Conversations On Hip Hop & The Top 40 Part II

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
What's Up?

Speaker 2 (00:02):
And welcome back to another episode of No Sealer's Podcast
with your hosts now fuck that with your loaw glasses Malone.

Speaker 1 (00:15):
Now, I don't really know about those sororities.

Speaker 2 (00:17):
And it's funny because Walter, I can't remember Walter last night,
but he works at Apple.

Speaker 1 (00:22):
Walter was breaking down.

Speaker 2 (00:25):
Like that, like like the black college culture, uh, what
do you call it? HBCU culture? And he was so
mad that I didn't quite know. Like He's like, you
never heard of the Divine nine. I'm like, cuz, no,
like that don't have they don't. What's funny is they
do have a West Coast HBCU. King Drew is considered

(00:48):
a West Coast HBCU and watch I just realized that.
So all the HBCUs I knew were like the closest
is like Texas, so but I wasn't up on all
of that. You know, the Greek fraternity for black people,
I didn't really know about that.

Speaker 1 (01:09):
So it's something recent. It's recent for you. Yeah, Like
I mean my niece, my niece DJ Nay went.

Speaker 2 (01:16):
To Howard, right, So I went to visit her at
Howard when I was kind of doing my sabbaticor on
hip hop in twenty fifteen. So I went and did
Howard because my niece is there, Like I'm in DC.

Speaker 1 (01:28):
I went and ran into Black the Go Go or
the dude that got.

Speaker 2 (01:30):
The Go Go band, a couple homies, and I went
to Howard and that was like my first time. But
it wasn't nothing going on. It was dope to see
a bunch of black people at school. That was like,
you know what I mean, like college, you know, I
see I'd have been to SC, I've been to UCLA,
I've been to north Ridge, I've been to cal State
Dominga's you know whatever.

Speaker 1 (01:51):
And I never seen as many brothers and sisters as school,
so now it was.

Speaker 2 (01:55):
I remember walking through the campus and it was like
all brothers and sisters that it was crazy.

Speaker 3 (02:02):
So so my brother, my brother went to when he
frame at the school, he went to Purdue. So so
I went every school went to. I went to the
school that he went to. So I went to I
went out to West Life, Fia to Purdue pur Do
is that.

Speaker 4 (02:13):
A hold to you quite so much?

Speaker 1 (02:14):
From what I No?

Speaker 3 (02:15):
No, no, no, no no no no, not dispins right now,
I'm getting to it so he went there first though, right,
he went there first to play football West Life at
eighty thousand people in the school, you know what I'm saying.
He went from there, went to another school, but he
ended up at Hampton after that though, you know what
I'm saying. Went he went to three schoolsfore he went
to Hampton. He said if he had a trade. He
even went to Hanter from the jump, he went the
Hampton from the jump. He wanted went to no other school.

Speaker 1 (02:36):
You know what I'm saying.

Speaker 3 (02:37):
It just for the fact that just being around the people,
you know what I'm saying, that he was around and
stuff like that. You know what I'm saying, it's being
around his peoples and stuff. He loved it though, or
Black cont high school.

Speaker 2 (02:48):
When I was considering college and high school, I knew
I wanted to be a pharmacist.

Speaker 1 (02:52):
So at that point, the closest program was zo Zusa Pacific.
It's a spotlight thing.

Speaker 2 (03:00):
It's like West Covina like that way, and they had
a really great pharmacy program. So to me, like in
high school, I was really the only target get accepted
into a Zuza Pacific become a pharmacist, work for a pharmacy.
Eventually opened up my own pharmacist. That was my life
trajectory in ninth and tenth grade until I started selling crack.

Speaker 1 (03:22):
Yeah. I always say that though right, you see how
it goes together.

Speaker 3 (03:26):
Though it really catch out they were together. He was
a chemists, she was a chemist with the crat. You
know what I'm saying. You didn't make it to be
a pharmaist when it was a chemistry another way.

Speaker 4 (03:37):
With the other stuff, the other stuff.

Speaker 1 (03:41):
That's chemistry. That chemistry, no chemistry I did. I didn't
feel like that should.

Speaker 2 (03:55):
I started hustling because I was trying to make money,
like I was going to count to college. I got
accepted to a ZUSA Pacific, but my mom went to
prison again. This was the second time. And I didn't
really know about financial aid or all of that stuff.

Speaker 1 (04:11):
So it was like I just knew I didn't have
the money.

Speaker 2 (04:13):
So I was like, Okay, I'm gonna start hustling and
I can know to comp to college. Which is odd
because I kind of start learning about financial aid that
comped to college, but I never put the two and
two together that maybe I could have.

Speaker 1 (04:25):
I would have been way behind now knowing stuff.

Speaker 2 (04:28):
But I started hustling at first, just to find just
the finance going to school. And at that time, a
pharmacist made sixty thousand dollars a year, right, so that's
about one thousand dollars a week, lott thousand and fifty.
But I'm selling crack. Then I start selling Shirman, I'm
making fifteen hundred. I'm like, oh shit, I don't eve
gotta go to school. I'm making enough money already, right

(04:51):
as ignorant as that sound, right, because again this is
seventeen eighteen year old mind.

Speaker 1 (04:55):
You know what I mean. You not even thinking about
prison or you know around.

Speaker 2 (04:59):
I'm like, oh, ain't nowhere else to go, Lex, but up,
I can't do nothing but make no money.

Speaker 1 (05:03):
Right now, I'm making this.

Speaker 2 (05:05):
Out fifteen hundred a week, eighteen hundred a week, and shit,
you know, first I'm watching letters, then I'll be on fries.
Then I'll make assistant manager, and that's when the big
bucks start rolling there. So I already knew like it
got so good. By the time I hit twenty two,
I already had my own spot in Mota Park one
hundred and eighteen.

Speaker 1 (05:24):
That bitch was cracking.

Speaker 2 (05:26):
I was probably me and Pat Dogg was breaking up
probably about thirty thousand between us paying a staff of
people that's hustling, you know what I mean. So it's
trending enough. I'm feel to be you know. We Finla
hit millions of dollars and I got my homeboy, got
us in trouble. He tried to set us up because

(05:49):
I wouldn't let him hurt another one of my homeboys.
He wanted to murder another one of my homeboys, and
I wouldn't kind of let it happen.

Speaker 1 (05:56):
So instead of him, I guess trying to take my life.

Speaker 2 (06:00):
He was like, I'm gonna get this nigga put in prison,
or I'm gonna get this nigga put in jail.

Speaker 1 (06:04):
Then I'm gonna go get this nigga when he ain't around.

Speaker 2 (06:06):
And that's kind of been like the the just of
my life, being like a voice of reason in chaotic situations.

Speaker 1 (06:15):
So like even in the middle of a gang and
gang banging, I was always a reasonable voice where it
was like so like this homeboy, specifically rest in peace.
His name was Dion. We caught him crazy Cubs and
he was a twin. He was like a real homicidal maniac.

Speaker 2 (06:34):
Like the real thing, not like a rider, because you know,
like it's difference though less like he not like a
he rather enjoyed it. Yeah, you know what I'm saying,
Like he was not like the average homie who you know,
they did their thing to defend the neighborhood, to try
to strike fear so they don't have to keep going
like he got off, you know what I mean, really

(06:55):
murdering people.

Speaker 1 (06:56):
That Like he was the real deal, and he was
like I remember two him when he came home from jail.

Speaker 2 (07:01):
He had took a trick class and I'm sharing him
in trigonometry. So and it's funny because this nigga, like
I've seen him growing up the whole time, Like he
wasn't quite the most physical, craziest specimen.

Speaker 1 (07:15):
And he did.

Speaker 2 (07:17):
So we didn't hang when we was younger, right, I
only hung with Boto, maybe Mando, a little bit Chocolate,
certain hommies.

Speaker 1 (07:26):
And then I seen them, you know, because we you know,
we're on the science street, and he was cool. But
like when he was in jail, everybody talked about him.

Speaker 2 (07:35):
So now as I'm getting more in the game bang
and I'm more in the streets, participating in fucking up.
His name was different, like you know you had homies
that's riders, and then his name was like different, like
you know what I mean, you knew he was on
some shit. And then another homie free my homeboy Schmurf
went to jail for something he did, like his cousin
because they look alike. So right now to this day,

(07:57):
funny faced keons in jail for something that.

Speaker 1 (07:59):
His cousin and did.

Speaker 3 (08:01):
Wow, right now, like he's doing life in funny face,
big smart, funny face key whatever.

Speaker 1 (08:07):
He's a solid home he's a good dude. Like he
told me wrong.

Speaker 2 (08:11):
He push his line, but he like a real, you know,
good homie, Like he's a reputable man, like he ain't
a horrible person. He got in trouble for his own case,
but he would have already been home. But he's in
jail for what this person did because they look at
like his cousins, and the people fingered him, and so

(08:31):
he goes to jail and he gets for the rest
of his life. Right now to this day, still in jail,
and his cousin come home crazy Cuz, and everybody talking
about how cold of against to this nigga was, And
I'm like shit. Now, at that time I had hit
my gang banging peak. So now I'm fighting everything.

Speaker 1 (08:51):
I'm shooting. I'm hustling like it ain't gonna be too much.
You know.

Speaker 2 (08:57):
Fuck August for who he is. Obviously got a really
kind of understand what he was, because I wouldn't.

Speaker 1 (09:01):
Have been thinking like until you're s gonna put that work,
then you put that work. Oh look.

Speaker 3 (09:09):
Pre long bay scaff he's a rider. Look, Jay's a rider.
Psycho RESIPI of rider. All them niggas is riders. Man thoo,
my long boy right now he's a rider. I know riders.
This nigga is like dahmer.

Speaker 1 (09:23):
Can you do?

Speaker 5 (09:25):
Can you explain how when you were tutoring him in trigonometry,
all the word problems were about killing people, Like all
the dependent variables were just just real trigonometry.

Speaker 2 (09:41):
So think about it, like homies really gonna hear it,
like this is real, This is all real. So like
I didn't hear that kind of fear of him that
other homies might have had because I came into my
shit a little later. They was like off the porch
and probably saw him in action. Me I was just like, ship, well,
you ain't no different than the rest of the niggas,
so so I'll punch your fucking head off with whatever.

(10:03):
So he came home, and I didn't treat him like
other homies. I treated him like he was just a homie,
Like we gotta beat you. I had already got to
a fight with both his brothers and punch both his
brothers out, his twin and his older brother, so you
could be the third brother.

Speaker 3 (10:15):
That's how in my mind, I'm thinking, right, there's no
thing this nigga lex.

Speaker 1 (10:20):
Was crazy though.

Speaker 2 (10:21):
He's like a real gay sy. He's the real deal,
you know. I mean he not no gang.

Speaker 3 (10:26):
He not like them gang names tookies and no, he's
like gay Sy dam uh uh, what's the nigga name?

Speaker 1 (10:36):
Like the grim Sleeper grim Sleeper.

Speaker 2 (10:39):
Like he's like the real deal, Like he's a real
homicidal mania. So I'm tutoring this nigga in trigonometry and like,
I don't have nowhere near the proper fear or respect
for him that I should have had. So I just
treated him like he was another homie. But it was
you know, I treat my homies, know we respect each other.

(11:01):
I mean expect my older homies get more respect. Niggas
my age, get the proper respect. But you know, niggas
your age, just yeah, we're.

Speaker 3 (11:08):
Gonna fight it, get it, get it.

Speaker 2 (11:11):
And uh, this nigga so he gets mad, he kills
another one of my friends, my homeboys.

Speaker 3 (11:17):
You know no thing you can why in the neighborhood
straight up kind of like what.

Speaker 1 (11:25):
You heard? How how like just it just happened sometimes.

Speaker 3 (11:30):
Yeah, which just fucked up, you know what I mean?

Speaker 2 (11:34):
And they got into a argument. I tried to break
him up. On long story short, nobody knows he does.

Speaker 1 (11:39):
It right, only us because somebody saw him, became in
told us.

Speaker 2 (11:44):
The person that came and told us, he found out
that the nigga, the homeboy that came in told us
feel me.

Speaker 1 (11:49):
He found out he came.

Speaker 2 (11:50):
And told us he saw you. So now he want
to tie this loose end. So the niggas who saw
him is working in me and my boy baby pat Dog,
which is Can's first cousin. That's how I knew little
dot right, this is first cousin. We like pretty much
best friends at the time. So we got the spot
and the nigga who saw him working for us at

(12:10):
the spot. So he come up to the spot because
at that time niggas from the neighborhod will come around
the corner to the spot.

Speaker 1 (12:16):
It is all good.

Speaker 2 (12:17):
This is the one that's in COOLi old neighborhood, right
in front of that pleasure that's shooting dice and that
started that bullshit les. So this is how kind of
close like it was a time where it was cool.

Speaker 1 (12:26):
To be right there. Then they kind of go crazy.
So he kept.

Speaker 2 (12:30):
Trying to come around there to draw, like, yeah, you
told somebody you saw me do this.

Speaker 1 (12:33):
You need to come put in work with me on
these niggas that nigga's finna kill this nigga, like he said,
because me you need to kill you saw me killing
on He said, you need to go with me to
go put this work on some enemies. So they could
be even or something. No, like what I know, I
know it's just saying.

Speaker 2 (12:51):
Kills you're gonna kill a homie, But he really thought
that that logic, really see, like crazy because I thought
that logic was gonna work.

Speaker 1 (12:58):
And I'm looking at him like you say this life right, Yeah,
I'm like cuz, no, he's not going nowhere work.

Speaker 2 (13:04):
You mean, gee, man, you can't be protecting these old
poor ass niggas because he's working. Got get on, my
nigga is chipping Still not enough strength for this nigga.
Long story short, he did this like he did this
like serial killing where he killed like seven people in
the area.

Speaker 1 (13:19):
Damn, he's like a big thing.

Speaker 2 (13:22):
It's like it was on the news and nobody realized
it was him, right.

Speaker 4 (13:26):
So nobody realized it was him.

Speaker 1 (13:29):
No, nobody wanted to say it was No. Nobody realized
it was like it was like regular people. M he
was just taking posts people.

Speaker 2 (13:38):
No, he was supposed to be robbing them, okay, but
he was killing everybody was robbing.

Speaker 1 (13:43):
Oh wow.

Speaker 6 (13:45):
Right.

Speaker 2 (13:45):
And I remember just like not putting to and two
not even thinking about it because I think he's just
a rider from the neighborhood.

Speaker 1 (13:54):
And one day me and.

Speaker 2 (13:56):
My own boy baby pack go to the spot and
the neighbor shout out to Lucy who lived next door.
She told us like, hey, somebody broke into the house.
We used to pay her to watch, you know what
I mean, for the police whatever. We's like, what's so
we drop around there on the jump out walk in.
We like, damn, everything is here, you know. The gallons
that we left is still The gallons of PCP is

(14:18):
still there, the chopper is still there, the little bit
of ten thousand knowledge is still there.

Speaker 1 (14:23):
So I'm like, damn, what the fuck if they broke in?
What they take? I'll start feeling around and it's a bag.
And I pulled a bag down, like a long, What
the fuck is this? It's a bag? Open a bag?
Why you're the TV on?

Speaker 2 (14:40):
It's like, this is how good God being to me,
you know, like they said church, this is how good
God's been. So I'm looking at the ID. It's IDs.
I'm flashing through the IDs. I look at one ID
and the name come on TV. It's one of the
people that being killed in this situation. So I'm looking

(15:03):
and I'm like, what the fuck? So we take the
bag and leave. We go back around the corner burn
I d's right, it's a bonfire. We got a bonfire
that used to be going on. Corrosives like right where
the niggas stay warmed, chilling.

Speaker 4 (15:14):
That that that that never happened.

Speaker 1 (15:16):
Yeah, I'm about to say I didn't do it. I
don't give never happens whatever.

Speaker 3 (15:24):
Allegedly allegedly.

Speaker 1 (15:28):
So the next day, so the next day.

Speaker 2 (15:32):
So the next day, the homie who he was tripping
on that saw him do the ship feel me the
next day because it's at the spot.

Speaker 1 (15:43):
He got some bullshit going on.

Speaker 2 (15:45):
So the customers come around to the neighborhood and tell us,
hey man, this nigga got some bullshit going on. So
we I'm mad now because I didn't protect you. You
the kind of been going out to me like a mark.
You're not fighting this nigga. This nigga talking crazy, right sho.
I go around the corner. In my mind, I fin

(16:05):
a punch on this nigga, right because I'm like, cuse
you just.

Speaker 1 (16:11):
While you act to scare out for the punch on you.
So I get around the corner.

Speaker 7 (16:14):
This is a dude that you saved. This is the
homey say okay, now you're mad at.

Speaker 2 (16:19):
Him because he fucking up a customer come get us
and say he's doing bunk like bullshit with the business.

Speaker 6 (16:25):
Right.

Speaker 2 (16:25):
So now I'm frustrated, So I go back around the corner.
We're about to get on him.

Speaker 1 (16:30):
We walking in the house.

Speaker 3 (16:32):
I'm walking in first, I turn around and look baby
pat Dog, No baby pat Dog behind me.

Speaker 1 (16:39):
But he was doing something.

Speaker 2 (16:40):
I think he was looking at customer Homie like, man,
we finna beat up to beat your ass.

Speaker 1 (16:45):
And as I look, I see.

Speaker 2 (16:46):
A bunch of masked men come running into the yard,
like suit it up, like you raided.

Speaker 1 (16:54):
I didn't know.

Speaker 3 (16:55):
I just seen mask Min's out of note, so I
snatched baby pat dog in the house men boom slocks,
locked the door, damn, close dooring, My damn.

Speaker 1 (17:04):
They're trying to rob us.

Speaker 2 (17:06):
Are your boom boom boom boom Sheriff Department. I'm like, oh,
that's the people. So now we're getting rid of everything,
right we dine ran to the back.

Speaker 3 (17:15):
We didn't toss the chopping Lucy Yard on the side
window because you can't see.

Speaker 2 (17:18):
You can't see out the side windows. It's two big
gates on the side of the house. It's near a place.
Todd tossed the two guns and Lucy yard boom. Right
now we're getting rid of all the shirn. Now, my
hus gallus of sharn. This is how we hustling. So
we emptied them in the toilet. Feel me running the
water the homie, stupid ass, dumb ass homie.

Speaker 1 (17:36):
Who fucking I was saving?

Speaker 2 (17:38):
He poured the shit in the fucking bathtub, right, I
guess he's trying to pour it in the faucet.

Speaker 1 (17:45):
They go go get a cotton swab and wipe the tub.

Speaker 3 (17:49):
So real story. So I'm like fuck, So's like all right, fuck,
we got everything? All right, I opened the door. So
I opened the door.

Speaker 1 (17:57):
They come in. Let us down. Down, ain't looking this
stupid ass nigga that poured it in the tub.

Speaker 2 (18:04):
So now they think the chargers like manufacturing, They think
were making sure.

Speaker 1 (18:08):
Oh wow, yeah wow in the tub? Right, drag us out?
They take us out?

Speaker 2 (18:14):
Why the crazy nigga who was like the homicidal maybe
he is across the street talking about we be clubbing y'all.
Niggas want to be clubbing this weekend.

Speaker 1 (18:21):
Oh shot, I'm like, like he told or something? Yeah,
like it just what is that what you're saying? Is
that what we're getting to? I don't know what happened,
But the nigga that killed seven motherfuckers is just who
were talking about seven fuckers? They killed thirteen motherfuckers at
this he got like this, this is the dude that

(18:41):
said we clubbing? You want to be clubbing no more?

Speaker 3 (18:45):
He's across the street dragging us out. Now, I don't
quite know why he would be saying that. I think
he just being a funny nigga. And in my mind,
I'm think, as soon as I get off, fucking you up.

Speaker 1 (18:55):
But he was there at that moment.

Speaker 7 (18:56):
It's a quincidence that he was across the street at
that moment when you got raided.

Speaker 1 (19:01):
So just that what you said, you said, that's what
That's what I would assume because I ain't ever got
a chance. So where does this do that? Now? He dead?
Now he died. Somebody killed those neighborhood. He got fucked
up like a bunch of ship. So did you ever
hear anything bad about them after that? No, this is

(19:23):
the problem.

Speaker 2 (19:23):
So they take us to the county and they asking
me questions about these murders. These murders are like a
big thing m They're like they got a name and everything.
I just don't want to kind of turn the people
onto the ship got a name and everything.

Speaker 3 (19:42):
I'm like, why the fuck are you asking me about
some shit who the fucking Like, no, fucking how the
fuck what I know about that ship? And then they
start asking me about my homeboy who died right.

Speaker 1 (19:53):
And the one that this nigga you know killed.

Speaker 2 (19:57):
I'm like, man, I don't know, y'all do yall job,
and y'all just take me to jail, like I'm not
Fineish say right here, we don't got nothing to talk about.
I don't even know what the fuck I'm here. Well,
you here from manufactured people. Why ain't manufacting on piece
of preet? So they take us into the thing right now,
we're all in independent hold, it says, and me and
Baby Pat Dogg.

Speaker 1 (20:14):
Talking, I'm like, what the fuck is going on? Like
why would they read it? He said? Man, did they
ask you about that the murders? I'm like, hell yeah.
And then I start thinking, I said, cut this crazy
nigga did that ship? That was them fucking ideas. And
then it hit me what he was doing.

Speaker 2 (20:32):
He was trying to get me and Baby Pat off
the street so he can have his business. He didn't
you know, maybe he's like you know this to homie,
like we don't have no policying.

Speaker 7 (20:42):
So he tried to get you guys off the street
to kill the other dude? Is that just saying supposed
to be?

Speaker 1 (20:47):
You see? Lex I understand what he's saying.

Speaker 7 (20:49):
Lex I know you're confused and everything, like, so I'm
gonna break I'm gonna break it down for you. Le
what he's saying, Lex.

Speaker 3 (20:59):
I know what I'm getting right now, dude was Drackler
for real, for real, this was the whole story, like.

Speaker 1 (21:07):
Right now, Okay, long story short. I said that to say, like, yeah,
like that's how it really go down. You feel me, like,
and I remember fighting the case, right.

Speaker 2 (21:19):
We we end up getting the DA reject, but it
was like a holiday, so wanted up being there for
like five days, but thinking to myself, as soon as
I get home, I'm fucking him up. Until they really
hit me that like, oh this nigga killed fourteen fifteen people.

Speaker 1 (21:34):
This is difficult, it said, No, this is different. So
now I'm digging all the worst shit.

Speaker 2 (21:40):
But he ended up going into somebody's neighborhood, getting themself
and some ship and getting killed.

Speaker 1 (21:47):
But this is the crazy part.

Speaker 3 (21:48):
So when we come home from the case, right, they
end up finding the list.

Speaker 1 (21:55):
This is the crazy part. This is the crazy part.
A list the niggas he was gonna kill. Listen, I
thought all that this is the crazy part. This is
the crazy boy. He had a list of niggas. He
was gonna kill like an actual list, was you? But
the other dude was crazy was on it for sure?

Speaker 2 (22:17):
No, no, no, the homie that crazy crazy because it's
the homie that that actually I'm talking crazy man that
oh I'm talking about when that seen it that he
said he.

Speaker 1 (22:28):
Was on the list. Some older homies on the list.
It was the niggas on the list.

Speaker 2 (22:33):
I said, this motherfucker that made me look at game
banging different lisks.

Speaker 1 (22:36):
I said, okay, because I thought I'd seen it all.
I was like I seen you know all.

Speaker 2 (22:40):
The ship's John Wayne Gacy from the ship.

Speaker 1 (22:44):
He was like the real deal. So it was. It
was one of them things man where right there? Yeah,
Like I never and I wouldn't even call it evil.
He was just fucked ump. He's evil. What I think
evil was? Was he on drugs or no moral compass?

(23:07):
And how they proceed is evil? He has a moral.

Speaker 2 (23:10):
Compass as all odd as it is. He just don't
have a boundary. He just didn't have a boundary on
life and death.

Speaker 1 (23:16):
Did he smoke? Did he drink? Was he that he was? No?

Speaker 3 (23:25):
It was your favorite customer. It was your best customers
on some wet street wash.

Speaker 1 (23:30):
No, just so I take that niggas gallons.

Speaker 3 (23:32):
Man, I'm a podcast with me and the homies talking
about No he wasn't never that was.

Speaker 1 (23:39):
Don't do that. Don't do that podcast, please please, bro
the greatest ever. Do you hear me in the homest talk.

Speaker 5 (23:45):
Praise to podcast because you can't do this podcast because
it is coming out.

Speaker 4 (23:53):
Spot for this week. Do that podcast.

Speaker 2 (23:55):
No feelings glasses Malone, my brother Peter, Boss and the House.

Speaker 1 (24:00):
No no, no, no, no, no no.

Speaker 4 (24:02):
For this episode.

Speaker 1 (24:03):
I'm Peter Shapiro, Peter Shapiro.

Speaker 2 (24:06):
Oh, I got my big brother King in the house,
my brother track from Queens and especially my brother lets
from Queens up in the house.

Speaker 1 (24:17):
You know, traffical censor everything that you start saying, I'm
watching them. But that's a real story. I got it.
I ain't gonna question what was the first This might
sound really awkward and crazy. What was his first murder?
I want to know what turned him into a psycho

(24:38):
path If you have that cat, cat probably killed the cat?
Nextdo gidi your phone a little volume? Yeah you can
hear lex Is that right there?

Speaker 2 (24:50):
I got I don't I don't know, bro, because when
he was off the porch.

Speaker 3 (24:55):
I was still on the porch. He was off the porch,
probably like thirteen twelve.

Speaker 1 (25:01):
That's Laze in school.

Speaker 2 (25:03):
With ship like you know, we're play in the yard,
and I walked the street to the store. He was
already fucking people around.

Speaker 3 (25:11):
So and we were winding back to that. You started
off being his tutor first though, healing.

Speaker 2 (25:17):
Home from prison. So he came on from jail for
another case right now. Mind you, his cousin is in jail.

Speaker 1 (25:24):
He was tutor him.

Speaker 3 (25:25):
For what he was born in trigonometry for ged.

Speaker 1 (25:32):
I don't know. Is he the community college? Whatever? It was? No,
lie what you say, Pete.

Speaker 5 (25:38):
So, mister Sparrow, you only got to count to five
to get a ged.

Speaker 1 (25:42):
That's what I'm saying that. Hell, but don't don't quote me.
You could have been community college. But I was tutoring
him like he was a solid home, like I fuck
within him. He's a smart motherfucker.

Speaker 7 (25:55):
Though he's doing trigonometry, he's smarting him.

Speaker 1 (26:00):
A lot of we already know glasses were smart. He
already tells.

Speaker 7 (26:04):
Us he was coming out the wounds, you know. Yeah,
he wanted to be a farmist. So we already know
how smart here we go, here we go. Where he
tried to downplay how he smartly is here we go?
Go ahead, down play it, go ahead, down play with
your regular classes in school.

Speaker 8 (26:24):
See down play it point black.

Speaker 2 (26:35):
The point is I didn't know. I didn't, so I
can't tell you the first one. I just remember the
first one I heard about, which is the one his
cousin is in jail for, which is.

Speaker 7 (26:47):
I heard about the situation. But he got away with
the friend killing your friend?

Speaker 1 (26:52):
Though? Is that with his cousin Jim? Remember this is
all in like a two three week period. Three you
have no.

Speaker 2 (27:00):
Time to really do, no investigation, and ain't none of
us gonna help them.

Speaker 7 (27:04):
But they know that this dude killed multiple people. They
know that for sure.

Speaker 1 (27:09):
No, they don't know nothing about it.

Speaker 2 (27:11):
They know the bare minimum they thought we so this
is my opinion, So this could not be all true.

Speaker 1 (27:16):
He could maybe not kill these people he did. Okay, Well,
how do you know that?

Speaker 3 (27:22):
Because he had the ideas, Oh okay, going back to
the Okay, so we kept all he's the ID killer.
He called him the id callections or not listen.

Speaker 1 (27:33):
This was a different time, like a lot of my
early on was real sad.

Speaker 2 (27:37):
If y'all didn't paying attention to it was like I
went through a lot of like trauma. Like it was
like not with not with this, but just realizing how
cold the world could be, like a nigga really could
just be a serial killer, like the real deal. Like
so it was like, yeah, I'm tutoring him a trig,
like I'm fucking when he we building Like it was
a lot of respect, you know what I mean? It

(27:58):
was leve to a degree, right, It was cool come
and find out this motherfucker John Wayne Gacy. Yeah, but
he's still cool though.

Speaker 1 (28:05):
No he's not. Well, he ain't cool with you no more.
Hell no, oh, because he told on you. That's right.

Speaker 2 (28:10):
Well that was part one. Well, he didn't tell on me.
Try to set me up. What if they find them
I d's in there and then they.

Speaker 1 (28:16):
Put that on us. He stuck them in your house
in the trap.

Speaker 3 (28:19):
Yes, okay, so he was trying too, and.

Speaker 1 (28:24):
Then they start asking.

Speaker 2 (28:25):
So in my mind, he had to tell them people
that the people who are doing this is here.

Speaker 7 (28:31):
I see what you're saying, because he put the i
DS in the house, and you know it was him
that did it.

Speaker 1 (28:35):
Yes, I would know, I didn't. You're sure it wasn't crazy? No,
that's crazy crazy. Keep up?

Speaker 7 (28:46):
We got damn names and ship only been one. Yeah,
I haven't named no other name. Baby me crazy. And
then the homie that I was protecting, I didn't even
tell you his Okay, that's why I don't have to
do your protector.

Speaker 1 (29:01):
It's crazys bringing his Yeah, so it's like, no, I
thought to do you was protected his name crazy? That
nigga name is not crazy. So it's like he anyway,
we was cool until that day.

Speaker 2 (29:17):
Well, I mean then when I realized he killed the
hommy was like, okay, we finna have a problem, you
know what I mean? Like this this not You can't
kill homies like this. How did you get up into
the house though? How he broke in? He broke in him?

Speaker 1 (29:30):
I told you. The neighbor next door told us he
broke in. She just say, who gets.

Speaker 9 (29:38):
Yeah, up the strain when I have left in my
brain you can't kill homies.

Speaker 1 (29:43):
You just said that.

Speaker 2 (29:45):
Yes, but but but that don't mean that people don't.

Speaker 1 (29:48):
Some assholes don't push past the boundaries. I mean, you.

Speaker 4 (29:55):
Gotta have a sit down and you gotta get an okay, Like.

Speaker 1 (29:58):
Culturally, yeah, yeah, it do gotta be like that. It
happens though everywhere.

Speaker 5 (30:04):
What happens is culturally, bro, and you were the guy
that had to come to the ask permission.

Speaker 2 (30:12):
Culturally, you don't really like, that's not what you've taught.
You taught not to you know, kill your home boys.

Speaker 1 (30:19):
That's what your brother. But it's always a crazy one.

Speaker 7 (30:22):
You always got a crazy one either crazier own drugs
and they do it.

Speaker 1 (30:27):
It happens, yes, So yeah, that's where we're at. That's
what happened.

Speaker 7 (30:33):
So that's like the half that's where the half filling
McCoys start exactly.

Speaker 1 (30:38):
Happens. Yeah, that's what happens. So I guess the story
is so like amazing, you know what I mean. Yeah,
that's a good story too. It's fourteen breaks in that bag.
He was like, what's like gay? What's the boy name?

(30:59):
He was like gayzy fourteen bricks from that bag right there.

Speaker 3 (31:03):
Okay, So it's like, you know, you you always end
up with these people who, to me, like.

Speaker 2 (31:12):
They don't have it all, like they are above the rules,
like the rules don't apply, Like they don't conduct themselves
with the moral compass of said community.

Speaker 1 (31:25):
But back to the point of this conversation, I was,
I was, we had a dose about it. I don't
know how, but hip hop in the top forty.

Speaker 5 (31:36):
I would like to volunteer one observation that I made
sure our sure we started with HBCUs and black people
in college and we went into the immediately.

Speaker 3 (31:50):
And the name of my platform is ADHD though you
know what I'm saying, that's what that was.

Speaker 5 (31:54):
That was those platform is now called trigonometry.

Speaker 1 (31:58):
It's crazy. Is there was a simple connecting point. I
just don't remember.

Speaker 3 (32:01):
I'm sure that people listening unction.

Speaker 4 (32:06):
And it wasn't connected.

Speaker 1 (32:08):
It connected, but I just don't it was.

Speaker 5 (32:12):
People in college because here's what I was doing. And
then this guy went off A bunch of IDs in
your hand.

Speaker 1 (32:16):
That's what it was. That's what it was. You wanted
Do you want to be as right?

Speaker 4 (32:23):
It was divest what it was.

Speaker 3 (32:26):
Yeah, I was very distracted, which is strange to me though,
which is kind of you.

Speaker 1 (32:31):
It showed your thirst for knowledge.

Speaker 9 (32:34):
You you got into the school you wanted to go to, right,
but you didn't have the funds.

Speaker 1 (32:40):
You can go directly to the streets. It went to the
community college. You really want to do this, bro?

Speaker 9 (32:48):
Yeah, I'm sorry because all you had to do is
walk into the financial aid office and you would have
figured that out.

Speaker 1 (32:54):
You would be here next in the high school. Though. Man,
here's a crazy he's your point. Lex.

Speaker 2 (33:02):
Seven years or six years after I decide I'm going
to be a rapper, and then I go tell my homies, hey,
give me money to get I got this much money,
give me. I think I had twelve thousand dollars left
after all this crazy shit happened, and I knew I
couldn't do this no more because it was just crazy,
Like it just went crazy. And I went to my

(33:23):
homies and got another twenty two thousand dollars.

Speaker 3 (33:26):
I could have no lie, Lex, I could have went
to Moon Main Boo Plug and got the money for college.

Speaker 1 (33:36):
Wow, forgot. But at that time, you know I had
the same Alex. Here's here's the truth.

Speaker 2 (33:43):
I had the same ignorant stigma initially on gang members.
Not only are they my friend, but I had this
stigma like, man, if I canna tell these niggas I
want to go to college, nigga ain't fel to pay
for me to go to that Never crossed my mind
until you actually starved with niggas.

Speaker 1 (34:00):
You didn't been in the fucked up situations.

Speaker 2 (34:02):
And I knew when I wanted to make this album
that was gonna cost me about thirty five thousand that
I could go to then nigget the money.

Speaker 1 (34:10):
So I'm thinking to myself, like, God, damn it, I just.

Speaker 2 (34:12):
Lived the whole seven eight years of bullshit when I
could have had these niggas pay for me to go
to college.

Speaker 1 (34:19):
Now to pay for it happily.

Speaker 2 (34:21):
So shout out to myrow the homies and fucked me
for being a piece of shit and not really believing
that they would infest in my future if I wanted
to go this way, which is crazy because you met
some of my homies peak.

Speaker 3 (34:33):
Now I feel like a dumb ass. I could have
went to tone him like Tone paid for my first
year of school, hit them like you got in the SUSA. Yes,
all right here, No, lie, these niggas was rich.

Speaker 1 (34:48):
Huh learn man, I can't say, man.

Speaker 2 (34:53):
So anyway, I've been thinking a lot about it more
and more. Pete hip is just missing a wild factor
like hip hop used to be a wild factor. It
was such a it was such a fresh thing for
a long time, because remember we just spent time discovering
street urban cultures right when we first when hip hop

(35:16):
first started, it was like damn, these New York dudes
they called each other b't son kick this shit. It
was so much to learn, and I mean for a
long time.

Speaker 1 (35:25):
For a long it.

Speaker 2 (35:26):
Was so much wild factor in New York and the
things that New York was doing, Like it was like,
wait a minute, what is this five percent?

Speaker 1 (35:34):
Or shit, wait a minute.

Speaker 2 (35:35):
They beat you up if you don't know the lessons,
Like it was so much to be galvanized by you,
like holy shit, ll talk yeah nah be.

Speaker 3 (35:44):
You like damn niggas and them niggas had the mouthfits
on and they be just angry, like you know.

Speaker 2 (35:50):
Public Enemy was like, nigga, why do these niggas know
about politics?

Speaker 1 (35:56):
And they was rapping about Polly. It was so many things.

Speaker 2 (35:59):
And then here comes the West Coast and like all
his Crimson bloods, I saw colors. This is different. And
then you watching it and here's Cube and Snoop and
Easy and Dre and us. Look at the low rider
they wear workout fits. Damn they got the work outfits
pressed up.

Speaker 1 (36:15):
Wow. And then here's the South. Right, here's the South.

Speaker 2 (36:20):
This nigga Andre wearing shoulder pass with spikes in them
with no shirt.

Speaker 1 (36:25):
Pants. That was just and that was just him. That
wasn't the South.

Speaker 3 (36:28):
Yeah, that was a Cadillac and it's all and so shit,
here's the ghetto boys, and then here comes to me
and West.

Speaker 1 (36:34):
It's so crazy.

Speaker 3 (36:35):
Niggas with a backpack on somebody. He's a backpack rapper.
And for years it was just such a wild thing.
It was like, wow, even drill the last thing over
the last decade, you be like, wait minute, these niggas
really think they're in the military, but this is a drill.
This is a drill they're doing like while they have opposition,
like they used it all military lingo. These niggas who

(36:58):
are thirteen talk like.

Speaker 2 (37:00):
Call of duty for real, and they live in this
call of duty experience, and hip hop had this wow,
like wow, this is happening right under our nose. And
now everybody's just spoiled with it.

Speaker 1 (37:12):
It's like, yeah, we saw it, what else you got?
And it's nothing new. It's so crazy.

Speaker 2 (37:20):
Like I teach trap all the time with niggas doing
the zesty sturdy where it's like, hey.

Speaker 1 (37:28):
When you why did you send that clip? Why you
hate that word? Because I want to keep you got
to get out of bro. I'm not even opening video.
Like the wild part of it now is like let
me act like I'm gay because people think this is funny.

Speaker 3 (37:46):
And don't get me wrong, like we can't blame them
little kids from New York. They was doing that on
motherfucking and Living Colors. They was doing that on Morton.
They was doing all the shows.

Speaker 1 (37:57):
It was a shit.

Speaker 2 (37:58):
It was remember remember in the Living Color remember the
gay people watching film what they called him something suants
hated it.

Speaker 1 (38:07):
Yeah, yeah, yeah, yeah, but but she won't go just.

Speaker 3 (38:13):
I had the cat daddy out there, don't you had
a cat daddy and all that, But.

Speaker 2 (38:16):
That first off, pants, don't get me started. I'm telling
you I'm not. It's not a New York thing. It's
a people trying to figure out how to be noticed.
It's how do you create wow? Like Lil Kna's ex
is the last Wow, and you know, I think that's

(38:37):
the last.

Speaker 1 (38:40):
Cowboy rapp Wow slightly after him.

Speaker 2 (38:42):
Cowboys cowboy rappers. He knew that that wasn't gonna work.
He tried mother sons, it wasn't gonna work. We was
done with that fast.

Speaker 3 (38:49):
But if he came out acting like this overtly gay male, right,
he got these scenes where he dashing the shower naked
broutinus bunk, but he's just like this overtly gay gay.

Speaker 1 (39:03):
Gay like everything is like, that's the last wow.

Speaker 2 (39:06):
There is no wows hip hop, like nothing is new,
like we be saying some shitty like yep, hit them, Nigga's.

Speaker 5 (39:12):
Here, That's what This is another example of why I
say it's in hospice and why I've paralleled it to
other genres in the same phase, and that like preossification phase.
If you go back and listen to like mid nineteen
eighties like Metallica, like the peak of metal, that music
was phenomenal. It just after that talent dispersion because people

(39:37):
start to more people do it, We're gonna do it
at less peak levels whatever. Now eighteen years later you're
at slip Knot. You can't do a slip Knot album
with the San Francisco Philharmonic Orchestra or whatever the fuck,
because the music is not just just just make it
louder and gungier, and before you know it's just loud
gundy shit. And that's sort of what like that started

(39:59):
happening then with the voice box shit. You know, I'm
talking about the auto tunes and the mumble whatever the
fuck is.

Speaker 1 (40:10):
Let's just make.

Speaker 5 (40:11):
It more violent or more sectionally oriented or more dad
whatever it is. But the quality, like, for example, I
drove across this huge lake that's just north of New
Orleans until like nineteen ninety eight, many fresh big timers
shit musically you don't even need words to that. That
is like musically high level shit. They're not making shit

(40:32):
like that now they're making slipknot.

Speaker 1 (40:34):
Now slipping out of hip hop. Yes, hey, I'm not
mad at that.

Speaker 2 (40:41):
But again as less because technology and as you are
marketed to the mainstream, like I agree, more people want
to get involved, so that means less talented people Like
I always make this argument, and it's not old or young,
it's really people who was in the music.

Speaker 1 (41:00):
And then there's people who just are not right.

Speaker 2 (41:02):
It's like, it's not the artist that's the problem. To me,
Like young boy is not the problem. Young boys not being.

Speaker 5 (41:08):
Produced, sure, but think of also this like hip hop,
aside from all those other things, it's extractive. It takes
a great song, it takes the best thirty seconds of it,
it extracts it, and it makes that and extrapolates it
into its own song for three minutes.

Speaker 1 (41:23):
Then you see, will extract.

Speaker 5 (41:25):
The best thirty seconds out of that. Try to stretch
that out, bill and dilute, distill and dilute, and that's.

Speaker 3 (41:34):
Kind of It's kind of like trying to make gourmet
out of top rummen, not the top rummen.

Speaker 1 (41:38):
My favorite example is like that old movie.

Speaker 5 (41:43):
The Guy from Batman, or they cloning and then they
clone the clone, and then they clone the clone, and
then they clone the clones clone the next thing you know,
like Michael Keaton Clone number five is retarded like it's
it's at that point what you're saying, I feel.

Speaker 2 (42:01):
Like, like I said, back to the point, if we
could figure out ways to put wild wow wow Wow
back in hip hop, we be in the game. And
it's and the problem is it was so second nature
for so long, Like right, it was it was like
it didn't take much when you first seen fifty cent,
like he just had to get shot a few times.

Speaker 1 (42:21):
He smile up the toothpaste back in the bag.

Speaker 4 (42:23):
It's the problem. That's not how too thick.

Speaker 1 (42:25):
I don't I don't think. I don't think. I don't
think it's about the like we don't.

Speaker 2 (42:30):
We're not blessed with the naturalness of it anymore like
we It's not just the natural bill of the boy
at one time naturally like Dre Snoop just had to
be like, oh, you know what, let's go do what
they doing outside.

Speaker 5 (42:41):
It's like any other economy. When something is in a
a in a in an early growth curve, it's easy
to get into it because there's a supply and demand disenfranchisedment.
So as long as you throw any supply into there,
it's gonna get sucked up.

Speaker 1 (42:57):
Now, I think they've hit equilibrium and exceed did that.

Speaker 3 (43:03):
I think that's more of the reason why why we
say a lot of times that the youth is the
one that brings the new and the new, the new
phase of what hip hop is supposed to be.

Speaker 1 (43:12):
Though you know what I'm saying, you can't really respect that,
I think, but I think it starts with the new streets.

Speaker 5 (43:19):
But these people are the ones that's out, the old
people on the streets, the homeless, and no one wants
to hear about that.

Speaker 2 (43:26):
But I think, but I think that's the problem.

Speaker 1 (43:29):
I think hip hop is not even the problems, it's
the truth.

Speaker 2 (43:33):
No, But I think I think what's funny is I
think it's kind of different. I think it's because really
there is no more poverty, Like I think people are
just broke, Like poverty used to be something you be
proud of. When everybody ain't got nothing because don't nobody
got nothing, and nobody acted like they really had something.
It was like, we're gonna do this. You know, it's

(43:55):
like slaves, Like imagine slaves on the plantation.

Speaker 1 (43:58):
You can't imagine this feet, but imag.

Speaker 2 (44:10):
Look what I'm saying is imagine like there was slaves
that was like no, no, no, eat this bullshit.

Speaker 1 (44:16):
See me, I'm gonna do what it takes to give
me a steak.

Speaker 3 (44:18):
Like massacot he didn't just take the greens, you.

Speaker 2 (44:22):
Know, the bullshit vegetables. He just did what it took
to go get salad. He kissed ass love and now
eating salad.

Speaker 1 (44:27):
As steaks versus the pride.

Speaker 3 (44:29):
That's saying, Okay, I'm throwing back here, the tail of
this cow.

Speaker 2 (44:33):
I'm throwing here, take these greens here, all this slop.
Here's the feet from the pigs. I'm gonna keep the hamsteak.

Speaker 1 (44:41):
But you could have the feet.

Speaker 2 (44:42):
You could have this and then you like, you take
that and you find a pride in how you make
it right, and then here you serve it.

Speaker 1 (44:50):
That's where you get soulfu from. I got a question
for you.

Speaker 7 (44:54):
Do you think they tried to take the street out
of hip hop? And with the Kendrick thing in backfire,
so now they're trying to dismiss hip hop as a totality.

Speaker 2 (45:03):
Yes, yes, I think Kanye is the fucking first asshole
they tried to take the street out of here. Kanye
did this bullshit where he was like Steve and Trill
were saying this, Tommy shout out to Steven Trill from
the Gay Cubes podcast ADHD Dope podcast, but they were
saying that he was the first person that was like, Oh,
I guess I'm not black enough because I'm not streaked.

(45:26):
Like that was never me and Trap talk about. That
was never the rhetoric. The niggas who didn't really brag
about me in streets was the blackest niggas, like most
different were the blackest niggas. Public enemy was the blackest,
Like they was like they made a whole skit about them.
And see before I'm black, y'all and I'm black black,
you know what I mean, all of that type.

Speaker 3 (45:47):
Of people ex clon they was the blackest. You didn't
even trip off n Wa being black, it was kind
of second nature. But the people you looked at the
most black, it's like try call quest. They was like
black as days of Space black this nigga shit as.

Speaker 1 (46:05):
Yeah, you know what I'm saying.

Speaker 3 (46:06):
So so I think when Kanye came about, Kanye realized
he had no nothing street as much as shout out
to all his homies that fuck with us that be
trying to lie everything about cuz tell you he not no.

Speaker 1 (46:20):
Level of the street.

Speaker 2 (46:21):
And I think he looked at he seeing hip hop
was very much a thing of the streets possession, and
he realized it was a lot of fans in it
that didn't come up the way the arts came up,
the artists or the cultes came up, and he started
to appeal to them like I heard, like I told you,
I heard Steve Erkele saying that, like, you know, my
character is popular because I was a street Oh nigga.

Speaker 1 (46:42):
You was a nerve.

Speaker 2 (46:44):
That's not to say nothing was wrong being smart, but
that's cool. Like people couldn't even read that. It was
different things. So everybody loved the ergal character. It don't
matter if you was the coolest, niggas would be you
for Halloween. You know what I mean, you have a
value to us.

Speaker 3 (47:00):
But Kanye, to me, his first Timmerament in two thousand
and four, he became this person that was like his
he that was his rhetoric or.

Speaker 2 (47:08):
I'm not I'm not black enough because I'm not street,
and that was like that was never the case, but
in the listener's mind who had grew to love this
street urban culture thing we call hip hop. Remember it's
a lot of those type of fans, so they like, well,
I'm not street either, what they mean, I'm not black.
And he led that revote and it came to a
head when him in fifty six battle with record sales,

(47:32):
when the record labels got fifty to participate and then
he was defeated.

Speaker 1 (47:37):
It was like the streets was defeated.

Speaker 3 (47:39):
And after since we didn't got the surplus and niggas
who hate the streets.

Speaker 1 (47:44):
So I'll say, like my.

Speaker 5 (47:49):
Critique on that a little bit just like the devil's
advocate kind of perspective.

Speaker 1 (47:53):
Of course, you advocate to saving.

Speaker 5 (47:58):
Of Diablo Blanco, Taya also sees trends in advance. So
there's there's two ways to interpret that. There's your way
and there's also if you're you say, wow, Wow is
another word of shock value.

Speaker 1 (48:18):
That is on borrowed.

Speaker 5 (48:19):
Time, because there's a desensitization reality that's universal. So it's
almost like chasing that first high, so to speak, to
relay back to our earlier story.

Speaker 1 (48:30):
Sure, but.

Speaker 5 (48:33):
At some point in time there has to be some
sort of a pivot, some sort of a new road,
because you're you're gonna run out of shock value, and then.

Speaker 2 (48:44):
You would never run out of the wow. I'm gonna
tell you probably the kind of the truth is. That's
why even the people who are supposed to be the
opposite of it start talking like that.

Speaker 1 (48:57):
But that goes back to what's not true.

Speaker 5 (49:01):
Yeah, because that's why fifty and a lot of rappers.
There's two reasons to me why a lot of rappers
like fifty. And I'm not knocking fifty artistically, I'm just saying,
like from his arc that first album was not repeated subsequently.
The success part of it is you have a whole
lifetime to release the first album.

Speaker 1 (49:20):
You got a year to make the second. I think
that's a terible portion of it.

Speaker 5 (49:23):
The other portion is you've told the story once, you're
no longer there or the story is being written now
you're elsewhere, and you're telling the story again and again
and again if you have heard it before and after and.

Speaker 4 (49:34):
Since, so you can't.

Speaker 5 (49:36):
You can't continue to have well factor when you're telling
the same story from further and further and further away
in time.

Speaker 1 (49:42):
That's just reality.

Speaker 3 (49:43):
I think you can know, I think you think. I
think we've seen you can That's what I have pushed
it to jay Z, to jay Z, jay Z, jay Z,
I'm a same one like that, like this right because
what you're saying though, dig this because.

Speaker 1 (50:01):
You're not wrong.

Speaker 2 (50:02):
I'm not totally against it, but the musicality keeps you there.
So like to me, we're fifty cent kind of if
I did have if I could critique a fucking first
balltlet Hall of Fame career, rock and roll future Hall
of Fame inductee, if I could critique his career because
that just sounds ridiculous to critigue somebody that that's high

(50:24):
in the pantheon.

Speaker 1 (50:24):
You know, I mean as far as.

Speaker 4 (50:25):
Artistically, you're not critiquing it.

Speaker 2 (50:27):
Like from that, I know, I'm another saying if it's
fair of me too, I think Fifth didn't have enough
respect for being produced.

Speaker 1 (50:37):
Like there. I remember when I start.

Speaker 2 (50:39):
Kind of being in that epicenter of watching what was happening,
and they start doing this thing where they would send
out beat tapes to all the G unit artists and
they would just they wouldn't put which producer was. They
would just put one, two, three, four, five, and then
they wouldn't know who produced it, and they'd be like
here as symbol your album would beat you like is

(51:00):
who the producer was? Just by numbers, like what you liked.
So now you're asking a bunch of rappers, right, you
asking Bucks Banks Yo sp game. Your game ain't around
at the time, but you asking every G unit artist
to actually have musicality in the art. Now they have
art as writers and they have the experience of culture,

(51:23):
but they don't have the history of musicality like like
it it's still music, like Pete is right, like the
Wild Factor will play out fast.

Speaker 1 (51:32):
But what should grow is the musicality.

Speaker 3 (51:35):
Like with kept jay Z. What kept jay Z growing
was right? The wild factor does happen.

Speaker 2 (51:40):
Right, here's this, here's the here's the vocal artistic version
of Nino Brown.

Speaker 4 (51:45):
Sure, here's somebody.

Speaker 5 (51:48):
He was never pimping after that when the pimp and
trend was going on, and what now with Pamela Anderson.

Speaker 4 (51:51):
And the videos and ship fifty or fifty.

Speaker 2 (51:56):
But but that's not it's not, that's not what makes
it work. What makes it work is the musicality. Right,
it's Timbler.

Speaker 6 (52:02):
Sure, yeah, he had he had great sure, right, remember
his producers group, right, he might have started off to
me doing like a rendition of illmatic to me, I
think they looked at illmatic and.

Speaker 1 (52:19):
Local local huh local, a local sensibility.

Speaker 2 (52:24):
Yeah, give me, make sure you're on your mic, because
you tell your mic up when you talk. The lesson illmatic,
Illmatic became kind of the reference from what I understand
for New York and now when I look at illmatic,
when I look at reasonable doubt, if you look at
how the producer fold was, if you look at how
the record is, it's very similar. So right, So here's

(52:45):
this kind of like like, let's just saying this local
kind of thing happening. Guess what every album he grew
the second album was puff and motherfucking.

Speaker 3 (52:57):
It was Puff Puff Homies from Teddy right, he whatever
he shot he to there.

Speaker 2 (53:04):
Right, because it's right at the big Pass and Mason
started to do his thing. But in ninety eight right
now he gets right, he gets the forty five King,
he gets some guys that really are starting to kind
of get into it. But think as he grows, right,
even the fourth album he goes to Rick Rock, right,

(53:24):
he's growing in musical contribution from producers until he finally
discovers this kind of phenom in his own right that
becomes Kanye West, and it is here you are right,
and he has his real.

Speaker 1 (53:39):
True pinnacle because musicality grows.

Speaker 2 (53:41):
So I agree, Pete, the wild factor definitely can wear off.
But if you what you're supposed to do is grow musically.
So I think with fifty, yes, yeah, you know, But
I think with fifty is he didn't have and I
don't know, I asking, but I don't I could tell

(54:02):
about what he was doing with G Unit. It wasn't
enough respect on producers sure, and every producer was capable,
but yeah, there's there's a step back from that one
guy to everybody else in a lot of cases.

Speaker 5 (54:17):
And I think also getting into that world of defining
the rule by the exception more often than not, if
you were to just look at the bigger aggregate, really
really good producers can get off with multiple artists. Not
a lot of artists can get off with multiple producers.

Speaker 1 (54:39):
Well you know, but but here's here's another part.

Speaker 2 (54:41):
Like Ludacris, Ludacris is another person that grew with producers
right like he.

Speaker 3 (54:48):
Was getting beats. He was getting beats from Kanye West.
You don't even know what was the Kanye West beat?

Speaker 1 (54:54):
Mm hmm.

Speaker 2 (54:56):
Nuta starts the bang of desk. But then he grows
to for real, did he grow? He keeps growing into
bigger and better music producers. So I do agree with you,
Pete that the wild factor is only an entry point.

Speaker 5 (55:11):
And then too, like the top three, four five people
of a quarter century's time frame from the on the
artist side, But.

Speaker 2 (55:20):
I think that's because the artists don't know, like I
didn't know, like right now, my first my very first album,
Personal Experience, My first album had two with four songs,
Maddie Fresh with two songs, Mike City with two songs,
Mike City, who did all these smash heard it all before?
Sunshine Anderson one Woman Man, Carl Thomas out with like

(55:42):
he is Amazing, Right. I got MINDI Mafia on the
first album.

Speaker 1 (55:46):
I got like.

Speaker 3 (55:48):
Warren Campbell with a song why Cleft and Louplay on
the first album.

Speaker 2 (55:52):
I got all this dope ass shit from these really
great producers. And at that time, mac Tien just felt
people didn't want to hear a story, which is just
fucking crazy now that I think about it. In his mind,
he felt people didn't want to hear a story in
hip hop.

Speaker 1 (56:10):
That'sh it crazy.

Speaker 3 (56:11):
I want to cuss all about the story. Story man,
a story.

Speaker 2 (56:16):
Or a dance step, reorganize the album. There's no producers,
it's all a bunch of new people.

Speaker 1 (56:25):
M hm.

Speaker 3 (56:26):
So it's like, trust me, I understand nine out of
ten rappers do not have enough respect for DJ slash producers.

Speaker 1 (56:37):
Nine out of ten.

Speaker 3 (56:38):
So when we're saying happen right, nine out of ten,
that's nine out of it's trapped.

Speaker 1 (56:46):
It's so fucked up, so fucked up.

Speaker 2 (56:49):
I mean listening to niggas talk and I'll be like like,
right now, you know the ship we're doing with two?

Speaker 5 (56:55):
Yeah, look at this? How about hookmakers? How many guys
really like really not the not not not the core group,
but how many guys really respecting Nate and t Pain
and what they could do?

Speaker 2 (57:12):
You know, You're right, they don't get enough respect. They
get some respect, but they don't get enough.

Speaker 5 (57:17):
Like like there's there's a lot of two Pistols and
Shane Sisty's out there who no one knows the fuck
they did, but no, you know they know.

Speaker 1 (57:28):
So but but but I think that that's the problem.

Speaker 2 (57:31):
Right as hip hop has changed, hip hop went and
next you could attest to this, hip hop went from
being a thing driven by the DJ as the semipiece. Right,
here's the DJ, here's his rappers. That's kind of how
I feel.

Speaker 1 (57:46):
I am, you know, I'm I'm DJ morlly Mare and
this is the Juice Crew. I'm saying, like Tim Chason,
I am Molly Mare and this is the you was cool.

Speaker 2 (58:01):
It went from you know, jam Mashter J and Rundy
and see it went from you know a Spinderella and
saw Pepper to rapper who the fuck is they DJ?

Speaker 5 (58:12):
It's always that way. That's what people that really don't get.
I mean, if you really break it down, I'm doctor
Dre and these are my Yeah here is the rappers.

Speaker 1 (58:24):
Dre is in w A. Yeah. Well then so you.

Speaker 3 (58:32):
Took it out the hands of the people who give
a fuck about the music. The most I feel like
there was I was part of that, me and King
of No Look, I remember that transition.

Speaker 1 (58:46):
Where do you feel like like it first happened? Like
that transition.

Speaker 9 (58:51):
When we didn't we didn't care about the DJ, or
when the DJ disappeared the D like the rapper became
more of a star than the D.

Speaker 1 (59:00):
And how about that the face? I think it was
for me it was like Shan mc shan. It was.

Speaker 9 (59:07):
It was ultimagnetic. It was like because who cared about
the DJ? I'm sure they mentioned it every wanted to
hear cool Keith and said, gee with Qui la bab,
who's the DJ?

Speaker 1 (59:18):
Who cares? When they showed such such high skill set
compared to.

Speaker 9 (59:23):
Previous that barbet I had nothing to do with that.
I didn't have nothing to do with that, And so
when I heard this high level thinking something that I
could not.

Speaker 1 (59:38):
I know, even if I gave my fullest effort, I
couldn't do it. And that's this is where I want
to go.

Speaker 9 (59:46):
And I think that the first cats, not forgetting those cats.

Speaker 1 (59:54):
Shan Ollie was huge, Molly's huge, but I felt that
showing I mean his voice, the inflection in his voice,
the clarity, the piercing voice that he had, it sets
something over the bridge. To me. It was a hard,
kicking snare, but this high pitched voice. Where did that

(01:00:16):
come from? Yeah? That's what for me, that's when it started.

Speaker 2 (01:00:20):
And and I think to Pete's point, that kind of
becomes the beginning of the end where because the rapper.
Don't get me wrong, the rapper is the culture. He's
the He's definitely the cultural. You think he's just the
image of.

Speaker 4 (01:00:40):
I don't know the writer.

Speaker 1 (01:00:42):
No, I think I think the DJ and the producer
are the music.

Speaker 3 (01:00:47):
And the.

Speaker 1 (01:00:50):
Ceremony to get that feeling. Are you think the rapper just.

Speaker 3 (01:00:56):
Talk about this the side margument we always have But
like when Curtis Blow said, these are the breaks, I
believe in that because I think everything is built from
a break. So they can make any like Doctor Dre
can make I've watched Doctor d do that with funk.
I watched Doctor Dre do it with disco. I watched

(01:01:17):
Doctor j doing with R and B. I watched Doctor
Dre doing with fucking classical music. Like next episode, the
original break is a classical song.

Speaker 1 (01:01:27):
I watched him rock music. What did he do make
a West Coast sound?

Speaker 2 (01:01:32):
No, he made a fucking dope ass beat, and then
here comes Snoop to write it, and then he makes
it this West Coast record because before that, nobody would
have thought of David mccallums the Edge as a West.

Speaker 1 (01:01:45):
Coast Okay, I see what you're saying.

Speaker 7 (01:01:47):
So the person rapping on it, he gives it the
field season, he flavor.

Speaker 1 (01:01:53):
I see what you're saying. Don't get flat, because other
than that, it's just a break. It's just no I
understand what you're saying. Yeah, makes sense.

Speaker 5 (01:02:01):
That's it's a two part thing when it really like
it's that era and then afterwards when the when the
independent labels, like how would you just define, Like there's
your cash money is and there's like like the big
label like Universal they're sign too, but the second tier
ones when those labels got big time money and you
don't re sign many or.

Speaker 4 (01:02:22):
You let him go.

Speaker 1 (01:02:23):
I agree.

Speaker 5 (01:02:24):
Now you have a difference. It's like the same. It's
like the difference between tactics and strategy. You'll we can
go find a bunch of guys and they can put
out great songs individually. It takes twenty guys. So what
you lack is a sound. You got a bunch of songs,
but you don't have a sound. And that started to
happen when the money came in and start to But.

Speaker 1 (01:02:43):
But that's the end of that's the end of not
only cash money. That's the end of the limit. That's
the end of bad boy.

Speaker 4 (01:02:50):
I heard an example because easy no.

Speaker 3 (01:02:51):
I agree once you pull, but I think it happened it.
I agree with death Row.

Speaker 5 (01:02:56):
You go from d and I like Dash, but Dre
and Dash the same or whoever else was there?

Speaker 1 (01:03:01):
Dad?

Speaker 3 (01:03:02):
For example, DJ Pool DJ Pool is a I mean,
DJ Pool is.

Speaker 2 (01:03:07):
Bigger and deafer. DJ Pool is king t DJ pool
is today is a good day. DJ Pool is phenomenal.

Speaker 1 (01:03:13):
But going from.

Speaker 3 (01:03:14):
Doctor Dre's doggie style to a rush DJ Pool's dog father,
you lose too much with Drake. And that's what I'm
telling trap.

Speaker 2 (01:03:22):
You don't lose a West Coast sal, you lose Doctor
fucking Dre's sound, because remember, like Dazz is doing the
music on Doggie on excuse Me on Doggie Fool on Dogfool,
But guess who's mixing the motherfucker one of the motherfucker
who fuck what you think of him? He's a fifteen
fucking year vet at this point. This motherfucker been making

(01:03:45):
records since eighty three. So then it's ninety fucking four
ninety five, and you got this motherfucker hip hop. The
records had only been around at that point for sixteen years,
and you got a motherfucker been making records thirteen years
of them.

Speaker 3 (01:03:59):
Hell yeah, you feel I have a leg up on
the average motherfucker making records. So even if Daz is
making the beats for dog Food, Doctor Dres mixing this shit.
So I think to me, like the wild factor is missing.
I do feel like there's still enough musical dudes around.
I still believe in the phials. I still right now

(01:04:21):
sound wave is up for a Grammary, I still believe
in it.

Speaker 1 (01:04:24):
Go for producers. I just think hip hop lost the while.

Speaker 4 (01:04:27):
But they're distributed differently.

Speaker 1 (01:04:31):
Like that.

Speaker 4 (01:04:33):
I mean like there's the frills.

Speaker 5 (01:04:35):
They're like conglomerates, either one man conglomerates a sound versus
having a concentrated entity of sound. You talk about the
linkage between you know, hip hop culture and rap music,
that link that bridge is a local, you know, phenom

(01:04:55):
talent that can phonically convey what's happening in that city
in a smaller scale, not a guy who can make
music for any fucking damn where they might be more talented.

Speaker 1 (01:05:08):
But I'm gonna tell you that's why the clips are
up for a Grammy.

Speaker 2 (01:05:14):
That's why the clips did one hundred and twenty thirty
thousand first week, because for real still is for real
now again, I was funny because I was looking at.

Speaker 1 (01:05:23):
You know, tripping off the first clips. But this is
what I'm saying.

Speaker 3 (01:05:26):
But here's a prime example where where to Pharrell does
the first TI record and it's not as successful.

Speaker 2 (01:05:34):
It take him to double back and go fuck with
Toomp in the letter right to get something that resonates.
Twenty four's all those songs, to get these songs that
resonate with the rest of the country.

Speaker 3 (01:05:47):
And ask so no, and I was not to say
I always ask this question. I asked question a couple
of times, do you prefer you prefer an album with
multiple producers?

Speaker 1 (01:05:58):
Do you prefer one album with MC and one producer?

Speaker 2 (01:06:05):
Because I just feel like it's very hard to create
a true continuitous experience.

Speaker 5 (01:06:13):
Do you want like an album with one band or seventeen?

Speaker 3 (01:06:20):
And I think hip hop kind of has. It goes
back to what I was saying even about Fifth and
the G on the program.

Speaker 2 (01:06:26):
How you know they would just lay out these production
tapes for the artists without telling the artists who produced what,
versus having one artist go in like because it was obvious, right,
there was a chemistry between Polo and Buck, Right, there's
a chemistry between Banks and this producer.

Speaker 1 (01:06:46):
There's a chemistry with Yay.

Speaker 2 (01:06:50):
You know, I don't know, but I'm saying like there's chemistry, right,
and then so then you build off that chemistry.

Speaker 1 (01:06:57):
So it's like.

Speaker 3 (01:06:57):
Around around that time, Out probably said play like when
the type beat started, You know what I'm saying, It
was like.

Speaker 1 (01:07:04):
That tight.

Speaker 2 (01:07:07):
That's why when you be talking that old sound ship,
I'm like, that sounded like tight beats when Nigga and
it's fucked up trap.

Speaker 1 (01:07:15):
Is so bad. I hate that. I hate the.

Speaker 3 (01:07:20):
Producer type beat. They be like Larry June type beats.
Larry June don't make no fucking beats. I hate trying
to beat Gray June would wrap off of y'all into
what's the boy name?

Speaker 2 (01:07:30):
You know what I'm talking about? Producer dude? He fuck
with Drake sometime, but he did some product.

Speaker 3 (01:07:37):
No, it's my caller, right, car got so y'all knocking
Bordos sound and then y'all giving.

Speaker 1 (01:07:45):
His sound to Larry June. That's why I'm.

Speaker 3 (01:07:47):
Not having that bullshit. Fucking oh this type of this
a Western bulls ship.

Speaker 1 (01:07:54):
That's the only way you could do it though.

Speaker 3 (01:07:55):
That's the only way you could do it is when
you say regional type beat.

Speaker 1 (01:08:00):
They don't. They don't even say reason they say Larry June.
I know, I know that's crazy.

Speaker 3 (01:08:05):
Hey, Barry say bay Aarry, Larry June, Larry Jone don't
make no fucking beats.

Speaker 1 (01:08:10):
And that's what I'm saying.

Speaker 2 (01:08:11):
Why to me, hip hop got into put itself into
the situation, and Peter's right, rock did the same thing.
It stopped being about the music at some place.

Speaker 5 (01:08:22):
So what people say three prolific writer tandems within the
same in my life, not in my lifetime, but that
I can think of.

Speaker 4 (01:08:30):
In the totality, you.

Speaker 5 (01:08:31):
Have John Lennon, Paul McCarty, you've got Jimmy Page, John
Paul Jones, Zeppelin, and you've got Lars and Heartfield or
whatever from Metallic Fild. Those three tandems at different times
created different sounds that then led to like five thousand

(01:08:53):
people making money trying to quote unquote, not copy but copy.

Speaker 1 (01:08:58):
In their sound.

Speaker 4 (01:08:59):
Thanks, and and that's.

Speaker 5 (01:09:01):
That's like what you say is a West Coast beat.
If you look at the first guy, there's not. But
there are five hundred people trying to bite off of
it because they don't know.

Speaker 1 (01:09:11):
But that's what I was telling trapping legs.

Speaker 2 (01:09:13):
I'm like, what we keep calling reasonal sounds is niggas
biting producers, of.

Speaker 5 (01:09:17):
Course, but but it's it's true, and I kind of
can't agree with it.

Speaker 1 (01:09:27):
You know why I take quote unquote West Coast sound
because I'm not giving it nothing.

Speaker 3 (01:09:34):
I agree with him, can't cop it something that exist
you over there making that Drake beat, Talbot, this is
a West Coast No, you're stealing dre shit, you whack ass.

Speaker 1 (01:09:45):
I realized what it becomes.

Speaker 3 (01:09:48):
Not realize what it is though, right, what it is
is this regional sounds go for the vibe of the
vible of reason though you know what I'm saying. So
like when you listen, listen when you hear, when you
hear East Coast and you feel like the East Coast beat,
it's the vibe.

Speaker 1 (01:10:02):
You get a feeling of New York through the beat.
It's not Premiere exactly, eat sound or fucking mall sound.
Stop when you get when you when you hear Premiere.
But they bite it when they're from New York. They
don't buy it.

Speaker 5 (01:10:16):
Bite it when they're from Milwaukee or Houston. They buy
it when they're from New York.

Speaker 1 (01:10:21):
That's the worst thing.

Speaker 2 (01:10:22):
It, Like, the problem is too many niggas making this
knockoff version of Imagine you going to restaurant Lex and
you get like a nigga that got like a big nick.

Speaker 1 (01:10:34):
He like, no, you know, it's not a big maggage.
You know, it's just it's make.

Speaker 2 (01:10:40):
This got like lettuce and Lex it's all shredded lettuce,
and they like, you know, this is how y'all do
y'all burgers?

Speaker 1 (01:10:46):
No, we got way more burgers in America than that. Yeah,
I got you, but.

Speaker 9 (01:10:54):
No, no, no no. When I say that, that means you,
I understand the word that's coming out of his mouth
like he won New York pizza.

Speaker 1 (01:11:02):
Listen, listen, there's a West Coast sound, whether you like
it or not.

Speaker 9 (01:11:08):
When you have when you have when you have a
one two kicking snare, when you're having leads, I'm.

Speaker 1 (01:11:14):
Sorry, your sound.

Speaker 5 (01:11:17):
Whatever trap, that's all that's I've got the legs so
low five base.

Speaker 1 (01:11:26):
Correct.

Speaker 3 (01:11:27):
Whether you choose to acknowledge it or not, we'll go through.
I can make a playlist year of each year. I
guess you want to say.

Speaker 5 (01:11:38):
Best example cost pedal low cost two thousand and one.
That's the best example of the fact there's a West
Coast sound.

Speaker 1 (01:11:48):
Here is here's no West Coast sound. He's gonna Swaiian.
It's been a lion sound. Is that Awaiian shound? No
net logic is the same. And then y'all made it
a sound.

Speaker 2 (01:12:11):
The four fathers of hip hop are rolling over their
grave right now. They were so against biting, and y'all
trying to make biting a cool thing.

Speaker 1 (01:12:23):
Learned. I tried to sound like Pete Rocks. Yeah, but
that's practice. No, no, no, it's not practice your own style. No,
that still takes some time, bro, Like we have supposed
that much. Listen.

Speaker 9 (01:12:38):
So then when I did Peebrock, I went from Molly
mab pee Rock, then you too, and then no, how
far different all those guys.

Speaker 1 (01:12:49):
That's normal that far, this is common, right there? No
trap and you know what you know you bite trap?

Speaker 3 (01:12:58):
You already told you no, no, no, I don't right, yeah,
you can't say about dread.

Speaker 6 (01:13:07):
Doctor train influence as well.

Speaker 1 (01:13:12):
But you know what when I wasting and battle cap.
But when that when I went to go make some
ship that sell okay, high tech, it was very different, bro,
because they used a different u, different sounds, the different
angle saying when what's his name? When?

Speaker 5 (01:13:29):
When Manny did the did the mac ten song? He
tried to make it sound like a West Coast track,
didn't he? No, So it just accidentally right, No.

Speaker 1 (01:13:41):
He made a song for mac ten? What's mac ten?
Mac ten is a fucking buff linglewood from the West Coast?
What does what does inglewood sound like the West Coast?

Speaker 3 (01:13:56):
Why?

Speaker 2 (01:13:58):
Just being sourp, I'm telling y'all that's like people in
another country making burgers like Big Maxine and this is
American style burger.

Speaker 1 (01:14:06):
It's not it's MacDonald's burger. Stop.

Speaker 5 (01:14:10):
This is like saying, well, they didn't invent pizza in
New York, and they make pizza like that in other places.
But it's so therefore there's no such thing as a
New York style pizza because they didn't invent it and
they do it the same way in other places.

Speaker 1 (01:14:23):
That's a ridiculous you So guess what.

Speaker 3 (01:14:25):
So if you have an l A and you got
a fucking pizza that's like a specific restaurant in New York,
you know what you're fucking doing.

Speaker 1 (01:14:32):
You're fucking biting. Yes, it doesn't mean New York style pizza.
You didn't those You're not York Pete.

Speaker 3 (01:14:45):
Do you know what New York pizza tastes designed? Because
fucking New York water is different. That's fucking why don't
taste like la water?

Speaker 1 (01:14:53):
Steal these people? Ship? People, just ship? Could y'all stop
stealing ship? Let these people have their ship, that's the thing.

Speaker 5 (01:15:07):
Of course, they're stealing their ship, but their ship so
they know something.

Speaker 3 (01:15:16):
Know, some asshole somebody came up with that pizza that
we call the New York stoyn pizza and everybody bitters
ship and now we're stuck with this fucking bullshit and
we got all this fun bush. People said New York
pizza was bullshit. Yeah, yeah, this night.

Speaker 1 (01:15:40):
He said that. For a second. Motherfucker who came up
with some calls.

Speaker 2 (01:15:47):
Man, No, he said New York City leg It was
some motherfucker came up with his own style of pizza.

Speaker 1 (01:15:55):
And this pizza was booming, and I knew it was cracking.

Speaker 3 (01:15:58):
It was all kind of motherfuckers probably lie depth on them,
fucking blocks and ship blocks and blocks and blocks and blocks,
and some asshole stole this fucking piece of recipe and
then start calling the New York style pizza. And now
it's just normal to bite whoever that person is. And
you know, we don't even know who that person is
that's sucked up and made it all of your recipe.

Speaker 1 (01:16:19):
You stealing that? So catch your question. Yes, are y'all
are y'all stealing from Mexico?

Speaker 10 (01:16:26):
That's why, So y'ah, everybody quote unquote authentic Mexican food,
that's the term.

Speaker 1 (01:16:39):
Okay, okay, okay.

Speaker 7 (01:16:42):
So when you say that trap, because I was talking
with a dude with that does the sliders out here?

Speaker 1 (01:16:47):
And he was saying, before you start making slack. Really
somebody told him to do tacos.

Speaker 7 (01:16:53):
But his Mexican frisds talk to him and say, hey, man,
think about it. Do you think my mom is gonna
buy tacos from a black guy? And told them like,
do you think really, my mom is gonna buy tacos
from a black guy. He said, that's why he went
to sliders and stairs and think about it.

Speaker 5 (01:17:09):
Also, believe it or not, there were what we would
call broadly speaking Mexican style people who lives in California
and made that kind of food prior to that being
perfectly defined by international standard. But they so they about

(01:17:30):
making tacos and San Fernando for three hundred years.

Speaker 2 (01:17:33):
Look, I think it's dope when you take something and
put your whoop on it, like right, We do that
with sould tacos as we call them nigga tacos. We
put a whoop on them. We friday shells, we use
ground meat. It's a few things. We use yellow cheese,
a few things that we put a whoop on them.
They're not We're not just making Mexican tacos and then
be like, yeah, Jesus, yeah there's new Mexican styff tacos.

Speaker 7 (01:17:56):
They know they can't handle real Mexican tacos of America
cannot handle tacos.

Speaker 3 (01:18:03):
Spot he's talking about some cheese they put that cheese.
You didn't even know about it, yellow cheese. I'm my
kids real, Yeah they don't. Yeah, they don't have none
of that stuff. They're looking at the taco. Look so
you know they give it you. That's the volapeno solantro.

Speaker 2 (01:18:21):
That's a lot like if you want like a pottery cheese.

Speaker 1 (01:18:26):
No cilantro.

Speaker 2 (01:18:27):
I said, do you know what you're doing? He said, yeah,
I want no slants. I'm like, so I'm thinking to
my mind, like you know, that's the only thing on the.

Speaker 4 (01:18:33):
Top itself about.

Speaker 1 (01:18:39):
You told them this is the put head. They don't
know what real Mexican tacos is. Mad, You're not.

Speaker 5 (01:18:47):
They're doing they do in the Southwest, not the Northwest.

Speaker 1 (01:18:54):
But the point I'm saying is like hip hop with
a wow.

Speaker 3 (01:18:58):
The problem is we can't get a wow going m
h right, there's no wows. So then I agree with you, right,
Like to me, NBA, young boy is wild. Right when
he came out, it was wild.

Speaker 2 (01:19:09):
I was like, Wow, look at that cultural phenomenon of
a kid right down he's smoking cigarettes at fifteen and
shit rapping.

Speaker 3 (01:19:14):
About struggling in life, Like, who the fuck? Why is
this little nigga stressed? He's twelve, you know, I mean
walking around smoking cigarettes at fifteen?

Speaker 1 (01:19:21):
This ship like his life. He's stressed out? Really at fifteen?

Speaker 6 (01:19:25):
What?

Speaker 1 (01:19:26):
And people didn't we just say this real quick though.

Speaker 9 (01:19:32):
Yeah, so that you understand about being trapped.

Speaker 1 (01:19:39):
We know this history.

Speaker 3 (01:19:40):
I know.

Speaker 9 (01:19:41):
Look Lombardy in nineteen o five. It's a man that's
credited for making New York style pizza. He opened his
his pizzeria in Man. We know how history. Bruh, we
know how.

Speaker 1 (01:19:53):
Why do you call it? So?

Speaker 3 (01:19:56):
Why do y'all call him New York style pizza? But
you don't know, We don't that. You don't call it that.
Y'all call it that. We don't call it pizza, we
call it pizza. We call it pizza.

Speaker 1 (01:20:09):
Trap.

Speaker 3 (01:20:09):
Only in your kind of people call it New York
style pizza.

Speaker 1 (01:20:13):
You call it the pie trap. You don't even call it.
Why would the pie trap?

Speaker 3 (01:20:20):
That's how I feel about the stuff. Tight beats. Why
would I call it a tight beat? This is is
not a tight beat. This is dray ship. I'm glad
you told me that, because I'm gonna find that man
name takes me his name, and I ain't calling them
New York style pizza every game.

Speaker 1 (01:20:34):
I don't ever say that in the first place. It's
just pizza. This is how right here. But I'm glad
the nigga name y'all been.

Speaker 3 (01:20:40):
Blacking off of all these years, the Italian American reality.

Speaker 5 (01:20:49):
What guy was cooking that same fucking pizza over there?

Speaker 1 (01:20:56):
Come back? No, No, it's it's ours. It's ours. They
took that pizza. They took. They took Italian pizza.

Speaker 3 (01:21:12):
Pizza trash hours hours, come from the water, come from
the water.

Speaker 5 (01:21:17):
Shipped they cooked at Hontington Park that they cooked in
fucking radio talking about talking about Margarita pizzas and all
that like that that pizza right there.

Speaker 1 (01:21:27):
From Italy. Okay, I'm telling you, that's that's our pizza.

Speaker 4 (01:21:33):
Black man have over a boat rider.

Speaker 1 (01:21:39):
I try to take him in. He was out here.
I'm gonna take him the next sound to come out here.
They got place like that. We need the toom machine.
I put that pizza, this whole bunch of pizza. Gnaro Lombardi.

Speaker 3 (01:21:58):
Gen I thought he much the man. I thought he
about to talk about football. For a second thought, he
see Vinceland brought it, and then he was about was about.

Speaker 4 (01:22:08):
Pizza and football stolen.

Speaker 2 (01:22:09):
Gernaro Lombardi was an Italian immigrant who moved to the
United States in nineteen oh four. He has sometimes been
credited for opening the first pc rea in the United States. Lombardi, yeah,
three and a half.

Speaker 9 (01:22:23):
You know, five five when he opened that pizzeria.

Speaker 1 (01:22:27):
Yeah. Yeah. He didn't learn, however.

Speaker 4 (01:22:31):
About cooking in that year's time.

Speaker 2 (01:22:34):
You did, however, and he did not open a restaurant.
And that other New York pizza rias.

Speaker 1 (01:22:43):
Preceded started it.

Speaker 10 (01:22:46):
That man.

Speaker 1 (01:22:49):
Started it started.

Speaker 2 (01:22:51):
Become New York have been known. He wanted to be
regular pizza is only properly becau in New York. He
wouldn't have been known. But you don't know what it
was doing cooking fucking pizzas.

Speaker 1 (01:23:07):
It wouldn't have been could up.

Speaker 2 (01:23:12):
The traditional story holds that Lombardi opened the small grocery
store in New York City's Little Italy. An employee of
his fellow Italian immigrant Antonio Patono Pedal began making pizza
for the store to sell.

Speaker 1 (01:23:25):
Their pizza became so popular that Lombardi opened.

Speaker 2 (01:23:28):
The first US pizza Rea in five name it is
simply Lombardi's. Although Lombardi was influenced by the pies of Naples,
he was forced to adapt pizza to a mass The
woodfire ovens Arela dave Byfala were substituted with cold power ovens,
and fior d Latte bade from cow's milk, beginning the

(01:23:51):
evolution of the American pie. In nineteen twenty four followed
the expanding New York City subway line.

Speaker 1 (01:24:00):
To Coney Island, where you opened the Thronos experience the Yeah, the.

Speaker 3 (01:24:10):
Thronos, you gotta do like this the thorns. But yeah,
I think so, I think Paul Pies, I'm not this American.

Speaker 1 (01:24:23):
I'm saying the problem is we don't know.

Speaker 2 (01:24:25):
We rarely get the wild today because everybody's so spoiled
with how we come up right, and then when you
do get the wilds, it's not enough respect on the
musicality part of it.

Speaker 1 (01:24:39):
Is it because the wolves are so weird now? When
people get the wilds, now be so weird.

Speaker 3 (01:24:44):
No, no where where it comes. With where it comes,
you got to be where to go with wild this
wild factor. Being weird is what's happening.

Speaker 1 (01:24:52):
Look at me over fifty years you put a little
crazy years ago was what's crazy?

Speaker 4 (01:24:58):
Now?

Speaker 1 (01:24:59):
On the point else beats and you get a hit
fucking record. No wait, wait wait, I mean glasses you
said when I first met you. One of the things
you said in the eighty Ah the room. Why are
you whispering, Relex? I'm sorry, man, I'm trying not to
be too loud because I have my son. Okay, I
kind of double up with that.

Speaker 9 (01:25:18):
You know what Glass said, He said, funk all the rapping,
fuck all the bells and whistles and a song.

Speaker 1 (01:25:24):
Whatever music has to be fucking white first.

Speaker 9 (01:25:30):
That's part I already won, right right, It doesn't matter
who's rapping and order. And then I think that's the
wall that was hit in the mid eighties, and that's
when we have the influx of personalities, you know what
I'm saying.

Speaker 1 (01:25:45):
And eventually, when you have someone saying fuck the lines,
it's public in me saying that we're gonna stick up
for ourselves. That whole mentality right there that shattered this
line where we there are certain things we can't say.
That's certain things you can't do or you won't allow
us to do. You're not no more allowing you know

(01:26:06):
what I'm saying. So now we have thirty years later
realized acts.

Speaker 9 (01:26:10):
But the point is, though you could tell the same
story over and over and again, you can tell the
same story as long as what you say music's right.

Speaker 5 (01:26:21):
No, they've been about heartbreak and and and love for
one hundred years.

Speaker 9 (01:26:28):
Right, Yeah, But Bob talks about the same pency mob
De talks about the same pency elevators every album.

Speaker 1 (01:26:38):
Every album. But it's havoc. So what that's how good
havoc is.

Speaker 9 (01:26:45):
So when I tell you what so when I tell
you that gang Star and she gets my problem with
the US and people when I tell you, when I
say that gang Star, it's the duo, right, you know
what I said?

Speaker 1 (01:27:04):
I always say yes.

Speaker 3 (01:27:05):
I know, I say no, I say no, I say no,
you Eric being rock heres out a duel?

Speaker 1 (01:27:19):
The problem? Why not?

Speaker 3 (01:27:21):
The fucking problem? Of course they're duo. Jazzy jeff in
the first Prince is a duo?

Speaker 1 (01:27:27):
Why not? So so is the coach. Part of is
the coach. Park is the coach part of the starting five.
That's not the coach. It's the same thing. No, it's not.
It's to put and the round is the DJ.

Speaker 3 (01:27:47):
Bro the on the stage. It's behind the MC and
the m C is on the stage performance.

Speaker 1 (01:27:53):
The players are.

Speaker 9 (01:27:55):
The players are on the court, players and the coaching
on the.

Speaker 3 (01:28:00):
No, it's not you as a center, it's a point
guard in the center. You're the problem trapped.

Speaker 1 (01:28:09):
As I said, j part of the starting five. How
the fuck you don't respect ma Marl is a coach. Yeah,
it's nothing. Don't win a coach, Nigga Marland not no coach.

Speaker 3 (01:28:24):
Marl is the niggas malle his conduction, the coach conducting.
What's going on? No, nothing, what's going on? He's the
point guard at worst, the person the worst you can
put it with anybody gonna make team different.

Speaker 1 (01:28:38):
Molly mal is like Marlly Maure Nigga is like what'd
I say? Marley Marler, Mary Marl Phil Jackson, Phil Jackson
and more Jackson than Isaiah Thomas.

Speaker 3 (01:28:50):
Mary John dellian is like Dennis Johnson. First off, he
was the first star from the Juice Crew. H he's
a star, He's the coach. It may be bigger star.
Money was a star. He may not be as popular

(01:29:12):
as Kane, but he was the first star.

Speaker 2 (01:29:14):
He may not be as popular as Biz, but he's
a star. He's watching some of these people grow past hoops.
I agree Caine is grown pass it, Bis grown pass it.

Speaker 1 (01:29:27):
But Mal is the same star as Shan is.

Speaker 3 (01:29:30):
So Marl just playing a manion different teams now, huh.
He played on he played on Big Cane.

Speaker 1 (01:29:37):
He is the coach. They come from. They are branches
off his street. They play on his team exactly. He's
a coach. He's Bob Coosey. He was the iv P listen.
He was winning MVP before Bill Russell showed up.

Speaker 2 (01:29:57):
If Bill Russell is who is the Bill Russell of
the Juice Crews came of beers Bell.

Speaker 3 (01:30:03):
Rustell the Juice Creu because Bill Russ was a player,
Bell Russell was a players coach.

Speaker 1 (01:30:08):
Then he here's Marty ma.

Speaker 3 (01:30:12):
Who is the big Who is the biggest star for
the Juice crew It was shaying first the biggest.

Speaker 1 (01:30:17):
Star overall overall?

Speaker 3 (01:30:20):
Who if somebody the first battle of all of fame
out of the Juice Crip, who was the first person
getting voted in Camee right.

Speaker 1 (01:30:28):
Camp.

Speaker 3 (01:30:29):
No, because BIS went bis went commercial first. But when
King took it to once came Ball started rowling, he
just he took off way passed.

Speaker 1 (01:30:38):
Okay, So again you gotta try to not know that.

Speaker 5 (01:30:43):
Let's trap trap big Vistlmbardi or bart Star even stars
name is not a bigger stars Barty.

Speaker 4 (01:30:54):
Of course this Bardy never touched football.

Speaker 3 (01:30:56):
But but that's not what we're talking about. Lee or
Cohen is like Viscelain party.

Speaker 5 (01:31:00):
I'm just saying it's a flawed parallel for that reason.

Speaker 2 (01:31:02):
No, no, New York Cohen is a popular star. But
but but the.

Speaker 1 (01:31:08):
Doctor Dre is a bit Listen, doctor dred is a
huge star. He's not. No, no, he's not.

Speaker 3 (01:31:17):
Because again you could you Magic Johnson probably ain't bigger
than fucking shack or or Kobe Bryant or or some
other other stars.

Speaker 11 (01:31:24):
But it's still Magic Johnson bigger than pat Riley pat
Rody and his biggest doctor Dre ain't no coach biggest
doctor Drake.

Speaker 9 (01:31:36):
Maden something Wait, so shell Smooth and Pete Rock when
they dropped the health they're not a duo Trap.

Speaker 1 (01:31:43):
I wouldn't hold on no. I purchased that to hear
Pete Brown when Gangs.

Speaker 9 (01:31:50):
Star dropped out, I wanted to hit Premier when n
w A drop stuff, I want to hear Dre. These
cats were just they were on Paul for me more
important than the MC. That's me when when groupon when
groupon Jamie Rue.

Speaker 5 (01:32:07):
When you know Trapp, you understand what's happening. You're you're
like cognitively engaged on a level that's higher than Joseph Listener.

Speaker 3 (01:32:18):
But Joseph Listener don't decide they they Joseph Listener don't
nobody like something.

Speaker 1 (01:32:24):
Ten million of them and there's one of Lacks.

Speaker 3 (01:32:26):
But you're missing a point. With Peter One, it's one
Shepherd per every sixty sheep.

Speaker 9 (01:32:35):
I forgot the song. He there was a song that
when Premier, I said, listen in the room before I said,
the man made a beat out of static, right, he.

Speaker 1 (01:32:46):
Just out of static. He made a.

Speaker 9 (01:32:48):
Beat, no kitchen snares, no baseline whatever, and it was
it had a rhythm to him.

Speaker 1 (01:32:55):
It was dope and cats. What do you talk about
the album? The name of that, but that song we
kept going ask everyone. I messaged, did you made to
beat out static? You know what I'm saying?

Speaker 9 (01:33:08):
He was a delegitimate star, So I don't we don't
know what Trap is talking about Jay who was the
star Slim Village Dyl?

Speaker 3 (01:33:20):
Come on, all right, I gotta love it. I gotta
love dude. I got a love due for ya. I
gotta love do it for y'all. Right now, Quincy Jones
and Michael Jackson is a dual too.

Speaker 1 (01:33:30):
While you ask.

Speaker 3 (01:33:33):
What s Miisty Jones and Michael Jackson now should they
should have?

Speaker 7 (01:33:38):
Should Trap said there dude?

Speaker 1 (01:33:42):
Yeah?

Speaker 3 (01:33:42):
Yeah, yeah, y'all call a game star dude, not just
West and Peter.

Speaker 1 (01:33:50):
The dude is mob people's a dude is a dude?
Is not the only thing that matter? Trap so so
so so one damn see a trio?

Speaker 3 (01:33:58):
I realized, Yeah, yes, no, there group. No, their group
in the group is a dude. They're they're not one.
DMC is a group their group? Why is it called
run DMC? Then it was disrespectful. No, No, I want

(01:34:21):
to try to know. It's gonna be also run another
rappers dm C. The other dude, the DJ bring the
name him we're talking about.

Speaker 9 (01:34:30):
I don't know if they found jam might be the
most famous jable.

Speaker 1 (01:34:35):
They might be the most famous one. No, he might not. Yes,
No he's.

Speaker 3 (01:34:44):
You just run let's run run ran away with found logic.
I'm the logic. I'm logic. I ain't I'm you don't, Pete, you.

Speaker 1 (01:34:55):
Know logic right now?

Speaker 5 (01:34:57):
No, your god in her fun jams with Jay's daughter
that much.

Speaker 1 (01:35:07):
Nobody know ja daughter because he's not that not know
you was the problem trapped.

Speaker 3 (01:35:13):
You the fucking I'm not the problem. I'm the logic.
You're not gonna tell me that you're talking about the
door you lear cold? All right, all right, hold on,
hold on, hold on? What is what is sol and pepper?

Speaker 1 (01:35:25):
Nothing?

Speaker 3 (01:35:25):
When I Spenderella who she's not read a hut and
it was.

Speaker 1 (01:35:31):
Still sort the pepper? What are you talking about?

Speaker 9 (01:35:36):
After making the studio albums they got read of home
when the money drive up?

Speaker 1 (01:35:42):
Herb was herbie was the one making the beats. Yeah,
we're talking about yeah.

Speaker 11 (01:35:49):
Her?

Speaker 1 (01:35:50):
What pepper is Spendrella?

Speaker 3 (01:35:52):
You said sometimes though, but it pepper though sorella? Yeah, okay,
it was salt and pepper. So you that's to doing
looks like Naught by Nature is a trio didn't neither.

Speaker 1 (01:36:05):
That's a trill. What about nature that? Do anybody right?
It's a man group.

Speaker 3 (01:36:17):
Don't run into that single man group. I'm not worrying
about Vinnie. Forget Vinnie. The single man group really by
nature being kick rocks me talking about he did kicked
two of them out the group?

Speaker 1 (01:36:29):
What about tried to get the drive? What did do
true queens too? What did tirobi? Do you know? This
is a four man group with the four man crew

(01:36:50):
list a goddamn thing? So what is heavy d and
the boys.

Speaker 3 (01:36:56):
That two dances the f and to people listen man.

Speaker 1 (01:37:08):
Trap you got it.

Speaker 3 (01:37:09):
Big Daddy came with the group to right scoop and
scrap is part of this group to right now the
group right?

Speaker 2 (01:37:16):
I did?

Speaker 3 (01:37:16):
I realized you was the problem. You know the New
York gives and New York destroys. This started New York
before everybody got the handle this mention. Your question lex,
hold on, hold on, hold on, hold on match questions, what.

Speaker 1 (01:37:37):
Is what is hands on it? New York was like
get out of here, d J? What was what was
e p m D? What was e p M D?
Were they trio?

Speaker 9 (01:37:50):
They were they were okay with the dude, there were
a duo until they got with scratch scratched there, Yeah
it was.

Speaker 3 (01:37:58):
It was a dude when they got scratched. No, but
when they got to do man, sit back there, playing
the records, be playing the records. Man, I mean see you, yester.

Speaker 1 (01:38:17):
Nobody coming in.

Speaker 3 (01:38:18):
No, no, go back to what you said, up what
you said once timing scratchy and scratch the dope?

Speaker 1 (01:38:23):
What's time? Went on? Play the record? Beat I'm up here,
come and see me. You the problem, play the record.
I can't believe believe you say you gotta what happened
to be?

Speaker 12 (01:38:39):
I got a roll, man, I was trying to do
this live. I didn't know it's gonna be rolling until
seven fifty. Yeah, grabbing something, dope, take.

Speaker 1 (01:38:50):
It time, take us out, tak us, take us out
that he can't. Oh, Pete just jumped the tang and
let listen rap.

Speaker 3 (01:39:00):
I did not know it was hip hop was fucked
up before it left New York and Forred left the Mecca.

Speaker 1 (01:39:06):
Your fucking thing. It is the problem. Yeah, what all right?
All right? All right? Some of his hand even dead.

Speaker 3 (01:39:16):
So aside from DJ Quick and doctor and Doctor Dre
and battle battle came yeah, Okay, that's it what you got,
DJ Pool all right, Yeah, they're part of a group,
is part of the group. Okay, producers, the coach, the coach, No,

(01:39:41):
there's the coach.

Speaker 9 (01:39:43):
I would love for you to I don't see what
the fuck with doctor d J Pooh. I really don't,
because I remember seeing him for a time. His name
was on everything coming out of him. It was that's
a fact, that's a fan. And he made a lot
of joints that didn't just serve the way It felt
like it served the East End, like he.

Speaker 1 (01:40:03):
Was serving hip hop. You know what I'm saying. I
keep telling y'all, there's no tight beats.

Speaker 3 (01:40:12):
Once you take a break and you do whatever to
the break, then you can make a break for any rapper.

Speaker 1 (01:40:19):
You can't tell me Bigger and deathor sounds West Coast.

Speaker 3 (01:40:23):
You can't tell me that it don't matter that im
Cat did it the same person that did Backyard Boogie
DJ Pooh did, the same person that made it Today
was a good day a month DP. You can't tell
me that sounds West Coast. They was taking the breaks
and going to work and creating. You can't tell me

(01:40:44):
walking with a path that sounds West Coast. It's the
break the all Curtis blow in the wise in the
words of a great poet out of Harlem.

Speaker 1 (01:40:57):
These are the breaks.

Speaker 2 (01:40:59):
And until we get back to the breaks, right, until
we get back to the breaks and caring about the music,
putting more respect on the DJ.

Speaker 1 (01:41:08):
This motherfucker's in trouble trap and.

Speaker 3 (01:41:10):
You yeah, yeah, yeah, let's say man, master J like that. Yeah,
let's say it. Man, sit back there playing them records.
Do a couple of scratches. That's all you're getting for tonight.
I'm about to rock this crowd right now, A right, relax,
you know what I'm saying. That's what you're gonna do.
Right there, I'm give you give your one it twos
real quick. You're gonna do your little scratching.

Speaker 1 (01:41:29):
And all that right there.

Speaker 3 (01:41:31):
I'm about I'm about to spend these rounds I wrote
on this paper right there, you know what I mean.

Speaker 1 (01:41:36):
So that's what we're gonna do. We're gonna go out
like that, all right, all right, let's go just so
you know trapping you ain't ship.

Speaker 2 (01:41:46):
Then looking out for tuning into The note Seller's podcast.
Please do us a favorite, subscribe, rate, comment, and share.
This episode was recorded right here on the West coast
of the USA and produced by the Black Effect Podcast
Network and Not Hard Radio.

Speaker 1 (01:42:00):
Yer

All Episodes

Episode Transcript

Popular Podcasts

Las Culturistas with Matt Rogers and Bowen Yang

The Joe Rogan Experience

Stuff You Should Know

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

.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Conversations On Hip Hop & The Top 40 Part II

Episode Transcript

Popular Podcasts

.css-r6mb8g{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:1;overflow:hidden;}Las Culturistas with Matt Rogers and Bowen Yang

The Joe Rogan Experience

Stuff You Should Know

All Episodes

Conversations On Hip Hop & The Top 40 Part II

Las Culturistas with Matt Rogers and Bowen Yang