Checking In With Grafh

Grafh checks in with Rory and Mal to discuss what went wrong for New York Hip-Hop last decade, play a New York edition of "This or That", and reminisce about the time Grafh almost stabbed Busta Rhymes #volume

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Episode Transcript

Speaker 1 (00:01):
The volume.

Speaker 2 (00:09):
Action. He's don't never be action, Tell action to me.

Speaker 1 (00:14):
All Right, we are back Rory.

Speaker 2 (00:16):
Today we are joined by somebody who I'm convinced it
might be seven of these guys. It's not just one person.
I think it's seven of m's. He's everywhere anywhere. Anytime
I decide to go outside, if it's one person, I
know I'm going to see it. Always good to see
somebody that for years I've known, always got great energy,

(00:36):
always show love, always supporting, and one of the dopest
mcs out of the city that we had, one of
the Bars spinners, one of the guys that still holds
bars to a high level, A legend New York City legend.
My god, Graph, how you feeling, family.

Speaker 3 (00:53):
Sure, Jo, they're clapping at home.

Speaker 2 (00:57):
As we said, they're clapping at home. But today we
hear the talk about just just New York City man,
and just fir things are New York rap. First of all,
I've seen the clip, but you last night, Roy, I
don't know if you saw it. Graph was pool side rapping.
You got a song with Buster and Graph is pool
side rapping. I just started laughing. I'm like, if you
know Graph like you know he can't wait for a

(01:18):
reason to take your shirt off.

Speaker 1 (01:19):
That's just new though. That's no. I never really did that.
My whole career took shaped. The whole time. I was like,
one d days, I'm gonna do a show with no
shirt on.

Speaker 2 (01:28):
How's that? How does that work out for you?

Speaker 1 (01:29):
It's fun. It's fun having a blast my rebrand. It's
my new ship blast.

Speaker 4 (01:36):
It's crazy too good that you gotta get busted to give
you some steroids.

Speaker 1 (01:39):
Not on with those.

Speaker 5 (01:40):
But it's funny because that whole I just had a
bunch of content in my man crib. I wasn't even
planning to do that roller camera. Fuck, he's gonna shoot shit. Yeah,
I'm just rapping and doing shit and just we just
edited up, but we dded it looks cool. It was
like a whole party. It really wasn't. It's great.

Speaker 4 (01:54):
We do appreciate that you did come here and didn't
wear your Rockefeller chain, so we wouldn't be jealous.

Speaker 3 (02:00):
But I want to show that will be with bleak
and it gave me the change.

Speaker 4 (02:03):
I came right right in the next day and said more,
how'd you let Graf get a rock chain before you?

Speaker 2 (02:08):
Gras Graph been down with rocks Man. Graph was that
that might have been old.

Speaker 1 (02:15):
At the end.

Speaker 5 (02:16):
I got there right at the end, right at the end,
like right before Jay and Dame actually broke off.

Speaker 1 (02:21):
I mean like literally like the week of the breakup. Well,
who signed you? Was it?

Speaker 2 (02:25):
Dame?

Speaker 1 (02:25):
Dame brought me there, He brought me and Kanye.

Speaker 4 (02:27):
Yeah, okay, so maybe it wasn't necessarily Cam being vice president.

Speaker 1 (02:32):
Graph was the reason after that.

Speaker 4 (02:35):
Danger signing people not telling J came back from Puerto Rican,
Like all right, Graph.

Speaker 5 (02:39):
Got a whole new roster. Yeah, now Ja Ja was
cool with it. Yeah, j was fucking with it back then.

Speaker 2 (02:44):
But Damon Chaz had a more relationship.

Speaker 5 (02:46):
Yeah, Dame Dame the street guys, Dame was Dame was
tappening with Chad Shout out the bag, Chazz and IM
missing man. But yeah, dam and Chazz did I know,
I think we both made Dame together. But yeah, that's
how it really happened because he actually wanted to do
Chazz's life movie. Yeah, he wanted to do a movie
on Chazz's life. But I know, but a lot of

(03:06):
people wanted to do it. Denzel wanted to do the
shit too. Don Chet or man. People wanted to do
Chazz a story. As a matter of fact, when Denzel
did American Gangster and he chose Frank Lucas's life before
he chose that, he was trying to do Chazz's Chaz story. Jazz,
the story is even crazier than Frank Lucashit fucking retarded.

Speaker 3 (03:24):
I Chazz lived ten thousand lives.

Speaker 2 (03:25):
I'm telling you, He's like the superhero of all gangsters.
And he was such a you know, like because he
had it was I think him and Biggs had the offices,
was right next to each other. At the last one
of the office spaces they had Blackland. I think the
officer was right next door. And every time I used
to see Chazz walking through the hallway, I used to laugh.
I'm like, because obviously I know him and I know

(03:47):
his story, and I'm like, yo, for somebody who has
such a you know, just an interesting real life story
like him. He walked so soft, like I was telling it,
just like you don't even know. You can't even hear
him in the hallway. It's like he just has this
light walk to him. Real humble spirit, real humble soul,

(04:08):
but a very serious and very you know.

Speaker 5 (04:10):
You feel the present he is in the room. You
feel it, Yeah, I feel it. He's like he's quiet,
but it's like deadly as ship.

Speaker 2 (04:16):
Yeah but good god. Yeah.

Speaker 4 (04:19):
With his reputation when he was managing you, do you
think that helped or hurt when it came to like
building politics.

Speaker 1 (04:25):
Or both, just Chazz's reputation both it helped.

Speaker 5 (04:28):
With the right people and it hurt with the Some
people could have been the right people, but maybe they
was the wrong people. Yeah, if you wanted to do
a shady business deal, or you wasn't coming correct or
you have bad intentions, you definitely wasn't bringing that energy
over here.

Speaker 1 (04:42):
It wasn't going to happen, you know what I'm trying
to say.

Speaker 5 (04:43):
So, but then the rep A lot of these guys
are in power soft, you know what I'm saying. So
they were scary and scared of us for even when
they didn't have to be. You know, Chas is cool,
he's not. You can't run the room with just smack
your head.

Speaker 1 (04:58):
You gotta violate. Then you want to get violated. You
know what I'm saying that people doing good business, what
was your intent? Like, why are you nervous?

Speaker 2 (05:04):
Intention?

Speaker 1 (05:05):
To sign.

Speaker 5 (05:05):
So it was kind of like that. So it was
like a double edged sword. But I wouldn't change the thing,
keep it hone it. Yeah, I think the right people
that's supposed to be around me energetically a frequency wise,
they yeah, and whoever was supposed to stay away absolutely
get out of here. That's how that worked out. But
it just took me longer to get here.

Speaker 1 (05:23):
You know what I'm saying. This is what it is.

Speaker 4 (05:25):
Obviously you've known Bleak forever, but how did the situation
come about of what you guys are doing now?

Speaker 5 (05:30):
That ship just happened out of that song. That song
changed a lot for me. And it's crazy because when
people ask about the rock chain, I said, I just
manifested the ship. I made a song called Rockefeller Shane.
And that's really when I clearly understood or worlds or
words are really spells. Whatever you say, it will happen.
You got to say what you want to happen. You
gotta be intentionally about the fuck you say. Because I
told the story about the Rockefellership in that song, made

(05:52):
the song and bomb the shain.

Speaker 1 (05:54):
Popped out of the end, you know what I'm saying.

Speaker 5 (05:55):
So it's like it was just a song at first,
like I heard the beat and I've been thirty eight
special made the beach out to thirty eight.

Speaker 1 (06:02):
I was still to be for mad long, but I
was like, it sounded like an old school whole beat. Well,
I'm gonna go with this ship.

Speaker 5 (06:07):
I just channeled my whole on that, and I went,
I did, like, what what what would Hopes stay on
his beat if he rapped like me? If Hope was granted?
What a he saying on his beat? And that's really
the energy I took to the record. So I just
got on my Rocketfeller shit because it felt like an
old school old record. And then after I laid my person,
I was like, oh no, I got to send this
to the homies. I called Freeway, I called Bleed. I
think I called Beans first, oh, and I don't know

(06:27):
he was I don't remember what happened. He didn't pick
up the phone. So I called the homies and then
I saw after I got after I called free you know,
I called free PD and then I magically saw Bleak.

Speaker 1 (06:37):
That same week. I was like, this can't be real.
I was like, my nigga, I got a record for you.

Speaker 5 (06:41):
He's like worse saying it, and he just he bodied
it was crazy that shit just fell in line.

Speaker 1 (06:44):
Bro.

Speaker 5 (06:44):
It was like the universe is like this was needs
to happen. Yeah, because what the alignment was crazy as
it happened.

Speaker 2 (06:50):
That's a testament to you as a personal graph because,
like I said, you've always been somebody that has been
supportive of anybody that you fuck with and you rock
with you somebody that has always supported always showed up,
pulled up. Yeah. Anybody got a video, Shoot, anybody got
a bat? You see Graph at the battles. You listen,
Nigga Graph is every where. He not gonna miss nothing.

Speaker 5 (07:11):
You know, It's funny people say that now you feel
like I miss anything, like damn all the good I'm like, damn,
I don't even know that I was having it.

Speaker 2 (07:20):
But that's the only reason why you missed it because
you didn't know what was happening. But if you know
something is happening, Graph is gonna be there.

Speaker 5 (07:25):
He gonna pull up the support because I'm actually having
fun with this shit now. Mall this ship is at
like the last decade sucked like hip hop to me.

Speaker 1 (07:33):
Wasn't it the bars?

Speaker 5 (07:34):
What didn't matter in New York for a minute, Like
the niggas that was spending, we weren't making the money,
you know what I'm saying. That's what I mean, Like
by the bars were in style, the radio wasn't importing it.
The the streets alway gonna support the bars, of course,
but it wasn't making the income. So all the niggas
were bars that had talent, broad talent for real that
you really want to hear spit was probably outside trapping

(07:55):
because they're not making no money with wrap in this city.

Speaker 1 (07:58):
You know what I'm saying To say, it just wasn't.

Speaker 5 (08:00):
You weren't getting enough traction to make the kind of
money you need here because radi it wasn't supporting it.
So the industry wasn' support and it wasn't getting the deals,
weren't getting sponsorships. You weren't getting support, period, you know what
I'm saying. So and I was like a decade, I
was like, this shit sucks.

Speaker 3 (08:12):
What year do you think it shifted back in.

Speaker 5 (08:14):
My APay at least when I noticed it around the
time when Grizzella started popping. Okay, that's when I think
people were underground started to feel mainstream, like underground niggas
started to make thousands of dollars. Again, I'm gonna say
so to me that the whole underground is That's why
I'm doing this. It's like, it's just good music, but
it's now, it's trendy. It became cool to us in

(08:35):
the underground around when they started to pop, you know
what I'm saying. So it's interesting that you say Griselda
and Covid because you just had to listen.

Speaker 1 (08:42):
He's no more club.

Speaker 2 (08:43):
Don't talk about it often. If you go back to
twenty twenty and just look at the albums that dropped
that year, crazy, that's one of the best years in
rap I think we had in a long time. But
we got some incredible rap albums in twenty twenty. But
it's interesting you say Griselda because you know when Griselda
started to bubble and really take off. Obviously I was

(09:05):
on to them early, a little earlier. But somebody like
Rock Marcie was doing that and was making that and
had that sound, was making that music long before Griselda.
And you know, Rock has been somebody who has stayed
in his lane love, has spoke to his audience, spoke
to his core and you know, I don't pocket Watch

(09:26):
by any means, but he's doing a lot better than
a lot of artists. That's a fact on major labels.
And you know, Rock is somebody that has stayed true
to his sound, his fan base, who he is. So
to me, you know, I attribute a lot of what
Griselda was able to do for what to what Rock
never swayed away from. Like Rock stayed.

Speaker 5 (09:46):
I think they got the sauce or the business acumen
from what Rock was doing. Absolutely Unfortunately for me, I
think I just missed it. Like I saw what Rock
was doing, but I didn't see what he was doing
as a business man. After I caught on late, I
was late to the party with that shit, Oh that's.

Speaker 1 (10:00):
What the fuck is going on.

Speaker 5 (10:01):
I figured out how those deals instructure of what's going
on in that in this whole world around COVID. That's
when I figured out. I was like, oh shit, the
deals is those record deals are structured differently. It's not
like the same mainstream deals. Like you could be a
Rock Mossy, a Westside Gun, a graph a stoveguard and
make more money than than a nigga that signed platinum.

Speaker 1 (10:21):
You know what I'm saying, way more brand because the.

Speaker 5 (10:23):
Way the deal is the structured, and the way that
and the way the fans purchase music, They still buying, buying,
buying tapes, buying merch. These shows are sold off from
the stage to the fucking door. Other other niggas that
signed that may have radio spends. Ye'll only get in
support when you have a record out. We're hot forever.
You know, we don't need an actual record. Some of
these records, niggas hottest records, they have a fucking hook,
just bars, you know what I'm saying. So it's a

(10:45):
different world, and the business deals are structured to match
that world.

Speaker 1 (10:49):
I just figured that shit out kind of late.

Speaker 4 (10:50):
Yeah, yeah, I mean Griselda showed, even if they weren't
the first to do it, that they had actual, like
valuable consumers that return they're buying the show ticket, they're
buying the shirt, to buying the vinyl, and and they'll
also go explore the other people in this underground world.
Like west Side will even say he's obviously not the
best rapper in Griselda, but look at all the people

(11:11):
he introduced us to in that underground world, right, because
he built this community of people that also want to
go research and find other artists like that. So that's
where I think Griselda really spread. It spread that entire movement,
even people that weren't on griselt You be like, was
he like it was body.

Speaker 3 (11:25):
Signed at Griselta. No, No, they're just just that from that world.

Speaker 5 (11:28):
Like the fans here care about the culture. They care
about every aspect of it. I did two tours with
Benny actually master matter of fact, I'm going overseas with
Benny again right now in August, but going doing Denmark
with him in August, and I got my own situations
in London, but so we torn again, but I did.
I did Europe with him I think last year, and

(11:50):
I went and we taught this country too, you know
what I'm saying, And every show sold out with hip
hop fans, they give a fuck about the culture. I
care about the culture, though I ain't gonna finn. That's
why it's fun for me now, because this this ship
matters in a way that the listeners want to hear.
It matter, and it matters monetarily both sides of the scale.
I was always true to the art, but when it
wasn't making money, I was in the street.

Speaker 1 (12:09):
You know what I'm saying. That wasn't fun. And I
was like, I'm happy to say I bout out of.

Speaker 5 (12:14):
That and I'm just just rap and that shit is
paying to appreciated my family much better.

Speaker 4 (12:18):
I mean, we happen to be in London the same
time Rock was performing.

Speaker 3 (12:21):
I forgot the name of that festival?

Speaker 1 (12:23):
Do you remember what it was?

Speaker 4 (12:24):
Oh, I wouldn't even I'm not gonna guess, but we're
there at same time. So we went to go see
the show, right, I mean, how many people do you
think were under that tent?

Speaker 1 (12:32):
Bro That shit was thousands, right, I.

Speaker 4 (12:34):
Would say three to four thousand to every fucking word
that was coming out of It's crazy. Rocked for a
whole hour, that whole front row did not miss a
single lyric.

Speaker 1 (12:44):
I was like, I love it, damn that.

Speaker 5 (12:46):
And That's the only place so far to date career
ross of me that I've experienced that. Like, when I
do shows overseas, they know every word given to records
that you might not even think is lit like that,
that might even mean you're set. I tried it out
here tonight. Everywhere I'm like, they appreciate the bars. They
appreciate the culture, and I appreciate them for that.

Speaker 2 (13:04):
Why do you think New York radio doesn't support the bars.

Speaker 1 (13:10):
Spitters in New York? Why? It's a fucking great question.

Speaker 5 (13:15):
I don't know why, to be honest, because I still
be trying to get my ship play up there and
it don't work. I've been stop chasing radio because they
don't get it. I don't understand why. And I always
said this. I was like, I understand what I got
to do to keep the lights on, sell commercial space.

Speaker 1 (13:27):
I get it.

Speaker 5 (13:27):
The radio is not designed for music. It is a
business to sell ads. Y're gonna do whatever it takes
to keep people coming. But what the fuck makes you
think that bars don't keep people coming as well?

Speaker 1 (13:37):
You can have ninety percent.

Speaker 5 (13:38):
Of the shit y'all play and still squeeze in. We
gonna play a graph a Sto over all. The fucking
Benny record every now and then once a day is
not gonna kill you, and people will tune in because
they give a fuck about it. We wouldn't be here
shining this way people didn't care about it. So it's
like you missing the whole population, the people that is
not even gonna turn on your fucking station because you're
not playing what we actually want to hear. Everybody don't

(13:59):
want to hear these records twenty four hours a day,
slip in some dope shit. Yeah, I mean it should
be a balance. This is New York for sure.

Speaker 4 (14:07):
I feel like Drew Skid DH ninety seven supports New
York in plays you. Obviously Rosenberg has forever, but I
mean the slot that they put him on to play
the bar shit is like Sunday nights, right that.

Speaker 1 (14:18):
Sunday Nights at midnight?

Speaker 5 (14:19):
Like why but even you should be on in the
middle of the day, Like why we can't get some
balls in the daytime? Like every other song like the
You're gonna lose a bunch of listeners because you're playing
hip hop like you bugging, you blogging.

Speaker 4 (14:29):
I mean, do you think the person that is into
bars is listening to the.

Speaker 1 (14:33):
Radio at this point?

Speaker 2 (14:35):
No, not because the ship, because it's not there.

Speaker 5 (14:39):
But they would if y'all were played. That's what I'm
trying to say. You missing a lost consumer base because
you won't play the ship. They would tune in if
they every once in a while you was playing some
shit that we actually want to hear in New York.
I'm not saying I gotta do this country wide, but
this is New York, though, What the fuck are we doing?

Speaker 4 (14:53):
But to me, that takes a not a radio station,
but a DJ that you trust that will put you
onto something new. Right.

Speaker 1 (14:59):
That's kind of missing.

Speaker 4 (15:00):
And I feel as well, like there's no influencer type
of DJ that I know this person is going to
break a new record I've never heard before. No, And
I mean remember the article that said the podcast fans
are like the most intelligent fan base or whatever. I
think that way about people that are into bars, And
I don't think those people are turning on the radio
or wanted to listen to commercials. They are plugging their

(15:20):
phone up right to their car and don't really give
a fact about listening to the radio to begin with.

Speaker 2 (15:25):
But I attribute, I mean, you know, because I've been
outside for some years. There's a reason why I feel
like the decline in New York rap has happening. I mean,
if you look at these radio stations, the program and
directors are probably not even from New York being like that.

Speaker 3 (15:41):
So he was blaming hebro Man.

Speaker 1 (15:43):
About to say that.

Speaker 2 (15:45):
I'm not I don't want to just put blame on
the he bro, but he was one of the guys
that was programmed directed that wasn't from the city.

Speaker 1 (15:52):
So it's like, you know, I don't.

Speaker 5 (15:53):
Think he understood the culture of the city at the
time when he was beaty. That's my opinion, Okay, but
he did. He did his job, had a job to do,
and he did it. I don't think he understood the
five what was going on outside. And that's no disspect
to him. I said, but you you're not from here,
so that that would explain why you might not understand
what's going on in South Side or in the Bronx,
so in Brooklyn because you probably never even been to
those areas for real, all hung out there, like you

(16:15):
don't know the texture of the city because you're not
from here.

Speaker 2 (16:18):
So it's not But even looking at Summer Jam, it's
the reason they had the downside they go for met
Life Stadium. Some a Jam used to be the concert
that we all looked forward to.

Speaker 4 (16:28):
Yeah, but I mean they also now have to compete
with so many other festivals and they're working off of
local radio budget.

Speaker 3 (16:34):
Like I give them some grace there.

Speaker 5 (16:36):
Nah, I don't think budget I think I'm missing all
the people that we care about.

Speaker 4 (16:43):
Okay, I forgot the line up this year, but last
year's lineup that was the most New York City lineup
I think they've ever done. I don't remember that, and
I'm not defense Hot ninety seven. I just feel for
them now because it's they're competing against iHeartMedia is like
their direct competitor that has prints money on fucking Canal Street.

(17:03):
What can they really do? They can't get met life
right now with how much radio has suffered with AD dollars.

Speaker 5 (17:10):
Like, but so, what change in terms of ad dollars?
I mean it was always HIG ninety seven, It was
always iHeart, So what changed?

Speaker 1 (17:16):
No Hot ninety seven was like MS or something.

Speaker 4 (17:18):
I'm sorry, Power one of five and all that is
the iHeart conglomerate stuff, right, Hot ninety seven is still
like a local radio station.

Speaker 1 (17:24):
So is Power Concerts bigger than than Hot ninety seven concerts?

Speaker 4 (17:28):
I mean, I think Powerouse probably has yeah better they are, yeah,
But then also like I'm sure they they've tried to
reach out to a bunch of artists, but if that
artist is getting a better offer with festivals that are
sponsored by fucking Verizon, Like, no, sorry, Hot ninety seven,
I'm not flying to New York to break even.

Speaker 2 (17:46):
Yeah, so you do.

Speaker 5 (17:47):
The people are saying no to the concerts. That's why
they gainst them, all them? Is that what's happening.

Speaker 4 (17:51):
I just don't think hoy seven can keep up with
how much artists are making based off festivals and their
own tours.

Speaker 1 (17:58):
They can't keep up with that fee.

Speaker 5 (18:00):
So but a lot of artists, in my opinion, will
still support and do the show if they were getting
support at the station.

Speaker 1 (18:06):
That's a point.

Speaker 5 (18:06):
You were playing the ship that we all want to hear.
Niggas gonna show up because they when you when you
are booked on the bill, they play you.

Speaker 1 (18:13):
Yeah.

Speaker 5 (18:14):
So it's like if we know we're going to do
the show and then you have to do it for
dirt sheet, but you're going to get support all year,
you're gonna do the ship.

Speaker 4 (18:21):
Also, I have in that that time you're talking about
word Hot was not supporting New York artists.

Speaker 3 (18:28):
Do we think New York artists were making great music
at that time?

Speaker 5 (18:32):
At that time, some of them were, but also a
lot of dudes felt the need to compromise and try
to get support because they couldn't get supported for what
they were actually making. So when you're when they were staying,
thus you weren't getting support. I've been in the club
with other New York artists and watch the DJ shout
out the out of town the dudes, and you sitting
there feeling like what the fuck we're here, Like we're

(18:52):
from here.

Speaker 1 (18:52):
We're in the club.

Speaker 5 (18:53):
Like if I go to Miami, if I go to Atlanta,
or I'll go to Houston and New York nigga's in
the club. Those DJs are going to make sure you
know where the fuck you at. They're gonna shout out
there artists, they're gonna big them up. This is Houston,
this is my You're gonna know where you're at. They're
gonna feel the energy and they're gonna make sure of that.
I feel like we lost the identity during that time,
like we were only supporting out of town. It's only

(19:16):
excited to break records that were popping in other towns.
Why the fuck do you think those records are popping
in other towns because the DJs and the people looke
the ship, so you know about the record they running
and yalluld play it because somebody, another DJ broke it
in his town. You would do the same thing in
your town, though. You could break a record that they
get excited about playing somewhere else. But we would do that.
We were just running to whatever was shaking and not

(19:37):
realizing why it's popping. It's popp because somebody stood on
the ship and made sure it got heard. We lost
that for a minute.

Speaker 2 (19:44):
I believe.

Speaker 5 (19:45):
Actually it's the frustrating, but I'm watching it, like watching
it runner, Yo, check this new record out that's popular
in Atlanta. Why is it popular in Atlanta because the
DJ broke the ship? You could break near here too.

Speaker 4 (19:58):
I mean, do that something that's never brought up during
that time in New York. I don't think it was
a lack of talented rappers. Never, it was a lack
of talented producers.

Speaker 1 (20:07):
We had.

Speaker 4 (20:08):
Our sound was boom bap, which radio had moved on from.
Like they would be every now and then they'd catch
a boom Babby record that would be a single on radio.
But that everything went down to trap shit.

Speaker 1 (20:19):
True.

Speaker 4 (20:20):
If we had five more Harry Frauds, yeah, maybe New
York would be in a different place. We don't have
producers that's that's we have no sound anymore.

Speaker 3 (20:30):
You need to make good songs to go on the radio.
You could rap.

Speaker 1 (20:34):
If you don't have good but you're not getting the support,
then how do you gauge what's good? Like a legacy?
Here's a crazy question. I always asked, what is it hit?
Per se?

Speaker 5 (20:44):
Like if I make a record that sounds like it
could be a hit, but it doesn't get played and
nobody ever hears it, and it does, it does no streams,
is it a hit? But if you played a million times,
sit gonna blow the fuck up? Like the songs that
blow up get supported if they didn't get supported, like
the like the records that we are trying to push
that's not brunet supported in that decade, would it still

(21:05):
be a hit you support even know if the record
works or not. You know what I'm saying, Because all
of that is just again programming, right with our programming
paring the record. Yeah, Like I'm eventually I'm gonna be like, yeah,
I'm gonna start tapping my foot to this ship.

Speaker 2 (21:17):
I'm gonna know the words.

Speaker 5 (21:19):
So thinking about that, if the records that are getting
programmed don't get programmed, is it still ahead, right, this
ship have zero spins. You would be like, oh, this
record flop, but it's really ahead and can't get supported.
That's what we're going through. So how the fuck do
we even know if the records are good or not.
They don't get a chance to even be tested. You're
just going with the program and playing what you think
is going to work, either because you got paid or whatever.

(21:39):
The reason is the name, the names all of that ship.
But it's like, how do you know what the actual
it is. It's not a hit till it gets programmed.
So if we have all these records here that could
be dope, maybe they're dope, maybe they not, who knows,
they don't. We don't have a chance to even know
if they hits or not because we're not getting supported.
So the records that are popping are a part of
the program, right. They're not necessarily better kids, they just promoted.

Speaker 2 (22:01):
So it makes a lot of sense.

Speaker 4 (22:03):
I mean that that even goes back to when everyone
just started focusing on data outside of like A and
r's that's another thing. But also when technology flip for radio,
they can see exactly when someone changes the channel on
their radio, so if they try to standwhich your record
between the hit and just to try something, let's work.
Let's just throw this record in here and see what
it does. Most people that like radio, if they don't

(22:26):
hear something they haven't heard already, they're going to go
to the next station to find something that they've heard already. True,
So there it's people have no idea about the feeling
of music, so they're just looking at the data.

Speaker 1 (22:35):
Oh everyone turned the radio off when you try that, right, Like,
all right, give it a chance, you know. I'm just
saying that.

Speaker 3 (22:42):
But they all have a job to keep, like they
I get it.

Speaker 1 (22:44):
At the end of the month.

Speaker 4 (22:45):
They're not show numbers and they're not going to be
there like fully understanding music. They're there because they understand
data exactly. It's true, we don't play that song, ye,
but radios they look at the title and the drop
off radio is weird?

Speaker 5 (22:59):
Create that to cut you. I'm telling you crazy thing
to support that. What he's saying is hundred percent right.

Speaker 1 (23:03):
I wasn't.

Speaker 5 (23:03):
My man is a data analytist. Data analyst, right, so
I was in a meeting one time. Or they're just
looking at numbers, and I'm even gonna say what artists was
but I remember they were in a meeting just looking
at the numbers, and his numbers were crazy, but the
artist sucked. And I'm in a meeting and everybody looked
at the numbers. Spikes Ift this particular artists, and it
was like, look at these numbers, let's sign. The didn't go

(23:24):
with it. Somebody in the room says, did you hear
what the music sound like? They laughed, like, well, give
us a fuck what it sounds like? Look at these numbers.

Speaker 1 (23:32):
But he's right.

Speaker 5 (23:32):
It was never about the sound. It was never about
what's actually dope, because the culture doesn't really matter when
you're looking at numbers. And he's right, it's always only
he's about numbers. They laughed. When somebody said did you
hear the record? They were like, hit the record for
what sign? That shit put it out? It was trash.
I ain't gonna say what it was, but we all tried.
They're popular now, but it was trash. I was like, oh,

(23:53):
here we go. I got them numbers though, dog.

Speaker 1 (23:56):
Yeah, but I get it.

Speaker 2 (23:57):
I get it. This is why I don't because I
sometimes I find myself like, let me just hear what
radio is doing.

Speaker 3 (24:02):
I didn't know too, and.

Speaker 2 (24:04):
You're listening it's the same eight non artists in the hour, right.
If it's not your record, you're featured on the record
of artists that's part of the eight non artists that
they play in the hour. So I'm like, Yo, damn
this record. Damn, I don't want to I'm tired of
hearing this record. Let me turn to another station. Turn
to the other station, then read the record that just
went off right on the station I just turned from.

(24:26):
I'm like, yo, bro, what is this game? That's the game, bro,
that is being played, Like, there's way more music than
these fourteen records you're playing in the hour.

Speaker 5 (24:34):
Right, But it's the programming they got to go with
the numbers, and who got the paper? Who's paying to
play those slots already paid for? It's just benness. But
who's to say another record wouldn't work in that slot.
I can guarantee you I can show you ten records
that are working in that fucking slot. They're not gonna
get the light of day because the numbers in the
programming ain't there. Yeah, I mean that's the game. I
understand the game. That's why I said I was even
blaming e bro, I understand the game, but I'm saying

(24:55):
that is a part of why New York City was
like eero o would sound yeah, because our playlist matched
the Lands playlist at one time, and I was like,
we're the fuck of the New York artist. We don't
We're not even on the playlist in this city.

Speaker 4 (25:06):
I mean, listen, I feel like that happened far before
we thought the fall of New York, like soul, I
love big Boy in La. Remember that weird time when
he was like syndicated on Hot ninety seven for a second, right,
So we can't there's no one in New York.

Speaker 2 (25:21):
Yeah, it's weird, it's weird.

Speaker 4 (25:24):
Legend great nobody else, Like, right, we have to get
somebody from LA who already has a show.

Speaker 1 (25:31):
When you think you see what I'm saying, How could.

Speaker 3 (25:34):
This was far before the New York drop, But it
was just small signs before that of Like, but with
that mentality, how could the artists like me not feel
away when I'm looking at this shit?

Speaker 5 (25:42):
I'm like, Yo, we we're here putting in pain, Like,
how could I not feel away watching this shit? It's
fucking insane to me, It's insanity. I remember being in
a club one night with a bunch of other artists
that from New York. Who's relevant in this town? And
the DJs were only shouting out out of town.

Speaker 1 (25:56):
The dudes. I went to the booth, like, what the
fuck are you doing? Like we here? Let them niggas
know we here. You bugging, this is New York. We're
here every night, Nigga, this is New York City. Like
they should know they in New York. They're not in
their hometown.

Speaker 5 (26:10):
I'm sure they came here expecting the field a vibe
in New York and ain't not they I feel a
day in their hometown, and.

Speaker 1 (26:14):
That's your bugget.

Speaker 2 (26:14):
A lot of them come here wanting to see because
with the New York sound of what they're doing.

Speaker 1 (26:20):
We go to other cities. We want to see what's
going on. If I go to Atlanta on Miami, I
want to see what's shaking in your city. I appreciate
the fact that the town will let me know where
I'm at. I don't feel like, oh, I feel like, yeah,
I'm in Miami, I'm in Atlanta. Y'all should be stunting
and making sure we know where the fuck we're at.
Right I'm appreciating your sound.

Speaker 5 (26:34):
I'm like, oh, her record is popping right there when
something this is zam and I'm I'm not hip to this,
like I have better. I appreciate this shit because this
is not my town. I want to be hip to
what's going on. I wanted to go there and see
what's going on in my time in my town. And
I appreciate the culture in that way. So it's like
to see we were that law. We were lost for
a long time. This is like a decade. I'm like, bro,
this sucks, Like you know what I'm thinking about all

(26:56):
the records, all the artists that popp from New York,
they didn't pop in New York.

Speaker 1 (26:59):
From the friendship is to Nikki, to old people that popped,
our biggest stars I had to leave. They had to
leave New York to get it popping.

Speaker 2 (27:06):
And he started making this whole different type of sound.
Fritz was like, he ain't looked bad.

Speaker 5 (27:10):
Bro, did he have a choice? Na being from here?
He wasn't getting he wasn't getting the support. That's sad.
Our biggest stars to leave New York to get popping
in New York.

Speaker 1 (27:19):
What the fuck? What are we doing to make New
York pay attention. You have to get poppings and wells
and be like, oh, his record is popping the land
New York. The New York wouldn't support him though, So
you want to play because he's from here, but you
want to plan because he's shaking in Atlanta. Now what
the fuck? What the entire fuck is going on here?

Speaker 2 (27:37):
It's crazy?

Speaker 1 (27:38):
Come on, bro.

Speaker 4 (27:38):
Brench didn't go back to speaking of Harry Fraud again,
like back to more of his New York sound, until
after he popped with another sound and he.

Speaker 1 (27:46):
Popped in another state. Yeah, and then New York was, Oh,
let's suppor him now because he's popping in Atlanta. Come on, bro,
y'all could have DoD that right here.

Speaker 2 (27:52):
Yeah.

Speaker 1 (27:52):
I could have broke that record right here.

Speaker 5 (27:54):
But he had to leave and get it shakeing some
wells for you to support him here.

Speaker 1 (27:58):
Come on.

Speaker 2 (27:58):
I always tell a story I was in I was
in since then. Oh yeah, one of the nastiest times
I was in Sin City the night that Future brought
to Tony Montana to New York. Nobody knew the song.
It was just this tall dude with with dreads jumping
up and down. You know how sin City was set up.
He jumping up and down, and me and my boy

(28:20):
were sitting there, was like, this must be his record. No,
we nobody knew this Tony Montana record, but it was catchy.
So we're like, okay, that got to be his record.
So funny how shit works. We leaving Sin City, were
in the car, so we're like, yo, let's go to
the Dyna get something to eat. So we when we
ordered food, we like, let me get that turkey bacon
Tony Month, and like that was the thing the rest

(28:40):
of the night. And I'm like, that's how it works though,
Like you hear record, see a god that's like obviously energetic,
this is his ship. And then now like we're making
a joke, but it's like, Yo, that ship was catchy.
And then like I think maybe a month later, I
think Drake remixed it. I think I think Drake had
a Tony Montana vipes.

Speaker 1 (28:58):
I think so yeah.

Speaker 2 (29:00):
And after that it was out of butt Atlanta artists
and one of the most prominent strip clubs in New
York City in the Bronx brings his record there, DJ
plays his record. Nope, we didn't know this record. First
time I've ever heard that song two months later. I mean,
now that that artist's future.

Speaker 5 (29:19):
I bet you that record was shaking away from first.
We were definitely we were excited to play out of
Tinna's records. Yeah, we weren't excited to play our own niggas.
Though we were excited. He probably came in and was like, yeah,
bring the man, we can't wait to support you.

Speaker 2 (29:31):
Yeah, but you.

Speaker 1 (29:31):
Don't have the energy for your own people here.

Speaker 2 (29:33):
It's nasty.

Speaker 1 (29:34):
What the fuck is nasty?

Speaker 4 (29:35):
I mean outside of just reagion stuff, but bar stuff.
I haven't listened to the radio since the Clips.

Speaker 3 (29:40):
Album came out. But does the Clips album play on radio?

Speaker 2 (29:43):
I haven't listened to radio.

Speaker 1 (29:45):
I think they playing a single.

Speaker 5 (29:46):
They're playing in one with with Kendrick going, and that's
if it's not in rotation, it's definitely a mixture.

Speaker 1 (29:50):
Mix your rotation. Yeah, play that shit is dope. It's culture.

Speaker 2 (29:54):
Yeah, no, that album is.

Speaker 4 (29:55):
And we were talking about that Kendrick thing or it
is like a trumpet's playing when they first.

Speaker 1 (30:00):
I think that was the first single, right, I mean,
and Clips produced by Pharrell.

Speaker 5 (30:05):
It's gonna get some support, It's like, but but it's
dope and it's culture. So I'm saying play that ship
for that reason. But it's the clips in Pharrell, You're
not like Kendrick And.

Speaker 4 (30:16):
I was going to bring up the frail part because
obviously Clips is bars, but right, the separation between everything
on that is.

Speaker 5 (30:24):
For real, that's but that's culture though, even though he's
a hit making ass dude, that's still hip hop culture.

Speaker 1 (30:31):
Absolutely, I'm like, support that.

Speaker 5 (30:33):
Even though it's you're gonna support it anyway, but it's like, yeah,
I'm happy to see that happening.

Speaker 2 (30:37):
What did you think about the album the Clips?

Speaker 5 (30:38):
That sh it was dope. I give it a buck.
I think it's dope. It's sounded like what I expected
it to sound like.

Speaker 1 (30:44):
It's dope.

Speaker 5 (30:44):
They singing about bricks and ship, and it was dope.
That Malice found a way to balance that ship. Yeah,
that was fire. I appreciate it.

Speaker 1 (30:52):
I was like, yo, he he freaked. That is one
of the best versions of the years so far? Which
one POV? Which one is that Malice?

Speaker 3 (31:00):
So I was the only one that made it out free,
Like he.

Speaker 1 (31:02):
Just pretty much goes through that whole his whole last ten.

Speaker 5 (31:05):
Years, jagging that whole ship. Yeah, his verse on fight
was crazy. Yeah, yeah, I was jacking at too. He
had a heat caught a couple of bodies on there.

Speaker 2 (31:12):
I mean this this little little things onlines where people
are saying like he might have outperformed pushed on this word. Yeah,
I've been seeing a few people say that Push.

Speaker 4 (31:20):
But even say back in the day, in the early clips,
Ship like Malice was he earned everything around like it
was always Malice and we always fucked with Push, but Malice.

Speaker 3 (31:31):
I remember being like the one one.

Speaker 2 (31:32):
Yeah.

Speaker 3 (31:33):
Then when Push went solo, it was like, oh ship,
never mind, Push you nice?

Speaker 2 (31:36):
Nice?

Speaker 1 (31:37):
You know it's funny. I always like, that's just my particular.

Speaker 3 (31:40):
I always preferred Push his voice over Mouse.

Speaker 1 (31:42):
Yeah.

Speaker 5 (31:42):
I like, I like what Mattice got bars. Don they
both don't. Yeah, that's just my taste. I just like
the way the nigga. I like the way when they performed.
I liked how Push through his ship. I was like,
I like something right there before he even knew what
it was, like that from the beginning, grinding and all that,
the way he do his ship, I was like, I
just I just resonated more with the way he's delivered it.

Speaker 1 (32:00):
His bars.

Speaker 5 (32:00):
But yeah, I like the whole project whole ship. It's
on my gym rotation. Once you make it to my gym.

Speaker 1 (32:06):
Playlist, that that ship test right right, Yeah, you made
it take to take my shirt off, your shirt off
to the I don't want to know if you take
I don't want to know that.

Speaker 3 (32:22):
You were saying off Mike.

Speaker 4 (32:24):
You feel like some of the people online are lying
about their love for the Clips.

Speaker 2 (32:29):
But we because we've seen it before, Like when a
lot of things online, you know, you have this this
coach online where people wait to see what other people
think first, and then they'll jump in on whatever it
seems to be the more popular, right, even though they
haven't heard the album, they haven't seen the movie, they
haven't watched the show. Like there's a culture of people
that do that with the Clips, with the Clips album

(32:50):
in particular. You know, I like to watch people's reactions
and things that they're saying. But it is funny because
a lot of people that I'm seeing love the album,
which I think the album is dope. Just a year ago,
maybe the same type of sound and bars and music.
You know, a lot of these people were not supporting

(33:13):
and they didn't like it, like, oh no, that's trash.
Nobody want to hear that shit. The Clips stayed true
to their formula. They don't change who they are their
content pretty much. They always gave us high level slick talk,
you know what I'm saying, and they never they didn't
sway away from that on this project at all. So
to see people supporting that now when you know a

(33:33):
lot of artists that you know, talk the way the
Clips talk, have been doing it for years and they
don't support it. There like, nobody want to hear that shit.
I'm just like, but why do y'all support this? But
then guys that have been doing this, maybe not to
this exact level because obviously everybody doesn't have a pharreal
in their back pocket like that, but the content and

(33:56):
the energy and the aesthetic was still that y'all don't
support that. But because y'all see the outpour and support
for the Clips, which they deserve it on this project
now it's like, oh, yeah, nah, this is what we need.
This is culture, this is and I'm like, but it's
dudes that been doing this type of shit that y'all
don't support. That's the only thing that I don't like.

(34:16):
It's like, don't wait for somebody to tell you what's dope.

Speaker 1 (34:20):
If you like it, like it, if you don't like it,
you don't like Like you said, some of them are
probably just capping the gas in it.

Speaker 5 (34:25):
Because now the quote unquote underground, which I remember a
place that whever culture, the culture is trendy. It's cool
to say, oh, that's dope, to be attached to anything
that's culture or bars or hip hop. Now it's cool
to do that now. Before it wasn't before I want
to hear that shit, that lyrical mirror.

Speaker 1 (34:44):
I don't want to hear that. Now it's cool to
act like you're down in culture.

Speaker 5 (34:47):
So that's a part of that whole thing I was
talking about earlier, Like it is literally you see even
like pop stars or rich motherfuckers people that's not in
tune at all Russian to be attached to culture at
this point of course, because now it's trendy to be
attached to culture. And what quote unquote saints underground before
is now, in my opinion, more mainstream because the stars

(35:09):
aligned and actual superstars are rushing to be next to
the ship.

Speaker 1 (35:12):
And I'm trying to say it's like the era like
if Child's live. Now you would see.

Speaker 5 (35:15):
The most poppyest pop stars trying to stay next thing
they get to flick. Yeah, that being that kind of
climate like this, Oh yeah, the gangster in real, real
culture get justin debou to flick with chaze of that
type of time right now, that's the culture we in.
But I'm all for it because I'm making more money
and the ship. I'm like, raise this ship, go ahead.

Speaker 2 (35:35):
But God's like you, you've been, you've you You've seen
it up down, and you've seen all typ changes. You've
seen artists come and go. So I'm sure for you
now you're seeing it like okay, like now they're finally
coming around.

Speaker 5 (35:48):
I appreciate it now. I'm like, yeah, y'all should be
listening to this. I should appreciate it. So whatever got
yall here.

Speaker 1 (35:53):
I'm as glad.

Speaker 5 (35:54):
You're welcome, You're in the party. I'm glad, stay for
a while, stay, enjoy yourself, take your shoes off.

Speaker 1 (36:00):
Shell glad you.

Speaker 5 (36:01):
Hear like I'm as glad. I'm as glad as a current.
Now that's what I said now is actually fun. Like
like you said before, it mattered, I'm sure bars mattered before.
Somewhere I just didn't I didn't get to invite to
that the Bars Matter party. Now I see it. I
can feel the difference. I'm like, oh, man, I niggas
give a fuck about this ship. Now I want to
hear this again. I've been at events where DJ would

(36:22):
play some hip hop ship and I hear like people
that you would think are down with this shit, but
like turn nobody like under their voice.

Speaker 1 (36:28):
I'd be like, oh, you're a rapper, sir.

Speaker 5 (36:30):
Yeah yeah, but you would want to hear this ship.
And I'd be like, man, turn that. Nobody want to
hear that. I'm like, really, I want to hear the ship.
I'm still into it.

Speaker 2 (36:41):
What do you feel about because you, somebody else had
your fair ship of bars directed at other artists in
MC's and y'all talk, had your battles and things like that.

Speaker 3 (36:49):
You were shooting at everybody.

Speaker 1 (36:50):
Yeah, no graphic yeah, switch switches on.

Speaker 3 (36:54):
Look where he was aiming anyone that was around.

Speaker 2 (36:57):
You've had your You've had your your fair ship of
those moments. Do you what do you feel about the
whole uh? Join the Lucas skept the US a versus
the UK energy.

Speaker 5 (37:07):
That's I'm glad you asked me that I love what
Joint is doing because he's nice and I don't think
niggas can fuck with him lyrically. Joined that's my nigga too.
Shout out the Joining. Actually my last toes with Joiner.
Shout out to Joiner and my next single guy him
on it to shout out the Joiner. But one, I
want to keep it in perspective. I want the battle

(37:27):
to stay u K. I mean stay Joiner versus Skepta.
This is not US versus UK, and I'm glad we
talked about this because I was actually gonna make a
video about the show on my page and I don't
have to. Joining is a lyrical beast. He's gonna, he's gonna,
he's gonna try to shoot it whoever he's with. He
with the smoke, he could wrap his ass off. And
he's with it, you know what I'm saying. And Skeptic

(37:48):
apparently it's with it too, which is good for the culture.

Speaker 1 (37:51):
I just don't want to hear that UK versus US shit,
because it's not that ship like that started. I don't
know how it actually started. I didn't pay attention all
the way, but I did.

Speaker 5 (37:59):
Somebody told me that that Skepta said he Skepta said
it off sit about the UK versus US, right, Well,
this is my question to him or I don't know if
he realizes that if Skepta does a show in New
York City is going to be sold out New York City.

Speaker 1 (38:11):
Fucks with you, dog? What the fuck are you talking about?

Speaker 2 (38:13):
Yeah, but it wasn't a negative thing.

Speaker 5 (38:15):
It wasn't like, why even introduced that energy when we
fuck with you? Like, it's not like back in the
days when the UK was fighting for the supporter or
respect that they feel they weren't getting. Niggas is representing
the culture. You're spitting bars. We enjoy which niggas are doing. Yeah, welcome,
we look Me and Giggs made a bang on on
thirty eight special album Everybody loves the shit, Like if
Gig does a show in New York it's sold out.

(38:35):
Skeptic comes here, sold out and fucking any of the
top dudes, not even top any anybody that's repping the
culture right come here and do a show.

Speaker 2 (38:42):
Support it.

Speaker 5 (38:43):
We support it. We love what you're doing. What the
fuck are you talking about? Why even introduce the energy
when it doesn't exist. We talked with y'all.

Speaker 2 (38:49):
I think it was just for sports that I did
love what Gigs said, though, I love what Gigs said fetive, like,
you know, no disrespect, but gods like Skepta. If it's
to be a UK US thing, somebody like skeptic, isn't
the one that sceptics more grind right, right. But when
you got guys like Pot of Paper and Ramsey and
Chip and you know, you got guys Jay Hust, guys

(39:11):
that could really you know, really rap, they'll they'll tell
you immediately like yo, we get what we do from
those guys from the US, like we we we watched
that culture, we supported that culture, We've studied it. The
reason we do what we're doing, why we do what
we do is because of those guys from in the US.
So they'll let you know, like we not even don't

(39:32):
and they would rather collab with Nick. Oh absolutely, But
I like it because people from here who may not
know about a lot of those guys that's really dope
in the UK. To me, something like this sets the
stage and the platform for people to just get an
air onto those guys that like, oh shit, they rapping
like that over there, Like yeah, I know that because
you know. I got one of my close friends, International Firk.
He's really tapped in and he puts me on. He

(39:54):
would just send me songs and I'm like, yo, who
is this dude? He like Yo, he's like the j
Cole over there, He's like the So I'm listening to
these dudes. What are different is so I know the
guys that are over there. But Gigs put it in
perspective like, you won't have for lack of better terms,
you won't have a guy that's hiphi make the hyphee
sound trying to battle an MC. It's like, that's not

(40:17):
what it's not even it's a totally different thing. It's
a totally different part of the culture respect to what
they do. But they can't try to set a stage
for that type of battle because that's not the type
of shit that they do. So I thought with Gigs
did the video that Gig shout out to my guy,
my brother, Gigs, I love that you put out a
dope video, just addressing it and just putting it into perspective.
But I did like the energy of you know, skeptic,

(40:39):
like yo, I'll rap like anytime artist does that.

Speaker 5 (40:43):
I'm not mad at the energy at all. That's the
one thing I want to say. I like when niggas
do with the smoke because I was always with smoke
my own funk career. But maybe because I'm a street dude,
I look at it a certain kind of way. When
you talk about hip hop battling in this coast versus
that coast, or this country vers that cult, I always
take us to the street because they can easily go there.
If I look at the bigger picture, because I have to,
because the way I'm moving the bad I think. I

(41:04):
don't think like it's just bars now, because if I
battle you, I'm not the I'm not a good sport nigga.

Speaker 1 (41:12):
I don't know how to play by the rules.

Speaker 5 (41:13):
Sometimes I might you might say the wrong thing to me,
and I know I see a person if I feel
the way, I'm gonna.

Speaker 1 (41:17):
Let you know that you know what I'm saying. I
don't know how to I don't know how to buy
by the rules.

Speaker 5 (41:22):
That's why I never did battle rap on the big
stages because I can't watch you talk on my face crazy.

Speaker 1 (41:26):
I'm just not building for that. I wasn't blessed with that.

Speaker 2 (41:28):
You I didn't Yeah, you're gonna fuck the whole battle.

Speaker 5 (41:32):
With that kind of patience in tolerance. But I just
don't know how to do that. But I commend the
niggas that do. I'm not even questioning against that. I'm
just like, I don't know how to do that. I'm
probably good in my feelings in rocket fucking and yeah,
that's gonna be off off und. I don't know how
to do that. I'm not sure enough. You give me
some time to grow into that.

Speaker 4 (41:48):
Yeah, and some of your back and forth, in some
of your back and forths, did you ever feel that way?

Speaker 5 (41:54):
Always like and when I'm talking ship, I'm always ready
to fight because I don't know how to do it
the other way. So that's why I think this way
when I hear UK, But I'm like, nah, I race that.
It's not UK versus out, because when I go over there,
it's love. It's almost better to collaborate with the as
a cook up. You know what, if somebody called me
out directly, it's gonna be me versus you, nigga.

Speaker 1 (42:13):
It's the same thing.

Speaker 5 (42:13):
When I watched Drake versus Kendrick, I was like, Kendrick
all smart as you by making it Drake versus Calli.
You didn't see that chess move. I was like, I
was trying to like, oh, bro, just a check. You
gotta check that chess move, like I love Cali, But
let me keep this battle right here. Yea, how smart
as you with that one checkmate? He put you versus
Colst instead of you verse another artists and you missed that.

(42:35):
But that's that was a small play. But that was
a checkmate to me. And so you got to watch
those things and keep it in perspective. It was supposed
to be Drake versus Kendrick, it became Drake versus Calli.

Speaker 1 (42:44):
You fucked up and allowed that to happen.

Speaker 5 (42:47):
So I like what Gigs did because Gig is as
an MC is like nahas ain't jumping out there saying
I'm testing it to us. If he was gonna go
at somebody, he's probably gonna call that person out and
go with that person because she could get MESSI And
in my opinion, especially when like I have the Nigga,
I think like this.

Speaker 1 (43:03):
Oh definitely, definitely.

Speaker 3 (43:04):
I think Gigs thinks that way.

Speaker 1 (43:07):
He'd be over here, Gigs play over here. Now, He's
definitely downtown right now, he's thinking about battling the whole state.
Don't collaborating with niggas out there living. Yeah, he basically
live here.

Speaker 5 (43:19):
So it's like that, ain't the mentality that that that
we need to be promoting at this point of our careers.
It should be collaboration, should be torn because a tour
with joining and Skeptic is going to do way more
in the battles than a battle.

Speaker 1 (43:32):
But I'm enjoying the battle. But imatine that.

Speaker 5 (43:34):
They was like, Yo, I want to collaborate with niggas
and you're doing the UK US tour. We're gonna make
more money doing that ship. Yeah, like and connecting. But
I do like that. I'm old with the smoke, so
I'm a fan of that. But keep it like that.
Don't make it US verse Noah in US versus UK,
because we ain't. We ain't mad at you niggas at all.
I get out and I.

Speaker 3 (43:54):
Think it's gonna end with them doing a record.

Speaker 1 (43:56):
Together, because if it does and get to a certain
level disrespect, then it can. It's really like right now, nobody,
but when it stays like that, that's amazing. I have
to learn that skill. I got that ship. I wasn't
born with that. I'm a disrespectful nigga. So I'm like,
I watch how I approach certain situations.

Speaker 4 (44:17):
It's a bar that was directed at you that pitsched
you off the most in your entire career.

Speaker 5 (44:22):
The most of him. Damn, I don't know, y'all want
to know. I don't think I approached anything that pissed
me off that much. Yet I didn't get there because
they would have heard about the fight that happened after.

Speaker 1 (44:31):
I'm not sure enough yet, I'm growing and getting there.

Speaker 2 (44:34):
There was nobody yet, nobody said nothing that you was like, yo,
not it was a coupled, but nothing that got me
mad enough to want to get physical like they kept it.

Speaker 3 (44:43):
Was the one that was the closest.

Speaker 4 (44:46):
To that line or that just was like kind of
pushed you off a little bit, like I ain't.

Speaker 1 (44:51):
Like that one?

Speaker 2 (44:52):
Or looking back, which one did you hear? And you
was like, you ain't like it? But damn, that was
clever though, that was slick.

Speaker 1 (44:59):
It wasn't that man that bothered me on that level,
I swear to God.

Speaker 2 (45:03):
But what was one that was like okay?

Speaker 5 (45:04):
That was that was fly Like when me and Joe
Budden had our tip early in the rap ship I
was I would have definitely got physical at that time,
you know what I'm saying.

Speaker 1 (45:14):
But it didn't go there lyrically. It didn't get disrespectful.

Speaker 5 (45:17):
It was just little jabs here and there, even like
even earlier in my career with me and fifty, it
was never it was never a distance. It was just
I got I got a smart ass mouth. He says,
crazy ship, But neither one of us ever got disrespectful.
That's why we're all friends, you know what I'm saying.
It's like everybody's all cool. It never got to a
level of oh ship, I'm I'm in my room punching
the air like nah.

Speaker 1 (45:36):
It never It never got to those levels with with
nobody for real, which I'm grateful for because.

Speaker 4 (45:44):
I could build with all these niggas fifty in graph
outside looking in, I thought that was like gonna go further.

Speaker 5 (45:51):
It could have. It never got disrespectful, but it wasn't
about me. It was really Fifty had an issue with Chad.
Yeah yeah, he never said and I said a bunch
of small ship with his name in it. But I
never respectful, But it was just liberally like Oka, I
was witty Hebb Be listening like I don't like it,
but I'm not mad because it's not disrespectful. It's just
witty shit, Like I was always saying witty ship with
his name in it, but it was never like a
disrespectful this. You know what I'm trying to sip ho,

(46:15):
It's like it's witty and then it's fifty cross. But
thinking about it, we all know each other personality. You
know when a person is just fucking around and you
know when they being disrespectful. Absolutely, I know my personality
is like I know your personality. We none of us
ever crossed the line that went to the disrespectful part
because I'm a disrespectful nigga. I'm just using your name
in a witty way. You might not like it, but
just still be like, all right, it's cool. He ain't

(46:37):
go there, you.

Speaker 1 (46:37):
Know what I'm saying to say, you still respect.

Speaker 5 (46:39):
The fact that I didn't go there, but I go
there all the time, you know what I'm saying. But
I didn't go there with your name, but I go
there on a regular basis. So that's how I look
at it. If you say it in a way and
it's like all right, I was some rapt shit. Cool,
we'll keep it here. Then it's then you don't feel
no way for real. It doesn't feel like a street
thing because it can. Any of these battles can go street.
Look even Joey Bads and and ravon it stay on

(47:00):
Wax and I was great and it was just beateful
as fuck, but it still didn't go past the rap.
This is that it didn't go like fuck your marble.
It didn't get it didn't get to that level. And
I appreciate that. I like when they can stay on wax.
I'm gonna learn that ship man, learn that ship man.

Speaker 2 (47:16):
Learn that ship learn. You ain't learning it, but I'm
just school.

Speaker 1 (47:20):
I'm a practice man. Just patience is virtue getting it.

Speaker 3 (47:23):
Speaking of fifty uh, we have like this segment.

Speaker 1 (47:27):
Was j D two weeks ago.

Speaker 4 (47:28):
Last week two weeks ago we started like this this
or that type segment we did with JD. And we
want to do the Queen's Edition today with you. Okay,
where you have to you have to decide some things
here one can stay and one has to be going forever.
It was written nas or the War Report components Forever.
One one has to go forever. You can only keep one.

Speaker 5 (47:50):
Now, we can't do that, go the next one. Forever
it was written was was a part of the reason
I even started rapping. NOAs is my favorite rapper ever,
so I'm would have to go with that, just based
on the fact that I wouldn't even be on his
couch without allmatic. And it was written that asked like

(48:11):
when I first it was written, I pulled over my car, like,
what is this ship? I heard the message. I was like,
the fuck is this ship?

Speaker 1 (48:18):
I pulled over.

Speaker 5 (48:19):
I was driving down Jamaica Avenue at night going to
my crib. I pulled over. It was like, this ship
is amazing. So that's the impact that music had on me,
and it made me want to keep to pursue rapping
the real way. I was going to school to be
like a doctor, I'm sure, trying to about my mother proud.
And then I started getting to this hip hop gangster
ship and I was like, all right.

Speaker 2 (48:34):
It was written ruined your life?

Speaker 4 (48:37):
Sorry mom, Well, I guess the answer is a piece
component Norri So.

Speaker 1 (48:42):
We can't now, we can't do that.

Speaker 4 (48:46):
I feel like the war report could get you in
some more trouble than it was written.

Speaker 5 (48:49):
Yeah, but that that's so yeah, yeah, but it's just
it's just that I had an impact on me too,
just not like what NAS did.

Speaker 1 (48:55):
But now we can't we need both of those. Can't
do that.

Speaker 2 (48:57):
Yeah, we definitely need both of those.

Speaker 1 (48:58):
We can't do that. Yeah, these questions take its phone
away fast, moll.

Speaker 4 (49:02):
Swift your next single, and again, keep keep in mind
that time does not really exist in this whole theory
of this or that. All right, this has to be
your next single, Prodigy, keep it thorough or Simon says,
fair match.

Speaker 1 (49:16):
Mm hmm. That's a good one. Damn well.

Speaker 5 (49:19):
See, Prodigy is in my top five, have a top
six prodigies in there. Keep it Throws one of my
favorite records ever, and fucking that fround mind shit is
retarded those your next single, I'm gonna have to go
with a Prodigy, keep it thorough. H that's just I'm
a queen's nigga. That's just that's just your boast. Probably

(49:39):
that's rough, that's rough game.

Speaker 2 (49:43):
But I'll go with keep it throws your next thing.

Speaker 1 (49:46):
That's my that's my favorite. That's one of my favorite records.
I wrapped on a beat ninety billion times. I think
every rapper has probably wrapped on it.

Speaker 5 (49:52):
That's one of my favorite records ever. You so you're
doing this unfair shit, man, I.

Speaker 1 (49:56):
Mean, this man has to be this is Queens, This
man has to be stopped.

Speaker 4 (50:00):
I think I'm gonna go with Simon says though, because
I feel like parah Mant is probably still eating off
sinks with.

Speaker 1 (50:05):
Simon says, it's so commercials doing this, so nuhs taking the.

Speaker 5 (50:10):
Simon said, yeah, yeah, I don't know, but I'm just
going off like I ain't gonna lie.

Speaker 1 (50:15):
Keep it throws one of my favorite records.

Speaker 5 (50:17):
Yeah, it's probably, Simon said, the Top five Alchemists be two.

Speaker 1 (50:22):
Yeah, yeah, it's It's like one of my favorite records ever. Bro.
When I first heard that ship, I was like, my nigger,
what does he be thinking about? What are you smoking?

Speaker 3 (50:30):
You?

Speaker 5 (50:31):
I was so one of my dope hit by moments
I did to throw you off one of my dope
hit by moments, as simple as it sounds. I did
a freestyle on I think it was Hell on Earth
No no, or was it a shook once? One of
them one of them classic mob deep beats. I did
a long freestyle on the ship and I was like, yo,
I called p I was like, I just want you
to make a cameo in the video. I was just

(50:52):
shooting a freestyle dolo. He's like, id bed where you at.
I was in a park in Queen's he pulled up dolo.
It was just me him on a park bench, just
chilling a video. I thought that was the most amazing
ship ever. I was like, it's me and Prodigy on
a park bench in Queens in the hood.

Speaker 1 (51:10):
That a bear or some ship.

Speaker 2 (51:12):
I was like, this is amazing.

Speaker 1 (51:14):
I have a great life.

Speaker 4 (51:15):
Yeah, imagine you just mind your business going to park, play.

Speaker 3 (51:18):
Ball or whatever.

Speaker 1 (51:22):
Bro. It was. I'm like this, I'm just looking at him, like, yo,
you really Yeah he Queens.

Speaker 2 (51:27):
If you was ever blessed to just meet him and
kick it with him, that's that's him all the way.

Speaker 1 (51:31):
I'm telling you.

Speaker 5 (51:32):
He pulled up dolar literally dolo on a park bench
in the hood in Queens, just one camera. Man is
the too dok to even get the right amount of
light in. It's fucking amazing. Life is great.

Speaker 3 (51:46):
Did you read his book?

Speaker 1 (51:47):
Nah, but I need to you read it. Yeah.

Speaker 4 (51:49):
I read it, and I would actually suggest doing the
audiobook because he is it's his voice, So yeah, it just.

Speaker 3 (51:55):
Makes the ship way better.

Speaker 1 (51:56):
But that's fine. Book. I'mnight have to check that out.
It's one of the best ever. That's amazing. I did
not even notice.

Speaker 4 (52:02):
But it's funny bringing up because in the book there's
like a whole chapter of just having like begging Pete
to stop hanging out in the hood like birds stop it,
Like you go there every day we have money. Stop
leaving our cribin Long Island to go to Queens Birds
like bro.

Speaker 5 (52:15):
He pulled, he pulled, I was in the hood, he pulled.
Loves where you are? I told him was that he
pulled up wheat in the hood on a park bench.

Speaker 2 (52:22):
That's park bench with p I was like, that's crazy.

Speaker 1 (52:25):
That was amazing.

Speaker 5 (52:26):
But I mean his whole family's Queen's royalty. Yeah, but
I just I just enjoyed that moment so much. I
was like, Wow, I'm I should be released.

Speaker 3 (52:33):
Yeah bird making an album produced by Havoc or Q.

Speaker 5 (52:37):
Two, So yeah, yeah, yeah, picking my favor again. This
is hard, this is this is this is crazy.

Speaker 1 (52:43):
Ship.

Speaker 5 (52:44):
I gotta go with half because influenced, but Q tip
is gonna give me the bag with TODs Havel though
but for what I became and my influences is gonna
be half for that.

Speaker 4 (52:57):
I had another stipulation of this. They also features rappers
on this joint project.

Speaker 5 (53:02):
Q Tip will take me around the world. This guy's
not fair. He has to be stopped. He has to
be stopped.

Speaker 2 (53:10):
Cut will have you in the day party any visa
and it's like ship have my two though, don't get
a twisted. He might find one and I remember throw
something on you be like.

Speaker 1 (53:20):
Yo, what is the main records we have?

Speaker 5 (53:21):
Have is on the project that I did with with
I released a collaborative project with Benny bs F and
my company team Main Dope Gang. Of course stop calling
art content. Have is on that joint and have his
on the last project can Dropt. He produced a record
on this. I already know what I'm gonn give him half.
It's gonna be great. I never worked with Q Tip before,
but I know I'm probably gonna be on the Coach

(53:42):
of Spain somewhere. He's on these records.

Speaker 3 (53:44):
Yeah, and the album may never come out because Q
Tip is gonna work on the.

Speaker 1 (53:48):
Next thirty years.

Speaker 3 (53:50):
But when it does, have a bounce and sh.

Speaker 5 (53:54):
Yeah, that's hilarious. But based on my influences, is probably
gonna be half.

Speaker 2 (53:57):
I keep it a buck.

Speaker 4 (53:58):
Yeah, word, you can put a verse on DJ Clue
the professional album or who give fifty centers the Future?

Speaker 1 (54:07):
That's a good one too, damn hmmm, what was the question?

Speaker 4 (54:13):
Graft can put a verse on the professional DJ Clue
first actual album or who kid fifty centers the Future?
There's a graph feature on one of them.

Speaker 1 (54:24):
It's gotta be thinking. I would have never thought of them.
Shit like that. Hm uh, ship balls, that's a tough
one too. Professional with the Rockefeller project project, right, Yeah.

Speaker 3 (54:37):
That's just like the thirty times platinum.

Speaker 1 (54:39):
Now I think I might, I might.

Speaker 5 (54:40):
I might just go with that, just so I could
just continue to this Rockefeller ship that got going on.

Speaker 2 (54:44):
Yeah it ties in, Yeah, it just ties in.

Speaker 5 (54:47):
But Okay, that that's that's the whole That's that's my
side of Queens too. That's the whole. Yeah, that shady
Bell all the way to the south side, that's the whole ship.
That's the whole side offans out. Yeah, Jesus.

Speaker 1 (55:00):
Twisted my arm here, buddy.

Speaker 5 (55:03):
But I'll probably go with the Clue because of the
because of what the fun I created Yeah, that's the
only reason. Yeah, the kid is shout out Ore. I
just seen a nigga recently too.

Speaker 4 (55:14):
It's the start of your career. You can sign a
Steve Stout or IRV Gotti.

Speaker 5 (55:19):
Shout out to earth Man recipes. Absolutely, I did three
records of earth in my career. Man shout out to
earth Word. I never worked with Steve Stole before. That's
not ship mm hmm.

Speaker 4 (55:31):
And I mean probably the best brand partnership.

Speaker 1 (55:34):
Yeah, I'm gonna get I'm gonna have all behind me.

Speaker 5 (55:37):
I have PEPSI, I'm gonna have the brand punish is
gonna be out there as we don't bring came word like,
I'm gonna get like this might gonna be sponsored by
like with Steve Stout. Damn, I might have to go
with Steve for the for that ship that I haven't
even tapped into yet career wise. And I never had
an opportunity to work with Steve before I worked my nigga.

(55:58):
That's I worked, So I already know I'm gonna give bangers.
IRVS is amazing. The way I learned a lie from
IRV too, and a little bit of time I worked
then that asked. So I've experienced that, So I'm gonna
go with Steve because I never you.

Speaker 2 (56:11):
Have been doing. Yeah that makes sense.

Speaker 4 (56:13):
Yeah, this is a random question just for the room
in particular. Again, remember time does not exist in this
whole world. Would you rather see fifty cent signed to
death Row in nineteen ninety six? But like twenty five
year old fifty like right when it's.

Speaker 2 (56:27):
Chris By six with pock and all that, Who got.

Speaker 4 (56:31):
Fifty signed to death Row ninety six? Or Nicki signs
to Murder Inc. In two thousand and one?

Speaker 5 (56:38):
Oh shit, now I'll go with the fifty With that one,
Nicki O Murder Inc.

Speaker 3 (56:43):
You got if Nicki minaj and Jah rules to have
some rest.

Speaker 1 (56:47):
Shanty like yo Nicki in O one because they were
making more softer records. She was still doing hard ship then.

Speaker 4 (56:55):
But I mean they were the singles were that way,
but they were still there.

Speaker 1 (57:01):
They were still making harsh too.

Speaker 5 (57:03):
Me dink, But you're putting fifty fifty already came out
of the West Coast ship. He already came out with
that type of energy, to be honest. That's a part
of his legacy too, which he already went with that way,
but less chaos so with him, with him with Pock actually,
like with.

Speaker 2 (57:18):
Pop, Yeah, I don't know what the mentality.

Speaker 1 (57:23):
I don't think we've ever seen packed to the hood.
Yeah cool.

Speaker 3 (57:27):
What I meant was queens all the time with stretched.

Speaker 4 (57:30):
Yeah, Po would have brought fifty to queen you've never
been over.

Speaker 3 (57:40):
I just think the may him. That would imagine fifty
cent and shook.

Speaker 5 (57:44):
That would have been enough. That would have been crazy.
That would have been That'd have been crazy with his
mentality then that, yeah, I would have been. They would
have been the industry and they fucked up Nikki with murder.

Speaker 1 (57:55):
And I never had that thought in my life that
she even had records with them, shocking and all of that. No, right,
she can't wait my life.

Speaker 3 (58:03):
I'm just thinking of Nikki.

Speaker 4 (58:04):
I think that would there'd be a whole different story
to murder. Inc In, did you like, fifty is not
getting murder ink clean out of here that easy if
you have Nikki carrying the flag in the midst of
that entire thing.

Speaker 5 (58:17):
True, But then Nicky would been making different records I'm
trying to talk about, would she trying to think? Yeah,
because doc something you have a shine to you have
job role I'm like, I'm trying to picture in my
head now, I don't know. I can't even I'm thinking
about the records they made and then putting Nicki on it,
and I'm like, I don't know if I wanted to
hear that.

Speaker 1 (58:37):
Yeah, I don't know what you think I could hear.
I could hear fifty in POC though, Oh did definitely
because is the alignment is there? Yeah?

Speaker 2 (58:47):
But I just I think that NICKI would IRV and that.

Speaker 5 (58:50):
Would have been crazy because then nick IRV would have
catered to Nicki, so to be able to create some
shit that I can't even imagine. But I'm just going
off what exists already.

Speaker 2 (58:58):
You talk about the energy with Parking.

Speaker 1 (59:00):
That's what I'm thinking about.

Speaker 5 (59:01):
The energy that they would have brought Pock fifty and
show would have been some other shit and should have
been fucked up.

Speaker 1 (59:05):
Like locked the doors, you know what I mean.

Speaker 5 (59:08):
But I'm trying to think about what sound they would
have created that murder inc with Nikki.

Speaker 1 (59:12):
I don't know, I can't. I guess I can't imagine
it clearly.

Speaker 3 (59:15):
I mean I feel like even a lot of the
young money, it would have been.

Speaker 1 (59:17):
A different sound. It doesn't exist. It would have been different.

Speaker 5 (59:19):
Yeah, it would have been because the Young Money sound
and the Earth sound is different the regularly. But I
don't think because it's should have been a different artist
by now.

Speaker 1 (59:26):
I think would have been something else.

Speaker 4 (59:27):
I don't even think Young Money sounds the same way
without murder Ink though of course it's completely different sounds.
But that A lot of shit that Drake Niggi and
Wayne All did was the proof came from Irving Job
like that true, like you could have hard raps.

Speaker 5 (59:44):
I feel like everybody got that formal, including fifty from
Urban Jo. They invented that shit. Joe was doing the
quick four bar bridges. Job was the first artist i've't
seen that I was doing bridges. In the middle of
his verses like that, I was like, what the fuck
is this? He was doing quick full bar bridges in
the beginning. In the middle he was like he had
vamp outs. It were like actually like R and B records,
but because of him. Yeah, so Nicky would had all
those elements too, Dan, That's a good question, Ship Alls.

Speaker 2 (01:00:08):
And I think I think artists for just for the
art of it. In the music.

Speaker 1 (01:00:11):
I would want to hear Nikki yeah, yeah, I guess
so I would have been signing we can go with
NICKI with that, Yeah, yeah, because I would have been
she would have been. Yeah, it would have been some
whole afic ship that I can't even imagine that. All right,
fuck it, I'll tak Nikki do that.

Speaker 4 (01:00:24):
Mall has had this segment came up with the same night,
same city.

Speaker 1 (01:00:28):
I don't know if you had some of mine.

Speaker 4 (01:00:29):
I have a few written down for your same night,
same city segment. Essentially, this is these shows are happening
the exact same night.

Speaker 3 (01:00:38):
In the exact same city, and you have to choose
which one that you would go to.

Speaker 2 (01:00:41):
For me, no, grab somehow he would make it to both. Somehow,
this guy would be at both for the shows.

Speaker 1 (01:00:49):
He'd be like, Yo, how how.

Speaker 2 (01:00:50):
Is this.

Speaker 1 (01:00:51):
Okay?

Speaker 4 (01:00:52):
Then I'll rework this one to who do you think
is going to have a better show, same night, same city?
All right, Queen's Ridge Reunion show or a south Side
reunion show?

Speaker 1 (01:01:03):
Hold on, man, what's wrong with this guy? What are
we doing? Mal? How are we gonna stop him?

Speaker 2 (01:01:09):
Have a that's tough?

Speaker 1 (01:01:12):
Oh man?

Speaker 2 (01:01:14):
I mean me? My first my knee jerk answer is Queensbridge.

Speaker 5 (01:01:18):
Yeah, right, because you got knas you got that's gonna
be yeah march, Yeah, you're still get Ceenn Like I'm
going still see South south Side show is fifty you
got lost boys, you got onyx onyx Sho.

Speaker 1 (01:01:33):
I'm gonna be there.

Speaker 5 (01:01:34):
Fuck yeah, chea code.

Speaker 1 (01:01:39):
With that because I don'na being that motherfucker leg You
know you would.

Speaker 2 (01:01:42):
Be at both you the way both shows wi start
at nine pm, sharp crafts be at both shows and
performing at both performing. How did he get here? But
I just saw him the South Side? Yeah, but not
me twenty minute drive. I'm gonna do it me being you.

Speaker 3 (01:01:57):
Know which one would you rather do? Security?

Speaker 1 (01:01:59):
Yet? Oh?

Speaker 5 (01:02:01):
Man give me they both leo they both me wold
but sound says that I saw one probably gonna be
will let other thing.

Speaker 2 (01:02:07):
Yeah, queeze Ridz is a little because I feel like
as head of security, I feel like I could get
the nods. I'm like, yo, come on, man, like calm
the fellas down the.

Speaker 1 (01:02:15):
South Side the South Side show. You not getting to
nobody my com.

Speaker 4 (01:02:19):
Forgetting When all of Queen's Ridge went to Central Park
and ruined that notch shut it shut Central Park down.

Speaker 2 (01:02:25):
Yeah, but that's because somebody didn't get the nods first
to be like, yo, fam, come on, talk to the
guys man.

Speaker 1 (01:02:30):
That's a good question though, Uh, I don't have to
be biased to go with the South Side show Man.
That's just me being biased, though, Keep it on it
because I want to see both, and i'ma make it
to both as twenty minute ride. I'm gonna make it
to both. That's a fact. But I'm gonna be biased
on that just because I'm from that. I'm on that.

Speaker 2 (01:02:46):
I think of one they had one earlier, right was
it Trip Cold Quest? Oh, Trip Cold Quest? They from
the north side of that? Because yeah, still the new
same nice, same shity, Trip Cold Quest. Run DMC.

Speaker 1 (01:03:00):
That's classic as fuck. I go run DMC. Yeah yeah,
I might all the way classical, Yeah, go all the
way classical on these niggas.

Speaker 2 (01:03:10):
I don't think I've ever seen.

Speaker 5 (01:03:13):
I never seen anything. I've never seen with them on
the internet.

Speaker 1 (01:03:17):
You've never seen.

Speaker 4 (01:03:18):
I only saw a tribe live when they opened for
the Easier show at the Garden.

Speaker 5 (01:03:22):
I never saw a tribal. I've seen Q Tip Dude performances.
I never I never got the opportunity I've seen.

Speaker 2 (01:03:28):
I've in the clubs he was.

Speaker 5 (01:03:29):
He was DJing like that, him doing you know, I've
seen him in action doing ship, but I never seen
him perform live.

Speaker 1 (01:03:34):
Now. Yeah, they open was just like Internet. That's it.

Speaker 2 (01:03:39):
Yeah that they almost seem like but that real like
Yeah exactly that I've never seen them.

Speaker 1 (01:03:45):
I'm gonna go run on DMC on that one.

Speaker 3 (01:03:47):
Do you think Russell will come back from from Bali Flat?

Speaker 1 (01:03:50):
Yeah? No with a mask on? Oh no, he might.
I can see him doing a mask on you. I
could see that before the night the night that was
Russy's eyes. No, it can't be.

Speaker 2 (01:04:05):
That is crazy that that's what life is coming to.

Speaker 3 (01:04:07):
When was the last time you think Rick talked to
to Russell?

Speaker 4 (01:04:12):
I feel like Rick is soona Frobly has no idea
that any of that controversy has happening.

Speaker 5 (01:04:16):
They real friends, though, I would say, would think they
stay in touch. Yeah, dudes, I haven't met Rick, but
I think they stayed. I would think they stay in touch.

Speaker 2 (01:04:24):
I think so. I think I'm like they still they
still speak for sure.

Speaker 5 (01:04:27):
I don't know, man, Yeah, because that controversy ain't not
gonna fact you if you if you his real friend,
you don't talk about that ship.

Speaker 1 (01:04:35):
Listen, man, Rick is not talking about You don't think so, y'all?

Speaker 4 (01:04:41):
Fucking I think so not maybe not Rick was even
talking to him before all that ship, bro.

Speaker 2 (01:04:46):
Well not not every day. But I think that they
still have a relationship.

Speaker 5 (01:04:49):
I don't think somebody to guess I would think, so, yeah,
they still speak. I guess I would think, so yeah,
you don't know which what do you think they talk about.

Speaker 2 (01:05:00):
Life?

Speaker 1 (01:05:01):
About about to I'm like, cut my mic off.

Speaker 2 (01:05:06):
Life man talking about life? You know what I mean?

Speaker 1 (01:05:08):
Like? Look forward? How far to fight the Bali.

Speaker 2 (01:05:11):
We took it?

Speaker 1 (01:05:12):
How long was.

Speaker 2 (01:05:14):
We took him off the Yeah, we got death jam
Bali Depth. Jim Bally is on the way.

Speaker 5 (01:05:23):
Death Jamn Bally is hilarious. Niggas is wrapping the yoga studio.

Speaker 2 (01:05:32):
Oh my god.

Speaker 4 (01:05:34):
But before we get out of here, what what what
do you want to plug?

Speaker 3 (01:05:39):
Advertise everything?

Speaker 1 (01:05:40):
Single with Joiner.

Speaker 5 (01:05:41):
Coming, Yes, Single with Joining is after the one I
got to join out right now with Buster It's called Juice.

Speaker 1 (01:05:46):
Shout out the Buster.

Speaker 5 (01:05:46):
We made some high energy legend fucking drill UK sounds
like some UK Jamaican drill. We just invented some ship
that doesn't exist and it's out now, and were shooting
the video Friday. Yeah, I gonna get that. You know
what I'm saying, Bustling my brother Men shout out to
the bus. He's like my buses, Like legit, my big brother, man,
I know buses. I was like seventeen, eighteen years old,

(01:06:07):
man when I first met bus, I didn't know nothing
about the fucking industry, fresh out the hood, and I
started working with him. Actually then men dropped out of
college to told with him and work with him, and
we ended up having a fucking fist fight back then
you were, Yeah, I was like eighteen nineteen years old.
I popped into the studio and like, without telling him,
he was talking to me crazy.

Speaker 1 (01:06:25):
I was like, step outside, fuck it, and he stepped outside.
We got it on. Wait wait wait, oh, so the
quick of a story you really have?

Speaker 2 (01:06:36):
You got mad at something, bust and said, yeah, he
was talking to me because I popped up.

Speaker 1 (01:06:41):
He got mad that it showed up. Oh, you just
popped up at his session.

Speaker 5 (01:06:44):
Yeah, but because I didn't understand the industry rules and
shot fucking eighteen nineteen, I don't know about nine. Yeah,
he said, you can call me whenever I like bad,
so I did that. He didn't pick up. So I
was like, I ain't pick up. I'm just going to
show up. And he was like, what are you doing here?
I was like, well, nigga, you said I could pull up.
He's like yeah, but I didn't pick up. I said,
that's why I showed up. He was like, I didn't
pick up. That means not today. And I didn't understand that.
I'm like, yeah, nigga can't pick up. So because didn't

(01:07:07):
understand the industry ship at all. I'm straight in the hood.
I don't know nothing, abound nothing. He was talking to
me away. I didn't like it, and I said fuck
the step outside and he's like all right, and he
went outside and things were left. I swung, he swung.
I tried to stab with a knife for all this
crazy ship.

Speaker 1 (01:07:24):
It was crazy.

Speaker 3 (01:07:25):
Wait elements.

Speaker 1 (01:07:27):
He broke a bottle.

Speaker 2 (01:07:29):
He broke about Bust the rocks.

Speaker 1 (01:07:32):
He broke a bottle. It's available, man.

Speaker 2 (01:07:37):
Yo, he said, yeah, that bust the song available.

Speaker 1 (01:07:41):
Now right now? I flock the knife. He broke a
bottle like a Jamaican fucking Wes side story went.

Speaker 3 (01:07:47):
Left Jamaican What she went left?

Speaker 1 (01:07:54):
Yo, grab the most random. I'm telling you, telling you
where was the Big Brother? Now?

Speaker 5 (01:08:00):
Where was the studio at? This was in the city.
This is like, what's it soundtracks? One of the studios.

Speaker 4 (01:08:05):
All right, So y'all walked out to a Manhattan block.
Let's get it, okay, First he came back. This first
he came, he shot. He talked me off the left.
He was talking sensibly to me. I didn't I couldn't
register young and I was young. I couldn't understand he.

Speaker 1 (01:08:20):
Like, yo, he said.

Speaker 5 (01:08:20):
The first thing he said was, you came in here
some street ship. I'm trying to teach you some business ship.
And for some reason that sounded defensive to me.

Speaker 1 (01:08:27):
I was like, you can't teach me ship.

Speaker 2 (01:08:29):
He was like, I was just young.

Speaker 5 (01:08:30):
It was like, nigga, you came here the street ship.
I'm trying to teach you how to be a business man.
You're coming with the wrong energy. And for some reason
I kept taking it like just hearing it wrong. It
just sounded defensive. You can't teach me nothing outside. He
was like, finside with it once for outside, yeah yeah, yeah,
what's square up? Or how did the physical altercation?

Speaker 2 (01:08:53):
It was like a square up?

Speaker 1 (01:08:54):
It was a square up?

Speaker 5 (01:08:55):
Or did somebody just storm something? Id him first and
he swung, then I swung, and then when he.

Speaker 3 (01:09:00):
Did any of those lins, you're going too fast? Did
any of those links the.

Speaker 1 (01:09:03):
First each other? For real?

Speaker 5 (01:09:04):
And but when he swung I kind of like stucked
it and slipped. He thought he caught me. And then
I got mad because he thought he called me. Then
the knights, Yeah, we don't talk about that.

Speaker 2 (01:09:12):
Weren't talk about somebody feel like they caught you and
dropped you.

Speaker 1 (01:09:16):
That's all to this knife. Time to go to the knife.

Speaker 6 (01:09:23):
He's like, you got a knife to the bottle? Was like,
I know how it didn't go left? After that, nobody died,
he said, the songs available. Now we lied, We lived
through this, we made.

Speaker 1 (01:09:34):
It all about it.

Speaker 4 (01:09:35):
So once the bottle was broken and the nights out,
how did this situation diffuse?

Speaker 1 (01:09:39):
I don't remember that part. I just know what nobody
got stabbed, which is great, that's amazing.

Speaker 2 (01:09:43):
Yeah, I'm so glad. I'm so glad graffing buster didn't
stab each other up on the mad block.

Speaker 4 (01:09:49):
It works out, And something tells me Buster called you
the next day and forgot any of that even happened.

Speaker 1 (01:09:54):
No no, no wespe for years after that. Yeah yeah,
because he was like he wanted to sign me and
he was like this niggas a liability had you?

Speaker 2 (01:10:00):
Yeah yeah, but that's how fashion happens.

Speaker 1 (01:10:03):
But I'm learning. See. I went from that to like
realizing certain battles don't need to be in because I
don't got the tough controls her nigga. Yeah yeah, iose
my battles lost.

Speaker 3 (01:10:11):
Now I get it and bust team, you know, we
want to stand graphicing.

Speaker 1 (01:10:15):
He tried to stab it, he told me.

Speaker 5 (01:10:18):
He tells the story and being like this nigga back
to the knight for me, Like, nigga, you broke a
bottle too, Yeah, he broke a bottle after it's not
got a staff, I put out a knife.

Speaker 1 (01:10:25):
He was like, oh, ship that nigga ran for.

Speaker 2 (01:10:30):
Trying to stab me back, and only Buster could break
a bottle perfectly and perfect amount of spike.

Speaker 1 (01:10:36):
You ever tried that?

Speaker 2 (01:10:37):
You ever tried to break up the whole ship break? Like,
I don't have nothing to staff nobody with. How do
you break it so perfectly?

Speaker 1 (01:10:43):
It's like it's a point that got making. It worked out, yo.

Speaker 2 (01:10:45):
That is fucking song available now, song available now, video video,
shoot this Friday.

Speaker 1 (01:10:50):
That's a fact, yo.

Speaker 2 (01:10:51):
Listen man, Life is it was wonderful, Life is beautiful.

Speaker 4 (01:10:54):
I guess we have to ask the same question we
asked everyone that has a relationship with Buster, Where where
do you rate him in the top five dappers of
all time?

Speaker 2 (01:11:01):
A bunch of sh Buster shake your hand, He'll break
your fucking hands. Shoulder elba, yeah, Bust to give you
that that.

Speaker 1 (01:11:09):
Real with the mad diamond ring. Yes, go yeah, you.

Speaker 2 (01:11:13):
Gotta be p paid to shake Buster the hand.

Speaker 1 (01:11:15):
Buster actually in my top five.

Speaker 5 (01:11:17):
I mean I need to have a top seven because
I got a lot of my headens and flows and
delivery from Bust the way I construct records A lot
of ka from Buss. I took a lot of what
I do from the way he constructs records a lot
of it.

Speaker 3 (01:11:27):
Or you said Prodigy was in your top six seven?

Speaker 5 (01:11:32):
The top seven it because it's I got nas, j
Royce and Jade Kiss, Prodigy and Buster, all the niggas.

Speaker 1 (01:11:42):
My top five is the top seven.

Speaker 5 (01:11:44):
That's a very interesting top se word like most niggas
don't got Royce in the top five.

Speaker 1 (01:11:47):
Royce is in my top five. Then Nigga's amazing. I
got Royce and m in my top they both with
all the people influenced what I do. I can see that.

Speaker 5 (01:11:55):
I could kind of see all. Yeah, all the niggas
is put them in a pot on loads. It's like
bam graph here. All their influences is in the music.

Speaker 2 (01:12:04):
I can hear it.

Speaker 1 (01:12:05):
Prodigy.

Speaker 5 (01:12:06):
Prodigy lines are quoted in my songs to the current day.
You could play anyone and be like, oh, that's a
Prodigy line. All in the music current day. Still Prodigy's
just the guy.

Speaker 1 (01:12:14):
He was that guy. Absolutely.

Speaker 4 (01:12:15):
When's last time you talked to Shyla buff right before
we get out there a couple months ago?

Speaker 1 (01:12:19):
Yeah, how's he doing? I don't know.

Speaker 5 (01:12:21):
I love that guy though, ago, I don't know how
I love that guy. He be with the smoke. Yeah,
I thinking about it, he raps, So you get busy.
We know we've seen but we've heard it.

Speaker 2 (01:12:32):
We've heard it.

Speaker 5 (01:12:33):
As a matter of fact, did you hear this song?
I did call thirty six Chambers. I called him to
do the treatment. He wrote a crazy treatment for that record.
I was like, that's how I ran in my mond.
I was like what this video like a Shila Buff
directed it. Yeah, and he wrote a crazy treatment. He
had a crazy he was just too busy to do it.
Nuts nuts, He's nuts. He typed it all out.

Speaker 2 (01:12:53):
We could do this almost Bust Rhymes, and he has
a treatment for a song from Shilah Buff. This niggas
the more random dude, but most necessary dude in city.
I'm telling you, Graph, thank you for coming through my brother.
Long overdue, long overdue, always good to see you, my guy. Juice,
what is it?

Speaker 1 (01:13:13):
Juice? Juice available now?

Speaker 2 (01:13:15):
Preature and Buster Rhymes and bust the chimney that game.

Speaker 4 (01:13:19):
I think I just reenact to that scene for the video,
like you want me to write a treatment.

Speaker 1 (01:13:25):
Just told us the treatment for what the video should be.

Speaker 2 (01:13:28):
You'll step outside, Step outside, could everything that was breaking?

Speaker 1 (01:13:35):
Random Ship Graph