Deon Cole

Deon Cole—comedian, actor, writer, and producer—pulls up for a masterclass on craft and longevity. With Tank & J. Valentine, Deon breaks down the evolution from late-night writers’ rooms to Netflix specials (Charleen’s Boy) and dramatic turns on screen, the discipline it takes to build an hour, and how real life shapes the jokes. We get into timing, story, audience connection, and what it means to keep leveling up without losing your voice.

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Episode Transcript

Speaker 1 (00:01):
R and B Money.

Speaker 2 (00:05):
We are.

Speaker 3 (00:07):
Thanks, We are the authorities on all things R and
B ladies and gentleman Money is saying, and this come on,
it's the R and B Money Podcast, the authority.

Speaker 1 (00:25):
What on all things off R and B? And when
niggas start telling R and B stories everywhere else? Yeah,
but now they're sitting with the authority.

Speaker 4 (00:38):
Yeah, gotta DJ that thing over here now.

Speaker 5 (00:42):
Yeah.

Speaker 1 (00:43):
Many many talents and fast cards.

Speaker 6 (00:47):
For Rory himself. No, my goddamn nerves. One of the
funniest niggas of all times.

Speaker 4 (00:58):
Man with Joe says, odd brows, you got a jok
way he just moves it's oyebrows. It's sucking hilarious. This
man's rich, very rich. I don't think it's clothes touch
in his closet. I soole that joke from him and

(01:18):
jump mister.

Speaker 1 (01:26):
Silly. Welcome, Welcome, thank you man. This is such a
honor to be here with you guys. Man, you know,
it's crazy.

Speaker 4 (01:35):
It's like it's like I'm I think Jay and not
the same way like you never like get comfortable when
you know somebody, because I've seen so much of you
before I knew you, and I was like a fan
of what you were doing. Before I even got to
shake your hand and then be like, man, you know,
scrap a drink is way before that, I was just

(01:57):
like this, tell you, tell you.

Speaker 1 (02:04):
You know what I'm saying.

Speaker 4 (02:05):
And so for me, it's like I never get I
never get comfortable used to that, you know what I'm saying.
Like I watch your specials like like I don't.

Speaker 1 (02:13):
Know, thank you man, same same hit with you, man,
with both of us, Like when you're a fan of
somebody's work, when they talented, you know, you just just
there's always this this giddiness when you're around certain people.
And I'm always like that. I don't care who I'm around.
If I admire them, I veer them. You know. I

(02:38):
have a very big issue with being around especially singers
and and hip hop artists, being around them and not
humming their songs while I'm around them. I do it all.
I just said there, but and I looked crazy as hell.

(03:03):
But I'll just be like and I and I loved
them so much.

Speaker 4 (03:14):
Yeah here, we never knew was it until the pandemic?

Speaker 1 (03:19):
Did you were a musician like that? Yeah? Yeah, pandemic
that's what you start showing people. Yeah, yeah, well I didn't.
I didn't, so I didn't know really what I was
doing like that. I had equipment DJ equipment at my
house for like, if I had a party, I would
like I ask one of my DJ friends to come
over and play for everybody that was there. So I

(03:41):
had equipment sitting there. When when the pandemic hit, I
just kept looking at it and just like just staring
at it, like man, I'm just gonna let this sit here,
or what I'm gonna do. But then dan Ice went
live and he blew up so big that I began
doing parodies of him, like just playing around and acting

(04:03):
like I was him. And then one day I just
started playing music that I had and every and I
was like trying to DJ, and everybody's like you horrible,
don't put your day job, boys, stay stay doing jokes.
And the way I was blending like this, how all
my blend stuted? They were just every nothing, nothing, nothing,

(04:28):
nothing blending at all. But one thing people kept saying
was it was terrible. What's the book? But what was
that song you just played? Taste? I kept hearing that
call taste. Yeah, I just kept hearing boy, don't you
don't you DJ, you are the worst. But who made
that song? Yeah? And I'll be like, oh, you know

(04:49):
that was Brenda Russell. You know, that was her third album.
And then they'll be like huh. Then that come in again, Yo,
who made that song? All lil Lewis nineteen eighty six,
you know in Chicago, he made that. Yes, it's called
French Kiss. I'd be like this, huh. I'd be like, anyway,
I play another song, and then they'd be like, who

(05:11):
was that first choice? You never never heard first first choice? No,
oh yes, it's first choice anyway. So and it just
became this thing that he ever kept going, Oh this
dude knows.

Speaker 7 (05:27):
It, I know, because some people that know how to
play it don't know it.

Speaker 1 (05:33):
Yeah, oh really, and that's facts. And so I just
kept playing this music that I've always had a collection
of music my whole life, and I always in Chicago
going up with house and disco and all of that,
Like it was the more music you knew, Like that
was like meetings and things that you had connections with

(05:54):
people on music, you know, in Chicago, So you just
had collections of music. Everybody he basically did back then,
and so I just have collections of music that I
always still to this day. I collect music.

Speaker 2 (06:09):
You know.

Speaker 1 (06:09):
I have an other little thing that I do. Anytime
somebody drop an album, I don't care who it is,
I'll listen to it and I'll choose the single before
they drop it. Like I just and I'm probably seventy
percent right. I'll just listen to the whole album. I'd
be like, number four should be the single they drop,
and number seven should be the next single they drop.

(06:31):
That's great and it and then they'll drop the song
and yeah. I remember with Gunna Gunna's last album, I
was like that song who Who Getting uh? Yeah, yeah,
I remember hearing that and I was like, that's the
first single. And then I was like, the second single

(06:51):
should be uh it was this other song you had
right out there, who Getting Fucked Tonight's this other single
and I was like that should be a second single
and go and behold they was doing it was getting
clients thing. It's like it's a thing and I just
I and I and it's just a personal thing that
I do. I don't talk about it. I don't tell

(07:12):
people that's what It's just what I've been doing since
I was a kid and fucked up.

Speaker 7 (07:16):
Now they're gonna call you get jobs.

Speaker 1 (07:19):
I forgot damn my album? What you say, nig I do?

Speaker 8 (07:28):
Man?

Speaker 1 (07:29):
I just listen to music, and I listened to it
and I said, ohow number the number seven, that's it.
And seventy percent of the time that's the one.

Speaker 4 (07:40):
But yeah, so that that confirms what I'm saying, though,
you are a musician, Yeah, like you, as they say
on a white man can't jump. You can hear Johnny Jimmy?

Speaker 1 (07:54):
Can you can hear Jimmy? I just never I never
tried to claim that I was a DJ because I
didn't want to. But that's a different skill. Yeah, I
don't never want to take away from the DJ, but
knowing the music, knowing the music, that's the gift.

Speaker 9 (08:09):
Yeah.

Speaker 1 (08:09):
Yeah. I went on to name that tune on Fox,
and I went against uh, what's her name, cat Cat Graham,
who has albums every day. I beat her. I beat her.

Speaker 10 (08:20):
I beat her, but look I did, I just but
I was but again I was underestimated this.

Speaker 1 (08:30):
Yeah. Anyway, so she did a thing and rehearsal, and
I was just sitting there and rehearsal. I was trying
to learn the game. So I really wasn't trying to
be precise about the music, and she just kept calling
out songs and stuff and I just sitting there like
and I was learning the game. And then we got
in the game just like kicking her ass. I knew

(08:56):
all these songs, man, and it's just all violence before
hundred is crazy symphony. Yeah man. So yeah, like I said,
it's just always been a hobby man with this, with

(09:16):
this music, man. And like I said, when I was
playing during the pandemic, I knew something was happening because
people started really chiming in on me playing and really
listening from all over the world. You really don't think
about that when you're in your living room, right, you
know what I mean. We've never said hi from Belgium.

(09:39):
Yeah right, yeahs out there right. People was like just
tuning in. And I learned enough to blend records good
enough where you know, it stayed on beat or whatever.
But then I remember one day, this one I knew
something was tripping, something was happening. I was online one

(10:03):
day and Jimmy jam was like, Hey, I got the song,
can you play it for me? And I was like
an exclusive. Yeah, I was like play play like just
like listening to it. He's like, nah, like when you
play when you DJ, next play it and I was like,

(10:24):
oh okay, and I played it. And then after that
of the DJ started sending me music asking me to
break the song to play them, and I was like, okay,
something's happening. And I just started playing them during the
pandemic and it got to the point where I wasn't

(10:45):
even playing what I wanted to play because I was
playing so many people. That shows right there that you're
not really a DJ because the DJ. Yeah, I was
just trying to make it. Don't take requests from the.

Speaker 11 (11:03):
Because my little makes sessions that I was doing late
night it was the Valentine.

Speaker 1 (11:08):
Don't take requests because that's what the DJ had told me.

Speaker 7 (11:12):
Big Bond, my nigga from the Cream Man told me
lessen Ja d J.

Speaker 1 (11:18):
Don't take no requests, nigga. That's how you know you real.

Speaker 9 (11:21):
I stuck to it.

Speaker 1 (11:22):
I said, you didn't. I was trying to make everybody happy. Man,
I ain't know what I was doing. That's that two
hundred dollars come up. Yeah. A couple of folded in
his mouf like a.

Speaker 9 (11:40):
Couple of players.

Speaker 1 (11:42):
Regular strip clubs. A few in the triple do something.

Speaker 4 (11:57):
All of a sudden. Maybe I deserve him on the
strip club. Maybe I deserve them.

Speaker 1 (12:01):
Only one did some funny.

Speaker 4 (12:07):
IM surprised you playing it again.

Speaker 1 (12:10):
It's how you feel you're playing it again here. That's
crazy wow as well. Okay, this episode is brought to
you by.

Speaker 4 (12:19):
Payler Oh in Chicago growing up.

Speaker 11 (12:31):
Because first all, y'all funny, bro, everybody from Chicago funny.

Speaker 1 (12:36):
Yes, hell, man, it's crazy. An't even comedians. No Nigga,
g herbo, it's hilarious, funny nigga niggas, I know, niggas,
sterling nigga, his brother, hilarious idiots coat sign you niggas Chicago.
I don't know if that was the thing is not

(12:57):
a thing where you have to be that man, you
just man, it was just some people. It was a
survival tactic and other people was just you know, they
wanted to get with the ladies or that's how they
expressed themselves. But yeah, it was. It was no different
than somebody going to shoot hoops, you know, the other

(13:19):
thing y'all do. Yeah, yeah, playing ball like it was
this same reps, same reps you have singing playing piano
Jones and people.

Speaker 4 (13:30):
When did you start in the space of like, Okay,
I know Funny on the block and no I got
niggas laughing at him. When did you be like, nah, nigga,
I think I can make some money doing this shit.

Speaker 1 (13:42):
Never? Never, nah, I never was funny. I never was.
I can't believe that anybody didn't know me. They know
I was dead ass about everything. I wasn't like funny dude,
like funny, Like everybody know me they but never know.
To this day, I let down a lot of people

(14:03):
because the real me kicking and they come around and
I ain't hit myself in the face with pies or
nothing and going, but he looks so mean, I'd just
be like, oh no, I'm just chilling. I'm more of
a listener. I like to listen to people. When I'm
too busy talking, then I feel like I'm performing so
and I can't learn when I'm talking, you know. I

(14:25):
like to learn people's worlds and what they thinking about
in order for me to go have something to talk about.
But if I keep constantly talking, then we're gonna keep
hearing the same things over and over again. But if
I shut up and I listen to people, then I'm
gonna learn something new. I'm gonna be like, oh, I
didn't know that, and then I can go talk about it.

(14:46):
But nah, I never was no joking dude like that.
It was just my outlook on things like I would.
I would look at things and people would be like,
the nigga, you crazy all. It used to be like
you silly, well your ass, but it was. It wasn't
no face slip on banana and it wasn't none of that.

(15:10):
It was just like a perspective and people would be like,
I ain't never think of it like that, but boy,
you crazy ship. So what did you think you were
going to be growing up? I thought I was going
to be working for the City of Chicago driving buses
or ct A, because that was the job I was
going out for. I was going out to be like
a conductor for the train system or like on buses

(15:36):
for uh Chicago Transit Authority. Didn't be the funniest niggas though,
you ever so much, dog, Yeah, that's what I was
going out for. That That was that was. I was
working at this shop called the Leather Makers, and I

(15:56):
was trying to get this job to work for the city.
I was. That was my that was my focus. I
wasn't even thinking about comedy like that. So what was
the ship? My god? This guy named gilling Me that
I grew up with. We were sitting up one days.
Gwilling Me. It's real nice that that's just really real name.

(16:18):
We call him gwil but his real name is Grilla
Hood gon't figure something out. They're gonna figure something.

Speaker 4 (16:29):
Everything but the whole name everything.

Speaker 1 (16:32):
But so me and gwill Man, he just sat up
one day, just out of the clear and blue. He
was just like, you should do comedy. And I was like,
do what with it? And he was like you should
try it out? And I was like no, I'm good.

(16:54):
He's like, no, you should do it, Like for real,
we should go to the club. I bet you fifty
dollars you're gonna do it. I was like fifty, He's
like yeah. I was like, all right, let's go down there.
We went down there and there it's like, no, you
can't go on. Now I'm like, oh, I can't go on.
So the next week I got They're like no, I'm
like really, I was like all right. Next week, Dale

(17:18):
Givens George wilburon. They was hosting this comedy club, all
jokes aside, and they was like all right, there was
like you've been down here three weeks. We'll let you
go on. And I went on and I was it.
I was like, oh, you just told stories or did
you tell Joe? Yeah?

Speaker 12 (17:36):
No.

Speaker 1 (17:37):
I wrote down stories or things that I thought about
and I just wrote it down on paper. And I
only did five minutes and I wrote it down and
I did it, and after that, I was like, oh,
he's here. This is what I'm here to do.

Speaker 7 (17:53):
There was just a collect crazy How old are you
at this point?

Speaker 1 (17:58):
I'm a man. I was like twenty two. I think
I was twenty two, twenty two, and just jumped on
the stage twenty two, got ship myself twenty two. I
had never been on no stage period ever, not even
thought about it. So you're not a talent show guy.
You ain't wrapped. None of that wasn't first in comedy.

(18:20):
I didn't study none of that. It was just all
just my perspective on things and how I thought about it,
and that was just it, like pure, point blank, that's
how I thought of it. And that's what makes great comics.
It's like there's some comedians man may be rocking shows
telling all kind of jokes, but then after the show

(18:42):
is overwhere you can't quote one joke because because you
didn't you didn't know who was telling it. They never
told you who they were, they worked, they nothing stuck
that you didn't. You didn't wreat comedy special something. But
you know that like when you see like Bernie in
Chapel and Cat and Mike and you see these people.

(19:06):
You you you see these people telling these stories. It
ain't the joke is them them. Like he said, nigga,
your eye brow like snoop, Snoop is hilarious, snoopy dog

(19:27):
amy hilarious. He's just it's just it's just him man,
like you silly at fogg dog Like I called you
that like a couple of months ago, like you did
dag get it? Did you for ah? Damn? You tried

(19:50):
saying that. And I'm like, I see how this.

Speaker 4 (19:53):
Because I wanted to talk to you man, and I
was like, and you was, oh, ship, I gotta call
the on it.

Speaker 1 (19:58):
It's made like a like a like a week or so,
let me call this nigga. I called you nah you
said you too, though, both of y'all. That's why this
show is so amazing, because y'all, your time is impeccable.
Y'all have stuff to talk about. You're very engaging, and man,

(20:19):
I any comic can look at either one of y'all
and they can do comedy if they want to easily,
y'all can, Like y'all just got it. I don't know.
I bet you, I bet you love to do it.
He love it. I love it.

Speaker 4 (20:32):
Oh yeah, I'm gonna go back. I've been, I've been,
that's right. But I'm glad I went on stage when
I did. Remember after watching it, after watching y'all, what's
this fucking you know, studying Jamie Yes doing this? Yeah,

(20:54):
that's how he's doing it.

Speaker 1 (20:55):
Jamie's different, he different even, I mean, you can't even
put him in a category. I tell people all the time.

Speaker 4 (21:06):
I was like, listen, Jamie's going to do a special
and he'll do a movie and all of those things.
All those things will be funny and they'll be fun
and they'll be epic. I said, But sitting next to
Jamie Fox in a living room, Ah, there's nobody.

Speaker 1 (21:20):
Better, nobody better. He is so funny, stupid.

Speaker 4 (21:34):
So you go, you go through this cavalry show and
you get hooked. Now is it time to do homework
and really figure out figure out what your style is
going to be, what your perspective is going to be,

(21:55):
your Kate, it's your delivery, like you your presence on
like all of these things.

Speaker 1 (21:59):
Are you now die into that part of it. First
of all, I was dealing with how quick this was
taking off, you know what I mean? Because I kept
doing the same five minutes and it was just like
killing everybody. So I just was like, and there's no
camera phone, no camera phone, and I was killing And
so I would keep constantly doing the same five minutes

(22:21):
just everywhere I go. It's just killing perfect Now Yeah,
so now I'm going, oh, this is great. But the
lessons become from the act of the more you do it,
the more you learn what you shouldn't be doing, don't
you know what I mean? That go with anything anything,
you you can't really be taught. You just have to

(22:43):
go through it and then you know what to do.
Because I quickly found out I can't do the same
five minutes forever. How long were you performing at five minutes?
How long? Like I was doing that five minutes for
like probably like six months. Wow, seven became your hair record.

(23:04):
It was became your here. Yeah I could have. I
could have wrote each joke tightle on the flyer, like
come here, come here, Come here to sunny Delight, you know,
like all these different like bullet points that I could
I could have put on that. But yeah, I was
doing that, and then it got to the point where

(23:25):
it's like, I like, one time I did the show
and this dudes like, all right, what else you got
because he had heard it. Yeah, in the middle of
the show. Yeah, And I was like, well anyway, and
I kept going. He was like, no, that one too.
Then I was like, and so the last joke I
was doing, he started doing it. He started doing my

(23:47):
last joke, and I was just sitting there looking at him.
He stood up and he did the whole joke and
he was like this. He was like A right, yeah,
he was like you can go. We I told I
told him already, you can go. How the fuck that, nigga?
I just I just went good night everybody, because what
is that feeling? There's a burning on the side that

(24:13):
you never felt. A lot. My organs were melting together
because I'm getting second gummy bears, that's been your luggage
in your pocket.

Speaker 13 (24:24):
They was just melting togem and I just was like
oh wow, and I just man, I was like, okay,
all right, I gotta write some stuff.

Speaker 1 (24:38):
And then I was like, you know what, forget him?
Not ain't nothing forget Yeah, forget that. So then I
ended up going on tour with Depth Jam and they
was like, yeah, we need you to do twenty minutes,
and I'm like, and I had did seven minutes on
Depth Jam and I only had five, So that's thirteen

(24:59):
minutes that me with like seven more minutes that I
had to do. I did three cities and they sent
me home. I was sitting at the airport with my
Death Jam jacket on my hat and all my death
Jam stuff and my my Death Jam phone number one hand,
and I was just sitting at the airport like this,

(25:19):
and I just was like okay. And I already told everybody.
I threw a party and told him I was on tour.
You gotta do that. So I couldn't go outside for like,
because I go over there. I couldn't do no shows
at my grip because I threw a party and told

(25:41):
them about I was on tour, so I stayed in
the house for like two and a half weeks, because
that was how long I was supposed to have been gone.
I'm back, y'all with the jacket off. I used to
smoke cigarettes. I used to send people to go get
me cigarettes through two weeks. Man, After two weeks is

(26:04):
old way. I came out like yeah, everybody's like, yeah,
you back. I was like, yeah, yeah, I just got back,
you know. But at that moment, I was like, I
got it right. I was like, oh my god, I
got it right. Godly, I got it right. And then
I just unconsciously started writing and that writing and writing
and writing and writing to the point where people started comedians.

(26:28):
Not not really people. I wasn't sitting asses and seats,
but comedians was like, man, dude getting funny. Then one
day Ricky Smiley called me and was like, hell, I
want you to come down to Alabama and write these
crank call see these for me. I said, okay, yeah, sure,
he's still making money. We went down there and wrote that.

(26:50):
So you ain't getting no publishing, no nothing, no. Then
he ended up hosting Comicview. He was like, you should
come right Comic View, and I said, oh, okay, I
went and wrote it. Came back then years later. Next thing, Uh,
I was writing for Conan mm hmm.

Speaker 7 (27:08):
So did you get some residuals for comic you No,
because I'm gonna.

Speaker 1 (27:12):
Keep keep following your trail.

Speaker 7 (27:13):
No, no, no, no, no, I'm following the money man.

Speaker 1 (27:18):
I'm trying to find the money man in the coming space.
Was like following the money like work for hire. Like
see back then, a lot a lot of comics was
protesting Comic View because they wasn't getting no money. But
there was a handful of comics that I was like,
like me. We was like, ship, We're gonna keep going

(27:41):
doing Comic View until we get a TV show. We
ain't got the right to look at the prote you
know what I mean. And we ended up becoming household
names because because everybody else protested, and so we would
constantly do the show and they would constantly air us.
But it was no money.

Speaker 4 (27:58):
Though on what you're protesting? Yeah, because where else are
you going to be seen or national telling? Nowhere? And
so we was like, forget that.

Speaker 1 (28:07):
So we kept doing it, and then Ricky came and
we wrote for him, and then after that I wrote
for a lot of other different like comedians. Some comedians
that I was there to write for, they didn't use
none of my stuff, but I was there to write
for them. And then other comics dead or you know,

(28:29):
stuff like that, and next thing I know, I was
righting for Conan. And let me ask you a question
though about that.

Speaker 4 (28:36):
Though, So as a writer, when you when you writing
jokes for other comics, because I know there's a thing,
you know, there was always a thing going around about
people stealing jokes.

Speaker 1 (28:46):
And that kind of thing. Yeah.

Speaker 4 (28:47):
Yeah, but since you are, in essence an author of
some of those jokes, do you get to take some
of those jokes with you.

Speaker 1 (28:57):
No. Nah, Once you give them a joke, then stay.
And the way that I write, I write different, like
I have to be around you in order to see
what kind of person you are. And a lot of
times people are funny. They just don't know they funny.
You know, you gotta you gotta tell them what they said,

(29:19):
and you have to tell them how funny they are.
You know. I wrote for Diddy and that was the
whole thing. I kind of really, I kind of really
like first of all, Chappelle Chapelle was like this, Hey,
Diddy looking for you, and I was like for what.

(29:41):
He was like, he wants you to write, want you
to write some stuff off. And I was like this,
oh okay. He was like yeah, I said you write
and he was like nope. I said, wow, why you
say it like that? He was like, he want you.
I said, are you gonna try? He's like nope, he
want you. Diddy, hit me up. I'm hosting the Billboard Awards.
You remember the Billboard when he was on that the

(30:03):
Love album. He's like, Yo, I'm hosting the Billboard Awards,
and Yo, I remember you wrote some stuff for these
rock commercials and stuff. Come on, come on, come on, man,
you want can you write this? And I was like this, yeah, yeah, yeah,
let's go, let's do it. And man, it was crazy
like writing. He's so demanding and so inspiring. You know Diddy, right,

(30:28):
He's so crazy, but he's so inspiring all the same time,
all at the same time. Dog like, I think I
quit like twice and I think they let me go once.
Was it was crazy, Yeah, He's gonna take you. But

(30:50):
the thing was, I remember the first meeting we had
was at his house and there was like some other
writers that was there or whatever, and they were just
talking going through what they was gonna do and what
they was going to write and the direction and all
of that, and then when it got to me, I
was like, I don't have no direction. I don't have
none of that. I said, this is what I'm gonna do.

(31:10):
You're a character within yourself, so I just need to
be around you, listening to you and the way that
you talk. I'm just gonna apply that to the monologue.
And I'm just gonna apply different words that you say
and everything I said. I think you said something earlier
where you were saying something about man, I just want
winnergy around. I was like, I'm gonna use that word
in the monologue. I ain't never heard nobody say winnergy,

(31:31):
so I'm gonna use that and some other things that
you've been saying. But I just need to listen to you,
and that's my formula. And he was like, you're gonna
be with me every day, and I was like okay,
And like almost every other day I was like around him,

(31:53):
just listening to him talk and all this su stuff.
And I would write stuff send it to him. He'll
be like like, yeah, that's cool, and then they'll be like, nah,
that's horrible. Then I'd be like, Okay. One time I
sent them some stuff, he was like, this is the
best shit. Ever, then the next day he was like, nah,
this shit is terrible, and I was like and I

(32:14):
just took it, and I was like, I got a
show I need to prepare for. I ain't worried about
this shit, and I just didn't write nothing else. And
then the next day after that he was like, all right,
what y'all got, and I just I ain't had nothing new,
so I just gave him what I have from the
other day. He was like, this is amazing, the same shit,

(32:34):
and I was like, I was like, all right, but yo,
it was just me listening to him applying himself to
the monologue, and yeah, that's what I do. Like if
I was around y'all and it was something like if
y'all had something to do, I would just listening to
y'all just constantly talk or whatever. And in the midst

(32:55):
of that, I record, and then next thing, you know,
I write this whole monologue that sounded just like you. Yeah,
you know what I mean and everything that you say
and do and just your Cadence Taylor. Yes Taylor, Yes Taylor,
because the more it's you, the less rehearse. So we're
gonna have, right, and the more comfortably gonna be. Now,
I want you to go up there and just seamlessly say.

Speaker 7 (33:18):
That, say whatever it is as a writer, music, television, comedy,
anything like, if you're doing it for someone, you have
to study them. Yeah, you have to study if you
if you really want to be a great writer, right,
like you could just I tell you all the time.
I'm like, they'll send certain songs, especially you know, they'll

(33:40):
send me songs for Tank.

Speaker 1 (33:41):
I'm like, you just sent me a song that sounds
just like another song he had. Yeah, I said, you gotta.
You gotta get into the mind of him, even without
meeting him.

Speaker 7 (33:54):
Yeah, you gotta be like, Okay, I gotta research where
he's at in his life or she's at in her life,
and I got to figure out what's needed in that space.
Now it is, and I don't think a lot of
the writers do that anymore, not as much to me,
I don't think so. So to hear you explaining your process,

(34:14):
like I'm lighting up, this is really how it's done.

Speaker 1 (34:17):
Yeah, I mean the growth is in the music. You
know what I mean? I would think that if I
had to write a song for somebody, because I've written,
I actually written a couple of songs, and in the
midst of that, what I did was I just looked
at the growth of the music and her where it
started to where it is now, and then listen to

(34:40):
that and then think about where that person could be. Yes,
you know what I mean from that point from the
last album, what could where this person can be at?
Where do I see this person being at? Do I
see them being divorced? Do I see them cheating? Do
I see them even being more in love? Do I what?
Do I Where do I see this person being? You know,

(35:02):
I'm gonna write something where all of these things kind apply.
We could just interchange the ending of this and make
it where it's uh, it'll fit them and where they at.
That makes sense.

Speaker 4 (35:18):
Because it because yeah, again it leads, it lends to
their comfortability or the more it is them, the more
they're able to be on stage and be honest. Yeah,
like that's better. Like I did it. I did this
song with Kay Michelle one time and we're sitting there
and we're just talking. I'm call forever and I'm like

(35:41):
and I'm like, and I'm fucking I'm like this, I'm like.

Speaker 1 (35:43):
You love to get on that line though? You love
to you love to be in them comments?

Speaker 4 (35:47):
Though, No, no, no, no no, because that motherfucker tried to
try to go online and say some shit about me, like,
I ain't gonna say some ship back nigga. I'm a
bus back nigga. You understand what I'm saying. You got
the right one of us and stuff right there? Turn
the mic on, please, dude, god the right?

Speaker 1 (36:05):
Wow? Was this like, so this is Christian Michelle's talking like.

Speaker 4 (36:10):
No, no, this is this is Kate Michelle. Oh, I
know you're talking about Yeah yeah yeah, I'm like and
else and we did this song and I'm literally just framing.

Speaker 1 (36:22):
That's crazy, her experience.

Speaker 4 (36:24):
All of her words and just just putting them into
just a decent little format so she can And she
might have sang that song in all of seven minutes, damn,
and and it wasn't a single. But when she sings
that song live, it is a movie. Really, that's crazy

(36:45):
because it's her. It ain't nobody trying to write a
song for her. It's somebody writing her song.

Speaker 1 (36:53):
Why is it easier to write a song with the
person around or with that a person around?

Speaker 7 (37:01):
Depends on how difficult they are to me, that would
be my answer to you. It just depends on how
difficult they are. Because when you have people that are
are willing to take direction, are willing to open up
to you, really open up to you, it's like, okay,
this can be easy. But then you got some artists
that are just you know, either stuck in their ways

(37:23):
or they're just they're not who you thought they were
about that, you know what I mean? See, like, what
do I write for this motherfucker?

Speaker 1 (37:31):
You know what I'm saying. So to me, you know,
it just depends on the person. In my opinion, Yeah,
I mean that's that's that's tricked out. You said that
because I have met people that I perceive to be
a certain ways we are, and then when I guarantee
to write for them, I go, oh, you're not as
confident as portray yourself to that. Yeah, there's always that.

(37:54):
Oh but you oh you oh, so you're insecure. I
wish I don't know if I can write this because
I was this is I mean, you played secure, well,
so maybe I can write this, but I don't know.
I ain't sure I can give it to you. But

(38:16):
still it's not who I thought was going to be
singing or saying this joke or you know. That's how
that's how it is, like even writing material, it's like,
you can't say this, So tell me.

Speaker 4 (38:28):
Something, your deaf jam comic view when you get to Conan,
Are these now two different types of comedy comedies that
you are having to write and dive into in terms

(38:50):
of when you think of audience?

Speaker 1 (38:52):
Yeah, because me, writing for Conan taught me. Television taught
me where the money is.

Speaker 4 (39:00):
And if you don't mind, what is a difference when
you say writing for television like writing for ConA in
that space.

Speaker 1 (39:06):
Anything you do on TV that's successful has to have
a certain amount of corny mm hmm in it. Okay,
you gotta have it and everything you do if you
want money. Bruno Mars is fantastic, but he has the
right amount of corny that keeps him number one. Yeah, yeah, right,

(39:31):
These cool motherfuckers that write all these cool songs and
ship all these great metaphors and hmmm, they're not really
small venues. Small small venues, small venues. Yeah, you gotta be.

Speaker 7 (39:46):
Willing to dress up, You got to be willing to
act it out all these other things that people consider
to be corny.

Speaker 1 (39:52):
I get what you're saying, but there are way less
cool people, and cool people don't have as much money.
No it's and don't want to spend it either, and
don't want to spend it. When when cool people critique me,
I just be like, Okay, that's cool. A real nigga.
He wrote me a check yet, christ I knew I

(40:14):
was gonna find where the money was. It was as
Rice has a real your check yet, let me tell
you something. Let me tell you something. Let me tell
you I'm just saying wow bars wow yeah, like not yet, but.

Speaker 4 (40:41):
It just But what it also does is it makes
you redefine the word real.

Speaker 1 (40:48):
It does. And I don't pay no attention to that
fucking word. And anybody who's who's spew it spewing it
fucking mm hmmm. S Harvey is making a gazillion dollars
gazillion being corny as fuck. It's light for him and

(41:09):
it's beautiful to see. It's like he is on family
fuel where he has to reach all of America and
they love him. And he's doing it gracefully. He's not
going against his integrity, he's doing none of that. And
he's doing what the fuck he's supposed to do. Being
on family feud every day and everybody's home for all

(41:32):
this amount of time or whatever, he has to write
amount of corny in order for him to make it.
And you gotta have that with everything you do. You
gotta like my show, but you're gonna respect it, and
other people are gonna respect it, and other people that come,
they gonna see what I'm doing or what I'm trying
to do. I'm not trying to do a special for
everybody that if you love me already, I appreciate you

(41:54):
and I thank you so much. But I want to
reach everybody. I want to reach everybody man not here.
Just to constantly do the same material for those that
like it. It's like I'm trying to elevate and I'm trying
to get more and more people to to to check
this album, check out this journey that I'm going on.

(42:15):
You know what I mean. But if you constantly performing
and writing for those that love you, that's where you're
gonna be at, you know. But if you add some
corny to it. I bet you go to another level.
I want to rebubble you. Okay, I want to I
want to fight you on this one. Okay, as it
pertains to you personally. I don't think.

Speaker 4 (42:39):
I don't think everybody can make cool digestible for everybody. Facts,
and you've done an amazing job.

Speaker 1 (42:55):
Making cool for everybody. I thank you. But it takes many, many,
many nights of bombing. Hmmm. If you look at my
specialists that I dropped, every special that I dropped, it

(43:15):
takes me two years to put that out. It's a
lot of casts. They put out special every year, and
it looked like it. It looks like it. I take
my time with this man and I and either you
like it or you don't. But it doesn't wave for
the process that I do phenomena. And there's a lot
of phenomenal comics out here that drop specials year at

(43:39):
the year, and they are great. But there are some
specials that aren't special. They're not special. I'm not saying everybody.
I'm just saying there are some specials that are not special.
And I think specials are special, special, they should be special.
Let me put two years put it in because I
still got a tour with it too. You gotta have

(44:00):
tour time, you gotta have right time. You gotta have
all that. And then you go out there and then
once you're ready, then you're ready, and then you go
put that thing on TV. Man, you put it out.

Speaker 2 (44:08):
Okay, give me a process.

Speaker 4 (44:19):
You're writing, and then from the right you plan the
tour or are you writing and you're auditing it in
small clubs here and there.

Speaker 1 (44:29):
I'm gonna take you from me shooting whatever lasts special, Right,
I'm gonna take you from there. You got this special right,
hot fire, air tight, funny from beginning and sixty minutes right,
you go shoot it three thousand, see the theater, five thousand,

(44:51):
see the theater. You shoot it, put it out, I
mean you put it out. I mean you finish it.
At that moment you finder when you go good night,
you are back at ground zero. You have not one joke.
You're done. Now you have nothing. You know, if somebody

(45:15):
called you right after that show in the last two years,
all your good stuff goes into So now when you're
done shooting that's special. You got to go back to
ground zero. You have nothing to talk about. You have
no concepts. You have no jokes, you have nothing because
you can't perform that song again. You can't perform that
song again. That's difference in that shot. So therefore, now

(45:39):
I'm sitting up after I'm done shooting that thing that
that next hour, after I'm not shooting, I'm sitting there going, Okay,
what am I What if somebody called me right now
and be like, I need you to do a show
for a quarter million right now, I need you to
do a show for a quarter million. I need you

(46:00):
do an hour. I'm gonna have to go. I can
refer you to somebody. Yeah, because you ain't gonna try
to make no ship out of that. I don't. I
don't have nothing to talk about. I don't need a
hat five minutes. I can go on there and go
where where my capricorn's at. Where I'm gonna be like

(46:28):
if you got your sex. I've seen these niggas. You've
seen me that you do, you've seen me.

Speaker 11 (46:37):
It's gonna be that nigga. I've seen that already. D
I told me, you want to say ship? I feel
he cancer?

Speaker 12 (46:50):
Yeah?

Speaker 1 (46:51):
Next, yeah, you man, I can ask whose birthday it
is and all that you know, and man, you know,
be able to sing when we again, No, I'm hearing it.
Imagine you, imagine you singing that song. You sung it

(47:11):
already all around the country, you toured with it, you
sung it, and then you can't sing it no more.
And if you do sing it again, those that came
out to see you here you sing, they not coming
back again because you sung it again. It's so different.

(47:34):
Thought about it. At you you you, you sing it,
and if you sing it again, they're gonna be like, oh,
I pay my money. We already heard this song. Actually,
I got this song. I got this in my car.
I don't need to come here to hear you sing
when we again. Nah, I heard it already. And so

(47:54):
therefore you can't do that. So you got to come
up with a new hour every year to tour with
every two years or whatever, brand new.

Speaker 4 (48:05):
Material in making in making your last special because you
you just said, yeah, it takes a lot of bombing.

Speaker 1 (48:13):
Did you bomb you? Have you bombed in? Because I
can't a week ago, I do. I do a residency
at the at the mprov room of forty people, the lab,
in the lab. I'm in the lab all the times,
like forty people last week. I wanted to run up

(48:34):
out that motherfucker last week, just last week, because I
wrote all this new stuff and the ill shit is.
I believed in it so much. I did it the
following I did it three days later, and it killed
the same shit that I did in that room, and
nobody laughed. I mean nobody laughed. I told them, I said,

(48:58):
don't y'all motherfuckers go nowhere together ever again. Y'all get
each other phone numbers. Don't you ever show up nowhere
to collectively ever again? To nothing? So pretty much you
tell him it's you motherfuckers. Don't you. Don't y'all go

(49:18):
nowhere to go? I know y'all don't know each other.
Find find out where y'all. She gonna be there, you
don't go, he gonna be there, You don't go, Like,
don't y'all ever? And we bombed so bad. It was
so bad. It was so bad. Now at that moment,
I was like, wow, that you believe, but you still believe.

(49:40):
I believe. Yeah. And then the next couple of days
I did the same material and it killed. Now I'm
gonna tell you I did recently. I was in Chicago.
I saw I made a couple of like house songs, right, yeah,
and yeah, thank you. I made some house songs and
so one of the songs kind of like kind of
really blew. And so I went to go sing it,

(50:02):
not sing it, but it ain't even no singing. It's
just me talking over a track, right. And I went
to go do it for the very first time in
Chicago with my man Terry Honter and I went on
stage Dog, and I bomb so bad on a song Dog.

(50:22):
I was like, the Chicago make some noise. It was
in my hometown too, Chicago, make some noise, yo, y'all.
Where the freaks at? That's name of my song. I
know we got some freaks in here. What's y'all sag?
Ain't no freaks in it? Where they at? Ah, y'all,

(50:49):
Chicago made some noise, y'all. Come on, y'all a man.
And then at the end of the song, I was
just like like, uh, what it free set uh? And
then I had to sell a something called post that
Ship and post that Ship. Then it's like bomb At

(51:09):
the end, I was Suppo just like poles and ship.
And I'm standing there like and I'm just waiting on it.
I don't waiting nothing to give me, just leave. And
I was like, I don't know how singers and MC's
do this ship.

Speaker 7 (51:29):
But that's why I was gonna ask you, because me
and him always talk about this, pretending to him doing comedy.
So for you that did it ever click in your mind?

Speaker 2 (51:39):
Oh?

Speaker 1 (51:39):
I just need to tell them some jokes real quick
to get out of this. No, the music is the music.
Don't stop. They kept going and I got to say
the words to the song because that is always I
couldn't stop. That's always our joke.

Speaker 7 (51:52):
Amongst each other. I'm like, Chief, if you go back
and start saying.

Speaker 1 (51:58):
When I was boy, let me.

Speaker 4 (52:00):
I'm at the Savoy and I'm like, I'm dedicated to
these jokes.

Speaker 1 (52:04):
Expensive bring me up.

Speaker 4 (52:06):
And the Savoy is a venue that I've you know,
done a thousand people with a singer, and I'm trying
to get my jokes off. And it's like a birthday
party two going on. And you know that that that
area down there, it's just just a difficult area. It's
Hollywood nigga, it's Inglewood nigga. So they fully celebrate. I

(52:27):
think it's an older woman's birthday too, and she might
be fifty six.

Speaker 1 (52:31):
She got on a glitter catsuit. Nigga yea. She has.

Speaker 4 (52:36):
Heard my music before and I'm trying to get through
my judge sing a song man.

Speaker 1 (52:41):
Bitch.

Speaker 4 (52:43):
So again like when you're married, it's like niggas fuck
that nim a song. The worst part is babyfaces there.
I'm like, all right, thank y'all so much, that's my
time and not go sit down baby facebooks and he
says that was bread.

Speaker 1 (53:13):
Were you know, n for something? Dog, It's hard for
people to like switch that ship. Like people was tripping
over like shout out to my man, t I Man,
they was tripping over t I. They was just like
he had to fight for it. He's yeah yeah, and
he and people was like, I guess they got this

(53:34):
old ass fucking clip going around of him not having
a good show. Yeah, and they act like that just happened.
It didn't just happen. That's barely shipped on. But hopefully
he understands that they expected one thing guy to him
and he really has to separate that. And once again,

(53:57):
this is why Jamie Fox is so great. Shame he
Fox is so fucking amazing. He knows how to separate
those things. Or in confuse them all.

Speaker 4 (54:17):
I went to a rooms where people didn't know me
what I was doing comedy, which is what helped me.
So Francisco Duran is a guy who helped me a lot,
and he was on in the road. He was doing
a lot of shows with Carlosman's here at the time.
So he was like, man, if you want to get
some work in, just just just open and work on
your shit. He's like, we got you. Yeah, you got

(54:38):
to get there. I was like, I'll get there, that's
not a problem. And so I started realizing very soon
that these real comedy.

Speaker 1 (54:44):
Rooms they don't know me. Yeah.

Speaker 4 (54:47):
And so where I thought I might have had an
advantage as Tank, I did not. Yeah, and I had
to be fucking funny. Look, they were going to be quiet.
Let me tell you something in this goes for everybody
out there. I've said this before, but you get a
five minute grace period. I don't care.

Speaker 1 (55:08):
I don't care if you're Obama when they come to comedy,
you got a five minute grace period up top. After
those five minutes, if you're not funny, you are going
to feel it. I don't care how many awards you got.
I don't care how many Oscars, Emmys, don't how many movies.
If you're not funny after than five minutes, I don't

(55:29):
care you are. It don't matter tank anybody you are
going to feel. It's that's just what comedy is. Comedy
is a brutal I feel motherfucking thing. Yeah, anything, anything
that you thought about yourself is out the window. And

(55:51):
it's only about laughter at that moment. I just need one.
It's just me, yo. But it's so it's so crazy though,
how much you you You rely on that laughter, you know,

(56:13):
and it's crazy. And I don't know if you all
do this like you know, on stage or whatever, but
I rely on that laughter so much so that I
could have and I've done it before. I've been in
five thousand seed arenas or theaters whatever. Right, the whole
room could be cracking up and I wouldn't notice one

(56:34):
person sitting in the front row like this. I hate that,
and I will focus all my energy on that one person.
I wouldn't even the whole room. I wouldn't even care
about them laughing, and I have to get out of that.
I will focus on that one person would be like,

(56:56):
why aren't you laughing. Yes, the whole room is yes,
four thousand, nine hundred and ninety nine people laughing and
one person it's just like, and I'm going, what's wrong
with you? You know? And I focus on that ship
when it's like you gotta, you gotta. That's that's how
much I rely on that laugh. I mean, I mean
I want every we want everybody. Yeah, I'm the same way. Yeah.

(57:19):
If I see a girl saying that she ain't doing
the right things.

Speaker 4 (57:23):
She ain't doing the right thing, doing the right thing,
she gonna get some of my attention.

Speaker 1 (57:30):
Absolutely.

Speaker 4 (57:31):
I'm singing the next verse to her, bitch you go whittling,
You'll see the something, give a nigga something. Because because
the flip side of that is when I'm singing at

(57:52):
Fourth Valley State homecoming, I'm singing.

Speaker 1 (57:54):
This terrible record. Two girl, cute girls in the front row,
look at you other.

Speaker 4 (58:02):
It was just them too. Everybody was like, oh that's cool,
but them too. It was like this niggas week. So
I get what you're saying. I can spot the motherfucker
it's not participating and I need their help. That's the challenge.

(58:24):
It's crazy. I want everybody, you want.

Speaker 1 (58:26):
Everybody, and it's like you you, it's like you rely
on that. It's like it's it's I don't know what
it is. Man. I got to get over that though.
I gotta like lead at one person alone and enjoy everybody.
You start talking ship to him and fucking with them?
Are you just no? I just constantly look at them.
My whole show is now set on how do I

(58:49):
make this person lie? No.

Speaker 7 (58:52):
I think that's the other part about comedy that's so
different from recording artists, too, is that you guys just
you're not relying on that. Once again, the hit record,
You're not relying. You can't rely you can't rely on it,
you know what I mean? Like, yeah, you know what
may have worked in another city that they haven't seen it.
But it's like you said, you can't be a repeater

(59:13):
all the time with that type of thing, especially once
you get to the.

Speaker 1 (59:16):
Level of special special.

Speaker 7 (59:18):
Yeah, because I feel like, but it makes it where
comedians can't be lazy.

Speaker 1 (59:23):
I see so many lazy artists. Yeah, y'all know the
song Yeah, got a tough comedian. No, you can't just moving.
You can't be lazy. We got to do all our
hits until we film it and then it's done. That's
how it is, the whole time, doing all your hits
and then when you film that, then you're done. But
everybody process is different, you know. And I've been learning

(59:46):
that too, Like I mean, not shameless plug, but like
even on my show Funny Knowing You, I've been learning
that from a lot of comedians, like their process of
how they ye put out and how they deal with
audiences and how it affects them. And a lot of comics, Man,
I ain't gonna eat lie to you doing doing this

(01:00:08):
the series I do on YouTube. Is a lot of
these comics are They are damaged, all of them, all
of us, A lot of them are damaged.

Speaker 7 (01:00:19):
Oh man us doing Army Money podcast, the artist that
to be a creative it is damaging.

Speaker 1 (01:00:25):
It's damaging for the world, and.

Speaker 7 (01:00:29):
It's and it's damaging to more than yourself, the people
around you, you know what I mean, because you we're
so hyper focused on this, on this gift that we've
been given, whatever space.

Speaker 1 (01:00:41):
It is, that it's a lot, it's a lot of
collateral damage.

Speaker 2 (01:00:49):
Yeah.

Speaker 1 (01:00:50):
I even feel like that would myself sometimes and I
never really thought of it, like that. But then I
was like, yeah, I guess I guess I do have
like damage. Well you know that was built up inside,
like I guess all comics do whatever. I think that's
why a lot of great comedians can become great dramatic
actors too, because of all the pain that they keep

(01:01:14):
inside or whatever, and they know how to like channel
channel that, you know, and everybody's pain is different and
they have to like still make people laugh. I remember
I did a show in Miami and I had this
comic that was opening up for me at the time. Man.
I remember we finished the show and I was like, man,
let's go eat. It was a gay comic, right, And
we were sitting down eating, just think we're going to

(01:01:36):
talk about the show, and he just start crying, just crying.
I was like, all right, man, what's wrong. And he
was just like he was like, man, I'm just tired. Man,
I'm just tired. And I'm like, what's wrong. He was like, Man,
I'm just just I'm tired of being lonely man. And
I was like, well, just find somebody. I just can't
find people like that.

Speaker 2 (01:01:56):
Man.

Speaker 1 (01:01:56):
You know, I like straight man, and know it's not
a lot of straight men that that won't me because
it's straight. So what do I do if it's a
bunch the straight man that it's not gay and they
all like gay people and that's all I like. So
I can't find nobody and I just like right, like wow.
But that was a struggle for him. He was crushed

(01:02:19):
inside because of that, and I just was about what
he said, Yeah, I thought about it. It was I
don't know if he thought about it, but there was
no answer from from the way that he put it.
But it had me thinking, I don't have said, did
he think about he only he's gay, like what? And

(01:02:42):
he only is attracted to straight man? That's work. It
ain't gonna work.

Speaker 4 (01:02:48):
And that's that's just what he accidentally picks or is
there a nuance about straight men that is attractive to him.

Speaker 1 (01:02:54):
He said that he had a straight man before that
ain't a straight man. Not kidding, listen, but that's what
I said. I was about to say, No, I told him,
I said, I said, he said, he said I had
a straight man before. Because I was going, how do
you know you like straight man? He was like, I
had one before, and I was like, well, if you

(01:03:16):
had him before, then he's no longer straight. And he
was like, no, he just tried it, and I said
he's straight. And I just didn't want to argue. I
was just like, okay, whatever, and I was like, all right,
but that's a struggle that I'd never thought about. That's
the point that I made, The struggle that these people have,
that people have their struggles you can't even fathom sometime

(01:03:38):
where you going, oh wow, that is something that you
really really dealing with. That's keeping you, you know, funny,
you know, because because of laughing to keep them crying,
laughing to keep them crying exactly. But yeah, that that
that tripped me out, and they had me learning that

(01:03:59):
being sympathetic to a lot of people and not just
being judgmental and looking at them like this is where
you're supposed to be or you should be this way
or that way or whatever, Like you can't tell people
how they should be. Ain't nobody paying the taxes you're paying,
and don't nobody look like you, don't nobody talk like you,
sink like you. So how are you supposed to give

(01:04:20):
these people advice on how they need to be or
whatever when you're not even in a wheelhouse to even
give them information like that. When he told me that,
I kind of just clocked out, Like man, I was like,
I was just like, man, you'll figure it out. And
that was just it, you know what I mean.

Speaker 4 (01:04:43):
I don't know what nothing to say, but I think
about it.

Speaker 1 (01:04:49):
Niggas was checking.

Speaker 14 (01:04:54):
You know, I wasn't there. What a segue?

Speaker 1 (01:05:13):
It was second shows. I love straight man.

Speaker 4 (01:05:23):
You know anybody they're sitting in here eating with us
that's straight like that, straight like that. Not you, but
just if you know, if you know somebody like me,
that was great. That was great. It's a great coming

(01:05:44):
out there with his You can do one out there
with his baby. Come on, man, want to see the joke. Man,
just start singing, nigga, come on.

Speaker 1 (01:05:57):
To start singing.

Speaker 8 (01:05:59):
Jake just.

Speaker 12 (01:06:02):
She rid like I lo.

Speaker 1 (01:06:05):
Like fuck y'all. Okay, so what what what? What's first?
It is? It? Is it the TV role or a special?
What was first for you? What was first a TV role?
It was Blackish first for you? Or was it was
a special first for you? Special? Special? Was first? Had

(01:06:26):
a special? Okay? Which one was first? Which? I had
a special called Cold Blooded Seminars on Comedy Central. That
was my very first Hour special and then I was
like before Netflix, like and then when Netflix hid, know
what did it do for you? Though? It had people going,

(01:06:48):
he's a still wasn't like seating crazy asses and seats,
but they had people going, oh this this is kind
of clever. It put me on on people's radar. Yeah,
but it was like, oh, this is just kind of
this is kind of kind of clever. And it was
like that, and it just was that was it.

Speaker 7 (01:07:10):
You know, I still was still have to burn at
this point. What do you what are you making a
show right now?

Speaker 12 (01:07:17):
No?

Speaker 2 (01:07:17):
No? No?

Speaker 1 (01:07:19):
Then what was I making? Then? I was probably getting
about maybe about fifteen hundred fifteen hundred a show, and
that's good money in comedy, yeah, I mean yeah then yeah,
because I was just making like a thousand a show.

(01:07:39):
I was making like a thousand then when my special
came out on until like fifteen.

Speaker 7 (01:07:44):
Because they because the way comedy is is you see,
because comedy is also based around, like you said, asides
and seats, right, they ain't that, how y'all?

Speaker 1 (01:07:55):
Yeah? Equated to you know.

Speaker 4 (01:07:56):
And then and then if you can, you know, if
you have enough success, then you can still do those
same rooms or maybe you want to do bigger rooms,
but then you can go to a premium ticket price.

Speaker 1 (01:08:07):
That's another way that that money starts to go up. Yeah,
And it was like and then you started looking at
the shows like you'll do a comedy club. And I
went from this is when you know you can kind
of lift your money up. I went to comedy club
and I used to do like five shows right to
a sellout. And that was just like Saturday, the Saturday

(01:08:31):
show and the Friday late show and the early Saturday show.
They don't even know who's there, you know, they just
out on the Saturday, like let me just go to
see some comedy or whatever. So that's why those would
kind of sell out. And then you know, after a while,
three is sellout and all five is sell out. Now

(01:08:54):
you're adding shows. Now you up to seven shows. Now
you're doing nine shows ship. Now you're doing eleven eleven
shows a week. Yeah, and now you're like, okay, god, Dan,
I'm gonna go to theaters. Then you do a theater
and you could just do one get all in one show. Yeah,

(01:09:16):
but it's almost less money though theaters. It's less work
too though, less work show sip. But you've got everybody
on one spot though, right, you know what I mean.
So instead you're doing a room of three hundred people,
four hundred people, you're doing three thousand or whatever. But
the insurance, yeah, yeah, the insurance on the place security,

(01:09:39):
you know, like shows, show it's like it's a whole
thing that you don't have to worry about a comedy clubs,
you know what I mean. So so the money that
you would normally get in the comedy club would be
less than in the theater. People see theatersn't just think
that it's really look yeah, and the less work to
do to do less work and for the look. Yeah.

Speaker 4 (01:10:03):
So what was what was the what was the special
or moment that said that said Dion Cole is the
bad motherfucker here.

Speaker 1 (01:10:13):
When I did my second special, Cold Hearted, which is
the first hour special I did on Netflix, I remember
Chris Rock text welcome to the club. Ship. He text that,
and at that moment, I was like, welcome to the clubs,

(01:10:37):
welcome to the club. It was simple like that. He
was outside. You weren't there, nah. Yeah, when when when
they saw that special, Chris Rock simply text welcome to
the club. He's welcome to the Club D and I
was like Wow, and after that just selling out just

(01:10:58):
it just instantly Open Night Dog. It was like all
my shows just seld out and sold out everywhere, sewd
out everywhere. But I didn't have no jokes man, starting over,
start Over special And the bookets come in and you.

Speaker 4 (01:11:21):
Say, because they got to say they gotta sell the
tick Well, yeah, I get it, but I mean they
got to sell the tickets while you're hot.

Speaker 1 (01:11:28):
Right, That's why I'm trying to figure this shit.

Speaker 4 (01:11:30):
So they want to put the tickets up for sale,
they sat, yeah, and maybe you know, and maybe they
they they space it out to war. Okay, you won't
start the tour in like six months to get the
time to really go, but they got to catch them
tickets sales.

Speaker 1 (01:11:43):
See. But see with Netflix, this is another thing. And
this is for any comic out there, a little tipbit
for you. Whatever. When you drop these specials, what they
do is they'll drop a special and then just tour.
And that ain't how you do that. Ship. You have
to wait until everybody see that special because if you
go to early, everybody ain't solid. So now you're leaving

(01:12:06):
money on the table because you wanted to get out
there all of a sudden and try to tour and everything.
You gotta wait at least three to four months after
that thing drop in order for people to see it. Now,
from the time that you shoot that thing, you got
about three months to edit it, right, You got three
months for once to come out, So you gotta get
six months to write something, you know what I mean.
So you're gonna have something. But I doubt if you

(01:12:29):
have an hour and six months, you probably have about
a nice twenty fifteen minutes that you will have. And
then you can whose birthday is it? Another minute? And
then after that you can have a twork contest. And
now you're up to forty five minutes and you out
that you know, shooting right, stop off fifteen.

Speaker 10 (01:12:54):
Ladies and gentlemen taints looking down.

Speaker 1 (01:13:12):
Oh my god, I just stopped bringing out everybody.

Speaker 7 (01:13:15):
I mean, So now you're starting to get to some
paper at that point.

Speaker 1 (01:13:19):
Yeah, and you haven't. This is my other question.

Speaker 7 (01:13:23):
Why early on, while you're waiting for that big break
to happen, are you working a gig?

Speaker 1 (01:13:29):
Are you working a day job? Still? So when my
when that special dropped, I was on Blackish Black That
was on Blackish? So when did the Ferrari happened? The
first when I was like that, I think this. I
think that was right before the No. I think that

(01:13:50):
was like the first one, like right after what what what?
What was it? It was?

Speaker 4 (01:13:55):
It was an Ontario Yeah, and I was like, who
that's when?

Speaker 1 (01:14:05):
When do you get that? I'll buy the back trash? Yeah?

Speaker 4 (01:14:07):
Yeah, right, when do you get one of those? How
much money you got? What the fuck is going on?

Speaker 12 (01:14:16):
Yo?

Speaker 1 (01:14:17):
Man, I'll tell you man, A lot of a lot
of people be playing comics like they ain't got no
bread man like they like they like, they like look.
But a lot of people they be like sunning and
be little, and comedians sometimes I got I gotta be little.
I don't know if he really meant to do this,

(01:14:40):
but he did. I was I ain't gonna say now,
that's a whole other segment. What time I was in
New York, right and we did this fashion show and
and uh, my guy, he had this brand where he

(01:15:04):
was like, I'm a high comedians wear my clothes on
the runway, and they gonna come out, do a couple
of jokes on the runway and then leave wearing the stuff.
It's like Marlon Wayne's me, it's it's a bunch of
bunch of cats. We all on here, we getting it
a sam j and and I can't even it was
a bunch of DC young fly. It was a bunch
of us all on this joint, right, So we all

(01:15:27):
wearing these fly clothes and stuff. And then we go
to the after party and it's this rapper dude New York.
He had the sunglass line. He had these sunglasses and
he was he every time he sees somebody, he had
get them the glasses and record them, like unveiling the
glasses and putting them on, and and he'd like record

(01:15:47):
them like yo, yo joints New Joyce's hot son and
you know, yeah, well yo, you do your thing, boy,
and shouting out his eyeglass line, right. And so we
are sitting there, we are chilling. So he come up
and he got his He come up Yo. Y'all was
killing it and everybody was like yo, yo, that's what's up.

(01:16:08):
So then he was like he gave the one person,
one of the comedians, He gave him some glasses Yo. Yeah,
they put them on, filming them Yo. These hot this time.
Then he was like high and he was looking and uh,
this this me, this, this is this water is me right?
This him with the glasses. Y'all you want some glasses?
Yeah yeah you go yeah yeah yeah you look dope.

(01:16:33):
You want some glasses.

Speaker 9 (01:16:34):
Here you dope? Yeah yeah you hot.

Speaker 1 (01:16:38):
Yeah yeah that's what's up. Yeah, everybody around me got glasses.
I'm sitting there like this and he was just like,
you you want some glasses. I was like, yeah, yeah, yeah,
I want some glasses. He gave me the glasses. I'm

(01:17:02):
I'm unwrapping the glasses too. I'm up wrapping the glasses
and I look at him. He on his phone, and
I'm like thinking to myself, ain't you supposed to be
recording me unveiling revealing the glasses like everybody else everybody
else is doing. He filming them opening them up and
they go and I'm like opening them up, and so

(01:17:22):
I see him not feeling me. So I put him
back in the package and I'm like waiting on him.
And then he get off the phone. He like okay,
and then he recorded and I take him out and
I take him out and I look and he just
like recording everybody else. He ain't even on me, and
I'm just like holding the glasses. And then finally he

(01:17:42):
he get on me, and I'm just like, and so
I just put him on. He like them joints is dope,
and I was like thanks. Then he cut his camera
off and just was like, and so I take the
glasses off. And then the next day he posted everybody
picture were wearing the glasses except for me.

Speaker 12 (01:18:02):
You know.

Speaker 1 (01:18:02):
I guess he felt like I wasn't large enough to
wear his glasses. And I think he just gave me
his glasses just to you know, just because I was there,
yeah or whatever. And yeah, I guess he felt like
I just wasn't large enough to wear his glasses. But
the ill shit is, you know, the night two nights later,

(01:18:24):
I just went and sold out six thousand cedar, you know.
And I'm quite sure him himself, and I ain't got
no ill will against him or nothing like that, but
I'm quite sure the one song that he did have,
there's no way in hell he could you sell out.
He should be here of six thousand people to hear

(01:18:46):
that one song. Did you wear his glasses you before?

Speaker 2 (01:18:48):
No?

Speaker 1 (01:18:49):
I did not. I never wore him since. But yo,
they sun you like you just like you small. It's like,
do you know how much money comedians are getting? No
band getting it, no backup singers, no musicians. There's a

(01:19:11):
microphone and one guy and there's six thousand people. Yo,
let me ask you something. Let me ask y'all something.
I couldn't wait to get her to ask y'all, be
for real, for real? How do you feel about today's music?

(01:19:37):
I see me and I are. It's hard to ask
us because we are into We.

Speaker 4 (01:19:45):
Are part of the tradition and the progression, so we
have an appreciation for all of it because all of
it has a place now. What I always encourage is
for everyone who's doing music now to study the people

(01:20:09):
who were doing music. Then don't miss that step, because
some somewhere somewhere in that timeline is a recipe that
that makes sense for you, that you can take and apply.
As we were talking about Michael Jackson the other day,

(01:20:32):
when you talk about Michael Jackson, in order to truly
be a great performer, from Beyonce to Bruno Mars to
Chris Brown, you are grabbing ingredients from the greatest yea
from Michael jacqueson.

Speaker 1 (01:20:53):
You have to yeah, yeah.

Speaker 4 (01:20:56):
When you talk about when I'm talking when i'm when
I'm trying to figure out this scream that I want
to hear at my show. It's got to feel and
sound like this. I'm listening to Distant Lover live Marvin Gaye,
and I'm studying how he's saying it, how he moving,

(01:21:17):
how he how he goes into the song Distant Love.
It don't start off like Distant Lover. It's a prelude
and then it goes boom boom, boom boom.

Speaker 1 (01:21:26):
Distant Love. Oh my god, baby woman is having a
baby on the third row. Man Twins.

Speaker 4 (01:21:36):
You have to that's how you That's how you stay grounded.
Whereas in your your your your gift in what you
do has a foundation, but you're also tuned in to
what's happening and what's working now. So I just say,
don't get too lost in the now, because the now

(01:21:59):
is it's quick, fast, in a hurry.

Speaker 1 (01:22:02):
But now it's trendy.

Speaker 4 (01:22:03):
But now it's all of these things that you can
get caught up into and you can be here and
gone in a minute if you're just just attached to that.
But when you start dialing in to tradition and you
start pulling in the pieces that kept those people that
there's the reason why those people are around to this day,
even if they're not alive.

Speaker 7 (01:22:23):
I think, for me, I think it's because I've always
asked so many questions, right. I've always asked my grandfather,
my mom, and my daddy what they liked, what people
wanted to hear that. Now I asked those same questions
to my children, and I think that for me is

(01:22:46):
why I've personally been able to adapt to music and
why I can still have appreciation for what's going on
right Because there were certain artists.

Speaker 1 (01:22:55):
I'd be very honest, I didn't understand NBA young boy
at first, get it.

Speaker 7 (01:23:00):
I ain't gonna lie. I'm not gonna lie. I was like, oh,
you got a couple songs. I didn't understand though, really
until I start having telling my son take the OX
and were driving to school before he got his car,
and we just listening and listening and listening. I'm researching.
I'm like, Oh, I get it. I get why these
kids are really tapped into him.

Speaker 1 (01:23:21):
I hear that, I hear that, I.

Speaker 7 (01:23:23):
Hear that the teenage angst, I hear that, you know
what I mean. I can see why they're excited about it,
right the way that I was excited about Snoop Dogg,
all the way I was excited about Joe. To see,
I can see how they're excited about bryceon Tiller, or
they're excited about Chris Brown and those type of things.
And I've always listened with open ears. I can't can

(01:23:45):
tell you that about me, Like it ain't always got
to be right for me. It just got to feel right,
and it gotta feel good. And to me, this new
music feel right and feel good.

Speaker 1 (01:23:56):
You know what I mean for the place that you're in,
because that's the other thing about me. Music. Music is
the only thing that can travel with you throughout your life.

Speaker 7 (01:24:04):
Anywhere you're going. You're gonna hear it in movies. You're
gonna hear it at the games. You're gonna Like if
I don't go to the basketball game or watch the
basketball game on TV, I don't see it, I don't
hear it. Music is different. It's everywhere, and you have
a different emotion for it in different places. So now
that I'm in the space with my son, I got

(01:24:27):
to say I'm in that moment with him. When I'm
with my daughter and she wants to play the K
pop sometime or did she want to play I'm like, okay,
I get it, Yeah, all right, what's the new young girls?

Speaker 1 (01:24:39):
A Cat's Eye?

Speaker 7 (01:24:41):
She's like, Dad, you gotta I've been a music but
it's one hundred thousand years and I had never heard
of cats Eye.

Speaker 1 (01:24:47):
My ten year old daughter, Yeah, that's what she's into.
It's like, Dad, they got records.

Speaker 7 (01:24:52):
Yeah, And I'm just I just have an open mind
for it because my parents had an open mind.

Speaker 1 (01:24:59):
I didn't come from that house.

Speaker 7 (01:25:00):
Oh that said, you know, this is the best way
I can put it. My mother's favorite two artists were
Prints and Ice Cube.

Speaker 1 (01:25:09):
Really nice, doesn't make.

Speaker 7 (01:25:11):
Sense to the average person, but those are my mother's favorite.
I'm talking about Top of the Top Prince and Ice Chid.
So imagine as a kid, I'm hearing everything in between.

Speaker 1 (01:25:26):
Yeah, yeah, exactly. I like I like. I like music
for like, if I'm want some some turn up, if
I'm in a club, you know all that. When it
comes to like R and B music and you know, alternative,

(01:25:46):
you know, just I always feel like I'm just always
complaining it. But I don't mean to complain. I'll just
be wanting changed to come you know what I mean.
I just don't feel no church. Well I'm sorry because
I mean, I'm listening, but I'm turned up. I'm turned

(01:26:13):
all the way up.

Speaker 7 (01:26:14):
Let's go to me. I don't you gonna hear that
with a Jazmine Sullivan. You gonna hear church? You here
church with Jasmine?

Speaker 1 (01:26:21):
All right, I'm just talking about I'm talking about.

Speaker 4 (01:26:25):
There's very few and far in between. Now, Yes, it's
then what its like it used to be. That's where
you go to find the singer. Yeah, that used to
be like a prerequisite. I saw him, he was singing
in the church one day and I was like, man,
you're gonna those are the stories when you go from
Aretha Franklin and you go to you go to Rodney,

(01:26:47):
you go to Whitney, Houston, and you go to like
So to me, I understand what you're saying in terms
of one of the ingredients that is missing.

Speaker 1 (01:26:58):
It's missing today miss church. And you don't even have
to get it's just the when it comes to the
black it's the feeling when it comes to black culture.
What makes black culture it's church. Church. I don't think
nobody's going to church no more.

Speaker 4 (01:27:19):
Because because because you would be inspired by church.

Speaker 1 (01:27:25):
Well here's the other part too. No church has changed.
Church has changed.

Speaker 4 (01:27:30):
I didn't give you that. So, like church used to
be about the choir, and we used to have the
word three or four choses, so you had an opportunity
to sing in church, to be part of something, part
of that movement. Then church slowly moved to the praise team.

(01:27:51):
Six people on the praise team.

Speaker 9 (01:27:52):
M hmm.

Speaker 1 (01:27:53):
So didn't leave a whole.

Speaker 4 (01:27:54):
Lot of room for anybody to participate, right, whether it be
those solos.

Speaker 1 (01:28:01):
So they start making cuts like basketball church, it was
just the way the p team just became. I mean
I didn't so as you the church. I grew up preaching,
it grew up. So that's we came together and we

(01:28:21):
want Chicago Nigga. We both lifted off. Absolutely, that's funny that.
But when I say church, I don't mean like church
you talking about. Use the word church just if not

(01:28:42):
more as the rhythm. The word is the root. The
word funk. Yes, the word funk all comes from church,
the word rhythm, all of it, and the word church,
the black church.

Speaker 9 (01:28:53):
They all have.

Speaker 1 (01:28:57):
When you'd be like, man, it's funky, you'd be like
this is soulful. It's soulful. It's James Brown. And I
just think that no, no, no, nobody has Yes. James
was a preacher, Angela was in church. Mary was in church. Church,
you know. And so all I'm saying is that are

(01:29:18):
we done with And I'm just asking, don't are we
done with church? I don't think so.

Speaker 2 (01:29:22):
No.

Speaker 1 (01:29:24):
I think it goes everything goes away.

Speaker 4 (01:29:26):
As we're having an R and B way, as we're
having starting to make it way back to the top
of the conversation. Now people are gonna be like, Okay,
well where are the singers.

Speaker 7 (01:29:36):
At Leon Thomas over there? Leon Thomas is nigga singing
from a place. Leon Thomas are bad, you know what
I'm saying.

Speaker 1 (01:29:45):
Like Chris Brown was in church. Yeah, no, you could.
You could tell Christmas in church, you know what I mean?
And I and I get that there are waves of
music that has to be made, and I get that
I'm with it all day long or whatever, but there's
still some kind of church in that, you know what
I mean. It's like it's you're still gonna feel it,

(01:30:05):
Like I know this is gonna sound crazy like Ghanna
his album, this last album. I think I don't really
even listen to that kind of kind of album was
phenomenal to me, and I don't even really I'm not
like a trap kind of I don't even know if

(01:30:27):
you consider it's like that, so melodic, so much feels
like it's a vibe, it's a it's a grown I
feel church in that dog. You feel you feel a spirit.
I feel church in it. I feel like it's so full.

(01:30:48):
Church is a connection, you know what I mean, It's like,
oh wow, this is this kid.

Speaker 4 (01:30:53):
But that's that's also but that can not That's also
can be a result of someone being honest and baring
their heart and bearing their soul in something, and so
that is going to create the connection needed, the feeling
that you think because a lot of times, again there's
this trendy music, there's this attempt to chase what sounds

(01:31:15):
good on radio. There's this attempt to chase, Oh, chase
the hottest producer or chase the hottest songwriter. And in
those instances, yeah, you can get a hit record, but
is it is it honest? Is it going to is
it going to penetrate? Like a lot of times, it's
like that's what I think artists should should, should focus on,
focus on, focus on the heart and the mind of

(01:31:38):
where you are and and use those songs to have
that conversation and that is how you get the people.

Speaker 1 (01:31:48):
Like, yeah, there could be, there can be.

Speaker 4 (01:31:49):
There can be bodies of work that don't have hit songs,
but the conversation in that project, it's just like, oh
my god, this is incredible and it gives you that
spiritual connection that you need that can get lost in
all of the computer and all of the ship, you

(01:32:10):
know what I'm saying. And I just we need the
church man. What's winning right now? Fame, fame or talent fame?

Speaker 1 (01:32:18):
To me? Famous winning well in an abundance like that,
it's more fame.

Speaker 4 (01:32:25):
And I have to say fame because there are more
people famous now for nothing right than ever before.

Speaker 1 (01:32:32):
Like there are not even just famous for nothing, famous
for a little.

Speaker 4 (01:32:36):
Famous for like you can go viral, famous for anything
other than a gift. Yeah, you know what I'm saying,
a god given gift. Now it's it's just a thing
of something that you do enough of and you're famous.

Speaker 1 (01:32:52):
Yeah that's crazy, right, I ain't mad at it. Get
a bag. I'd nobody get in the bag. I'm not
mad at none of that. I want everybody because everything
there's a balance. It's a balance, and everything changes and
it evolves, and you complain about it ain't gonna stop
one Like I understand that totally. I want everybody to
get money or whatever. I just want someone to still

(01:33:20):
believe in what got all of us here. Well, you
know what it.

Speaker 4 (01:33:29):
It fall The responsibility falls upon the people who actually
want to see it and feel it.

Speaker 1 (01:33:37):
It does and it changes because I mean, but I
don't know if do you do you blame the artists
or do you blame the taste of the people? No, no, no, no,
I mean you don't blame nobody. But it's just the evolution,
it's it's it's on everybody. Like as you say, you
want to hear and feel a certain thing right when
you DJ you got to play.

Speaker 4 (01:33:56):
It right right, So it's on you and people that
and now and now the people listening to you are
going to be like this, oh what's that?

Speaker 1 (01:34:04):
Yeah?

Speaker 4 (01:34:05):
And now you are now reprogramming people to fall back
in love with the true essence of where all of
this She said, As me and Jay say, we want
to hear more, we want to see more, Okay, well,
we have to actively make it. We have to actively
go look for We can't wait for somebody else to
do the thing that we know to do.

Speaker 7 (01:34:27):
And the and the most talented have to work because
a lot of times the most talented don't want to work, lazy.

Speaker 1 (01:34:34):
But I think that then, I think that most talented
people are inferior to what's going on right now. I
don't feel like I don't want to do the world.
I don't want to the world. I don't think.

Speaker 7 (01:34:43):
So I listen, I watched. I watched with my own
eyes Kendrick Lamar come out sputtering. Niggas can say what
they want in the beginning, Oh yeah, we knew I'm man.
Listen when n top Dog Tde was first at Innerscope
Records after they was out of their deal at Warner

(01:35:06):
with Jay Rock and they was rebuilding a thing, it
was not no guarantee, but what was guarantee was he
was a talented motherfucker from the beginning. So to see
him go from like, oh, yeah, he's dope and we
were rocking with him too, now years later be oh.

Speaker 1 (01:35:26):
He's a king right now. You know what I'm saying,
Like he is I want to see him at a stadium.

Speaker 7 (01:35:32):
I remember going to see Kendrick at what's that what's
the small room in across the street from Staples.

Speaker 4 (01:35:40):
It was it was me and you the club, Yeah,
yvo something like that.

Speaker 1 (01:35:45):
I saw him open for hauling notes. What I think
that I did. I saw him open for hall and
notes and we spoke right after this.

Speaker 7 (01:35:54):
Come on to doing stadium work, the work because it
was everything.

Speaker 1 (01:36:01):
Oh, he's a backpack rapper.

Speaker 7 (01:36:03):
If it is, he don't got the hiss toda da
da da.

Speaker 4 (01:36:07):
Stadiums all the talent in the world. But if he
just rests on talent alone, if he doesn't figure out,
if he doesn't do the work to make hit records,
to create to if he doesn't do the work to
curate his moments the way that he does, because he's
very particular about all of the moments that he's launched,
if he doesn't do the work all of that talents.

Speaker 1 (01:36:29):
Yeah, nothing, But but I just I mean, and I
hear you. Definitely, I just think that, like, let's let's
bring it real quick, real Andre three thousand right, arguably
one of the best I ever did it. Yes, absolutely
doesn't want to do music no more.

Speaker 7 (01:36:51):
Right, why, I think that's just a personal choice, a
personal I think it's a personal choice. And from what
I've heard him say, it's like he's like, I don't
got any rap about.

Speaker 1 (01:37:01):
I know. I heard him say that too.

Speaker 7 (01:37:03):
Maybe he thinks in his mind like a comedian, I
didn't hold these jokes already.

Speaker 1 (01:37:08):
I don't. I don't want to music form, hey y'all
again for him, he doesn't want to do that ever again.
But that's what I'm saying. Maybe, And sometimes people don't.

Speaker 4 (01:37:18):
People don't just don't want to be defined by a
thing anymore. Like if I can't be, if I can't
be new, if I can't be, I'm good.

Speaker 1 (01:37:26):
I've done it. I learned a lot today.

Speaker 4 (01:37:29):
Like even if we go back in time and we
talk about Whitney Houston, m H Like Whitney Houston was.

Speaker 1 (01:37:42):
Just stand alone.

Speaker 4 (01:37:43):
She could stand alone, stand in front of microphone and
just and whoop your face off. But she did the
work to create a show, yeah, and to put something together.
When you went to go see with Houston, he was like,
this the most amazing thing I've ever seen. And then
the dancers was doing this, and the band was that's
the work that had.

Speaker 1 (01:38:03):
I don't want to everybody don't want to work like
being just.

Speaker 4 (01:38:05):
A listen Michael Jackson. Michael Jackson singing like that at nine.
He didn't have to, he didn't have to learn all
that other ship. But because he did. They see the
end result. They see the concert of the stadium where
they see the video and they see the all. They

(01:38:25):
see the end result. But it's the process. Is the
reason why there are only few artists that can live
in that space. It's the process as to why only
a few comedians can live in an esays, it's the
work you've done. Yeah, yeah, yeah, definitely, it's the work.

Speaker 1 (01:38:42):
Bro.

Speaker 4 (01:38:43):
I know I knew you before you had a Ferrari.
I know why you have a I know why. It's
not just because you're goodpace.

Speaker 1 (01:39:01):
We want to have one. We have one, I said.

Speaker 4 (01:39:06):
I was like, I think they're gonna make me a
new gun. I think they're trying to face Deanna and
bring me in. Absolutely not what you mean. Maybe me
Dean can do something together with friends. Absolutely, thank you.

Speaker 1 (01:39:21):
For coming by.

Speaker 4 (01:39:26):
I was telling you about my one wire and I
was like, for me and Dianna friends, we should collectively
now we're good.

Speaker 1 (01:39:33):
We're good.

Speaker 4 (01:39:34):
We got din We're good, I said, but I ain't
got no muscles, like we don't need them.

Speaker 1 (01:39:38):
We don't need to thank you. Thank you though I
could be in the town.

Speaker 4 (01:39:42):
I can be in the town coping up. I said, no, sir,
we're good. Thank you so much for coming by. Thank
you what call you listen?

Speaker 1 (01:39:58):
We know you getting because what I got from my
one little Instagram campaign his is actually on TV. I
was like, please, please please, I meant to call you
work for I wanted to and I want to tell

(01:40:26):
you though. Did you you know Phillis Hyman used to
always come to the shows in uh Chicago. She was
sitting in the back of her own and heckle, heckle
me to the all end, uh what all the way
up until her death? Why Jill Scott hit me up

(01:40:48):
one day and asked me somebody told her about it.
She hit me up because I think Jill was like
writing a film or something on and she was asking
me questions about it. She's to come. So Bernie Mac
used to have this room called Milchioneers, and he used
to do I don't know if you remember the show
he had on HBO called Midnight Mac and there was
like a variety show on HBO. You got these dances,

(01:41:12):
a comedy, like a variety show type thing where he
used to do that at this place called Melchioneers in
Chicago and all these celebrities that come. So Bernie would
be like, man, host my show. I got to go
out of town, so I would like host the show sometimes,
you know. And one time I was hosting the show
and I was on stage.

Speaker 15 (01:41:30):
And you just hear her go boom, and.

Speaker 1 (01:41:34):
I was like, I couldn't see from the lights, and
I'm just like anyway, trying to go on with the
show and bring up that boob get off, just like
going crazy dog. And I'm like and I get off stage,
go back.

Speaker 9 (01:41:49):
On, boom boo.

Speaker 1 (01:41:50):
So I'm like, who is this boring me? Dog? Like
what the hell? And so I get off stage. And
one of the times I was like, shut up, bitch,
like why you boom? Why are you boring me? And
then one of the other guys, one of the band members,
like that's Philly Simon. And I was like, who the
fuck is Philly Simon? And then because I didn't know

(01:42:11):
who she was dog, and I was like this, who
was that it was a chick from school days. That's
how you said, chick from school days? I said, for
what she was singing the school days, and I was
like this, Oh, the light skinned chicken was like here.
Her hair was all over her head. She had a
white leather jacking on shoulder pass like this crop right,
hair everywhere, no makeup, no nothing. She had this brown skin. Oh,

(01:42:35):
slick ass, motherfucker, thin mustache, brownskin and hugging. That's all
he did, was this, she's doing anything she did, he
was like, and she was like the boom she laughed
and got her drinking like a cigarette. Motherfucker.

Speaker 12 (01:42:57):
He like.

Speaker 1 (01:42:59):
So I'm like like whatever, I leave, right, I go
to another club called the Cotton Club. I'm in the
Cotton Club and I'm waiting on these five minutes for
a whole week. Right, I get up in that gun stage. Hey,
how y'all doing? My name is? We don't give a
FuG over your name is? I look, it's her good.

Speaker 9 (01:43:18):
Boo.

Speaker 1 (01:43:21):
I'm like, and I'm looking and I see her with
that same nigga like that. He like, boring the shit
out of me, dog, and then came on stage took
the mic from me. Start talking about me, dissing me
and shit in front of everybody. I have to fill
the time, and everybody in Chicago vouched this whole story.

(01:43:44):
When this shit come out, people in Chicago tell you
a place called Cotton Club. Dude, they Jimmy Spinks used
to run the Cotton Club. Used to be in the
movie car Wash. He was the bill fat dude with
the pancake out on. I used to run that, right,
so everybody knows the story. She come on stage talking
about me, take the mic from us over my fucking you, motherfucker,
this nigga ain't funny. Fuck this nigga. Two days later,

(01:44:07):
I'm at another spot. Now I'm nervous, right, I'm like
looking at the audience. I'm looking at the audience like,
so I don't see her. So I go, man, can
I go next? Please? They're like, nah, you like it's
about four month fron of you. I'm like no, no, no, no.
In my mind, I'm like, I need to go up
here now before she get up here. I know she

(01:44:28):
gonna come. And they're like, no, you gotta wait, my fuck.
So I wait. I go on. She not there, but
I'm nervous. I bomb because I'm nervous because I'm thinking
she gonna be there. So next night I go to
another spot, Dog, I go up in there that she
go again, boom, you motherfucker you ain't ship. Came on
the stage, snacked the mic again, so I grab another mic.

(01:44:51):
I'm talking about her. She talking about me. We going
out and ship, you little dick motherfuck just going off
on me Dog, and I just was like and I
couldn't win because everybody was like, don't Phillis tell his
ass and Phillis Phillips Phyllis, and I just was like, God,
I just couldn't do it. So then the next time
I was going to perform, they asked me go on

(01:45:13):
stage and I was like, nah, I ain't going up
there because I seen the D car in the parking
lot and I was like, I know they in there.
I'm like, she's baby d she Oh. She picked on
you everywhere everywhere I went, Dog. And that shit went
on for like maybe like two weeks. So at the end,

(01:45:34):
so the last time she did that shit to me,
I was like tearing up because I wait, I waited
all that time to you only get five ten minutes.
We got to wait a whole week for five ten minutes,
and she kept fucking it up every time, and the
last time she did it, man, I just was like,

(01:45:56):
I don't know what to do because I can't win
because everybody loved this. I don't know who she is,
never heard her music. I knew her music and didn't
know her. I didn't know it was her. So I
just was like, I'm still thinking this to check from
school days. And I'm just like, so now I'm like
upset after the show, dog, and I'm sitting outside and
it's cold as ship dogs, cold as far. Her hair

(01:46:19):
is everywhere right, and my eyes, dog, you get the
tears is cold coming on my face. Dog, And I'm
just like, I don't know what to do. She came
out there. Look, man, ain't nobody trying to fuck with
you like that? Whatever? I like, I like, I fuck
with you. I fuck with you and ship. Actually, I
want you to go on tour with me. You should
go on toward me. Open up, all right, just open

(01:46:40):
open up the ship up. Just man up, motherfucker. You
can handle this ship. I just want to see if
you can handle ship. That was it? Come on, motherfucker,
take here on my number. Here on my car. Here here.
Once you open up the tour, God damn it. Ship,
act like a little little bitch ass motherfucker. You can
handle this ship. And I just was like, I was like,
don't be saying that ship. She was like, now, I'm serious. Fuck,

(01:47:01):
I said, don't, don't set me up like Fris. She
was like, I'm serious. She was like, I'm sorry, all right, motherfucker.
I called me call him. Come on, let's go check.
God damn it, Come get a drink. Come on. And
I went in there and ship and that that that
was sitting there. What you drinking? I'm like, I ain't
drinking that. I don't know who that dude was. I
don't know he was. He wasn't. He wasn't. No good though.

(01:47:24):
And then I say, three weeks out that how manager
you called me once? Three weeks after that, they said
she passed away. Passed away. Yeah. I kept the card
with the number on it at my mom's house forever.
I had it, like in this book, kept it there. Yeah,

(01:47:46):
but everybody know, my comedian friend Tony Schofield was there. Everybody,
all comedians in Chicago, they all knew about it. Yeah,
but she heckled me every day because she liked me,
trying to make you better in her mind, like if
you can handle this, you can come ahead over with me. Wow,

(01:48:08):
ain't that crazy that nigga said? I saw the car
Phillips Hillis Hihman and then check this out. After she
passed away, I went and went back to listen. Somebody
was like, have you ever heard of music? And I
was like nah. And then they played her music and

(01:48:29):
I said, oh, I do know this song. I said,
that's her. It was like yeah. Then I heard another
song and I said I heard this before too. Then
I started going down this rabbit hole, man, and I
just I was just just crying, like wow, she was
so she was different, man, She just I think she

(01:48:49):
was so scorn like them last days or whatever. Business different.
It was diff rant man, man, she man. She looked
nothing like in school days. You wouldn't even knowing it
was heard. She was walking around Chicago. She had the
same thing on every talking about soul jeans in the

(01:49:10):
white leather jacket like eighties kind of jacket showed the paths,
and her hair was just short. She just slick it
back and she just had her cigarettes and her drinking
just every day, just like fucked up every day, just
chilling and ship. Yeah, ain't that crazy? Wow?

Speaker 7 (01:49:31):
This nigger was getting heck oed by Philip for two
straight weeks too straight.

Speaker 1 (01:49:36):
And then she invites you on the road. Wow. Then
she passed away old school. Yeah that's ain't that crazy? Wow?

Speaker 12 (01:49:44):
Bro?

Speaker 1 (01:49:44):
Yeah, true story. Get your vocals ready.

Speaker 4 (01:49:57):
Scared now, mister Cole, we uh invited you here to
get some some musical information from you.

Speaker 1 (01:50:16):
Damn he got it too. He knows ship from being
heckled by Phillis Hyman and to all the success you've
had touring.

Speaker 4 (01:50:28):
Around the world television and film, hanging out with R.
Kelly got it min mine my mind. I know there
are tools that it helps shape the life of a
wonderful man.

Speaker 1 (01:50:48):
Mister Cole. As you've come to the R and B
Money Podcast, the fans want to know what they want
to know, Chief. They want to know your.

Speaker 12 (01:51:04):
Top five, your top five, top five, your top five.

Speaker 1 (01:51:18):
I would be his sing us.

Speaker 9 (01:51:21):
Love Me song.

Speaker 1 (01:51:25):
We got to new big for you go We're on
the shoe. Everybody wants to nobody.

Speaker 9 (01:51:36):
Yes, ra Horror, your top five.

Speaker 8 (01:52:02):
Man gease, Damn Cole, that was great.

Speaker 1 (01:52:18):
Your top five R and B Singers, Top five R
M B Singers, Top Theodore Live anytime, just your top five,
it could top what you feel right now for five
R and B singers. Whitney, there we go one. I'm

(01:52:42):
gonna tell you who My number one is, got the Gate. Luther.
Luther's one of the greatest singers of all time. To me,
I don't do a lot of us. I don't really
know nobody else that and really like kill it like
but but Whitney Luther, Whitney Luther, Prance m yeah, Patty,

(01:53:10):
Yeah is that for I'm just I'm just spitballing right now.
I want to say, Anita, you can you can you free?
I want to say, I want to say Anita has
a Anita Baker. Yeah. It's a full time stamp in
my life. Yeah. That was unreal. Wow, how she sung

(01:53:36):
and sings. Listen to these records every day? That can?
I can? I can? I use your stereo? Yeah? Go ahead,
yeah put that album on mm hmm. Yeah.

Speaker 4 (01:53:50):
Because I couldn't understand that I was learning how to
play I was teaching myself how to play piano, and
what I was hearing on those songs, I was like,
what the fuck is that.

Speaker 1 (01:54:01):
Yeah, it's and it's and it's never been duplicated. No, no,
because she's too unique. No, you can't. You can't even
you can't even duplicate it.

Speaker 4 (01:54:12):
You have to like somewhere along the line, God is
going to have to give if he chooses to somebody
that vocal chain. Yeah, and he stand the ideas behind it.
There's no vocal chain like that.

Speaker 1 (01:54:26):
Yeah. The closest to me is Tony Braxton. That's the closes.
But remember we were talking about crisp and clean. She's cleaner.

Speaker 4 (01:54:40):
Her her her voice because Tony is Tony got some
grunge on her voice. She got some grit on her voice.
Anita Baker has has her voice resonates, there's a certain
clarity at the top of it that it's just it
just red like and she's and she's anointed.

Speaker 9 (01:55:00):
Yeah.

Speaker 4 (01:55:00):
She sang Happy Birthday of Usher one day and I
cried a little bit. I would have too, I'm in
the lad It wasn't it was, I felt it.

Speaker 1 (01:55:16):
Yeah, man, she I don't know why more people don't
talk about her like that. Well, because it's like you said,
it's hard to duplicate it. Yeah.

Speaker 4 (01:55:28):
The ones that you can study and steal things from
and and and and really grab a piece of it
and understand it and replicate it all the time. We
can all figure out how to do the moonwalk. Yeah,
but we can all go yeah, we can duplicate that. Yeah,
you can't wait, Anita. Yeah, somethings on my mind.

Speaker 1 (01:55:52):
And I asked this before somewhere, and this is a great,
great fucking place to ask this. And I know I'm
about I'm going off. Hold o, no, no, no, no,
I know we got to get out of herets listen.
So I went to and I and I brought this
up before I went to go see YouTube at the
Spear best concert I ever seen in my life? Right,

(01:56:14):
can imagine? Okay, I'm talking hit at the Hit at
the here right yep? YouTube sold out five shows a
week at twenty thousand people for five months straight. Okay,

(01:56:37):
let me say that again, please, twenty thousand people five
shows a week for five months straight. Now, sometimes it
was two shows a day, which made them do four
days a week. Something like that too, maybe a maybe
a three and an eight whatever the fuck? Five shows
a week right for five months straight? What black artists

(01:57:06):
do you know? That can do that, that's alive. Because
I feel as though that when it comes to the
Rolling Stones and YouTube and Aerosmith and whatever like, they
have a coat following because a lot of white people
they follow these careers or their legends and they keep
them alive, and they keep their music alive, and they

(01:57:29):
pass it down to their generations of people and they
go see them constantly and they know these songs or whatever.
When it comes to our black artists living a dead
or live though, I'm talking a lot live to me,
I'm talking. I'm talking. I'm talking about when it comes
to our black artists, we don't pass that down. And
then if we do pass it down, we're not going

(01:57:51):
to support them and see them like that. And I
said this on other shows before, like I went to
go see artists and been in the audience and been
like like why, like why ain't there so many people here?

Speaker 4 (01:58:03):
And about this though, too, how many of our artists
have established a platform that big?

Speaker 1 (01:58:17):
And this is what I'm saying, first of all, anybody
that could have is dead.

Speaker 4 (01:58:22):
Because it's only it's only two R and B artists
doing doing stadiums right.

Speaker 7 (01:58:27):
Right, I say, because this is also you two takes
time off, right, Yeah, they do take it.

Speaker 1 (01:58:32):
You takes time off. So the only artists that I
believe could do that what you just said, five shows,
twenty thousand, I know the numbers.

Speaker 7 (01:58:44):
Can do it if she takes five years off, four
years or a couple of years off, and they're like,
this is this is the finale? Because that's w how
they that's how that's also how they.

Speaker 1 (01:58:53):
Promote those those runs. They promote those runs as you
may never see them. You may never see this again.
But I don't. I don't look at and I get it,
but I don't look at Beyonce as a She's a legend,
don't get me wrong, She's legendary and all that, but
I still think she's relevant right now whatever you know,
she's still making new music. Yes, you're talking about a

(01:59:13):
legacy artist that's not talking about it, thank you. We
don't haven't. We don't have that maybe maybe, but do
we have one?

Speaker 2 (01:59:23):
Five?

Speaker 4 (01:59:23):
But is it one that has that has built their brand?
Like talk about you too, that they've they've been doing stadiums.
So it takes it takes that level of fan base
and artistry to even get to a point to where
you can do a y Q that many can the
black artists do that. But who's been in stadium? And

(01:59:45):
so that's what last R and B artists they do
stuff like that at STATEUS Michael.

Speaker 1 (01:59:49):
Jackson Jackson And that's what I'm saying. That's all I
let them saying. We don't have that at a different level.

Speaker 7 (01:59:55):
We don't, we don't, we don't, we don't support through
the generation.

Speaker 1 (01:59:58):
You know, the one person I thought can do that,
Diana Ross. Diana Ross, that's the only person. And look
at y'all if you did if you did that, you
did Diana Ross on the weekend. That's and and and
I'm being I'm being generous. I think on the weekend

(02:00:22):
sold out. Okay, we can show that five five days,
that's five days. It'd be tough to be tough to do.
But no, you Diana Rosses absolutely Now, if we had
Lionel Richie Ere Winter Fire and Diana Ross and the
package show sold out.

Speaker 7 (02:00:39):
Every night, because that's that's also what what black people
ask for.

Speaker 1 (02:00:43):
Package. We won't package. We gonna package. We want, we
want to pay a little bit for a lot. We
gonna package some shells. But I just wanted to ask
if y'all it ain't nobody. It's nobody right now. I
just wanted they been putting out current music and no, okay,
so all right we finished. All right you guys. Top
five R and B Singers, Top five R and B Songs,

(02:01:07):
Top five R and B Songs, R and B songs,
but whatever, top five R and B songs that I
think or that you this is all your list. Don't
nobody write it, but you not in this order. But

(02:01:28):
I'm gonna say this sex you up calling me bad?
Are you getting out there? That's where you're going? Are
you getting out there? You taking me back to high school?
That is one of the greatest songs. Man, what time?
Not getting an argument here ever created? I'm with fire

(02:01:49):
fire It's it's it stands to test the time forever period, right,
it's all time? Okay, all heard it all before?

Speaker 2 (02:02:00):
Mm hmm.

Speaker 1 (02:02:01):
My wife would love you for that. Yeah. Yeah, I
mean I can go to the Marvin Gay and all that.
I'm just talking about. Just you know, just do your thing.
That song by Shy that was and if I have

(02:02:22):
a fall in love, I know what you're doing. That
was crazy? What you're doing? Yeah, tender love? Yeah, yeah, yeah, yeah, yeah,
see yeah, your listen. Okay, it's rocking, you're DJing right now?
Come on, man, what what? What's what's fine? What's you cooking?

(02:02:46):
You cooking? Tend to love? Was off to me that
it's so hard man, I don't know. I can't. I
can't R and B song one? There one left song?
Some Luther any Luther song? I'm feel in? H come on?

(02:03:08):
Are we scared?

Speaker 9 (02:03:10):
Night?

Speaker 1 (02:03:11):
I feel in?

Speaker 5 (02:03:19):
Yeah?

Speaker 1 (02:03:20):
Talking about song? Is the night I fell in love?
Ain't that the name of night? You can? I can
listen to that for Alva DJ clip that you sing?

Speaker 4 (02:03:41):
We definitely clip that. That's a clip. Okay, let's do
your army vultruy. Okay, you're super R and B artists.
You gotta put this artist together from all the artists ever, So,
which artists are you going to get the vocal from
to make your super R and B artist? To performance style,
the styling, the passion.

Speaker 1 (02:04:00):
Of the artists? Is that? Is it four? Or five? Yeah?
Is it? Okay? Yeah?

Speaker 12 (02:04:07):
So?

Speaker 1 (02:04:08):
And what comedian is gone the open? What comedia gop? Yeah?

Speaker 4 (02:04:11):
What comedia is gonna open? I knew that five was
there for a reason. What vocal who's vocal from the
beginning of time? Are you going to get to be
your super R and B artist? One vocal?

Speaker 1 (02:04:24):
Alive? It is alive? Oh Ship Luther done.

Speaker 4 (02:04:30):
Luther is a singer performance style them on stage France.

Speaker 1 (02:04:35):
Mm hmm.

Speaker 4 (02:04:36):
That's kind of out there, the styling, the drip of
the artist, Michael, the passion of the artists meaning with yeah,
and what comedian is opening for this artist?

Speaker 1 (02:04:54):
Damn Dion, have you done any of eleven laughter stuff?
I haven't. I haven't even seen it. I wanted to go,
but I haven't. I haven't done you know, I'm saying
like when I'm saying like with you and an R
and B artist, have you ever done? No man, what

(02:05:16):
you want to do? Stop playing boy man, not to
be crazy. We'll be so funny man, be so dope
music and everything. Can I say this to And I'm
not just saying this though straight up and I'm just
saying this because we hear whatever. But when you wrote

(02:05:38):
when We that's another one of them songs, that's like,
it's just the stands to test the time that's gonna
always be around and it's simple. It's just the simplicity
of that It's just that song was so simple right there.
It ain't a whole bunch of words. Ain't a whope, just.

Speaker 9 (02:06:02):
This and that.

Speaker 1 (02:06:03):
One of the promise you. It's a rhythm, it's a groove.
It's church. It's church and that I ain't got to
mean live. It's it's spiritual. Who's church in that? No spiritual?
I promise you this, Oh ship man boll that think boy.

(02:06:28):
I remember when I when I first heard, I said,
I was like, I was like, what's this? Like this
tank they started doing this. You know a lot of
older women. One of your buddy, cut it out. I've
been in one of your father cut it out. I

(02:06:50):
run in one night. It's cracking, needs cracking. I walked in.

Speaker 4 (02:07:02):
I smelled so much being gay.

Speaker 1 (02:07:10):
Oh my boy, Charleson said a long time. Every woman
in there held the blouse had a slip.

Speaker 4 (02:07:18):
And everybody got slipped.

Speaker 9 (02:07:23):
Over the.

Speaker 1 (02:07:26):
Rads. I looked at I said, it ain't for me.

Speaker 4 (02:07:36):
On notorious for that time people come to my party.

Speaker 1 (02:07:41):
Niggas walking there and being like he had the nerve
to have it welcome, and he had the nerve to
have it at this in lounge. When it in lounge
didn't even exist.

Speaker 9 (02:07:49):
No more.

Speaker 4 (02:07:50):
Oh yeah, tanks cracking in here, niggas litter listen.

Speaker 1 (02:07:58):
Ship having a fun. All you heard was what all
right do do?

Speaker 9 (02:08:09):
Oh yeah? Man?

Speaker 4 (02:08:17):
I went ahead helping up.

Speaker 1 (02:08:20):
He did his snake. Oh yeah, all message the back
of my hair. God, God, one more section. If we
can't get out of.

Speaker 4 (02:08:34):
There, hold on, said.

Speaker 1 (02:08:46):
Cracking in.

Speaker 4 (02:08:50):
Everybody got a castle roll Look little some I brought
you something, the.

Speaker 1 (02:08:56):
Bowl of butter. Slot out the door, grab your butt, Scott.

Speaker 4 (02:09:00):
Let you a man on the way out.

Speaker 1 (02:09:02):
You know, okay, I ain't saying no names, say no name,
no names. Saying no names was.

Speaker 2 (02:09:21):
What you did.

Speaker 1 (02:09:23):
Don't say she saying no names? Man? All right, man,
we here story that's funny. Man more party show.

Speaker 7 (02:09:46):
Well you tell us story funny, funked up. I don't
know if it's gonna get more funny fun up to
the time of story.

Speaker 1 (02:09:57):
I think that was it.

Speaker 4 (02:10:13):
But the only rules of the game you can't tell
us no names, s bro, I know you got another one.

Speaker 1 (02:10:23):
Come on this man, Okay, let me think.

Speaker 5 (02:10:29):
God uh, I think one time I was doing this,
I was doing the show and we're doing open mic,
were performing, and the guy that was running the open mic.

(02:10:51):
I was younger the guy us that I was over
the open mic, he says, He says to all of us,
it's everybody there is rappers, comics, you know, everybody.

Speaker 1 (02:11:05):
He goes like this, y'all got five minutes, all right,
five minutes and get off. You go over your time,
cutting the music on you, and you're gonna get off stage,
all right. I want everybody to do their time, get
on out here. He looks at my guy name, no names.
He looks at my guy, I mean my guy Negos.
He's a magician. My guy. He was like this, don't

(02:11:27):
do that fire trick. Seal is too low for that bullshit.
You'll you'll cut the sprinklings on the ship. Don't do
that fire ship you be doing all right, so don't
like you hear me right, don't do that ship. All right,
everybody have a good show. So my guy like this,
and that's my that's my clothing bed. And I was
like this, maybe if you start with it, what you

(02:11:50):
can get it out the way here. It just don't
do don't do all the fire. To do some of
the fire. He was like yeah, right, So he gone
stage and he go up there and you know, he
got there. He got the.

Speaker 15 (02:12:06):
Velvet coat, got the ruffles, sleeves, he's you know, the handkerchief.
He goes up there, he looks at me, give me
a wing, come Mike, and he says like and he
got his fire.

Speaker 1 (02:12:20):
He's like going back and forth with it. The guy
in the back like, motherfucker, I told you don't do
that fucking fire ship, motherfucker. And he like this, huh,
He like it's gonna be real quick. Quick. Threw him
off his ship, right, fire catch on his shirt, his fire,
all of his his ruffles, right, and you see the
fire and he's trying to get the fire off his
ruffles and then throw the fireball all over here. And

(02:12:43):
he's trying to knock this out. Now this is on
fire and they're trying to get it off, you know,
hard to sh on fire and ship. And he hit
the ground and we all run up there, and his
whole ship burn and we start stomping him. We stomped
the fire, got him as we stomping the fire, all

(02:13:04):
our shoeprints on his velvet coat, right as we stomping him,
all his tricks and shooting out his jacket and ship.
So it's hey, come in, so it's it's it's bouquets
and flower and handkerchiefs, cards and shooting out shitting were

(02:13:25):
stumping this nigga. Dove some dove shot out his jacket.
I'm not bullshitting. I'm not making this up. Some doves
shot out his jacket. We all screamed because we didn't
believe this nigga had birds in his jacket. Then this
rappet came and the rabbit ran and we like, oh ship.
And after he's stomping on we get him. We get

(02:13:46):
the fire out and he lift up and he's like
days because we stumped the ship out of him, and
he like this. And the first thing he said was
anybody seen he was in my jacket. And we was like, no, no,
ain't nobody. Ain't nobody see jacket right behind him. It's

(02:14:07):
the biggest nigga chasing a rabbit. They came out of
his jacket, dubs everywhere, all that ship they where. Niggas
is like trying to kick that ship under the table.
He get up, he go in the bathroom. He in
there for like three minutes. Then he just busts out
the bathroom, run out the door. And he run outside
because I think he went in there and like licked in,

(02:14:29):
locked in his jacket and the ship was gone, and
he just closed his jacket and he ran outside. He
was so embarrassed. Nigga.

Speaker 4 (02:14:40):
This is the epitome of whoop that tricky shit ever?

Speaker 1 (02:14:47):
Nigga. Oh my god, dude, he was laying.

Speaker 15 (02:14:56):
Like this, done that shit was like.

Speaker 1 (02:14:58):
Sh se and you told him to started off with it.
You do it earlier, earlier. It wasn't going to stop
this workling, bro, Like what because I know how long

(02:15:18):
I've seen it so many times. I know how long
it took. I was like just doing a little bit
of the fire up top and that was it, and
he just went through it. But yeah, that is great.

Speaker 4 (02:15:35):
Stomping this nigga is He's living in my mind forever
here just.

Speaker 1 (02:15:42):
Laying out tricks.

Speaker 4 (02:15:43):
It's the tricks coming out all through our gods. Start,
mister darn Cole. Listen, man, we love you, brother. We
appreciate this, brother, man, Thank you'll. We needed this pull
up man, we need thank you for having me. Man.

Speaker 1 (02:15:58):
I love love your platform. I love it so much.

Speaker 9 (02:16:02):
Man.

Speaker 1 (02:16:02):
This is so great, so needed, so refreshing, so great.
Thank thank you so much. I appreciate it. Ain't you
all man,