of
us are keeping our own people out of the culture,
out of certain experiences because of whatever issues that they
might have. And if you ain't gonna do this ship right,
I'm talking to all you motherfucker's out there, all your

(24:57):
motherfucker's producing hip hop blog and are putting ship out.
If you if you out there and you're showing love
and you're doing it the right way, I salute you.
I salute you like a motherfucker's I know how hard
it is, But if you're trying to hustle the game,
if you're trying to hustle hip hop, if you're throwing ship,
throwing ship together and not showing the proper respect for

(25:19):
the number one genre of music in the game period,
ain't nobody fucking with us, including country We surpassed everybody.
If you're not gonna give us I respect, don't funk
with us, get your mother fucking ass gone, don't funk
with us at all, don't don't try to give us,
don't throw throw together some fourteen minutes ship and put

(25:42):
fifty years of hip hop in the side of fourteen
minutes and think we're supposed to be grateful. We're not
supposed to be grateful, man. We're We're the number one
genre of music. We deserve more than that ship, bro.
And it's not just disappointing, it's heartbreaking, bro, you know
what I'm saying. It's like, it's the ship is heartbreaking

(26:03):
because they don't respect us, and I feel like we
don't respect ourselves enough to demand more. They would have
never done that to rock and roll, never done some
ship like that for country music, they would have gave
them motherfucker's a whole show by themselves. It would have
never been fourteen minutes of eighty years of country, ninety

(26:27):
years of rock and roll. They would have never done
no ship like that. They shifted on us because we
don't demand more of ourselves, and we gotta stand on something, man.
But we gotta have principles. We gotta stand on those principles. Man.
We can't just say, oh, well, you know what I'm saying.
It's people that have have fucking built this ship for real,
and and some of us that have built it. I'm

(26:49):
fortunate enough to be doing good, unfortunate enough to be
doing well financially for myself. But there are others who
are not doing so well who built this ship, and
and we shipped on them, and we try to call
him bummy. We try to say that they don't they
ain't got no money, or they fucked it up, they
sucked the bag up and all this ship. Instead of
being appreciative and saying, you know what what can we

(27:11):
do to help out? You know what can we do? Were?
You know? We we we gotta do better. Yeah, Willie
in in in my opinion that um, that segment of
that show was big. Man. It was huge, and regardless

(27:36):
of how you feel about it, man, it just let
the those twelve million of having many viewers see hip hop.
You know that, uh, what you thought was a fat
turned into the biggest genre of music ever. They already
know that, brad okay, but they thought it was but
they thought that was a fan. But but now now

(27:59):
now it's in your face. You know, fifty years of
this ship and and and it's fifty more to go.
I agree with you. You know, you should have been there.
I should have called you, but I shouldn't have opted
out not to do it if you didn't come. You
see what I'm saying, like to to to do my mind?

(28:21):
Playing tricks on the Grammars catapulted us to a whole
another level. Bro. I think, I know, I know that,
I know. The face value of it, to be seen
on the motherfucker is one thing. But the song, as
historical as that song is, man, it's it's here, it's
still here. And I don't know, Willie, you would have

(28:44):
probably got up on that motherfucker and did the same
thing you did at the baseball park. Man, and it's
mother fucking long, no no different when you got directions, Bro,
the right directions, but right instructions. But but I would say,
Bro that there is there is no way possible. I

(29:07):
don't It's nobody who can convince me that that was
the right move because, like I said, the moment was
too big. The moment was too big. It's like it's
like somebody, it's like somebody doing doing um doing something
with they're recognizing the record labels of hip hop, the

(29:29):
greatest labels, and Ship and and Jay not being invited,
you know what I'm saying, or master P not being invited,
which by the way, I didn't see master P on
that stage either. I don't know what happened. Like I said,
I don't know people's personal issues, well business, but I
know ain't no way Masterpiece should not have been on
that stage. There's no way possible with with with what

(29:52):
he contributed, what he brought to the table. Yeah, yeah,
Modi you know what I'm saying. You know, uh, Ship Houdini.
You know, like we could go on and on and
on and so people, but this is why they should
not have half as did it, you know, like show
us give us our real respect. J J fad. You
know what I'm saying, Like, give us the real respect.

(30:12):
I know Q probably didn't, didn't didn't, he'd probably turned
it down because I'm sure they called que But in
any event, I don't know what happened. I don't know,
but I'm just saying that they the respect was not there.
And this is and this indicative of how often that
we allow motherfucker's to just you know, steamroll us man,

(30:34):
and and and put us in this little box, this
little Just be lucky. Just be grateful that you got that.
Just be happy that you got fourteen minutes. Just be now,
we're beyond that. If this was if they had given
hip hop fourteen minutes twenty years ago, years ago, Okay,
that's understandable, because they didn't. We we we were knew,

(30:57):
we knew this thing years ago. Fine, but dude, we're
fifty years deep and we're the best at what we're
the best. We'll let me put it like this, because
being the best is suggestive, uh subjective, But we are
number one. We are the number one genre of of
of music. We sell the most. We're killing everybody. Ain't
nobody fucking with the hip hop. You can say what

(31:19):
you want to say about it, but hip hop is
number one. Go to any club anywhere in the world
and you're gonna hear some hip hop. So it needs
to be respected and we need to demand more of ourselves.
And we should not hustle the brand. We should not
hustle the the the the brand of hip hop, the

(31:39):
brand of hip hop. We should not hustle that. You know, No,
we should not allow people to hustle it, not even
the people that are inside. It's almost like those gate
black gate keepers who who ran the Grammys, who produced
the Grammys, who was a part of those decisions making? Uh,
those that decision making. To me, it's a kind to
having a black mayor or black chief of police and

(32:01):
black people are still getting catching the blues in their city.
We got a black chief, we got symbolism, but we
what we don't have is, uh, we don't have a
fast shape, we don't have a fact, we don't we
don't have a level playing field. We're still not getting
our justice. But even though we have a black chief
of police, look at what happens in Memphis. You got

(32:22):
a black chief of police, you got all these black
officers and not one of them had the presence of
mind to show some humanity, to show some empathy for this,
for this man, not one. It's fucked up, bro, you
know what I'm saying. It's fucked up. So we talked
about how you know, we should be on the inside
and we need to have our own ship, and when

(32:43):
we get our opportunity like that, we don't. We don't
look out for each other, you know what I'm saying.
So that's that's that's my issue, bro, that's my issue.
And it can't nobody telling me that that was the
right move. And people got their own opinions and all
that ship. But like I said, they didn't do this ship.
They ain't put thirty three years and like I did,
I'm on thirty four right now. So they didn't put

(33:03):
that thirty you're on thirty four. They didn't do that.
You know what I'm saying. We did that, and we
should share in the glory, you know what I'm saying.
If we're gonna we're gonna, if we're gonna be there
for for for the agony, you know, if we're gonna
be there for for the for the for the mis
qs and and the and the uh and and and

(33:24):
and and and the trauma and the drama. We should
be there for the triumphs, you know what I'm saying,
and the accolades as a group, not as a member.
And I gotta say, you don't need I'm gonna reiterate
that and reiterate that you don't need ghetto boys. I
don't need ghetto boys. But if we're gonna do get
oo boys, let's do ghetto boys. And that's why I

(33:45):
want to say, I want to make sure that every
all these mother because I here know that don't be
trying to hustle our brand. And you ain't, including me
and Brad, don't try to hustle our motherfucking brand because
I ain't going forward. I ain't letting a ship slide.
You know, I'm gonna speak on the ship. I don't
like this whole, this whole podcast. That's the part. The

(34:06):
piece that I don't like about this podcast ship is
that you know, this thing was done in a way
where I had no choice but to speak on this.
This is typically something that we would discuss in private
because we've had our grinds to you know, gripes and
ship in the past. But We've always addressed our ship personally,

(34:27):
this really ain't no ship. They need to be hearing.
But since it was addressed in a public forum, then
I had to you know, it was the the transgression
aggression in my opinion, was done publicly, then you know
the rebuttal had to be done. You know, it had
to be addressed publicly. So you know, that's why I'm

(34:50):
at with brooted podcast. Will be right back after the
set well and and and really I understand that, but
you just understand that it wasn't my call to make.
It was at the end of the day, Like I said,

(35:12):
you could have said, no, I'm not working with it
at the end of the day, no matter what they say.
At the end of the day, you could have said,
I'm not fucking with it. If I'm not taking this
dude that I sit here and do that Ghet Old
Boys podcast with every morning, I'm not gonna do it.
And here's another thing, Brad, we are for renewal on
this podcast. We're doing this podcast together. It's Ghettold Boys podcast.

(35:38):
Wouldn't it have made more sense, wouldn't it would have
been a what's what greater selling point than to go
get the bag than to than than for them to
see Ghetto Boys on that biggest stage together, the dudes
that do this podcast together, that host this podcast together.
What what what greater argument we could have had to

(35:59):
get the bag then then to be on that motherfucking
stage together, and and and and call the motherfucker the
next day and say, yeah, you so, what were we doing?
You like that ship all? I dropped that bad Willie.
There ain't a better selling point. It's it's a hell
of a selling point, but it's still a selling point
though it ain't strong, bro, it's just not as strong. Well,

(36:21):
I mean, we we agree to disagree. I think that
it's just as strong, and I think it's just as
sucking strong because it was representing very well. If it's
just as strong, why do we do this podcast together? Why? Why? Why? Why?
Why aren't you doing this podcast by yourself? Why aren't
I doing this podcast by myself? Because we're stronger together.

(36:46):
But that's why, that's the same thing on that stage.
I don't give a funk how many hits you got.
I don't care how great these niggas thank you are
or how great you are when you funk with that
Ghetto Boys ship. It's a different level. It's a different
motherfucking level. Can nobody tell me different. I've seen it

(37:06):
with my own eyes for thirty three years. It's a
different level, and you know it, so that cannot be denied.
The reason why we do this motherfucker together, it's called
get old Boys reloaded, because we're stronger together. You can
do this motherfucker by yourself and it'll get numbers. I
can do it by myself, you'll get numbers. But together,

(37:27):
the motherfucker it's unstoppable, exactly, And I agree with that too.
But the brand was still represenced, somebody said, But usually
everything that comes after that is, yeah, the brand is
still represented. Well, Willie trust me, ask him, don't take mine,

(37:49):
don't take mine, don't don't don't take my word for it,
asked the public. You know. Yeah, it would have been
stronger with you there, but it was still represented very well. Bro.
I didn't miss you. I didn't miss no word words.
I didn't. It was still there when you and all
I can say. All I can say is, man, I

(38:09):
show hate you feel like that because that was a
big gass moment, all right, But the next time they
do it and they call you and they don't call me. Man, Okay,
they they gotta call somebody first. That ain't the point.
It ain't who they call, it's what happens after they
make the call. Do you call me and say they

(38:30):
mentioned ghetto boys, they won't get oo boys? But I
call you and say they won't get Oo boys. I will.
That's a fact that they didn't. Never say never got
a call. I never got a call for getto Boys
and not called you. I never got a call for
getto Boys and not called you. I'll take your word
for it. I don't believe you. But do you think
I gotta call for get God? Damn right? I think

(38:51):
you gotta cover before huh yeah, damn Willie? You think
I gotta get a call for ghetto boys on? Man? Listen, listen, listen,
bro come on listen man. I'm gonna stop you right there,
my nigga, because I ain't never got no motherfucking call
from no ghetto boys, and I called you ever and

(39:11):
I never will. As a matter of fact, we don't
even have the same people controlling our ship, man, you
know what I mean? Like, I got a totally different
manager than you, so I'm probably not gonna never get
no call, no way forget Oh Boys. But if somebody
called me directly and say they want to Ghetto Boys,
most definitely gonna call you. Okay, So let me break

(39:33):
it down. So over the years, as we put out
these albums, every time we put out a Ghetto Boys album,
you put out a scar face album right behind it.
It's easy to look up if you see the frown.

(39:54):
But that's a scar face album that comes out right
after ghetto boy album every time. Who who did that? Me?
Brad Jordan? Yeah, but I put out an album, look
it up. Yeah, you put out alm after get Oo
Boys every time. So when we go out on the road,
we got that doing five six shows or whatever, m
and then you know, the promotion stops. We stopped promoting,

(40:16):
we stopped doing shows. You take your break, you drop
your album, and then you go out and do all
the shows. So you're saying that a motherfucker. Don't they
never called you and said, yo, man, what about Ghetto Boys? No,
and you and you just said, now, I ain't doing
Getto Boys. I'm doing myself, doing my own ship. No,
they ain't never called me and said Ghetto Boys, I
don't believe yet, well, then talk to you. Talked to

(40:40):
Dub you know, actually was man and managing me back
when we were doing that, calling you better. And if
I if I ever dropped the album behind ghetto boys,
I dropped it on rapp a lot, all right, remember that?
Don't you ever forget that? Oh, I can't forget what
I wouldn't. I would never, I wouldn't never do nothing
to try to advotage your ship, Willie. Ever, it doesn't

(41:04):
benefit me to sabotage you. Man, What I look like
trying to sabotage you? Man, you look like Brad Jordan.
Then con countibleize, cannibalize your project. You look like Brad
Jordan to me, to countible like some ship Brad Jordon
might do, because I know Brad Jordan as motherfucking sneaky
ass nigger, and I know Brad Jordan will do some

(41:26):
sneaky ship if you have to. I know that, I
know Brad Jordan do a lot of thinking right there.
You'll never have to worry about me doing to you,
all right that part? Oh yeah, I'm a deep ass thinking.
But I would never cannibalize your projects ever. As a

(41:47):
matter of fact, Man, I Mario. You gotta you got
a lot of tech to testing in. Man, you got
some ship. Come hook this dude up. Bro, come dude,
William do some ship like that. Man. One thing about it, man, Bro,
I'm calling a strike a striking a ball the ball

(42:09):
and I and I'm I've always you know, like I
think I've actually put the brand before myself too many times.
You know what I'm saying. I haven't been selfish enough. Actually,
you know, I put the Ghetto Boys brand before my
my brand many times. If when I when we've done
records and ship and it's time to do it, I
could be working on some solo ship and we did,

(42:30):
get ready to do get old boy album. Whatever I got,
it's going to get Old Boys. It's immediately. Like it's
because I'm always like, okay, best for far. But whatever
I got, you know, And like I said, bro, you
you you've done, You've done well for yourself. Bro, I'm
not I'm not that dude. Like you know what I'm saying,
Like I'm it's for me. It's the principle. Like so

(42:50):
it's not about being no fucking I hate uh being
no jealous because when you win. To me, it's like
a win for me. It's just like I got so
many homies that are really good at what they do,
that are like really really like brilliant dudes and really
paid paid dudes, were respecting and ship and I move
around with these guys when we go to certain we're

(43:14):
going in certain spaces, it's their time, it's their ship.
I'm gonna fly on the wall, and I'm happy to
see my dude get it all. It's like I like it.
It's like like I like that ship. I'll be smiling
and ship like my boy and maybe all over my boy.
You know what I'm saying, This all over them. Like
even when I've been with you sometimes we've been been
places and Motherucker's be all over you. I'm like, yeah,

(43:35):
you know what I'm saying. I'm cool with that. You
know that's my homie. You know I've even we've been
with Reggie. You know what I'm saying. Me and Reggie
going into boxing world. You know what I'm saying, a
lot of people in hip hop may not know Reggie Johnson,
but Reggie Johnson is a two time motherfucking champion. So
when Reddy Johnson going to the boxing world, we're going
to we go to boxing matches. Man, people all over

(43:56):
Reggie Man, I'm talking about it all over them, like
Reggie Johns, Reggie freak. Readon. You can autograph, give me
a good picture, and good picture like yeah, man, shine shine,
goddamn it. That's the homie, you know. So I I
love to see mine, you know. I love the people
see people I funk with. Get it, man. If I
funk with you, I'm stuck with you. So it ain't
never gonna be no hate for me. You know. If
I see something, if I see a hole in your arm,

(44:18):
I'm gonna tell you. You know, hey, man, you know,
pass that up. If I see something that can benefit you,
I'm gonna tell you, like yo, man, you are to
do it like this. Man, you ought to do it
like that, you know, like you know, obviously it's your
call at the end of the day. But at least,
if I see something, I'm not gonna sit back and
hold hold my nuts on you. I'm gonna speak on

(44:38):
and say, yo, man, what about this we thought about doing?
Like this? Who wo whoo? You know, so, I I
absolutely I tell people all the time, like you know, Brad,
you know he did his thing. You know what I'm saying.
You know, he he had a great, great fucking solo career,
you know, but I know when it comes to this,

(44:59):
get oh boy of ship, Ship, we're right here. You
know what I'm saying. You got me so low album, man,
Yeah you got it. I ain't here on trip I
can't front, but on this ghetto boys ship, we're right here.
Bro go back and listen to that motherfucking music, and
we're right here. You know what I'm saying. We compliment
each other, well like we get on that motherfucker together.
Were coming to students, just like when we're go in

(45:20):
the studio, we saw we're coming here. The chemistry like
that chemistry. I don't given if we we ain't seeing
each other in too three years or that don't happen.
But you know, if it's been a long time before
we get it actually work together, if it's been a
long time that we work together, it's like like that,
the chemistry clicking, just like that boom, and you know, Ship,
you bring the best out of me, I'll bring the

(45:41):
best out of you know what I'm saying. You know,
And so that's that that that that right there is
never gonna be questioning, bro like, I like to see
when when you're doing your thing, I like to see
you win. So it ain't it ain't. It ain't that.
But it's just my My issue is when it's ghetto
boys and need to be ghetto boys. You had done
your thing with your record, I would have had no

(46:03):
problem with that, you know what I'm saying. It would
have been just ye on that stage and you're doing
your thing. I would have no problem. I wouldn't even
ask to be a part of it. I would have
just been like, oh, that's how they're doing it, because
you deserve that. If they want to scar face and
not get old boys, you deserve that. You know what
I'm saying. You you called out enough. You've done enough
to earn to be a part of a fifty year tribute.

(46:26):
You know what I'm saying. You've done enough, you know,
But if it's gonna be get old boys, they need
to be ghetto boys. And it ain't scar face, it's
it's Willie d and scar face. And I know some
motherfucker's got in their feelings because I didn't say Willie
the scar facing Bushwick Bill, But busch Wick Bill is dead.
You know what I'm saying, So that's why I smoked

(46:48):
the way I spoke. I mean, I mean, how do
you feel about that? So do you remember when you
left the group? Yeah? Okay, Um, the Ghetto Boys was
scar Faced Bushwick and Big Mike, all right, and you

(47:09):
weren't in the group no more so, motherfucker couldn't put
you in the group. Okay. When you came back to
the group, it was scar Faced Willie bush Week Bill right, okay.
So and it stayed like that until when until Bill passed.
And now you didn't you forget? That was the one

(47:30):
album we did together, and it was Ghetto Boys was
scar Faced and Willie d the Good, the Bad and Ugly.
Oh ship, Willie, I did for that. So that we've
been here before, so time out. Is that the last
album we did together? No? No, no, that was the
one that that was. That was the one prior to
the last album. But the Good, the Bad and Ugly

(47:52):
was what I think. I don't I can't remember not.
I don't even remember those albums. Bro. What I'm saying
is this when you I don't know, Yeah, well I know.
All I'm saying is this is when you're no longer
in the group no more. You know what ghetto boys
and scar face Willie Dan period. At this point, when

(48:14):
you speak of Bushwick Bill, you speak in the former
ghetto boy Bushwick Bill. So let's be clear, like Bill
is is deceased, rest in peace, but he is no
longer in this group. So you you have married saying
that you know, ghetto boys really the scar face you
said you can say that, Yeah, you can say, I think, um,

(48:38):
you know a lot of motherfucker's just getting their feelings
and they don't really understand, you know, how it goes,
and and that's fine, you know, but uh, you know
it is what it is, Bro, You know it is
it is, man, Like I said, Man, the next time,
next time I have the opportunity to perform my mind

(48:59):
playing tricks on me, dog, And if you're not in
the building, I ain't gonna do the song I'm talking
about even that my own concert. But again, ain't you
know no, Willie, Willie, Bro, I love you like a
big brother, man, and we're gonna always have this relationship. Man,
We're gonna always agree to disagree. You said that I

(49:21):
was fucked up for doing it. I said, I think
it brought the brand back into the forefront where people
can see it, and that's where that's where I am
with it. It's not it's not a fight with us.
We're gonna always be family. But I know how you
feel about it now. So if anything ever come up,
come up where it's gotta be us. If they want
to hear mine playing tricks, they got to hear it
with me and you, all right, and then we'll let

(49:43):
the crowd sing Bill's part. So I take full responsibility
for getting on that motherfucking stage and representing this brand
very well. But they did call for face, all right.
That that right there. I'll give you that. I take that.
But I represented that motherfucking brand well and I always

(50:03):
have and I always will. I disagree, Oh bullshit, Willie.
I disagree. That's bullshit to represent the brand where it
would have been saying you know what they called. They
called for me, and they wanted me to do a
get Old Boys song. I told him, fuck that. I
said that I'm not doing it without Willy D. Pick
another song if you if you want to do it
that bad, I say, pick another song, but I'm not

(50:24):
doing it without Willi D. That's that's what I think
would have been honorable. That would have been honorable to
know they ain't. No too. It's just three. Hey man,
you got your opinion. I got mine, bro, And there
is no um. There is no um right opinion or

(50:47):
wrong opinion in my opinion, all right, And don't forget that.
I've always be your little brother, whether we do the
grammar or the other or not. Mm hmm, no motub.
This episode was produced by A King and brought to

(51:09):
you by The Black Effect Podcast Network and I Heart
Radio