Rap Radar: Sauce Walka

Episode Transcript
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Speaker 1 (00:00):
Yeah, Wrapper it up podcast Elliott Wilson, my name is
beat Out, beat Out, what's up baby.

Speaker 2 (00:05):
I'm feeling good, feeling that Janelle Mon a conversation you
like you like to miss your know on a man
lady on the podcast. Man, they say her massagynists. Man,
that's you, brother, that's you. I was good.

Speaker 3 (00:18):
That was a good talk with Janelle, and I think
I might have to take her advice on going on
trips and stuff. She did mention that about Mexico and
I was like, yeah, I did go to Mexico after
our conversation, So I'm gonna take her advice.

Speaker 2 (00:30):
And she shouts us at the end.

Speaker 1 (00:31):
Man, get to get our lives together, man, We got
to get our stuff again. All we do is care
about work and killing. And they're doing great podcasts. Absolutely.
But you know what today is hip hop Day? Man
August eleven Foot taping this right now. This is the
actual birthday of hip hop. Man oh man, hip shout
out to hip hop. Hip hop saved our lives. Man. Yeah,
I ask you, man, let's get up brown sugar on man,

(00:53):
because I actually don't even know the answer. What are
your what are your early memories of hip hop beat out, Like,
what was the what was your entry point to fall
in love with hip.

Speaker 2 (01:00):
How did you fall over with hip hop?

Speaker 1 (01:02):
Beat on?

Speaker 2 (01:03):
I'm the double I'm edit of a double Excel.

Speaker 1 (01:08):
Shout to Sonna.

Speaker 2 (01:09):
I think my earliest memory was probably like honestly MC
Hammer Crisscross, like Wow or the early nineties stuff. Yeah, man,
I had a Hammer doll and it came with a
tape of like to Quit. I remember seeing Hammer on
like I had just got BET, like in the late eighties,
like it took a while for us to get cable
or whatever.

Speaker 1 (01:26):
Queens was like queism and get early days of BT,
and I remember the Let's Get It started, the original
what he did turn this But one of the early
videos he had the Troop he had the Trooper track
suit on. Yeah, and like when he came out with
the video is like a low budget video and the
way he was dancing and rapping, and I was like,
what the hell is this.

Speaker 2 (01:43):
I'm like, I'm like sixteen seventeen. I'm like, this is.

Speaker 1 (01:46):
Like I've never seen no hip hop like this, Like
it just looked insane to me, Like he is energy
like and plus he looked like a grown ass man
he didn't looked like a kid, right, and the shit
just bugged me out. Like his guy had this energy
like hammra was like yeah, and then and then he
goes super pop with it in the nineties and like
can't touch this and that shit is like I remember
seeing people's grandma like buy that ship to Tower Records,

(02:07):
Like yeah, like that shit was crazy. People forget ham
I see all this ship by fit. Nobody mentions hammer.
That's a come on, man, forget your hammer. Yeah, we
gotta get hammer, get hammer. We got your hammer. We
gotta get Hamm On the podcast, man fuck that. You
know he's bad. But he's from Oakland, like the white
my white dad yell. He's married to the town. You

(02:28):
know what I'm saying, Oakley Man, you have a baby.
I think we have to make that call earlier. But also,
you know the other ones I always keep biging up
there with really changed my life is running MC. You know,
growing up in Queens. I don't think they get the
credit for being that group that really first brought hip
hop to the world. To me, you know what I mean, nationwide, worldwide, global,
and I think with Queens, like like I wanted to

(02:48):
get your take like being from Southside, Like, how privateful
are you when like the Lost Boys bow up or
fifty cent blows up? Like, how does that connect to
you being from that neighborhood?

Speaker 2 (02:58):
Yeah, I mean for Lost Boys.

Speaker 3 (02:59):
If people don't know, Legal drug money is my personal
favorite wrap out of all time because it sounds like
the neighborhood.

Speaker 2 (03:05):
It sounds like the community.

Speaker 3 (03:07):
So when they were popping, it was a big deal,
you know, like they were they even formed like this
little street gang in Queens.

Speaker 2 (03:13):
They were terrorized neighborhoods. And then you at the time,
hold your time.

Speaker 3 (03:17):
I was a teenager, like you know, thirteen fourteen, and
then when fifty seven blew up, it was like, yes,
we had one.

Speaker 2 (03:23):
It was so prideful because you know, Queens was dormant
for a long time.

Speaker 1 (03:26):
Yeah.

Speaker 3 (03:26):
And you know, it's funny you mentioned run DMC because
I think about DMC on Sucker MC's you know he
said he's light skinned, he lives in Yeah, yeah.

Speaker 2 (03:34):
That was my ship. I was doing that at eleven.

Speaker 1 (03:37):
I was sticking my chest out. I was like, I
love chicken and collar greens. My grandma, my grandma Lucille
will soon.

Speaker 2 (03:43):
Make that for me.

Speaker 1 (03:43):
Nanny. She used to make me fried chicken, that's all.
She made me collar greens. What I said there with
my chests, man, when I was eleven, man, I was like,
you couldn't tell me nothing, that's what you know. Definitely
was powerble And I think that's the thing too, It's like,
why do you think we have such Queen's pride too?
Like I feel like, you know said Queens may have
been dormant in that part, but at the end of
the day, man, you can't really you can't dismiss Queens's

(04:05):
contributions to hip hop. Man.

Speaker 2 (04:06):
Yeah, man, I think we still have that chip on
our shoulder from that. Damn carross One, Damn you Carris One.
The bridge is over. Queensus is a prideful place. I
mean it's very It's.

Speaker 3 (04:18):
A blue collar kind of burrow, you know, and we
get it out the mud and I think you take
pride in that.

Speaker 1 (04:24):
Yeah, we like, you know, the Hollow guys think they fly,
the Brooklyn guys think they're cool, and you know, we
have to we have to show them.

Speaker 2 (04:29):
Man, we had everything off right. DMC to fifty said
to you know, Q tip everybody, Man, I'll put our
burrow against anybody. Man, I think we have the greatest
groups of all time and pound for pound, probably the
best rapids. Okay, we'll go into that. That's a conversation
on the podcast one day, right, Hello, that'll be be there,

(04:50):
Yo be Meatball, He's the Elliots and Meatball.

Speaker 1 (04:54):
Now.

Speaker 2 (04:54):
But you know why Jeorye this guess we had today, man,
saus Walker, gast Walker. That guy's is a great interview beat.
It's a great conversation.

Speaker 1 (05:03):
Man.

Speaker 3 (05:03):
He's you know, he's quietly doing his thing, you know,
out in Houston. It's like he's making millions on He's
a legend of two games.

Speaker 2 (05:10):
Put it like that.

Speaker 1 (05:11):
Oh man, he's legalizing a certain way of the ladies
that is very unique, right's look that way.

Speaker 3 (05:18):
But you know what's so ill about him just having
this conversation because I listened to the Ghetto Gospel three
project and I feel like I might have slept on it.
And I'm listening to it, I'm like, Yo, this guy
is really like he's incredible. He's a great rapper and
made some storyteller And I think, yes, it's a lot
a lot of say.

Speaker 1 (05:36):
Yeah, we definitely was. I definitely was sleeping on him too. Man,
and going back, like you said that that Ghettle Gospel.
I guess he drops him every December. Yeah, they kind
of could get lost in the shuffle at the end
of the year. But yeah, like the opening, like it's
like the first couple of tracks in there, like I
think track three to track seven or so, he's telling
some some real soulful shit and he's telling some great stories.
Like it's like, yo, we've been I've heard his name

(05:56):
for so long, and he said I met him back
in the day, but like I hadn't really connected to
his music until it was time to do this interview,
and like I'm a new fan. Man, I really feel
like he's dope, and I feel like this interview is
a great introduction of him to the public that may
not be up on it on his ship and also
the ones that are riding for him. Like he's got
a strong fan base already, so I think this is
like the ultimate interview he's.

Speaker 2 (06:15):
Done so far that represents his career.

Speaker 3 (06:17):
And then definitely I thought it was dope how you
told that story about how he met you years ago,
and yeah, he gave him the paddle of the back
and keep working tick.

Speaker 1 (06:26):
Can't we keep working. But yeah, I did I didn't this.
I was a good guy. I didn't do that guy,
look at you. It went out to be a successful rapper.
So there we go.

Speaker 2 (06:34):
But nah, this is definitely a great conversation.

Speaker 1 (06:36):
Man. This guy's full of personality. Man, you could have
could have sat there and did another hour right, absolutely
easily easily, but we got him there. Now we cut
it down, give it to you with a.

Speaker 2 (06:47):
Good hour, good solid out, good solid hour.

Speaker 1 (06:50):
So man, you know how we do man, wrap it
up podcasts at the standard of these interviews, Mad the
gold stand it out there.

Speaker 2 (06:56):
That's right, give to so man be and the joy Man.
This new episode Bad features I Got Sauce Walker.

Speaker 3 (07:03):
Or the rap raid on podcasts, Rap raid on podcasts, Yeah,
rap Rado.

Speaker 1 (07:08):
Podcasts, Elie Wilson. It was to beat out. You know
what's up? Mad? He got the Sauceman. Long time coming away, Man,
I'm going on. It's like, yo, finally, man, what's what's
going on? Man? It's a lot of hard word, a
lot of dedication and put myself in this situation. But
it feels like, I mean, what ten years in now? Right? Absolutely,

(07:30):
that's crazy. This is the tenth year. Right here, it
feels like it's been a living in twelve but now
just making for a decade. I probably officially I got out.
I got out of jail twenty thirteen, and I blew
up like towards the end of that year, beginning the
twenty fourteen to Legit the Quid. It became like original
hit record. At the moment be forth with too, legit
with it, he said, we met back in the day.

(07:52):
That's exactly what we meant right around that time. That's
why it's really amazing. It's brazy and it's a it's
a full circle mama for me writing there. Meeting you Wayne,
that was like it South. No, that was in Houston
twenty thirteen. It was maybe fourteen at the most. Uh
that was it was like a little music uh uh uh.

(08:15):
It wasn't no convention like there's like a listening party
or something. It was g Look LaToya Looker's brother, Gavin
look Att and my brother be Done Brandon, like one
of the producers from Houston to GMB Productions. Matt about me,
I think it was something Debbie daff had me out there.
That's that's what it was. Yeah. Yeah, so we met
at that party. We met at that point. We met

(08:36):
that party, and I was I wasn't no superstar at
that point. I was like, I was just like a
little change looking like this. Yet I got a little
basic ball judging and said, but they told me who
you was, and I ran up on you and I was, oh,
I'm sorry, I'll be the biggest story that you ever
seen as far and outside. I Got'm gonna say this
being called and this is who I are. You was like, yeah,

(09:01):
you guys got a lot of energy they see, you know,
I think they end up playing some of my music
then the performance and at the end of the night,
you ain't extra. My information was like, okay, who am
I whatever? The rejected your talent because you know, you know,
it just ain't never seen all the energy and like
how it was how I am? You know, I'm just
always being different. You said you're hyper, right, like yeah,

(09:23):
extremely hyper, like overly hyper. You know what I'm saying.
I got an extra exhorted amount of energy. It's just
that I always got to get the energy out of
me because I'm like a big old battery. I just
throw energy, so I got to always put it out
to keep me level.

Speaker 3 (09:42):
Seece they got a lot of energy behind this new
single you got right now, Only fans, that's the thing.

Speaker 1 (09:48):
Come on with the jibili only a Yeah, that's my
new single. Man. You know, I had a lot of
success on only Fans in real life, so it's made
sense to me to make a song about it. It's
something that's fun that everybody can enjoy. Everybody could dance to,
you know what I'm saying. Also, the content creatits can

(10:09):
you know, just be more inspired and more motivated to
correct content, to share knowledge, whatever that talent is all
you're really living it. You're you're expressing yourself on your
only Fans account. Absolutely that I did. Take a quick look.
I won my thirty dollars back. There's a lot of
you want my god was every boy ain't bumping because

(10:34):
it's a lot of fine wine women on the I
cap for that.

Speaker 3 (10:37):
It's a lot of lefto left You're so successful on
that platform.

Speaker 1 (10:44):
You know what I mean? A lot of women like me,
A lot of women want to have wanted to work
with me in that area before I'm I'm you know, uh,
beautiful women is like a part of my whole rap
persona is a part of my whole image has been
a part of my lifestyle before REP I've always had
beautiful women in my life and they I've always been

(11:06):
attracted to beautiful women. So when it came out to
where you can make money legitimately illegally during COVID, when
a lot of people was like losing off financial, falling
off financially and wasn't having the same opportunities that they had,
a lot of artists, wasn't touring a lot of artists,
wasn't performing, wasn't getting paid those fifty sixty two hundred

(11:27):
thousand dollars shows. I'm generating three four hundred thousand dollars
every two weeks. Because everybody had to sit in the house,
and stream streaming became the most It became the biggest
way for people in America the past time doing their
moment was to watch things doing streaming platforms, whether that
was podcast, whether that was only fans, whether there's music videos.

(11:48):
And by me being an independent artist, I already understood
the formatity and the formation of making the residuals and
a monthly revenue from having from owner the ownership of
your streaming and your your music electronics so I've always
had my my YouTube, my Spotify, my iTunes. All that is,
I've been syndicated and paid out through one source to

(12:09):
me throughout the majority of my career for my distribution situation.
So I've alread now this way before, way before. My
Empire is a new partnership that I'm trying out. I
love it, I love the whole staff and the team
over there, but I've been had a different situation with
a different distribution company away before that. But I've been
independent my entire career. I've never had no fund or

(12:30):
nothing like that. So I really understand generating money from
ad means and plays and streaming and stuff like that.
So it just made sense to convert the same strategy
of monopolizing streaming through music videos and audio because you
get paid twice the same song that you released as

(12:50):
an audio when you release it as a music video.
That's a separate payment. There's the seventh seventh level of revenue.
And then you can also multiply that put that same
song on multiple different platforms. So your Spotify check is
not your items shaking it tooms check, not your TI
to check it TA to check, not your Pandora check.
These are all different platforms. It's paying you different amounts

(13:11):
of money for the amount of streams that you were
able to accumulate. So I just took that same formation
and put that with the own fans and just made
multiple accounts for each person's account that I managed, and
it just made sink other people's accounts too. Yeah, yeah,
for sure, you vertically integrated. Man, I just gotta make man,
how did you become someths about business? Because you preached

(13:32):
that like ten years in independent career on your own terms,
But you know, you talk about making passive income, Like
how did you become so knowledgeable of the business. But
I'm from Houston tentions and being from Houston and me
just being very a cultural person, like it always made
sense for me to retain ownership. I always I came
into the lat game with a certain amount of money.
I wasn't just like the richest person in the world,

(13:54):
but I'd already cracked six figures. I already understood what
it felt like to hell two three, four hundred thousand
dollars to my aim, if not much more. But I
especially like reoccurring going back and forth, like you know
what I'm saying when I met you, I had it
was like you said, there wasn't these side change, but
I asked some changes, the diaminants, little gold grill whatever.
I was like. You know what I'm saying. I was
I was always coming up. I had the beans outside

(14:15):
and say these beans outside. You know. I was always
like able to generate some type of revenue to investing
to myself. So once you already have a certain amount
of money and you begin and you start a company
and it reached some type of success, it's kind of
like your baby. It's kind of like your child for
number one. So you don't want to sell something that

(14:36):
you created for number one. But from a business standpoint,
it's a lot of people that create businesses and create
systems that don't generate money within the first two years
or first year. They have to be in a hole
that they got to wait on their return the investment.
I start making money immediately. I start trying to be
a recordist. So by me start making money immediately from
doing shows, features of concerts, and I'm also receiving chicks

(14:59):
from my streaming is from all of the albums that
I released. I started looking at my albums like a neighborhood,
like each apartment complace. Each album is an apartment complace,
Each song is a unit. If I'm making six seven
hundred dollars to fifteen hundred dollars to twenty five hundred
dollars person a month from a twenty song album, that's
a whole apartment compleax. Why would I sell sell that,

(15:21):
the sell my catalog or sell those albums just to
get a loan of money. So like me just being
from Houston and seeing so many of the legends and
the stars to come out before me stay independent and
didn't have longevity of still having money twenty forty years,
thirty years past. They they hey they or they they primed.

(15:42):
That's what you said, a little flip still driving the rose
or driving them continue called switching cars whenever you want to.
Because he never sold this catalog and even when they
got record deals, they was able to livers and levers
their situation to where they didn't have to sell everything thing.
I only get some money or to get some support.

(16:03):
I just wanted to put myself in a situation where
I always owned the neighborhoods that I created that made
me a millionaire before I decided or decide to work
with a major company. Yeah, I just you know it
makes sense. I just want to learn it before I
do it.

Speaker 3 (16:17):
Absolutely, How did you learned about those taxes? Because you
talked about that on Sauce Beach, Florida.

Speaker 1 (16:21):
Like you pay two million dollars in access, I mean
once again, like me paying it. When you managing all
of these different people's accounts and you're making so much
money from extreaming serprice, this money is being accounta for
so safe instance of one of the models that's being
managed under the company or whatever, she made three million
dollars that year. You can only write out so much

(16:43):
of their money because these are all personal expensions for
a person more or less than a business. Even though
this person has an LLC up under their name, it's
under so much that you can write out for makeup
and travel and surgeries and stuff like that. So, I mean,
when you're making a lot of money, it may pan
out if you're not making a lot, But once you
start making a lot of money, you got four different accounts,

(17:05):
five different models or whatever going up and down. You
got to pay the taxes on that every year. And
me just being a supportive person and an understanding person.
I'm not gonna let nobody fall short on they taxes
because in the midst of the making the money and
then join the success, they wasn't thinking about the financials.
Then at the end of the year you have to
pay a certain amount of it's back to the government.

(17:27):
That just all comes with financial literacy. And that's just
like something that I try to teach and help people
with around me that just because you make money don't
mean that you have them all the money that you're making.
That's why you have to always have the unburning, the
burning desire to continue to make money. You got to
always want to make money. And the true goal is
to make money when your body is not physically moving.

(17:49):
The best money is this passive money, residual income, money
that's being generated when you're not physically trying to make
it because of some move or some investment or some
system that you set in place, it's already you know
what I'm saying, Recycling your dollar. That's what I try
to preach to people the most, because if you have
money that's making money for you when you're not consciously

(18:10):
trying to make money, then when you get hit with
those bills that come random or you know what I'm saying,
you're prepared for them. You always prepared for a rain
to day because you always have extra money road in the
extra finances. That's why you're fished in the pandemic. Absolutely,
I'm flashing before the pandemic. Pandemic just it just set

(18:32):
the stage to show some people wasn't exactly what they
were rapping about, or some people are exactly what they're
rapping about. And I just so happen to be on
that other side of walk. You got your CPA on
the load with something in Yeah, I have a CPA,
But before I have the CPA, I just always I've
been smart. I play stupid. I've been smart. I'm not

(18:56):
as smart as I could be or I should be,
because you know, I spend a lot of my time
dripping or do you know, having fun video games, well
not video games and more like I used to. But
I am a majors doing other ship. It's not necessarily
like seeking knowledge of you know what I'm saying, strengthening
my my psyche, But sometimes I do. But I've read
a lot of books growing up, like thinking gir rich

(19:17):
By Napoleon. Hell uh so the forty eight Laws of
Power for their laws of seduction of all types of books,
some books, you know, that's a lot of stuff.

Speaker 3 (19:30):
It's interesting because, like you said, it's like two sides
of Source Walker, right, you have this like larger than
life Larry Flint kind of persona that musically you're like
super deep and conscious.

Speaker 1 (19:39):
Man. Yeah, I'm out of those people. I mean I forever.
Oh kid, that didn't the reason why the software was
written the pastor the master from here to Alasta to
make the bread come faster. You my head going to
ask you. You know what I'm saying, that's me. You
know what I'm saying. I'm really dripping, I'm really splashing
in real life. But at the same time, it's a
it's a it's a science behind the madness. It's a

(20:02):
structure in a red print behind everything that I do
and the experiences that I've been through in life and
the things that I've seen have downloaded in my brain
in such a way that I can always regurgitate or
reenact or rewrite these experiences or things that I've seen
somebody else go through, or just pain that I feel

(20:24):
or lost that I felt, or it's loss that I've
seen other people go through, because you know, it's a
difference between struggling and then actually like losing people that
you love or losing a child or something like that.
That's a different level than just struggle. You know what
I'm saying. You can struggle your whole life, but struggle

(20:46):
with the people that you love, and you still got
to make good memories and build a stronger bun. But
you still got through your whole life with your mother,
your father, your sisters and brothers. You got people that
have to witness their mothers and fathers die in their arms,
and things like that that I've experienced. So like me
being on face time with my little brother go Hun
while my mam and Daddy his ouns, while she's on

(21:06):
a way to drive to Houston to come to move
Tohty with me, while my little brother go Hun gotta
FaceTime me my mama, dad and his owne crime bullets
coming out. You know, like we've seen this. I've seen
so much in life to where I feel like a
duty or a job, or like I feel a responsibility

(21:29):
to use my knowledge and my experience and my platform
to give some type of guidance or some type of
soothing or healing, or just even if I could provide
someone's skill set and information to just make them a
better person, to make them better prepared for some of
the things that happened to me unexpectedly that I just
have to deal with. I'll be hoping that my music

(21:50):
can help them through that at times, because I know
that's what it's done for me. But at the same time,
I don't like to get too make sad music so much,
to make heartfelt music so much that I get taking
out the space of being an entertainer and taking out
the space of being a you know, a hit making
artists or exciting or artists or artists that people may

(22:11):
listen to in the club or just you know, to
feel good and have fun. So sometimes I have to
do be my other self and you know, be obnoxious
and be crazy or just exciting, and because that's still
me too, And the things that I wrap about on
the other side of my artistry is like also things
that I've been through that made me who I am,

(22:32):
you know what I'm saying, made me have more money,
made me more successful, made me up a something perspective
towards relationships with women or just life in general. I
wouldn't change my style or my build up and my
makeup for nothing. I feel like it made me the
warrior and the super saying that I am in a
rap gang. That's why I've been able to be in
a rap gang for ten years independently, and I'm still relevant.

(22:53):
I'm still a talk of the industry at all times.
I'm still frequently listening to Spotify members stay in the
millions like yeah, you know, but if you're sitting here
with La it will say, yeah, this is all of
the breaks and something about the dangerous Dreger and like
the energy around you right now, it just feels like
you're about to take it to another level. Do you

(23:14):
feel that? Yeah, because I'm finally acting like a rapping
not just the unest to god truth. I yeah, don't.
I usually don't really act like a rapper, like I wrap,
but I'm like everybody, anybody that knows me and follows me,
you know, it's over everything. I'm a hustler, I'm an entrepreneur.
I've been rapping for so long. It's such a high

(23:36):
level and especially in a competitive level, but also again
retaining the purpose in the the the game playing to
never signed into a major record like where it's just
been my personal desire just want to just break them
out and do something different. But I also understand the

(23:57):
disposition that it always put me into. So you know
what I'm saying for some artists, For certain people, it
makes sense for them to sign the major RECORDA was
a major dis to get to where they're going faster album,
chasing something different. But with understanding the handicap that I
that I've taken. You gotta understand that I've been rapping
for so long with the understanding of knowing I'm going

(24:18):
to be successful regardless if I take the I wouldn't
say it's the easier route being signed, but rather I
take the professional route or I take the independent route.
I know I'm going to be successful, So now I
have to pick what styles and reps and what genres
I want to I would like myself to follow up
under between this five year spind and then the next

(24:39):
five year spind. Then that's my first decade. Now I'm
moving to my next decade, and then each each different
artists a different chapter of my artistry that I allow
people to fall in love with. That's a different generation
of people that's gonna support and they might grow up
and mature too, and now they want to hear the
get up gospel. Now they didn't been through some things
in life to what they wouldn't understand because a lot

(25:00):
of people that first got on Saucewapper from the OUI
and the drip and the you know, the pimp rap
and the sauce and all of it, they only know
me from when they was in high school in middle school,
and then they went to collage and went through whatever,
and then they stopped listening to the Saftwappers. Other things
came in their life, but then they come back to
Suthwalla ghettos. So I would say more that it's like

(25:20):
I strategically knew when it was time to pull that out,
to put to pull their style of rap out and
get the bigger audience or get the audience that the
true hip hop heads that really respect the art form
and the difficulty and the skill set of having lyricism,
being a storyteller, and being able to spread a missage
that's actually like, has substance to it and meaning to

(25:43):
it that people can live on with. I always say
I try to make timeless music instead of hit music.
But I still can't make hit records. I was known
for making hit records and regional hit records and like
just blowing up off in the viral moments of music
before I started doing all the crazy into and just
exploring the Internet when I realized, oh, it's really easy

(26:03):
to make money off Instagram, Like this is like a
Instagram pays, It's like a black card. Once I just
kind of realized that, I kind of diversified my hustle
to like, Okay, I'm doing the drip wrap. I'm rapping
and the world instead in my style, and I'm having this.
It's an incredible influence, but I don't want to I

(26:28):
don't want to break my original game plan and go
sign and a record deal to feel like I got
to compete. So now I gotta find other ways to
make even more money, even though I was already making
a lot of money from rapping and shows and features
and stuff like that. But at the end of the day,
it's just like a college basketball player. You play college,
you get past a certain level, you go to the

(26:48):
sweet sixteen or whatever that shit is final for you
try to win. If you don't win. Now, the next
thing to do is to go get your major contract
and onter you get your first rookie contract and you
passed it, then you go re up for the big
con trick. It's a little different in the music industry.
If you don't have a catalog in place, and now
that you can't, you have nothing to fall back on
without their catalog in place. It's like now you have kids,

(27:10):
have the opportunity now, but it's called ir L or
whatever that you can make you a couple million dollars
to be sitting on before you can go to the
actual league and make more millions. And it's kind of
the same thing if you're able to. Most people are
able to generate your ketll out to make money. I
always made your catalog to make money, so it's like
I just knew it was just it was the time
to switch over to a different style or rep there's

(27:34):
still me because originally I always I rap to get
a gospel style. And the struggle and the pain and
the countryness that was way before the soft ship, like
the south ship came after. When I started living like that,
when that happened to my life in real life, I
got out of jail, women start spoiling me. I just
start getting out of the women spoiling me. There, I
start spoiling me and ship I following my leadership, my

(27:57):
life changed. So it's like, I don't want to rap
it by sayd sh and struggling and pay them up.
But there will be a time to use that again.
So I'm gonna just put that to keep that in
my rappertoire I keep that in the Yeah, why does
it be come of staples like December to drop that
ghetto gospel series? And like, what does that symbolize to you?
That's serious? I mean it symbolizes so many different things.

(28:18):
One of the main things that it symbolizes that I
wanted the best rappers to ever live. Like lyrically, I'm
arguably one of the best people to put stories together.
And this is not my opinion. This has been the
opinion of greats and people that passed. I didn't how
many people you get to get jay Z the likes

(28:38):
of the jay Z's and DJ premieres and the Darings
and Swiss Beats with beats on stage. Man, I'm busting
around his kids to a bust around some on the
favorite rappers. That's like for other things that really made

(28:59):
me me bus arounds relationship so strong is because his
kids put him on me and like had him listening
to me for like months and months and years like
this this this dude, I was walking like that, you
gotta get on him, get on him, like he's the truth.
He he's special artist. He just he that whatever for bussers.
Like man, this little dude, this little nigga around me

(29:19):
and me like they see the wild the way I
asked and you know what I'm saying, just the clothes,
the colors, the videos. He was just mine about it
by like damn, this little dude from Houston. But he
really got balls and he really got lygs. But he crazy.
He not afraid to be hisself. But like, damn, I

(29:41):
need to meet them type shit. So when I was
in New York and then it was right too. I
actually had met bus Arounds some years before that, and
uh and like I forget who video should it was,
But he had taught me then that he had been
seeing me and he was like he was giving me
my credit in the salute the ship this white Back

(30:02):
then we had took a picture that one of the
first ur pictures they went all on my Instagram. Bus
Runs had a big ass dragon pinky ring with a
dragon part with a green emlind and I had a
big diamond pink splash earring, I mean a pinky ring.
We took a picture with our fingers locked and it
was like some he was like he was saying he
was passing the torch to me back then before I
even achieved something and the ship that I So he

(30:23):
really didn't like following my career for years, but his sons,
who really like salid Us, flied the relationship like this
is our favorite rapper, Like you need to you need
to get around him like this who we think the
best rap out of everybody, Like he can rap like this,
but then when he can graub like this and get
on these balls and he can hit you with this
and it's steel balls and the list. So when I

(30:44):
met him, like it was like a uh. It was
a heartfelt moment for him because it was like my
relationship with his sons through music brought him and his
sons closer together because that was something that they could
always come to the type and talk to, talk about

(31:04):
and relate to. And like he just tell me that
it was something big in they family sutwalking like they
related on a big note on it. So it was
like I met his sons like on the phones and stuff.
And in New York again at the BT Awards, I
got to meet the whole family and everything. It was
a big surreal Mama, because we had all been talking
for like a bout two years now, have a lung

(31:24):
has been since our first post, the stuff we was
out in the studio recording the records and stuff, and
Bussa just gave me a lot of game and a
lot of knowledge and a lot of honor. And he
really be on me like a father figure too though,
Like he really be like telling me citing shit about
how I need to be professional, answer the phone or
you know what I'm saying, carry myself a certain type
of way around people. It's just like he always got

(31:47):
nothing but positive, king empowering energy to get me. But again,
that's another one of the greats and one of the
icons who look at me as like one of the
best lyricists out right now and they understand, and the
ones who tell me like, boy, you know, if you
would have been signed the did you would have did
this a boy. You know if you would have no boy,
you know what I'm saying. But you know, it feels

(32:08):
the same as getting a Grammy nominational award for a
Swiss Beast or jay Z or you know these are
the again, these are even a Wu Tang Clanrialza, those
face ray Kun, all of them people love me, Yeah,
like them niggas love me. I got pictures with all

(32:29):
of them on Instagram. They'd be sending me my favorite
sending me like verses I said, and like these dudes
like love me for real, like see me in the mob,
be super excited, like sending the jewelis to go to
like you know, Ray going being Dada's like he got
family out there.

Speaker 3 (32:45):
It's crazy, like ghetto gospel three man, I can't from
I think the industry slept on that because it's incredible.

Speaker 1 (32:51):
Thanks a really good, strong project.

Speaker 3 (32:53):
And like the storytelling is amazing, Like where did that
come from?

Speaker 1 (32:56):
Like was that always part of you?

Speaker 3 (32:57):
Awesome that you were you influenced by certain rappers were
like great storytellers.

Speaker 1 (33:01):
To be honest, I was influenced by DJ Screw more
than anything. But like the first music video I've ever seen,
like for number one. I'm coming like a rap prodigy,
Like I'm not a rap fema. As far as like
the skill set in the process, in the build up
of being a rapper, I've done it my entire life,
like I've always practiced and perfected the skill set of

(33:25):
delivering lyrics. I recorded my first song in the studio
when I was six years old, nineteen ninety six. The
first time I the first time I stood in the
studio with a real microphone and put the real headphones
on my head over my head, and they closed the
book about six years old WO making types. But then
they used to call them freestyle types, like screw tapes,
like a DJ screwtape. Yeah, you know, so like that

(33:48):
was like that's how cultures like with you know, screw go.
He'll make us a cassette type for like fifteen of
the hottest beats in the hottest songs that's out slowing down,
chop them up. But sometimes it would just be a
tape of beats and then you a freestyle over those.
We said, you can go to a a screw a
studio and like influenced by screw and they'll make one

(34:09):
for you to the like replicated. So I used to
go to the studio call Diamond Cut Studios in King's
Fleetmarking in Houston is like a legend. They fleetmarking on
the south side of Houston. It's a DJ and that
DJ uh wiz Kid. DJ wiz Kid. He used to
like make me like a five six beats. I used
maybe like Missie the hot boy. So you know what

(34:35):
I'm saying. Then I go in there young and rap men,
camera men with Vian's diamonds on my head, mant the
girl dens I'm in California, but they feel like friends.
He install being and I'm the mother fucking man some
shing like that. Yeah, Like you see how I just
point he got on being like taking the moment and

(34:55):
then making it a song. Like that's really hard to do.
That's complex to do. I've been doing it my whole
life since I was a little boy, so from recording
freestyle tapes and from six seven, eight nineteen. Even though
no matter whatever I went through in life, I was
always like found my way to a studio because I
had the exceptional level of tenant where people wanted me

(35:17):
to be in that studio like a kid they can
rap and they're exciting and shit like that, and I
would buy like carry up for machines and practice. And
then I started writing reps around probably when I was
like nine ten, and then I stopped writing at fifteen.
I haven't wrote a rep since I was fifteen years old.
I hate righting now. It's like it's kind of like
a kid that's been playing football or boxing since they

(35:40):
was three years old. Pop Warner Pa or whatever, Paba
boxing and Silver Good go to Good Recent Regional all
the way to the Olympics. Like I'm doing battle rap
like whatever style and form of rapping, I went through
it because it's something that I always wanted to do,
is rapping, no matter whatever else I did in life
with the game banging, boxing, video games, being a nerd

(36:02):
like I've always been in like anime, superheroes and all
that other shit like, but I always rapped. I never
wanted to be a basketball player, football player. I'm not
wanting them rappers. They be like, oh man, you know,
I never wanted to be a rapper. I was just
in the trap one day and my boys, bro, you
need to go ahead rap, bro, think you kill that? No,

(36:25):
that was never me. I was always the pretty boy,
beating niggas up, fighting and battle, rapping, rapping and clothes
the center of attention in every high school, middle school,
whatever I went to as I was skinny, I always
been in boyd in my whole life matter whatever struggers
I went through, I always been him and I always rapped.

(36:46):
So I always loved hip hop and like the power
that it has and the way that music teaches people.
You know, ninety percent of the things that you learned
in life, or ninety percent of the information that you
downloaded your brain is given to you through music. You
not your abcs through what music A B, C, D

(37:08):
E G. Un like that through music, united timetables. Through music,
you buy our advertisement and things to commercials. Jingles have
songs with them. Every Apple, everything has a sales piece
to a B. I loving it like every to. Music

(37:29):
is like the It's the communication to the soul and
like the tank recorder to the brain. It's the easiest
way for the brain to retain information is to put
it in the song, put it in the melody. And
I kind of understand that young is the key. How
did you get to be that point? How did you
get good at painting? Pictures and really storytelling aspect of it.

(37:51):
When do you think you got shot with that in
the process. I think I've always been able to do that.
That's what I'm saying, because I always being good at rapping.
So when it like again, I probably started writing raps
when I was like nine, I've always wrote complex raps though.
My mom is. My mom's a drug addic and a
strengthen of heroin and crack cocaine, dance strip clus. My

(38:14):
father is a struggling athlete and working nine to five
jobs whole life while chasing his athletic dream, trying to
be a football store or a wrestler, whatever creative idea
came to his mind. My whole other family, all my
other external family is dead drug addicts. I never met
him before. I'm an only child, Like I went through shit. Yeah,

(38:36):
there's somebody. How is it? Like? How can I not
tell you about it? How can I not put this
in a in a diary form? It's okay, It's like that.
It's like a person that's keeping a die. It's like
a girl that wroughte a diary a whole life of
all her bullshit and sad emotionals. If I'm not no bitch.
I'm a nigga, I'm a gangst I'm a mean I'm
a young boy going through my life. But I'm writing

(38:57):
raps and poems and poetries. Is about to the point
to where my fingers hurt. I don't want to write
about this shit no more. It's polluting my brain. It's
to the point of where I'm writing so much of
my experiences and things that I see going on, the
police brutality, my father paying child support for me while
I lived with my dad my whole life. I was
raised with him, but he was paying child support on me.

(39:18):
This should ain't made sense. I paid off my own
child support when I was twenty. When I was about
twenty five years old, I finished off my own child
support for my dad to him to get out of debt. Wow,
I had to pay nineteen thousand dollars in a four
thousand dollars little lawyer fee to pay the debt that
my dad owe to the government for my child support

(39:39):
for me. So like I've been through again. Shit that
even if I was a movie writer, if I wrote scripts,
if I wrote dialogue for film, I just have the
brain and the capacity to just create stories and situations
and explaining in depth because I went through so much

(40:01):
and seen from seeing it personally, and my brain was
already the type of brain that has a huge photographic
memory and a type of brain to download the situation,
to remember every single detail of it and then close
my eyes and then it just comestantly planning to open
over my head to or when I write a song,
even if I'm not gonna even if I'm freestyle and writing,

(40:22):
if I'm not gonna say exactly how that happened, I'm
gonna create a scenario in a movie, a situation to
where you can vividly see, just like the author writing
the book, he's gonna he's not gonna just say, uh,
it was raining outside and my shade was with you know,
the author's gonna say the cold, the cold chill of

(40:43):
the wind blowing across my whiskers as the rain drops
fell upon the side of my neck, to my Yeah,
it's with the type of trauma and bullshit a nigga seen,
and then I'm trying to wrap about it and make
you feel what I feel. I can't give you a
water down version. I can't give you an undetailed version.

(41:04):
For you to see what I'm trying to make you see.
So and that's just a skill set and the tenant
that I've always had, and I know when it's time
to use it and when it's time to exploit it.
And I know it's one of the things that make
me better than other artists. It's my attention to detail
or the type of metaphors and punchlines that I'm able
to put together while still having a deep storyline or

(41:28):
a plot twist. It got you with a cliff hanger,
like the greatest movie that you're watching, but I still
gave you a punchline to make you say oh while
you hang it on the cliff for the next moment.
I just I always looked at everything as a science.
I don't know this. Maybe that's why my dad named
me is. Maybe that's why my name is Albut I've
always looked at things things like from an Einstein perspectively,

(41:51):
no matter how crazy and wild and the Nazis I am,
I'm a genius at the same time. So porm poetry
a depth meaning substance in my even when I wrapping
about the other shit, the dripping and assumption and the
oh I'm doing all that. If you actually listen to

(42:11):
the words that I'm saying, it's just it's a story
there too. You can close your eyes and see everything
I'm seeing in that too. But this, the get up
gospel shit is more relatable to people around the world.
More people have been through struggles or witness other struggles,
or some people are just fascinated by the struggle because
they never went through it themselves. Even if it's not relatable,

(42:33):
sometimes humbling for people to hear, or sometimes it is
a warning for people through music. A lot of people
make a lot of their life decisions out of the
music that they listen to.

Speaker 3 (42:46):
Like these treaties serve like as a cautionary tail slash
state of affairs kind of record that men know his shiit.

Speaker 1 (42:54):
We listen to the music. I'm popular. I'm making grown
man music. Please don't get it Instagram and YouTube. Our
music is growing. It's real.

Speaker 3 (43:06):
Like you had one line that took out we said,
low dumb ass niggas on these pills leaning ain't never
learned no trades, but they specialized in red beaming.

Speaker 1 (43:14):
We're killing our own We're killing our own race, nigga.
These queens need seeing man listen talk about creations. Could
have just said you just say, these girls need to
get fucked. Could have been there right.

Speaker 3 (43:30):
Now.

Speaker 1 (43:30):
We're killing our own kings, were killing our own kings,
and our kings are men, and and the kings that
we have that are men that are losing their lives
because of the brutality and the murders and the things
that we're doing to ourselves. It's taking our own flesh
out of the earth. So we're not it's seamen, but

(43:51):
it's also men that these women need, these queens need
seamen underneath the kings to come from the sea's been
giving that seamen, plant that seed. You know what I'm saying,
because we came from foreign seas. You know what I'm saying.
It's my punch, not gaving like four five levels level
if you level to it, it's that it's the first

(44:12):
base level of police black coming, black people dying. The
queens need seeming. And then you break it down to
our queens and us being kings come from overseas, and
these queens that are losing the kings and dying, we
provide the seamen to them because with men of the
seeds from Africa that came up, you know what I'm saying,
But we're going to in differently.

Speaker 2 (44:31):
We gotta go there, what I'm saying.

Speaker 1 (44:33):
But for the you know it's there if you wouldn't
have looked past that. They say, never judge a book
by its cover, if you wouldn't have looked past covered,
My brother, it's there for you. But if you want
to keep it, ignt we can keep it. You know
what I'm saying. It's that simple. It's a variety, it's
a choice. When did you come up with the UI

(44:54):
and when you know it was gonna be a signature
kind of piping made me say that the ism gave
me the uila dripping. That's that like again out the
whole saft shit that me and my shout out to
my twins, such a saucge, like the whole sauce thing
came from me making that transition once I got out
of gym from like okay, because again, like I said,

(45:16):
I was a phenom and rapping in my city. I've
always been like popular. I've always been known for better rapping, rapping,
freestyle competitions, whatever, just making dropping song, selling CDs. I
did every process of being a rapper. I did it.
You know what I'm saying. Okay, so boom. When I
was like fifteen sixteen, I was doing Man Small Mob Stars.

(45:37):
It was like a big old it's a big heisting you.
A click coach is big and Houston front number one
before game banging, I really took over the city. It
was click culture and click culture and game banging merged
in Houston basically, and what click coach is, which is
in a lot of other cities or like, it's the
same difference to somebody making the thing own rep like
with your own group, and then you have a fee.

(46:00):
He's sixty individuals that give that loyalty to that group
and they go push that push their brand in the city,
in the streets or whatever, young and be fighting the
territory whatever come with it. So I had one of
the biggest cliques in Houston history is massed. My mass
Stars is some shit that me and all my brothers
created together and we was a part of and the like,
it's unarguably like one of the biggest cliques in Houston

(46:24):
cultural period ever, Like it's known, nobody would deny it,
Like you know what I'm saying. So what that Ben said,
I was like one of the faith one of the
faces in forefront of that. And it's a bunch of
other lesson there clicks as well from back then, and
we would all be like some of us was in
the lines with each other. Some of us will bump hisads.
But during that time, I was one of the only

(46:46):
kids out of all of these cliques that had so
much notoriety in the city that was rapping a lot
and known for rapping. So when I went to jail
from you know, exciting situations that happened doing that, I
caught in case of shootouts with the jail. Was out
on the news to trade as shit is just bush
it shit that went on in my life backed in

(47:07):
over over being a part of that. I got out
of jail and I made my mind it was like
me really my twin was one of the main ones
that was on that ship. Like Bro, we passed that
ship like Nigga, we starts like the whole city. No
is like you would have been on the news, you'd
been on CNN, it would have been all over the world.
You're gonna use that to go back in the streets
and do more of than thomb man. She's like Bro,

(47:27):
you need to wrap. It's like you hear them like
we was a dripping dude we were doing because right
before that, it's when like boom were like women start
changing my life a little bit, like making me see
life different and like not being so caught up in
the violence and the glory of violence. You know what
I'm saying. I started getting caught up in the glory
of drinksing good and going to the strip club and

(47:47):
women admiring me, And that's when the salt started to
be created. That's when the hui's and that shit, because
the flavor hit me. Now, we used to go to
the strip club to look to and defend the niggas
in the club with the same hoodie on with the
words on the mession and yeah, we're the tough guys
a Playoffs song, We're gonna beat up the d J.
But then it became being a fly dudes in the

(48:10):
club and the strip of that getting the money from
the people in the tough throwing the money to them.
They trying to give the money to me to go
home with me.

Speaker 3 (48:17):
You say, you've been count bitch money since he was
seventeund seventeen.

Speaker 1 (48:20):
I'm just told you this headed what I like? You said,
I can't make this ship up just to get them
for my boys. We're to a regular club sation. You
could have caught me down, man, I can said, yeah,
when I was twelve. I'm telling when I was about
seventeen eighteen, going to jail twenty okay, now this type
of shit going on, I guess it came and go
to jail. I'll go to jail for like three years,

(48:42):
joje o for you forty one years though? Absolutely he did.
You know what I'm saying. I had an insighting rider
insight and the ride organized crime, incriminativity and saw with
the daily weapon saying another charge. It was some other charges,
but it was a shooting that happened there. Track at
TSU and try the truth and then that he'd be

(49:02):
doing that a trader. Oh you got to trade that, yeah,
to try that. I was invited to the trader again.
Like I said, I was famed. I was becoming famous
back then, and it was like through two thousand and
nine or something, I think it's two thousand and nine,
two thousand and eight, thousand nine. I was invited to
perform and you know, long story short, you know, people

(49:23):
tried to put the bean, the people that I was
with and dangers, so I had to look at myself
and it just it went the way it went. I
ended up going. A lot of people got shot that day.
I went to jail for that shit, and we all went,
a lot of us went to jail. Was all on
the news. It was like the third or fourth time
I've been on the news. So it's like I've been
playing with my life too much. And I made it

(49:43):
through that situation by the grace of God aggress of
the universe. Like I made it through that. I still
have to go to jail, but I still got my
freedom back. Like that was something to what I could
have been. Went to jail for forty years, fifty years,
thirty years, twenty years easily because the platform it was,
it was a high profile case, it was on the
school campus. It was a random people that that had

(50:05):
nothing to do with it that got hurt, you know
what I'm saying. But it wasn't it wasn't my doing,
you know what I'm saying, Because you know, motherfuckers just
don't know what they're doing. So it was just wild.
But you had compressed people out there. She Lejectionally, it
was all type of you know what I'm saying. It
was a big ideal so for me that it caused
a big, big, big uproard conversation in Houston outside of

(50:26):
all this stuff that we was already known for. So
like it was a blessing for me to get out
of jail and my brother be like leave that shit,
let that shit go, bro, Like yeah, like we did that,
Like we survived it. Now we're finna fuck it. They
don't want to agree with us and to do what
we're doing. Fucking we're gonna drift this out. We're gonna
beat the chibbattle Boys. But just before the Sauce came,

(50:48):
the first name we came up outside of Managemall massts
with the Chibbottle Boys. We started making money. We start
having bread, and we was always like the type of
people that like men make up our own lingo to
go with the lifestyle that we was living. So we
always wanted to talk different from Houston. Houston is mister South.
We popped ship. We talked different. So we was Chabbati boy.
We got the bread, We got the letters to bread.

(51:10):
Just before the sauce hit, we got the letters to brand.
We got the lettuce and chins and toast the bottom,
me and my brother. You know what I'm saying. You
know what I'm saying, Hey man, you need to choose
up with Gavati boys. They got a lot of toys
and bring you a lot of joy. You know what
I'm saying. That's how we used to be. That's how
we used to pop in women and stuff like you
know what I'm saying, try to get their numbers or whatever. Uh.
Eventually it led to us saying sauce because like one

(51:34):
of the girls that like contested, it's like going back
and forth with us, like she was a nigga, like
she was a pr there, so like she was poppular
to us. And in the midst of that, we start
saying sauce. After the sauce came to ooh we because
when we got the sauce. Now now we changed our
actual names because my original rap name wasn't Sauce. My
original rap name was Aywalk. You know what I'm saying,

(51:56):
A Skywalker from Mashmo. My Twins Central History name was Bully,
Mike Dial a Bully, you know what I'm saying. That
was his original rap name. So like when the Sauce
hit us after Chabatta boys, like we was calling each
other boys. We ain't had no new rap name. So
that a sausig s Walker. I ain't taking a walk
off my name. That's in my real name, Elba Walker's.

(52:16):
I ain't taking a walk off my name. I'm soft Walkers. Okay,
you what your name is gonna be? I'm Saucy Sauce.
I'm saucy Nigga. It's ten years ago. We in the
hotel room with folk white girls trying to figure it
out for real, like it's some crazy shit we was living.
He's like he had a missing good at the time.
Used to call him sancho.

Speaker 4 (52:37):
They said. The Spanish meaning of the sancho is like
the extra man looks see she laughing came said, do
you know something Spanish thing? It's a non Spanish thing.

Speaker 1 (52:48):
And to call the man it's always with multiple women,
the sancho or the man that your wife is cheating
on you with. He's a son chok. So like that's
what they would call my brother Sancho. Were like, and yourinka, Well,
what's gonna be our group name? The Sauce Twins. Now
we become the Sauce Twins and you know it just

(53:08):
it hit from there. So as we're recording, my old
friends from nashmau will still be around me in the
studio while I was recording, and I would like experiment
with new ad libs. Oh way, Trip Splash Trees are
just saying, wow, I'm just because I'm feeling it. You
just finished it the type of way when beautiful women

(53:29):
is adoing you and putting lotion on your skin and
we're drying you off and your music is going well,
You're going to the strip clubs, they're playing my song.
I'm feeling different. I don't want to rap about guns.
I don't want to wrap about beefing with this, you
know what I'm saying. That's one of the beautiful things
about me and my rap cord when I came out
in Houston is like I brought something completely different, even
though I still was representing the streets and I still

(53:52):
brought that into my music. But the majority of my
music music was about having fun, making money, party and
being around beautiful women, being empowered in your your confidence.
And so when I first said ooh we in the studio,
all my patterns looked at me like I was blamed,
like I was crazy or something. But you're cheaping Maro.

(54:13):
What en you sound like Rick James and or something? Man?
What that mean bout? I don't know this. It sounded
out every artist. I'm thinking, like every rapper I they
and live especially you know, Jesus. This is in that era.
This is years ago. I've been around game for teen years,
so that's when I'm putting it together. This is two

(54:33):
thousand and nine eight. This is fourteen, fifteen years ago,
Rick Washston, Jesus and them boys. I think I'm bigger
me huh livery po fuck you know, Jesus, I needed
me one, hey, I need mean us sad town of
I I saw it. I was going through my sound

(54:54):
files head. You know, something just made me say.

Speaker 2 (55:01):
And I to be real.

Speaker 1 (55:04):
The first time I said it wasn't even a loud one.
The first time I see it was the Oi Oi.
I was like playing with it, trying to see yeah,
because I was saying drip drippings flash came before we
me saying like dripping sauce and I'm dripping the sauce.
And then I was younger then too soon around in
time like again, I was trying to get off of

(55:26):
the lyricism, off of the bars, doing the bar so much,
so I was singing the studio back then, like we
would use auto tune. I really, I've always hated auto tune,
like my whole artistry. But my brother loved autotune. He
loved singing. So Sancho make me sing and like we
would go good on the auto tune sometimes. So I
experiment with it, and then anything I say in the booth,

(55:50):
I'm finna go say it in real life. So now
when I go out to the club or when I
go around women or something, this my new. Hey, when
you're going man, get about from heels and jumping these
hot winds. So we could play the three years Elf better.
I don't get attraction like Michael Jackson. Boy, we're just
doing our what because that's the name of the game.
It's to make the chess player get out of the

(56:11):
position for the game. You know what I'm saying. If
I make you grind you in, if I can make
you turn your head, and that's bad. That's just what
my goal was. So the ooh, we just it worked
so well. It was such an attention grabber and you
know how people say, if you don't got to hate us,
then you ain't doing something right now. Oh yeah, we
know about that. So for me to hear that from people,

(56:34):
that from brothers and people that I love, when I know, like,
I wrap way better than y'all. I know for a
fact that some of y'all have learned how to rap
better from rapping with me because I've been I've always
been the one in my group to be like a rapper.
We need to go do a photo shooting, or we
need to go get the album covering. Man, we need
to upload on YouTube. I've been on YouTube since twenty fourteen. Bro.

(56:55):
Now you can go on your lawn time right now
and look up a wap Sau's walking on YouTube. I
been doing this for not two thousand. Whenever this shit
first came out, fourteen fifteen whatever what it was. The
fourteen was the thirteen twelve when YouTube where first came out,
I was on them. YouTube is abound, like maybe two
thousand and six, maybe, okay, well two thousand and six
with this what it was, I was on them. I

(57:16):
was on there two thousand and six thousand, folks. Whenever
it was same time, they was cranky this same time
they was, I was on YouTube, my Space. I was there.
Put it up right now, it's gonna say seventeen years
fifteen years ago, whatever it is. I was there. I
already knew that doing videos and concerts, and I was
I've been again. I've been performing on stages since I
was I don't know, living twelve. I've been recording so

(57:40):
I was six. So I always understand. I hated that,
like listen, We're not gonna record music just for us
to listen to it like friends partners. That's lame. I'm
not Finna. I'm not finna sit up here and we
just record music and we just all right around listening
to ourselves all day. So it was like I always
had a different expert opinion about music. And I was
the first one to get on the radio. I always had.

(58:00):
By the time I started saying ooh week, I had
already been on the radio in Houston already. I had been.
I had been on a Swish house mixtape, Up and
Smoke with DJ Michael Watson is a song called h
Time a blow Drum Each time blow drow something Me
and Biretta Black Uh one of them old school switch
outs in tape, Michael Watson's trying to sign me. Michael

(58:22):
Watson trying to sign me since I was like fifteen
years old. Sixteen years old, salute Michael five thousand whiles.
So I love him to death. He's like one of
those people that I give honor and credit to the
helping my career as me growing up, Like he's always
supported my career. But yeah, like I've always been one
of those fetums and music. So when my friends is
telling me, like, b that shit week, that shit suck,

(58:43):
I'm like, huh, all hatinghim, but I don't give it. Damn.
I love you to death. You hating Like I know
this is gonna work. I know this is good. You
cannot tell me that it's not gonna work. And that's
just like one of the moments where I went through
life well, like I started to ha started to have
a separation because of great and it's like you can't
take everybody with you, or you're gonna go to a
different level of platform. Everybody can't go with you, and

(59:06):
it's crazy. That's something as simple and smallest my ant
lis and my rap style and the way I changed
from just being a being a gangster, the street gang
banger rapper or just having that for son and that
image and that that mentality twenty four hours a day
to to the to the dripping and the sauce. And
some of my real friends didn't want to be around

(59:27):
that shit, like me and my tween me and such
over there y'all on the diffici it bro y'all tribute
ain't doing it like woo. But I became a millionaire.
I became a Houston right. It was right about a
rap style of Houston. It didn't exist about a genre
to genre of music to the South, the South, the drip,
the pipping, the flavor of this, you know that the

(59:50):
sauce and these the drip raps, drip hop sa you
talk about to the game you spoke about like sometimes
people take the influence from Houston but don't embraced the
Houston artists or nothing. And also the challenges of being
the Houston artists to kind of break national right, to
get out of just being successful in the local music.
Can you speak to that and the challenges you face.
You know, we just don't have the same platforms and

(01:00:12):
we don't have the same offices available. We don't have
big corporate Rencord Labels just right down street in downtown Houston.
That's going to provide you with finances, or it's going
to provide you with record label services, or certain events,
certain festivals, the Roland loves the a lot of losers,
the you know whatever. Just you know. That's why it

(01:00:33):
was such a rare opportunity and expanis for me to
meet you so prematurely in my career, because you gotta
think you like a me throwing that to people. Elliant
Wilson never see you, They'll never see you in the
in real life. It's an extra human being. When I
met you years ago and more than ten years ago

(01:00:57):
at the beginning and beginning of my career. So it's
like it was certain things like that. They always let
me know I was special because I could get through
I was I've always had the ability to get through
certain doors. When you had that little fragment of opportunity,
it's sposed to do it. But that's the problem for
people in Houston that we ought, especially before my coming.
Now that you have something to go, yeah, of course,

(01:01:20):
I justly look how many people got deals now, Look
at people got opportunities? Now, how you know what I'm saying.
You know, I think I was the first person in
jay Z offered opportunity to in Houston to be a
part of our nation again. Jay Z changed my life,
helped my career, did something for me. There's a direction
changing and an innovation of my career, undeniably him putting
me on that that the title, right, So that just

(01:01:46):
that achievement amongst all the other things that I did
for the music industry, for the Houston and the Texas industry,
and then also knowing that too, I put the entire
Texas on my back. So it's like all the Dallas
artists under Dallas DJs, Houston dj As soon as I
got light, I took that light to everybody. I started
making songs with everybody. I start, you know, I'm doing

(01:02:07):
blogs with everybody to say cheese, TV's and all these
different platforms. Like I took my power and I splitted
around to everybody. So you have to understand before that,
what could we do. We didn't have a say Cheese,
we didn't have a shun Cotton, we didn't have south
By Southwest was brand new. And not only south By
South being brand new, it wasn't it wasn't even in

(01:02:29):
this powerful state to where it can help the Texas artists.
If anything, it was more or less helping the bigger
artists that was cooking like you. I think that what
made south By South well Southwest the year that Kanye
West and jay Z and all those people came. That
shit was way way a long time ago. That ain't
It's not what's happening now. Now's the thing for new artists.
So again, it was so hard to be from Houston

(01:02:50):
and blow up and have the opportunity if you're not
going to get on a plane and travel to somewhere else.
And also without the Internet being involved. The Internet has
become so powerful now, so prominent, to where the instant
gratification has allowed record labels and companies to find investing,
interesting people and reach out to them. Instagram and Twitter

(01:03:10):
wasn't is I don't know what's to work to use
for it. It just wasn't. It didn't have the same
capability of bridging the gap between celebrities or up and
coming celebrities and record labels because everybody wasn't so open
to the engagement and the conversation there first. Because things
you're different, you remember how Instagram used to be. So

(01:03:31):
with that being said, Houston just was one of those
places that we've always had the talent, we've always had
the market, we've always had the rich culture and creativity
being created there, but we never had a DJ called
or you know whoever to come to our city and

(01:03:51):
actually work with artists and work with producers and work
with people in the city to whether for when the
platinum record is made or a huge music video is done,
or a company such as Buffalo Wild Wing, Sprite or
Target or whatever wants to do a commercial or advertisement
roll out behind these three artists in this particular ad

(01:04:13):
that we're doing behind this song. Houston missed those opportunities
until the likes of soft Walker and Travis Scott, like
until we kind of like push that door down, like
from different spectrums though, but still for the satile. Yeah,
different styles of perspecially, but just opening up those same
type of doors where people feel comfortable or feel like okay.

(01:04:33):
It is a lot of opportunity that I missing out
on for not going to Houston and going to tests
and seeing the new talent and seeing the new artists
and then people put us in certain boxes as well
that we can only make a certain type of music.
So that was another thing that while I said again
it was so big for me to come and introduce
certain level of lyricism, certain style of lyricism, different subject matters,

(01:04:55):
different substance, different complexity, but at the same time make
exciting music in fun music and music that has replay
value that people that's between the ages of fifteen to
twenty one want to listen to. Because if you don't
have the youth, you don't have nothing anyway, because when
you have the youth, the youth will grow up and
mature and still listen to music that they felt was
timeless and as they get into their adult form and

(01:05:17):
one listen to that style of music. So I feel like,
you know, and then we never had a bunch of big,
big record litis that's just right there in the middle
of the city that's like hometown record But you know,
we have our few that do what they done, and
salute to those recodlables that have done what they've done
for the city. But you know what I mean, it
just wasn't an ample a lot. But if you didn't
go through you know the few ones that there is.

(01:05:38):
The Raphalize the Switcher house. They go dead after that.
You know what I'm saying, It wasn't that many directions
people have that's right here in your backyard to say,
you know what, you got great talent. I'm finna take
you to one on six and Park tomorrow. We never
had that right. But if you're from Atlanta, you're from
New York, you're from the West Coast. No matter how
much they may personally complain, they have that along with

(01:06:01):
the hometown spirit support. That's a whole nother playing field.
The radio support that these other regions have, Texans doesn't
have it. Our radio and our majority of the DJ system,
how it's rant, is not hometown push is more or
less corporate. You know what I'm saying. They're gonna pay
a lot of out of town music, or they're gonna

(01:06:22):
play whatever the record labels or the radio the radio operators,
the people that like send music around, they play with
syndicated with' sent to them. They don't play what's hot
and what they have to discover what's the hottest thing
in the club, or even if it's not the hottest
thing in the club. You're a DJ that's from this

(01:06:43):
citing from this state, the hometown pride in you to
want to see your city, your sound, your culture hit
the main stage and have a fighting chance to compete.
Just like sports. You it's you have a responsibility and
the duty to do that. And Texans, those people this
powering intentions prior to how it is maybe now, and

(01:07:05):
we still deal with that a little bit. They wasn't
doing it. New York is gonna make sure you know
about being mom. We're gonna make sure you know about
being moms. Ice Pikes. We're gonna make sure you know
about ice Pikes. Same thing with the West Coast. But
we're working on it in tations. It's getting better. We
know about you and those Brazilda guys from New York.
Man and my boys, why you work so well with

(01:07:26):
Grizilda talk to them? Yeah, man, I love them dudes.
Man for sure to shout out to my boy west Side.
Then you know the whole Gazelda family. You know what
I'm saying, My boy, come wait, my brother, come wait,
my brother from another real dude, real solid general. The Robot,

(01:07:48):
they called him a machine. I called him a robot.
You know what I'm saying. I like that super bean
right there. You know what I'm saying. Being in the butcher,
the rest of the guys over there, man, you know
they kind of like a You're like an honor remember, yeah. Yeah,
And it's the same difference with them to me, you
know what I'm saying. They kind of like a New
York East Coast TSL to a certain extent, and we

(01:08:09):
like a down South Griselda to a certain extent. What's
your self stant for the Sauce family, the Sauce Famelia,
Texas shit forever, the season and federation, you know what
I'm saying. He got multiple, multiple reasons, multiple definitions for TSL.
But you know it's the saut familia, you know what
I'm saying, Texas boys. But outside of that, uh, west

(01:08:32):
Side really respect my lyricism and my style with like
clothes and art jewelry, and I have the same respect
for him, you know what I'm saying. And I got
put onto him through one of my good friends from
like back then, from my my first clickof telling you
about mash Mama, my boy T Steaks Free T Steaks

(01:08:52):
you spell me and he put me out west Side Gun.
I was like, bro, you need to listen to this.
The west Side Gun like, he got balls and he's
different like you like, and they got a cool like
you need to get on them, So I'm checking them out.
I started listening to him, and instantly I fell in
love with the music because again, before I ever heard
Westside Gunner them Ghetto Gospel, we already on ghetto Gospel too,

(01:09:14):
you know what I'm saying. And outside of the Ghetto
Gospel series, I've also already dropped the New South City series,
so I already have a huge established fan base of
rapping on simple beats and making classic verses to simples.
So at the time that I felt that I was
doing it in the South, it definitely wasn't big where

(01:09:36):
I'm at and what people doing in there. So and
then also in New York, me just leaving New York
and making a New South City album, the first one.
I'm seeing the emergence of drill rap and how everybody's
converting to drill drill, drill, drill, drill. To all the
New York artists I was running into at the time,
the people that I'm hearing from the East Coast are

(01:09:57):
drill rappers, to the point where I even made a
drill CD in honor and respect of because like I
went there originally to do a New York traditional style album,
which is new soauth City, and that's what I did.
But after me saying like just the gravitational pool on
the drill shit, you feel me and all the young

(01:10:17):
people that I'm meeting in New York, all the drilling
and love the drill music, It's like damn they and
they pushing it beat something like like you're killing something.
I end up doing it. But it made me realize, like, Okay, damn,
like lyricism or just straight balls or wrapping off a

(01:10:39):
simple beast, is finna be a lost art for him,
even up town because of how much the influences of
selling the records and making big moments, like how the
South is doing with hit records. So when I finally
discovered Gazelda, it was like a breath of fresh ass,
Like damn, it's a new Jady Kid, It's a new Fabulous,

(01:11:01):
It's a new like I can really appreciate hip hop again,
but be a fan of what's going on right now.
They're not talking about some old school shit that I
can't relate to. They're talking about things that's happening right
now that we're going through right now. But they got
the lyrics so as I and then another big things.
Like I said earlier, the screw culture, the screw shit
is big to us. So any music that I like

(01:11:23):
and fall in love with, I'm gonna get it slowed up,
even if I'm gonna look forward to already be on
the internet slowed up. I'm gonna go go to DJA
that I personally rock out with, and I'm gonna have
them slow to music. So I start getting the West
Side music and stuff slowed up. And after I got
to slow it up, now I'm really a fan of
it and I'm really getting to the beasts of it,
I end up West Side reached out to me to

(01:11:44):
do a song. So now I did the first song
we did, the Houston Versus Rocket song. Right because I
start liking bro pictures and now I like y'all alive.
I'm just liking the picture. Hit me like, bro, Yo, sauce,
you been a gold How fuck with you? Yo? You man?
Bro Man. I love your calls. I'm gonna come to
Houston head. I'm getting drink from Johnny Dan. You gotta

(01:12:05):
pull up and the love which is organic. So it's
like I met up with him at the mill. We
were chilling ball and talking about whatever. So Boom, I
do the Houston Rocket song for He sent me the
Houston Rockets Versus Rockets, Houston versus Lakers song boone that
we dropped the song of Got Crazy people love Me
and he he opened up another another door for me
in the in the lyrical space and then the true

(01:12:28):
hip hop spect because they got a different fan based
that's a whole different type of coke band based as well,
and it expands to overseas, so I'm getting all these
different people that it's just like so amazed by the
complexity and the lyricism of my verse and the things
that I was seeing. It just it just created a
whole new fan basing, a whole new feeling on the internet.

(01:12:51):
You know, everything that happened in music to go to
the internet, and that's where they arguing and disputed and
enjoy it. So it's all on Twitter. It's all tea
sent from Gazilla, south Walking Gazilla. So now that I'm
listening to the songs and screwing them up. I had
a favorite song of their that was called RP Bobby
and that's Westside Gun and Comeway and I just loved

(01:13:12):
this beat. The beat was just so beautiful to me,
like the sample that was on it, and I used
to listen to it in one of my drop top
sixty five kept La beans Is on Swing because I
used to every time I drove that car, I would
have to let the top down and ride to that
song slow throughout the city, to the point to where
I said, I'm not gonna just keep listening to this beat,
I gotta rap on it. So I rapped on their beat.

(01:13:34):
I found dat darring beat is what created this relation
lad up to that. I wrapped on the beat and
I shot the video to it, and I changed and
tied them from RP Bobby to RP Buddy. So I
released the song on World Star Hip Hop. It's probably
one of my last videos. I dropped on West Hip
Hoop on YouTube. It shot got like five million views

(01:13:56):
or something, but when it first came out, it had
like two or three views, and Alchemist reached out to me.
Not damn. Alchemist reached out to me and he was like, Yo, bro,
youre incredible. We love you like we listened to your music.
All the time. That beat that you up th on
is like my predecessor, Like that's my that's my little
brother Danjel, Like I really want to see y'all work

(01:14:19):
together and me, you gonna work together too, like man,
whenever you're in LA or New York, pat out to me.
So the relationship just kept going from their point to
where I can't working with West hand up being on
another West album. He put me on two different albums.
So I got blessed. I'm on another album again and
it was a big, big thing. I did another incredible
verse to where now they invited me to perform on

(01:14:40):
one of their tours in New York. So I flew
out the New York. I did it to us stay
sick with him, Stove God and Conway and again. Now
I mean a whole bunch of other New York letters
that I respect them and they artistry. So now I
mean the Lord Banks and I'm getting out and I'm like,
bro you Lloyd Banks. I was in middle schools Banks

(01:15:03):
yeay yo in there and Jay the kids you know,
Jim Jones has been my brother, like Jim may know
them being my boys. They been rocking out with me
and some other ship pushed the music though, like them,
like people that always like give me knowledge, game and flowers,
or have my back when I'm in New York, make
sure I'm around the right company, or you know what
I'm saying, make sure I'm good whatever where I'm at,

(01:15:25):
just telling me who to be with or who not
to do whatever, Like then my boys, I always like
to beyond music and with music. Some of them other
people that I was meeting at night, was like you
know what I'm saying. It was It was just like
again humbling for these people to know me and know
my songs, like by detail. Oh you did this one
verse or that one Brandan had a baby song that
was crazy. How you flipped the Tupac woo so uh

(01:15:49):
Afamist walk up to me, Alchemist walk up to me
like Yo, this Awce is me. I'm a whole ship.
He's like, first thing I'm asking, like, man, when we
gonna get some work in this little album? I do
album over there, Like man, we're gonna do an album,
trust me like I want to do abb me me
extra bod saying, Earl Sweatshirt, you Earl switshaped favorite rapper.

(01:16:10):
This is what this what Apple is telling me, and
I end up meeting Swashing afterwards. What they're like, Yeah,
you a sweatshat favorite rapper, Like we listen to you
every day at the study that wool, but the way
you and Dan just sound together like we just stuck
on it, Like, so please give me an album of that,
and then after you give me an album, it's yeah,
me and You're gonna do a whole album. I sing

(01:16:31):
you a beat song right now, but like you like
that song that you did because the song did well
the one I did and like that again. I also
brought a whole nother crowd to them. I bought a
whole nother fan based and concentergs like they did to me.
I brought the same thing to them and especially the
producers as well, because any video that I shoot getting
means abused, but this particular one did really well. So

(01:16:53):
they're like, man, and I dropped another song after that
talk without you, rapping about my mom, and uh uh.
Alchemist was like, man, that's that's our favorite song right
now without you, and we was thinking about making a
beat similar to that, and we want you to rap
on me and him made it together. So then I
was like, man, I'm gonna do the album for you.

(01:17:14):
So he introduced me to Danger. Then just set up
a studio session that night and they played me the
beat that they had like put together for me to
wrap on. I did it, and then from there it was,
it was, it was, it was all she wrote. I
got in the studio with him for like a week
and a half straight after they recorded the whole album.
Start putting different people in that that wrapped out with me.

(01:17:34):
That showed me a little bust A Ronds. I pulled
them in, pulled jad in, pulled in uh my boy,
hell real from dip say, I'm I'm a huge dip
set fan, Like that's like a part of my top five.
I have to have a top five, Like I tried
to put the whole grouping in it if I could.

(01:17:55):
I'm a huge dip set fan, like I'm a huge
scow to click fan, and being from Texas, like groups
and clicks is like a big thing to us. So
I always under think, but yeah, that's kind of like
that should be the next project. What's up with that's
my next project? After the project, I'm finna drop right
now that that boy, then that boy then that's my
next appum right now. Something for the summer. Something for

(01:18:17):
you know, the girls, the fellas, the people that center
club people just having fun, people just getting money, the hustlers,
you know, the ratchet females, you know, for the youth,
some fun. You know, it's a lot of it's a
lot of women empowerming and music right now. So I
want to give a little bit of power, a little
power back to the fellows, but also crowning the women
and you know, giving them they they they like for

(01:18:41):
having the hold on men that they have right now.
Like I think it's funny. I like it. I like
how women is like, you know, putting their foot on
dudes next time. Yeah, they should that what they get.
I don't get another ghetto gospel for this year. It's
the Symber y'all. Probably won't get the get up Gospel

(01:19:01):
photo this year, but you probably get maybe the Swiss
Beasts album at the end of the year, hopefully. But
the Danger album, the Danger album is for sure right now.
It's that boy. Then my next album is the album
with Me and Danger, and it's like really critically acclaimed.
The fans been begging for that for years. I'm trying
to get the hold up out of that. A lot
of the music that I'm releasing right now outside of

(01:19:21):
the that boy, then it's like two three years old,
two years old. I just been making like time this
music to where they don't care because of the message
that's in it. But you wouldn't think that there was
two three years old. Yeah. See, you see what I'm saying.
You know what I'm saying. But a lot of that
lyrical stuff that I have, I've been sitting on them
for a year and two years. Like even a dangerous

(01:19:41):
danger song, remember the freestyle where I was having a
front of maybag? How many years ago did that come out?
Right on the block form lot right? That was at
least two years ago? Name I recorded at least a
four years before that. Wow. So yeah, but you know,
with greatness, they will have patience, just like just like

(01:20:03):
it's the perfect time you finally under wrapperate our podcast. Yeah,
they have a super stim moment. Man, you're not doing
right off ten years later a gator, y'all gone like

(01:20:24):
a weight. Now later we gotta do a fusion there
you go? You know about God, this is gonna be
incredible audio experience. Man, You know what I'm saying, a
lot of people don't make it right here till the
sunrise and see the beautiful California skyes upon their eyes

(01:20:45):
and had these men's rides. You know what I'm saying.
If they wraps and things like that, you speel me.
It's a beautiful thing. I'm humbled. I'm I'm glad to
be here because a lot of people thought I wasn't
gonna make it. I'm glad you made it through. So
shall Yeah TSLF venting. That's what it is. Got from
Louisvaiton doll Man. Yeah, man, you know the title. Yeah,

(01:21:07):
you know, you salute the Kanye, But he's moved on
to win, you know. He he's got a different things
going on. He got a lot done that. I think
you get your Easy one, two, three, four, five, fifteen
season Easy. So you know what I'm saying, I'm gonna
do it for the LVS. You know, I like the
Louis Vaton. It's one of those brands that I feel
has a staple in the fashion industry that's not gonna

(01:21:31):
be watered down. It's never gonna go nowhere. That pieces
are pieces that whole value, retain value for years to come.
They don't decrease, they go up, especially if you buy
the more exotic ones. And they work with people about
culture directly that that people of our culture have direct influence,
in direct hands on to the fabrics. Well who they

(01:21:54):
know is their biggest consumer, and in regardless of having
all the other consumers, they understand that what hip hop is.
And I think it's just always a good thing for
brands and companies so big, they have so much power
and so much influence to appreciate hip hop and the
people that's in hip hop. So whenever I see that,

(01:22:15):
I get a little bit more respect and love for
the brand. But I always like Louis Laton. Anyway, people
noticed I can win anything and make it look good.
I could wear merch merch merchandise, and somebody closed the
line that they started from the ground up and make
it look like Louis like I just did the other
day on their freestyle with Meek Mills. Shout Miller g Herbo, Right, yeah, yeah, yeah,

(01:22:37):
I was wearing twenty eight, twenty eight right there. That
was some Texans clothes looking like it was Louis Baton.
But yeah, that was that was a great moment right
there with Meek Mills and them freestyl and putting on
for the Great State of Texas at the Gilly Fish
shot out to Gilly Gilly, my man. You know what
I'm saying. Why the family? But my label man tself business,

(01:22:57):
and I got a big record label that I started
from the ground up. I got about fifty artists on
my record label, all running through my Dishol Distro. Got
Paso Paste Hardest s al A Sauce Wood winning, Uh
feel for a JP Bucci p Sauce Go hun from Chicago.
It's my my blood relative, my my mom's brother's son.

(01:23:20):
He's an emerging super store. I got a lot of
got a lot of good attraction going for itself. I
got so many artists on my recorde. But my brother
Sosa Man, Sancho, Saucy, You're just doing a lot of
good stuff. I'm trying to build the next WHO team.
I'm trying to build the next empire, you know, and
just be successful, make great music, make great memories, and
just teach what I can when I can, but at

(01:23:43):
the same time, not be too serious about it. I
feel like two people too serious about this year. Sometimes,
you know, it's it's definitely business and something to be
taken serious, but it's also something meant to be enjoyed.
Do you like having fun with it? We enjoyed this definitely. Yeah.
I mean it's me and man Southwatha, the south Taper.
You know what I'm saying, flys, Tony Harper. You know

(01:24:03):
what I'm saying. Never been a female stopper, but a
farm Clark Parker. You know what I'm saying about. You
know what I'm saying. It's fast to the float. If
you got to know I'm on the Elliot Wilson Show
and the rap Raider. What's your name? My blamers that
be that b that we do. We will never forget pumps.
We not. You know what I'm saying. We not. You
know what I'm saying. We real champs over here. You
know what I'm saying, Real championship Championship podcast. Shout out

(01:24:26):
to Devin Haney. You know what I'm saying. Raodcast.

Speaker 2 (01:24:33):
Rapp Raator is an Interval Presents original production from hyper House,
produced by Laura Wasser, host and producers Elliott Wilson and
Brian B. Dot Miller from Interval Presents Executive producers Alan
Coy and Jake Kleinberg, Executive producer Paul Rosenberg.

Speaker 3 (01:24:48):
Editing is sound designed by Dylan Alexander Freeman, recording engineer
Jeremy Ogletree.

Speaker 2 (01:24:53):
Special thanks to Charlotte Dickens, Tammy Kim and Jasmine Sanchez, Operations.

Speaker 3 (01:24:58):
Lead Sarah You, Business develop Lead Cheffie Allen Swig, and
Marketing Lead Samara Still. Make sure to follow a rapparator
or listen on Apple Podcasts, Spotify, Amazon Music, or wherever
you get your podcasts.

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