April 28, 2026 • 52 mins
Drink Champs Network Presents: ROC Solid with Memphis Bleek.
This week on ROC Solid, we tappin’ in with none other than NEMS & Ron Browz — Brooklyn meets Harlem in a no-holds-barred conversation as NEMS and Ron Browz pull up to ROC Solid for an episode packed with raw energy, street stories, and unfiltered hip hop talk. Fresh off their collaborative album I Should Boom You, the duo breaks down how their chemistry came together—blending NEMS’ gritty, battle-tested delivery with Browz’s hard-hitting, drum-heavy production.
NEMS reflects on his journey from NYC battle rap circuits to becoming a voice for that unapologetic “FYL” culture, while Ron Browz dives into his legacy behind the boards, including crafting iconic records and evolving his sound over the years.
Expect hilarious moments, wild industry stories, and real talk about the current state of hip hop—especially their mission to bring back aggressive bars and authentic New York energy. The episode also touches on their new music, including standout tracks like “First48,” and the message behind their collaborative project.
This ROC Solid episode is a must-watch for fans of that classic NYC grit, where jokes fly, drinks pour, and two seasoned artists remind everyone what real rap feels like.
Tap in - history’s being told by the ones who lived it.
This is ROC Solid. 💎 💯
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
What up, y'all? This is your main man, Memphis Bleak
right here. Welcome to Rock Solid, a production of iHeart
Radio and the Black Effect Network in partnership with my
guys over at Drink Champs. You should know about you
shouldn't know. This is how we started this one off.
(00:30):
You already know what it is rock Solid podcast. We hear,
we hear, yours truly am Greasy in the building at
the Vault, Yo. This is this is a special one man.
We got my guy in the building, you know him,
Ron Browns. They call him eat the boy in the building.
You know what I mean. We got my bro from
(00:51):
Brooklyn Nim's in the building. Boom your fucking head off.
This is why this is special because now I get
that dude. The the setup. It's the setup, bro, Bro
and Ron don't even know Dad. Start nigga. Make a
call my nigga, Yo, get cool with him, making the
(01:12):
album with him, Bring them to the park and we're
gonna knock him out. And we're here. What's up my guys,
just seeing you? My brother love man Yo. Me and
this brother right here been in the studio countless fucking
days putting major working and we just never made nothing happen.
Speaker 2 (01:36):
Many like they violated me in baseline.
Speaker 1 (01:39):
One night, man Beanie Beans, I had a thirty clip
of beats.
Speaker 3 (01:45):
Beans was just like next one, next.
Speaker 1 (01:48):
One, yo, you that's what he was on his That
was mac Mitons. That wasn't Beanie Siegel. There he was
mac Minton's there skipping the mad beatsy. I'm like, you
can one joint and let nothing play, just going to
the next just.
Speaker 4 (02:04):
Before or after ether before oh before.
Speaker 1 (02:09):
Yeah, after eating he still was coming through. We still
was showing him, I know, but he never you know what, No, no,
he just made he just made the beat. But then
he was running around Eat the Boy.
Speaker 2 (02:23):
People don't know that was me saying that was just
you know, growing up in Harlem, I never thought, I,
you know, make it right beat for nodes. So when
that happened, you know my dudes in the hood that
the name actually came from my man.
Speaker 1 (02:36):
He said, Yo, if you have a kid, you're gonna
have a little eat the boy.
Speaker 2 (02:39):
So that's when I just kind of threw it at
a dope ring bid.
Speaker 1 (02:47):
God bless. But you know your head boys take him
back to the beginning to see I because me, I
know I for one day out the year East Sister,
we get flat. We go by the Himalaya smoke mad.
We they here come to Coneyllity. Niggas want to fight
(03:09):
since back to the train station shootouts and shit. So
I want to hear from your perspective back then, what
was it like coming to Cone Island.
Speaker 4 (03:18):
I'm from kyam my whole life and that literally is
like what we took pride on is when everybody came
during the summer and tried to have a good time.
We never let the outsiders past Stillwell Avenue because from
a O g My Man Dell song he started he
was he had Don Devon magazine.
Speaker 3 (03:39):
He's from Coyak. He was like yo, that started way
before you were.
Speaker 1 (03:44):
It was major walls, Like yo, bro, no bullshit. Every
year be fifty deep Brooklyn niggas you get deep, we
or me Hoyt skimmer Horn niggas get deep. We go
there falling, chilling, Like you said, they have a good
time chilling. Didn't for the night over. It's like, yo,
he just happened on Easter. Everybody stuff like yo. It's
(04:09):
like yo, we just was chilling. Why we never get
But then when it was time to get Grammy in
the winter. We had called a coney allity nigga come
through for us, you know what I'm saying. So it
was weird, like for us, like I never hung out there,
but I have many many people's out there heard up
ship crazy man. So how did the link up with
(04:29):
y'all happen? Man?
Speaker 3 (04:32):
He sent me a beat. I was like, yo, just
get on, you know I want it was.
Speaker 4 (04:37):
He was rapping on it, and I was like, he
can fucking rap like we know him from the you know,
Pop Champagne.
Speaker 3 (04:44):
It's rapping, but it ain't like rapping rapping, you know what.
Speaker 4 (04:47):
I'm saying, Like like happy rapping man was giving.
Speaker 3 (04:56):
So when he sent me the joint, he's.
Speaker 4 (04:57):
Rapping, rapping like he's fucking like he's the fourth member
of the Locks.
Speaker 1 (05:01):
You go from designer, it always was Pop Champagne was
the commercial version. It was that era too. Yeah, it
was that error man, like you did your thing, but
a rad money. Let's talk shit, y'all niggas just getting
too much money. Where niggas say, got a rad money?
What was the sample even saying? You know what? It
(05:22):
wasn't a simple you know what he said?
Speaker 3 (05:24):
Tell him it was nothing.
Speaker 2 (05:28):
It was no words, but just you know, being in
Harlem going in the e rap store listening to the music.
When I got auto to him, I was like, Yo,
this does sound like sounds like I'm speaking Arabic and
I just made the hook.
Speaker 1 (05:41):
I tucked at pause because I ain't. I ain't think.
Speaker 2 (05:44):
I thought people was gonna think I'm a little bugged out.
And then after pop champagne Buster called me like, yo,
I need I need something crazy and I sent him
that and he was like, Yo, that's my single.
Speaker 1 (05:53):
I don't know what you're saying. I don't care.
Speaker 2 (05:56):
I don't get fuck what you're saying, but that's my single.
And he had the whole marketing roll out for that
joint them ships went off. My g like they gave
you a bad rap man. You know the internet today, this.
Speaker 1 (06:07):
Is what's fucked up about the Internet because they try
to put ship together and be like this is what
this happened for. Because think about it, that all those
songs was coming out. You wasn't the only one at
that time doing auto tune. The whole industry, bro it was.
It was bad, like the whole industry was auto toned.
So Jay made that for auto tune at that time,
(06:30):
for the era, not specific Yeah, they they made it
like he did it specifically for that was the cause
I was getting. I'm not gonna say it wasn't like
my nigga. I'm not gonna say it wasn't for You're
not gonna say it was for all of y'all. But
(06:51):
it's not singlearly to you because you wasn't like a
threat to the homie. For him to want to just
like stop your bag. It was just like he's got
my back, thought the back, don't you know why? While
because he felt like everybody, I believe niggas felt like
at that time anybody was just making records. Bro, you
(07:13):
had no talent. All you had to do was put
on head and even nearly somewhere pissed the fuck off
at your niggas. Then now the new rappers perfoor him
with the words them niggas is sick. They ready to
clip some Yeah, they was gonna. Uh.
Speaker 2 (07:29):
When Jay dropped it flushed out to Flex and God
bless mister C was like, Yo, Rong, this.
Speaker 1 (07:35):
Is for you. No fifty calls, Yo, Jay talk about
you right now with the radio him like Wow, this
is crazy.
Speaker 2 (07:45):
So him like hearing fifty people calling and flex and
mister C. I was like, oh, maybe this was this shot.
Speaker 1 (07:55):
And then I saw you know vonn as my man.
Speaker 2 (07:57):
Yeah cool, Like Yo, that ain't like that wasn't for you, man.
I was like, oh man, that's what everybody.
Speaker 1 (08:05):
That's for everybody though, So it is for you, but
it was for everybody. It's like it, but it wasn't
like you guys use a casualty of walk my god, man,
like Yo, New York, fucking nicks my g bing bong
all this flash ship out yo. Then the battle rap
(08:28):
scene first, let's start there, the battle rap scene, because
that's what got you know in the city. You know
what I mean. That's to watch you moving on the
U r L battle Rap Star fight Club that shoutouts
with you. I mean, because I respect the battle rap.
That's where it started from. We start, especially in New York.
I can't speak for any other city, but in New York,
(08:50):
when you first put that pin in the paper, it's
somebody next door to you, like you wo straight up,
so you grow up? What was that like for you
coming up?
Speaker 4 (09:02):
I just knew that that was a way to get
my name known.
Speaker 1 (09:07):
You know what I'm saying.
Speaker 3 (09:08):
During that time, that's before the internet, you know what
I'm saying.
Speaker 4 (09:10):
I was like in New York City, it was like
they would just have battles all the time, like not
even fight club.
Speaker 3 (09:17):
It was just like, Yo, Wetlands battle tonight. You got
a battle fucking eight people tonight. And you know.
Speaker 1 (09:24):
What I'm saying.
Speaker 4 (09:26):
But when you do that, that's how you really got
your name known. So I would just take my songs
from versus that I was.
Speaker 1 (09:32):
Doing and just use them.
Speaker 4 (09:34):
But I always rhymed aggressively, you know what I'm saying,
So it was easy for me. And uh, and then
the fight club came. I beat one guy Halls.
Speaker 3 (09:45):
And then I just kept going and winning.
Speaker 4 (09:48):
I didn't know it was like gonna be a thing
like a league or a battle thing whatever. And I
just kept winning and I I had like twenty wins
and I was like, damn, what the fuck was this?
And it was just that's really the first no variety
that I had. That ship was the hottest ship in
the city or in the game at that time because
it was industry only. I was beating man rappers and
(10:08):
all types of ship.
Speaker 3 (10:09):
You know what I'm saying. So that was good.
Speaker 4 (10:10):
But right when I got that notoriety, I went, I
got locked up.
Speaker 3 (10:14):
And then it came out on MTV and all of
that ship. But it was good, kept my buzz going.
Speaker 1 (10:18):
But then you got that Knicks play my nigga. That's major.
Speaker 3 (10:21):
That was all fucking luck. That was just the universe.
That's crazy in bed style. I was a garbage man
for like eight.
Speaker 1 (10:30):
Years, and you should pay good. All my niggas who
come home from uptob with a felony, Yeah they pay good. Yeah, damn,
that's what's up man, Damn, that's dope. Fucking Where you
got the name m Greasy?
Speaker 3 (10:48):
Hey yo, that's a crazy name. Who named you that?
Speaker 1 (10:59):
You? You m gree my man leaky man from MARSI
name you Greasy cou.
Speaker 5 (11:05):
You know, we was.
Speaker 1 (11:07):
Watching What's the movie with my man Denzel with the
little kid man with the little girl. He protected her.
Oh yeah, in creasy is she? That's why he like greasy.
I'm saying, So I came from that, like you know
what I mean. He was putting in pain, you know
what I mean. That's why his name was leaky. Let
you go. You know you got a name from different ships.
(11:33):
You know how it is growing up. If your name
you was cupcake, your name was cupcakes.
Speaker 4 (11:39):
Matter of fact, I was thinking about that because you're
my man's man.
Speaker 3 (11:41):
I ain't never even ask you that. I'm gonna ask
you that on this podcast. How the fuck are your brows?
Because your brows?
Speaker 1 (11:47):
Yeah, Yo, this is crazy. I noticed that.
Speaker 2 (11:53):
Yeah at the time when it was when I started
making beats.
Speaker 1 (11:58):
It was this is crazy.
Speaker 2 (12:00):
I never noticed that you got mixed with something some duba.
There was a lot of producers I wanted to producer.
Speaker 1 (12:11):
Name was Ron.
Speaker 2 (12:12):
I was like to separate, like the the names from
that was just.
Speaker 1 (12:18):
A pause. He was a hit man New Yorkers Fun
out they gets some pause. He was a hit rise
down pause. That mean he's a killer, Like he was
a hit man for Puff.
Speaker 6 (12:35):
That's see why I say, yeah.
Speaker 1 (12:49):
Let's talk about it. I got a project coming out
I Access. They go off camera, right, this is the
most double album name I ever heard in my life.
So I say the wrong, like, Yo, what's the name
of the album? Dropping nigga said, I fucking boom you.
So it's like, wow, I'm just fucking boom the nigga
(13:12):
said that. I'm like, Yo, that's kind of dope. Then
he said, Yo, it's a it's a double entendre for
boom Back. He didn't even know that. He didn't know that.
I'm gonna tell you what you in YouTube.
Speaker 4 (13:29):
He just didn't understand it because we was we was
like halfway through the ship and I said, Yo, were
gonna name this album, I should fucking boom you.
Speaker 3 (13:37):
Just like that.
Speaker 4 (13:37):
That's a statement, you know what I'm saying, because one
of the skips he got in there is the dude
saying like, oh, you hit women, I should fucking boom
your stupid ass, and so I did.
Speaker 3 (13:48):
He was just like he wasn't sure. Then when it
was like staple, he was.
Speaker 4 (13:52):
Like, oh, you meant like like because we're using drums
like boom Back.
Speaker 3 (13:57):
I was like, yeah, that true.
Speaker 4 (13:58):
But also when you hear it, it's gonna make you
want to boom something, right, So we bring in the
boom you know motherfuckers right now on that beats without
drums and just samples.
Speaker 1 (14:07):
Not do that.
Speaker 3 (14:08):
He do the whole body ship smacking your face. So
it's like both ways, it's gonna make.
Speaker 1 (14:12):
You want to boom something.
Speaker 3 (14:13):
But we're bringing that boom back to hip hop.
Speaker 1 (14:16):
Yo, rawn is my man right. But when it was drama,
he fuelled all in the meetings. It was drama with
dim say Higo ju a Jim Joe's ship, pain did
jewels what it was like the knives, It was like fair.
But you in baseline, why we wait why he was
(14:38):
giving them them, yass? That's why beans, I think was
going next. You didn't give us the drama packs given us.
It's cool, pat.
Speaker 2 (14:48):
Now the origin is I gave it to hip hop
hip hop.
Speaker 1 (14:51):
Never the ether be hip hop, hipp super A and
r Hit didn't pick ether beat.
Speaker 3 (14:59):
I gave to him on a sheet. They brung it
to the block.
Speaker 1 (15:03):
Don't worry, hip hop will be on this couch.
Speaker 3 (15:05):
Yes, I said, Yo, get his is the hole?
Speaker 1 (15:10):
I think he said, yeah. It just never made it
to baseline, no way. Not probably did they probably did.
I ain't gonna one thing about all the A and
rs from Rockefeller, them CDs used to make it there.
Now it was on niggas to be in that studio
to grab that, tell guru or somebody to push play
or take that, make the cuts with it. Yn't keep
(15:33):
it a real though, Like that eat to beat.
Speaker 4 (15:35):
If you're looking for classic Ron Brown's production, that's not it.
Speaker 3 (15:40):
You know what I'm saying, that's that's not the ebonic
the boom.
Speaker 1 (15:44):
Don't really have they got like now to be like that.
It's about to have mad queens. It's hard. It's hard,
I guess, like the slow flow. Yeah, yeah, how your
(16:19):
niggas is partners in the studio making the album our
boom niggas making heat. But then you drop the book
and he didn't even know, you know, just dropping Man,
It's like you finished beating all What about the evens?
That's what I'm about to say, because even so I
(16:43):
don't know about all the odds. Rather some odds dunking me.
Speaker 2 (16:46):
Yeah, the book is about me being around, you know,
a bunch of hustlers from uptown and fuel and the
energy to making beats.
Speaker 1 (16:55):
So shout Kevin, shout to Jewel brother.
Speaker 3 (17:00):
This is beat the odds.
Speaker 2 (17:02):
It's a crazy story from me from a kid.
Speaker 3 (17:04):
What's crazy is with this guy?
Speaker 4 (17:06):
For probably the last six months during this album, Not
only have I never seen this book, he never once
spoke about it. He never said, no, I'm doing a book, yo' yo.
It even came up in conversations. This is the first
time I've seen this on this I said, Yo, blieve
you got a book and.
Speaker 1 (17:24):
He's like, yo, so he's not in the book. Now
this is I did this interview. It just dropped. Yeah,
you're in part two. Man beat the odds, Beat the evens.
(17:44):
Amazon though, that's dope, man. Any features on the project
or just y'all to going straight thugging it out.
Speaker 4 (17:51):
At first, we ain't put no features, nothing, And then
when we gave it in the album, the lady was like, Yo, you.
Speaker 3 (17:58):
Got any features. You guys want any features? It was like,
you know what, man, we can send it.
Speaker 4 (18:02):
I said, I said, it's a little fame for m
O B gave dog. You know it's Hall them on
production in Hall and we kept in real Brooklyn.
Speaker 1 (18:12):
That's right, And that was in was in. I't even
see it.
Speaker 3 (18:17):
I want you to get hold come out on Friday.
Speaker 1 (18:20):
I gotta get a Hall ofm.
Speaker 3 (18:21):
I gotta get a Hall.
Speaker 1 (18:23):
I gotta figure it out by Friday.
Speaker 3 (18:25):
Comes on the fucking three days.
Speaker 1 (18:27):
Yo. Chill the newest nigga from Harlem Chicken right now
with this that kid Fergie, you know my dog shout
to that have to remix remixed. Nice day to be
in Brooklyn, Yo. And one thing, I ain't gonna lie.
You shot on my dog, Pap, Pap. Don't never ever
(18:47):
not have a verse like you said, Pap a record
nigga like that ship right back, yo, Like nigga was
righting around her to be before I got it, like yo,
Like how you did the record so quick? Yo?
Speaker 2 (18:59):
I was on some jam with Pat one year and uh,
he was saying it was the year they said he
took the mic and performed. He did sway the next
day and had a whole verse about him taking the mic,
pause and h.
Speaker 1 (19:14):
The nigga performed alphabitch backwards. I don't even know the
alphabets backwards, like the rapid backwards. I can't even say
it backwards that Like you're kidding me. Let's go back
a little bit to the beginning. Wrong. How was you
know being a producer from New York, especially in that
(19:37):
time early two thousands, everybody in their mama was producing.
You had a lot of competition. Neptunes was moving. You
had just Blade just coming up. Kanye West. You know
what I mean. You had baked the monster. You had
fucking rock Wilder, you know what I mean, Swiss and
then here come you. How how how tough was it
to get placements for you back in there?
Speaker 2 (19:59):
It was crazy because you have a lot of artists
to be in the studio and they have a bunch
of producers sitting in the lobby. Like next you're playing joint.
So at that time, your beats had to be like knocking.
It was like strings.
Speaker 3 (20:13):
It was string based and aggressive beats.
Speaker 1 (20:16):
So I was just able to actually listen to.
Speaker 2 (20:19):
All of them guys, so and learn from all of
them and kind of made up my own staff.
Speaker 3 (20:23):
For any producers.
Speaker 1 (20:26):
Nah, let's go jump them as a new artist, right.
I wanted to just get used some games. See, like
with producers, do you usually get your beats? Do they
usually send them email to you or like? Or they
like through their whole stash like yo yo, play the
(20:52):
whole play play the whole foul. I'm mad picky with beats.
Speaker 4 (20:58):
So, and when producers to send you ship, they're gonna
send you ship that they think you said good.
Speaker 3 (21:02):
I always tell producers, send me what you think I
won't like.
Speaker 1 (21:06):
You know what I'm saying exactly. That's a fact that
a producer like, is ninety trash. I'm telling you, if
the producer whole you hype, I got it, it's not it. Yo.
He sent me some ship. Yeah, Yo, I'm gonna listening
to to this one jot.
Speaker 4 (21:25):
It was ridiculous, hard hard, right, and I just you know,
I was just like whatever. I finally was like, Yo,
send me this beat. Let's try to do this before
the album coming. He sent me, sends me the ship.
I don't know what the fuck he did to it,
but it was totally changed the right. I said, Yo, homie,
what the fuck is this?
Speaker 1 (21:44):
Bro? Matter of fact?
Speaker 4 (21:45):
I got a voice note matter yo, ass because this
is unmuch friend, because I'm talking nobody like this.
Speaker 3 (21:51):
That's not my friend.
Speaker 1 (21:53):
You know, this is crazy. I'm gonna put it right
on them, like, look.
Speaker 3 (21:59):
What did you do beat? Whatever beat.
Speaker 1 (22:13):
You ruined?
Speaker 7 (22:14):
It took last three hours trying to fix it to
my type of send it to me, bridging the way
it was.
Speaker 3 (22:26):
You just made a fire beat trash.
Speaker 1 (22:32):
You just made a fire beats. That's so crazy, cause
produces and be like that around here. G from just
walking into your just what's this He's like, No, this
is bullshit. I'm working nigga play that beat. Let me
get that, Let me get.
Speaker 3 (22:48):
That, yo.
Speaker 1 (22:48):
I'm asked by Moss you all.
Speaker 3 (22:50):
The time, how the fun did you get that fucking whatever?
Speaker 1 (22:53):
That was the caddy? What in the ball court?
Speaker 3 (22:55):
I'll be looking. I'll be like, yo, how did there's
no entrance to this ball court where.
Speaker 1 (22:59):
You can fit car? And no, that wasn't It wasn't
the basketball court. We had it in pause. It was
in front of my building. It was in front of
my building. It's like the corridors because Marcy got like
a driveway where the change, yeah, drive exactly fied apartment
that she could get through. So I had the car
right there in front of the buildings. So the way
(23:20):
we shot it, you see the playground in the back,
but it wasn't actually in the park. But yeah, rest
in peace my dog. Ralph. Man he the one did
that for me. Man. I remember calling that nigga like, Yo,
I need a v for the for the video. He
was like, yo, bleak, I just did this motherfucking caddy
with the Lamborghini doors. Nobody saw this yet. You're gonna
(23:42):
crush him. I said, bring it, send me a picture.
I went and bought the Dodgers like we up. It's
up words. So yeah, that's my name.
Speaker 3 (23:51):
You don't hear the little kids named Ralph anymore.
Speaker 1 (23:57):
It's like little girl, Yo. Somebody said I seen them.
Somebody saying, yo, why you never meet a baby key Sha?
You only beat t shit when she grown? He be like, yeah,
what's the baby nigg this is Keisha. You only beat
t shints and adult. You're like, yo, that's kind of true.
Ralph or Ralph's mechanics. Yo, he was a code niggas
(24:20):
carr nigga mans. Ralph got rims. But yo, like one
thing I fucked with you with them is like you
brung back in this era cutting niggas up facts yo, Yo,
you fucking talking to me like that. The fucking skitto's
you got them slippers off. You just cut the camera
man up just coming out here. My dog. I ain't
gonna say his name. So niggas be like, yeah, you
(24:41):
be getting cut up and dusty. But just know the
cameraman got chopped sue here today because he got on
crops that he said he do construction.
Speaker 4 (24:54):
He did, yo, But that came because before I had
the with Goliath and Rosenberg.
Speaker 3 (25:02):
I was like on the block and my album.
Speaker 4 (25:06):
Was coming out like in the in the week, and
I was like, damn, I don't got no you know,
I don't got no budget and I don't got nothing
Like how the.
Speaker 3 (25:12):
Fun how much let people know this album was?
Speaker 4 (25:14):
I was just like I got it, like I got
the world in my palm right here now, Like I
don't know what the fuck I just put don't disrespect
my album looking like a Mario Bergen, Yo, come.
Speaker 3 (25:23):
In, I'm gonn disrespect. I kept doing it every day
until the album was coming out.
Speaker 4 (25:27):
By the time the album was coming out, people was like,
we kind of don't want your album to come out.
Speaker 1 (25:32):
They want you to keep hating these videos.
Speaker 3 (25:34):
And I was like, yo, I got signed here and
I just.
Speaker 1 (25:36):
Kept on with it. Nah man. Then that ship let
into now y'all doing the XIM station, got that disrespect radio?
Congrats on that. That's dope, man. What's that like?
Speaker 3 (25:45):
Whatever?
Speaker 1 (25:45):
Average friend come up there? You ain't tell him about
the Yeah, I had to get him back. How he
was going to interview you? If you were just gonna
talk about this ship, ya talk about how to get
him back?
Speaker 2 (25:57):
Man?
Speaker 1 (25:59):
Fact well yo, but yeah, definitely man. So how what's
that like working up there? Man? That shit is man fun,
man easy.
Speaker 3 (26:06):
I love Yo.
Speaker 4 (26:07):
You gotta understand I've been I've been like since battling,
since the early two thousands.
Speaker 3 (26:11):
I was trying to get on from man long you
know what I'm saying, and and.
Speaker 1 (26:14):
It just started happening. So I'm really like this.
Speaker 3 (26:17):
I'm like a kid in the candy store.
Speaker 1 (26:19):
Man. I love this ship.
Speaker 3 (26:20):
Man, this ship is a dream come true.
Speaker 1 (26:21):
But from one artist to another artist, do me one
favor of being inside the radio. Learn the cheat code, man,
figure out why they ain't playing that ship as much
they need to be playing. I play whatever I want
on my ships, right, No, we gotta find out why
the system. We gotta put a cheat code in it,
up up, down with start with the cheat cod in
(26:43):
the system. So it worked for us, You know, I agree,
because ship, they don't be fucking with us. Certain records
you hear even be like how what who he knows?
Facts know?
Speaker 4 (26:56):
And being in the game, you see certain people like that,
like your father must be a fucking publicist, manager, fucking agent.
Speaker 1 (27:05):
How the fuck you getting all these looks? You just
got in the know?
Speaker 3 (27:08):
You how the oh you know? El this, this guy's son, this,
this guy's fucking you know what I'm saying.
Speaker 1 (27:13):
One thing I'm gonna tell you, all right, a lot
of people, a lot of artists like you know you
you can you can agree to this. A lot of
artists look for that coach sign, Yo, I need to
be damn with such and such a be damn Now.
I'm gonna tell you, it's a gift in the curse
to this ship. I live my whole life, It's a
gift in the curse. You lick right. I ain't drop
an album in fifteen years. I still walk out something
lick whow because the big homie is on fire. So
(27:36):
they like, that's this bro. He gotta be on fire,
right fire. So that's cool. But the curse of that
ship be that with the radio, with promoters with this
because Jay is who he is, say like where he did,
this has always been the ling ship to be right,
looking at this nigga like you a basting yo, how
(27:57):
you do that? When he did ninety nine problems, He's saying, radio,
don't play my hits. If I don't play, they show
I don't give a ship. So I'm looking at that
nigga like No, that's not what they do. They don't
play bleak hits. You were supposed to say, radio don't
play bleak hits. I don't give a shit because that's
(28:24):
what's happening to me. You say no, they like fifty
less spins on mind, Yo, take that ship up the mixed, yo,
like your whole career, That's what I'm saying. So being freed,
like not free, like you free to be out here
roaming around, but like not having that pressure. You get
to experience certain things that I never got to in
(28:46):
this game. And that's why I want you to take
full advantage of that little yo.
Speaker 4 (28:51):
Fucking the other day, fucking Dave Chappelle came up and
was like, Yo, I love your video.
Speaker 3 (28:57):
I watch this shit all the time. You are hilarious.
Speaker 1 (28:59):
Then I'm the same hand.
Speaker 3 (29:00):
No rein fucking bust the rhymes, treating me like I'm
a peer.
Speaker 1 (29:05):
And I came up. I got all the albums. You
know what I'm saying, This is a dream. I love this.
We see what you're doing. You making the devil. You're
making the impact. Niggas. Respect your struggle, respect your hustle,
respect your ground number one, and then you you're making
moves that artists dream about. You know, come on, man,
we've been in this game for years. They cant getting
the radio shows. Did that ship.
Speaker 3 (29:27):
Radio all day, clearing ship all the time?
Speaker 1 (29:31):
Bro?
Speaker 3 (29:32):
I got you bro, thanks man, Yo, he got you
gotta he's halem hall them. You gotta when the cameras
is on. It's a whole exterior.
Speaker 1 (29:46):
No. I just I just started getting cool with this
mother fuck like.
Speaker 3 (29:49):
Two months ago, six months.
Speaker 1 (29:53):
He was he was hollow. Yeah, what's up?
Speaker 4 (29:57):
Many'll think at people, he'd be like, I like, boy,
you gotta like that, oh ship, hall of pause.
Speaker 3 (30:08):
You gotta crack the exterior first.
Speaker 1 (30:11):
You got to cool. That's what cool. You don't want wrinkles, sweat.
That's up down man, that's the time niggas snap on
you sweat wrinkle.
Speaker 3 (30:25):
But niggas past that though.
Speaker 1 (30:26):
They the coolest, smoother fu. That's a fact. Get past that, man,
that's a fact. So talk about that man. That Harlem
world hallm.
Speaker 2 (30:35):
Hallm is just you know, grow up seeing all the
all the drug dealers, yo, and you're getting inspired.
Speaker 1 (30:42):
Man. Listen, it was a time in hall of my nigga.
I hated walking through Broadway every two steps, not every block.
Every two steps one too fish fish fish, Oh yeah,
one to Poppy. I beat both in the practice by
be right here fish fish. Yo. That was a wild time.
(31:05):
So niggas, if you come to New York and see
the weed out here and think that's crazy, we had
that cold. Yeah, that was you walking fish fish fish.
You like, what what? Let me get that zip, go
back to the I'll be right back, poppy. But then
y'all have them niggas that will robb you. Wait not
here in the McDonald's. Wait right here. I'll be right back, poppy.
(31:28):
Niggas come sell you that motherfucker she rock. Yeah, man, yo,
So my niggas went up there blasting. You know what
I mean. You talk about you said, you speak about
that in the book. Man. That just growing up.
Speaker 2 (31:43):
Being around a lot of dudes, you know, like I said,
my man Kevin Chiles, my man Drew Rudledge and all
the people that was around. And I just got to
experience a different type of life growing up, and I
just channeled it into doing music. And you're hearing a
lot in the lines of just day to day life
growing up in Harlem and being around like a lot
(32:05):
of o G's like.
Speaker 4 (32:06):
I said that the other day though, I just I
was when I was in hallm I forgot maybe it
was doing the video something. I was like, Yo, it's
a whole different lifestyle growing up in Coney Allen where
in the wintertime it's like a fucking dead land, you
know what I'm saying.
Speaker 1 (32:19):
Where you just it's one way in, one way out.
Speaker 4 (32:21):
Like growing up there and then growing up in Harlem,
it's a whole different lifestyle.
Speaker 3 (32:27):
It's totally different, but still New York.
Speaker 1 (32:31):
You see how you say the summertime, the whole Brooklyn
come alive. In the summertime, we you lording anybody hanging
out every block. Winter time, niggas is in the crib
ghost towns. Everywhere you go to Harlem is like going
to d off. It didn't. I don't even know how
(32:53):
they separated Harlem in the Bronx. That ship is a
little bridge over that ship like it ain't like that
now that's fall place like fashion show in the winter time, y'all, niggas,
that ship has runway sent you up there. Nigga, you
can all season. You couldn't. You can't go to Harlem,
(33:13):
like imagine that, right, you're getting up to go shopping,
like yo, I gotta go buy some fresh, but you
gotta be fresh by the flash like that's Harlem Like nigga,
come out like whatever on your sweats whatever. Nigga like, yeah,
I'm going shopping tho. As nigga, you ain't them. You
had to be fly to go get fly. That's why
(33:35):
I plose out. Man, take these new sniggers over, give
me the mother joints like that.
Speaker 4 (33:40):
Like, and then you got Coney Allen, my nigga, when
they come out cruddy, they go to the store.
Speaker 1 (33:44):
Listen, listen visual description of Coney Allen. It is projects
with beach views. So just think to just imagine that
a beach view projects a lot of them too. Like facts,
my nigga. That ship is like East New York with
(34:06):
a beach exactly What the fuck happened how they did That's.
Speaker 3 (34:12):
Why they've been trying to gentrify it forever.
Speaker 1 (34:13):
But nobody wants to live over there. Yeah, no, they
can knock go on them ships.
Speaker 3 (34:17):
Down gentrify because it's close to the city.
Speaker 1 (34:20):
It's like two three.
Speaker 3 (34:21):
Stops from the city.
Speaker 1 (34:22):
Forget about dumbbo got that no more. They took it over.
They took that Dumbo's over. They took it Cony.
Speaker 4 (34:28):
It's like it's an hour and least in the fucking city.
So they've been trying to put new buildings and gentrify it,
but it just ain't happening.
Speaker 1 (34:36):
But you to upgraded Coney all in the playground, like
the motherfucker that ship the cyclone face was like, God
damn be shot a video on that ship. Facts, that's
how you know they gave it a face.
Speaker 3 (34:52):
I don't have not sin. That shit kills people.
Speaker 1 (34:54):
Yes, my nigga, listen right now, this nigga's walking around
getting back surgery port from riding the cycle. Nigga's a
true story.
Speaker 3 (35:03):
Because I'm a Coney, I'm the mayor. I gotta notice
you know what I'm saying.
Speaker 4 (35:07):
There was a roller cycle roller roller coaster enthusiasts his
whole life. He went to every he was from San Francisco,
went to every park, rode the roller coasters, loved it everything.
His dream was to ride the Brooklyn's the Cyclone. He
finally makes it on his like thirty seven, thirty eighth
birthday to the infamous Coney Island rides the Cyclone on
(35:31):
his birthday, his dream, lifelong dream. The ship snaps his
spine and he dies.
Speaker 1 (35:36):
I'm telling you that shit it occurred, my nigga. That
wouldn't by fast, my nigga. You best like putting the
shopping car on the on the track like that ship was,
like it was the most funning story.
Speaker 2 (35:52):
You went on the cyclone kidding me of course, everybody,
it's never been on this ship.
Speaker 1 (35:56):
Holler, niggas gonna be going to Wish your amusement park
where y'all with y'all don't drops. Yeah, we did that.
I ain't gonna front y'all couldn't come to Coney I'm glad.
I'm glad didn't, yes, because back then it was it
was wicked, Yo. It's some ogs in my projects right
(36:16):
that one day, Britt speaking of Cody, bring me to
the story. So OG's right, So these niggas is going
to Coney Allen. So I'm like, yo, bro, I gotta
let me roll with y'all. Got my own money, man,
I don't give a fuck. So nigga's like, bleep, now
you can't roll with us right now. But I'm like,
y'all going to Coney Allen. Y'all gonna make sure I'm good,
like the fuck I'm with y'all. Y'all owe the homies,
(36:37):
let me fuck with y'all. Got my own money. I
want to go have fun. So the nigga like, fuck
it ain't come on, we get the Coney Allen. These
niggas is not in Coney Allen for fun. These niggas
gonna have a major gangst to me type of other
gangsters and new gangsters. They want to the broadwot niggas
like bleak go get some Nathans and something like, what's
(36:59):
going on? This is four four man, this is way before.
You see, you never even had a condition many.
Speaker 2 (37:12):
School school school, like when you're gone for lunch. That's
all you can afford is a condition. Man.
Speaker 1 (37:19):
But you ain't have it from Nathan, you know what
I mean. Don't ship on Nathan Cony. Man. They could
fight for that ship. Man.
Speaker 3 (37:28):
You know you got loss on your manicure.
Speaker 1 (37:30):
Man.
Speaker 3 (37:32):
Man, we get manicures to Brooklyn, but we don't get nos.
You get on pedicules, you.
Speaker 1 (37:40):
Get gloss on the patty. On the patty. You gotta
you got to strike, you.
Speaker 3 (37:49):
Know, we gotta take that extra clean.
Speaker 1 (37:52):
Yeah, you can't get gloss on the.
Speaker 3 (37:55):
Man, you know, like, yeah, there's some holler that might
be some hollow ship.
Speaker 1 (37:59):
Loss on the petty. Y'all did wrap the chick Glettized's
gotta be right on the summertime. They just trying to
ship a hole for where chick gletized.
Speaker 4 (38:09):
And then everybody grew up that beach. Now like this,
y'all be thinking that. Y'all be thinking that too. But
that they they used to get a hold.
Speaker 1 (38:16):
Of they got the Gucci joints. Yeah, just because y'all
niggas got supreme on y'all. Ship's mean this coolie joints. Nah.
The herd man, Yeah, niggas, every nig I see what
the herd man slides for.
Speaker 3 (38:35):
It is a good friend. Look, even all this time,
I didn't even notice the NFL had on the loan.
It's like subtle, It's like something like it's just some
fresh ship.
Speaker 4 (38:45):
But then when you go behind you like oh with
the rock little the paper playing, I was like, oh,
he's slick with it.
Speaker 1 (38:53):
He's a good friend, yea with it, you know what
I mean? I gotta wrapped the squad, mean, turned me
Dominican with the Do you know what I mean, yo, yo,
you Puerto Rican or Puerto Rican, my nigga, You know
I mean, I hang with them, but Puerto Ricans Dominicans, man,
you know what I'm saying. They got me telling these
niggas fucking my my guave a play with him names
(39:16):
well and beat it well and beat you know what
I'm saying. Why these niggas only teach me the curse word?
Nigga know all that everything cursed? They don't know. I'm
about to hire a Spanish tutor teach me some game
my jeans. Do you in the building.
Speaker 3 (39:33):
Yeah, See, as soon as you said that, Dominicans just came.
Speaker 1 (39:37):
So I'm telling you I went to school with them, yo.
One of my homies right because you know in Brooklyn,
we got the major, major Dominican side of Brooklyn. So
one of my homies, my mad Deebo, shout out debo,
so he went he went to check one of his
man's that you know what I mean, that live in
fucking Brooklyn over there down on Broadway or Coskiasco and
(39:58):
all that ship over there.
Speaker 4 (40:00):
No, people don't know how to say Cosky, I know.
So the nigga's like you could say it because we
said it. So if you see the sign, you want
to know how toing else it, So you know what
I mean. So the nigga was like, yo, you hang
with Bleak?
Speaker 1 (40:13):
Like that's my bro. Man telling him. I said, what's up?
But the homie don't speak English, he only speaks Spanish.
So Debo looking at him like, how the fuck you
know Bleak? He was like, man, I went to school
with Bleak. So that Debo come back to me like, yo, Bleak,
what school you went to? I was like, yo, bro,
I went to seventy one. They caught me with the joint,
cleaned me out. Mom said you not going to thirty three?
(40:37):
Sent me where Acrosstown of forty nine. There's nothing but
Dominigans and Dorto Ricans had nothing to do but get cool.
I was over all the middle in gay parties like this,
Like what y'all nigga say? Fucking went two step Blizzard.
That's how demon Little Bleak came about. He been legged.
Speaker 3 (40:57):
On the ego.
Speaker 1 (41:00):
Yeah yeah, but what's next for my geez? We know
we got the project? You got any projects dropping on
your own?
Speaker 4 (41:06):
Yeah, I'm I'm I'm working on the dock. So I
have a three album deal with Goliath Records. Slash version
was Paul Rosenberg. So after the song we know I'm
working on the third album. I don't really know what
I'm doing yet, but I'm taking it to the next level.
Speaker 1 (41:20):
A lot of people get them rosen Birds confused with
Rose ninety.
Speaker 8 (41:24):
You got yeah, yeah, yeah, in fact, you gotta go
ros Birds love me yeah different.
Speaker 1 (41:36):
So with Shout the Pet that's my God too, though, Yo,
what's next besides the book? Any chapters in the book
you want to give us a sneak piece God reading
man to make.
Speaker 5 (41:49):
A scoop uh playing story in there, but no dark story,
just argument over the the person was like that one
thing I'm gonna give you the major props to NIMS
for because you know, when they come down to the
Puerto Ricans in the.
Speaker 1 (42:07):
Game, they don't come for the Bronx. Yeah, yeah, facts,
you know what I mean. They been fronting on my guy,
Jojoe Peller Green over your gast ain't letting my guy
what you broke through?
Speaker 3 (42:16):
But he ain't Puerto Rican?
Speaker 1 (42:17):
What Joe? He Italian? Yeah?
Speaker 3 (42:19):
He Staten Island.
Speaker 1 (42:24):
Yeah, that's my guy though, Man, don't my god.
Speaker 3 (42:28):
It's fucking fucking the well from the State Knowledge Ship.
Speaker 1 (42:32):
Yeah, that it was Hall. He's super nice and nice.
My get get that.
Speaker 3 (42:36):
That's why I go hard for Cony, look big and hold.
They ain't shout out Coney Island on Brooklyn's finance. I
fucking know that I kept the motherfucker out.
Speaker 1 (42:45):
That gives me motivation.
Speaker 4 (42:47):
Yo.
Speaker 1 (42:48):
I'm not holding out Brooklyn's five.
Speaker 3 (42:51):
Since ninety six. I've been holding that in. No, But
that's why I go hard. But Coney Island.
Speaker 1 (42:59):
Forty. You do your show out there too, man, that's
dope with gorilla Nims.
Speaker 3 (43:05):
Yeah, we shoot right in front of my store.
Speaker 4 (43:06):
I got a store on Mermaid Avenue, sixteenth Street, the
fi L Store, And we shoot the podcast there outside.
Speaker 1 (43:12):
With Goerrilla Nemes. We got seventy three episodes.
Speaker 3 (43:15):
It's outside.
Speaker 4 (43:15):
We be outside in the winter time when it's mad cold.
We put the beach shears outside all of that ship.
Speaker 1 (43:20):
That's fun, yo. They don't let black people get stores.
Only the Dominicans, the Puerto Ricans and the A Rads.
That's it. You ain't gonna never walk into bodega here
shape that ass. Never. You're gonna Every coach brought some
black shit in there. I wonder why man, Yo, they
(43:41):
never gave us one. All my homies that got one
lost they store though, because you know they was they
got stories like in the book. Yeah, they wasn't really
selling young man tay the chips.
Speaker 3 (43:55):
Rare even see a Puerto Rican corner store anymore.
Speaker 1 (43:58):
Now, that's right. That the stores when we first wren
you had to walk in like this. Yeah you begin,
let me get two due, two dunees and the snapper.
Now you got walking there, yo, what they say, I
BB yeah, yeah maybe me the bagwood was I BB?
Speaker 4 (44:13):
What side was your ship? Was just your stores to
go to? Because I be I told you I was
throwing out of garbage there. So Marsie don't got I
mean Flushing don't got no stores stores.
Speaker 1 (44:23):
That's what's crazy. What side one? It was two stores.
It was one of Flushing in Marsie. Yeah, yeah, paused,
paused because this store used to be called meat bar
from meat Bon used to be called meat bar. W Yeah,
that was all flushing and no string. And then we
had a twenty four hour store on flud on me
on Flushing and Marsie was paused meat bond and on
(44:45):
Flushing and no string They tried to open up a
twenty four hour store, but too many niggas got clapped there,
so they closed that down. We had the two stores
Brothers and then the pizza shop that turned into another
store that brother bought that was on no string Yeah.
We got the other store on the other side on
still there. The other one on the other side on
no stringing between no stringing, Murdle between parking murder was
(45:07):
still there. And we had the one on Murdle Avenue
right by the fucking.
Speaker 3 (45:14):
Kennedy Fried.
Speaker 4 (45:15):
That Ye, they got the picture, the whole specio and
the cap because he never even told them to do that.
Speaker 1 (45:22):
They just made the nigga went in there or the son.
Next thing, you know, they got a whole meal like
with his picture on it. Like they got it, yeah
with it. He ain't never shut it down. That's the
only Kennedy Fried that got the whole special right there
on Marcy, right there on Murdle Avenue. Then we got
the three stores on Marcy Avenue, the Green Store, so
(45:46):
all the stores was my neck of the woods, but
my main store was brother Store. No stringing flushing, Okay,
you know what I mean, because that's right there walking
down my building right through the leg right there. Every
store we went to. That's how them niggas start selling
backwoods because the only store on my side that so
backwards back in the day was the store by Woodhole Hospital.
Speaker 3 (46:07):
That's a mission.
Speaker 1 (46:09):
You had to go all the way down there, and
they only had the brown pack. So why's that freeway
and beans? And will meet me on a turnpike with
boxes of backwoods back there, And then I would go
to my stores in the hood, like yo, y'all got
to order these man call and buy them up. And
that's how they started ordering the backwards bro Yo, you
love giving niggas beats for bell Yo, he didn't drama producer.
(46:31):
If y'all niggas got smoke. If you want to smoke
a nigga, come see Brown because Jay Mills rappid like
the rent dude did the landlord knock on the door
and that nigga create and they got gloves and ship.
What was going on.
Speaker 2 (46:49):
He had a situation where he had to take He
took care of your wad like.
Speaker 1 (46:56):
All, he took care of it. He ain't fucking playing.
He's body dagg and rap his ship up. That ship
niggas used to say he doing it.
Speaker 3 (47:06):
I just see a battle wrap of well known one
I see the other day. His chain was mad fake.
Speaker 1 (47:11):
Yo, chill. I feel that. I was like, damn me, yo,
that's bad because niggas will kill you for that ship.
If you're a battle rapper at that niggas will kill
you for this ship. You're risking your life and some
figs ship. You wake up every day and strap on
that fig She be like, Yo, I'm gonna go out
there and put myself in mad danger. Just look, yo,
(47:32):
that's crazy because niggas and the Wolves is out right now.
Ain't no niggas. You see the video They just booked
somebody in what Patterson, New Jersey.
Speaker 6 (47:41):
Oh yeah, and.
Speaker 1 (47:42):
Niggas online and like that's French, like niggas doing Chinese nigga.
That's fucking normal. It's called wolves food. We have to eat.
You gotta be with.
Speaker 4 (47:53):
Niggas just got used to this fucking pussy culture back
in the days.
Speaker 3 (47:56):
That's how everything that was just the normal. It's just
become not the now. Yeah, it's still the normal.
Speaker 1 (48:02):
A rapper from New York. I ain't don't even say
his name because I don't like keeping shit going, and
you know, niggas loved it. But a rapper from New York.
I seen this nigga LA and that nigga like, yo,
you wear your jewelry in La. Hey, nigga, I wear
my jurry whatever. Fuck I wat's what I bought it for? Right?
A nigga like you crazy? Like no, nigga. I had
(48:25):
to explain to him, Yo, you know where I'm from, right,
He's like, yeah, you know, Brooklyn originated take nigga shit right,
like we if we had started at if you wasn't
my nigga, that ass serious. The environment in New York City, Brooklyn,
New York from when I was a jit the eighties,
(48:46):
I say, from about eighty nine to about two thousand
and four or five, my nigga, if you wasn't a
person who deserved something and God took care, niggas look
at it. Yeah, like that let they had he think
he can that's just the cold of Brooklyn, Like yeah.
Speaker 3 (49:08):
Yo, he just went.
Speaker 4 (49:09):
I just was in Medaan in Columbia and everybody was like, yo,
it's not dangerous.
Speaker 3 (49:13):
I said, Yo, I'm from Conel. Yeah, it's dangerous, dangerous.
The fun I'm not saying I'm the tough.
Speaker 4 (49:21):
But when you come from that environment, you know, when
you can see exactly, you can sense it. And it's
like if you ain't looking, if you look for, you're
gonna find it. That's right, you know what I'm saying.
Speaker 1 (49:31):
Like going through your girlfrione, you gonna find that.
Speaker 4 (49:34):
And there's there's nothing good that could come in there.
Even if you don't find something, you coulda found.
Speaker 1 (49:38):
Makeups bitch, you said you was going to the cleaners
at full class yo, word out yo, So yeah let
him know. Man, fucking boom your face off.
Speaker 3 (49:53):
I should you boom?
Speaker 1 (49:54):
You drop it out right now. If you don't listen
to it, it's probably because you pussy yo.
Speaker 3 (50:01):
Straight up yo.
Speaker 1 (50:02):
I fucking love this guy, yo. Listen, Me and them
are best friends after this episode.
Speaker 6 (50:08):
You hear me.
Speaker 1 (50:09):
This is the type of ship I like That nigga
got a sore where he told the niggas or forty
duce selling they missed the fuck is stupid that ship, yo, Listen.
I wanted to jump out my car and let it
go on his own when I heard that line, and
now that I'm sitting here with this nigga is like,
(50:30):
no fucking way. This is my best my best friend.
Now we be f f y'all. I'm y'all. A lot
of people think it's just when they don't meet me
in real life.
Speaker 3 (50:40):
They think it's like, might be an act for the
internet hunt.
Speaker 6 (50:43):
This is how I really am.
Speaker 1 (50:46):
You're a real one. I told you. He can't walk
in the door and cut the camera. Man. Nothing. I
feel bad for him because he's gonna have to edit
this ship. He might try to edit your points, my
ge know, we're gonna have to give him some bread
on the side, you know what I mean. But you
know what it is. It's been a real one. I
love my guys. Man. Run keep putting in that pain.
My niggas. Stop making niggas, stop making niggas getting beef
(51:08):
and get better. Get them niggas records when they ain't
got no drama like me, I ain't got no drama.
We can make up some drama, though. Fucking up before
we shut with the YO. They violent nigga mine head, right, yo?
They violent. I love it though, y'all. Yeah, they said
I was Yo. I like it though. Give me the owner, YO,
(51:31):
lean me up. You know what I'm saying. As long
as you get demon little Blee, the bean is outside you.
Yall niggas never had a Boston Big Bean because your
pop is soft like silent nigga, you know what it is. Yeah.
(51:55):
For more podcasts from iHeart Radio, visit iHeart Radio, app,
Apple or wherever you listen to your favorite shows at
and you can follow me on any social media platform
under the name Memphis Bleach. You see anybody fraud in,
flag him h
What up, y'all? This is your main man, Memphis Bleak
right here. Welcome to Rock Solid, a production of iHeart
Radio and the Black Effect Network in partnership with my
guys over at Drink Champs. You should know about you
shouldn't know. This is how we started this one off.
(00:30):
You already know what it is rock Solid podcast. We hear,
we hear, yours truly am Greasy in the building at
the Vault, Yo. This is this is a special one man.
We got my guy in the building, you know him,
Ron Browns. They call him eat the boy in the building.
You know what I mean. We got my bro from
(00:51):
Brooklyn Nim's in the building. Boom your fucking head off.
This is why this is special because now I get
that dude. The the setup. It's the setup, bro, Bro
and Ron don't even know Dad. Start nigga. Make a
call my nigga, Yo, get cool with him, making the
(01:12):
album with him, Bring them to the park and we're
gonna knock him out. And we're here. What's up my guys,
just seeing you? My brother love man Yo. Me and
this brother right here been in the studio countless fucking
days putting major working and we just never made nothing happen.
Speaker 2 (01:36):
Many like they violated me in baseline.
Speaker 1 (01:39):
One night, man Beanie Beans, I had a thirty clip
of beats.
Speaker 3 (01:45):
Beans was just like next one, next.
Speaker 1 (01:48):
One, yo, you that's what he was on his That
was mac Mitons. That wasn't Beanie Siegel. There he was
mac Minton's there skipping the mad beatsy. I'm like, you
can one joint and let nothing play, just going to
the next just.
Speaker 4 (02:04):
Before or after ether before oh before.
Speaker 1 (02:09):
Yeah, after eating he still was coming through. We still
was showing him, I know, but he never you know what, No, no,
he just made he just made the beat. But then
he was running around Eat the Boy.
Speaker 2 (02:23):
People don't know that was me saying that was just
you know, growing up in Harlem, I never thought, I,
you know, make it right beat for nodes. So when
that happened, you know my dudes in the hood that
the name actually came from my man.
Speaker 1 (02:36):
He said, Yo, if you have a kid, you're gonna
have a little eat the boy.
Speaker 2 (02:39):
So that's when I just kind of threw it at
a dope ring bid.
Speaker 1 (02:47):
God bless. But you know your head boys take him
back to the beginning to see I because me, I
know I for one day out the year East Sister,
we get flat. We go by the Himalaya smoke mad.
We they here come to Coneyllity. Niggas want to fight
(03:09):
since back to the train station shootouts and shit. So
I want to hear from your perspective back then, what
was it like coming to Cone Island.
Speaker 4 (03:18):
I'm from kyam my whole life and that literally is
like what we took pride on is when everybody came
during the summer and tried to have a good time.
We never let the outsiders past Stillwell Avenue because from
a O g My Man Dell song he started he
was he had Don Devon magazine.
Speaker 3 (03:39):
He's from Coyak. He was like yo, that started way
before you were.
Speaker 1 (03:44):
It was major walls, Like yo, bro, no bullshit. Every
year be fifty deep Brooklyn niggas you get deep, we
or me Hoyt skimmer Horn niggas get deep. We go
there falling, chilling, Like you said, they have a good
time chilling. Didn't for the night over. It's like, yo,
he just happened on Easter. Everybody stuff like yo. It's
(04:09):
like yo, we just was chilling. Why we never get
But then when it was time to get Grammy in
the winter. We had called a coney allity nigga come
through for us, you know what I'm saying. So it
was weird, like for us, like I never hung out there,
but I have many many people's out there heard up
ship crazy man. So how did the link up with
(04:29):
y'all happen? Man?
Speaker 3 (04:32):
He sent me a beat. I was like, yo, just
get on, you know I want it was.
Speaker 4 (04:37):
He was rapping on it, and I was like, he
can fucking rap like we know him from the you know,
Pop Champagne.
Speaker 3 (04:44):
It's rapping, but it ain't like rapping rapping, you know what.
Speaker 4 (04:47):
I'm saying, Like like happy rapping man was giving.
Speaker 3 (04:56):
So when he sent me the joint, he's.
Speaker 4 (04:57):
Rapping, rapping like he's fucking like he's the fourth member
of the Locks.
Speaker 1 (05:01):
You go from designer, it always was Pop Champagne was
the commercial version. It was that era too. Yeah, it
was that error man, like you did your thing, but
a rad money. Let's talk shit, y'all niggas just getting
too much money. Where niggas say, got a rad money?
What was the sample even saying? You know what? It
(05:22):
wasn't a simple you know what he said?
Speaker 3 (05:24):
Tell him it was nothing.
Speaker 2 (05:28):
It was no words, but just you know, being in
Harlem going in the e rap store listening to the music.
When I got auto to him, I was like, Yo,
this does sound like sounds like I'm speaking Arabic and
I just made the hook.
Speaker 1 (05:41):
I tucked at pause because I ain't. I ain't think.
Speaker 2 (05:44):
I thought people was gonna think I'm a little bugged out.
And then after pop champagne Buster called me like, yo,
I need I need something crazy and I sent him
that and he was like, Yo, that's my single.
Speaker 1 (05:53):
I don't know what you're saying. I don't care.
Speaker 2 (05:56):
I don't get fuck what you're saying, but that's my single.
And he had the whole marketing roll out for that
joint them ships went off. My g like they gave
you a bad rap man. You know the internet today, this.
Speaker 1 (06:07):
Is what's fucked up about the Internet because they try
to put ship together and be like this is what
this happened for. Because think about it, that all those
songs was coming out. You wasn't the only one at
that time doing auto tune. The whole industry, bro it was.
It was bad, like the whole industry was auto toned.
So Jay made that for auto tune at that time,
(06:30):
for the era, not specific Yeah, they they made it
like he did it specifically for that was the cause
I was getting. I'm not gonna say it wasn't like
my nigga. I'm not gonna say it wasn't for You're
not gonna say it was for all of y'all. But
(06:51):
it's not singlearly to you because you wasn't like a
threat to the homie. For him to want to just
like stop your bag. It was just like he's got
my back, thought the back, don't you know why? While
because he felt like everybody, I believe niggas felt like
at that time anybody was just making records. Bro, you
(07:13):
had no talent. All you had to do was put
on head and even nearly somewhere pissed the fuck off
at your niggas. Then now the new rappers perfoor him
with the words them niggas is sick. They ready to
clip some Yeah, they was gonna. Uh.
Speaker 2 (07:29):
When Jay dropped it flushed out to Flex and God
bless mister C was like, Yo, Rong, this.
Speaker 1 (07:35):
Is for you. No fifty calls, Yo, Jay talk about
you right now with the radio him like Wow, this
is crazy.
Speaker 2 (07:45):
So him like hearing fifty people calling and flex and
mister C. I was like, oh, maybe this was this shot.
Speaker 1 (07:55):
And then I saw you know vonn as my man.
Speaker 2 (07:57):
Yeah cool, Like Yo, that ain't like that wasn't for you, man.
I was like, oh man, that's what everybody.
Speaker 1 (08:05):
That's for everybody though, So it is for you, but
it was for everybody. It's like it, but it wasn't
like you guys use a casualty of walk my god, man,
like Yo, New York, fucking nicks my g bing bong
all this flash ship out yo. Then the battle rap
(08:28):
scene first, let's start there, the battle rap scene, because
that's what got you know in the city. You know
what I mean. That's to watch you moving on the
U r L battle Rap Star fight Club that shoutouts
with you. I mean, because I respect the battle rap.
That's where it started from. We start, especially in New York.
I can't speak for any other city, but in New York,
(08:50):
when you first put that pin in the paper, it's
somebody next door to you, like you wo straight up,
so you grow up? What was that like for you
coming up?
Speaker 4 (09:02):
I just knew that that was a way to get
my name known.
Speaker 1 (09:07):
You know what I'm saying.
Speaker 3 (09:08):
During that time, that's before the internet, you know what
I'm saying.
Speaker 4 (09:10):
I was like in New York City, it was like
they would just have battles all the time, like not
even fight club.
Speaker 3 (09:17):
It was just like, Yo, Wetlands battle tonight. You got
a battle fucking eight people tonight. And you know.
Speaker 1 (09:24):
What I'm saying.
Speaker 4 (09:26):
But when you do that, that's how you really got
your name known. So I would just take my songs
from versus that I was.
Speaker 1 (09:32):
Doing and just use them.
Speaker 4 (09:34):
But I always rhymed aggressively, you know what I'm saying,
So it was easy for me. And uh, and then
the fight club came. I beat one guy Halls.
Speaker 3 (09:45):
And then I just kept going and winning.
Speaker 4 (09:48):
I didn't know it was like gonna be a thing
like a league or a battle thing whatever. And I
just kept winning and I I had like twenty wins
and I was like, damn, what the fuck was this?
And it was just that's really the first no variety
that I had. That ship was the hottest ship in
the city or in the game at that time because
it was industry only. I was beating man rappers and
(10:08):
all types of ship.
Speaker 3 (10:09):
You know what I'm saying. So that was good.
Speaker 4 (10:10):
But right when I got that notoriety, I went, I
got locked up.
Speaker 3 (10:14):
And then it came out on MTV and all of
that ship. But it was good, kept my buzz going.
Speaker 1 (10:18):
But then you got that Knicks play my nigga. That's major.
Speaker 3 (10:21):
That was all fucking luck. That was just the universe.
That's crazy in bed style. I was a garbage man
for like eight.
Speaker 1 (10:30):
Years, and you should pay good. All my niggas who
come home from uptob with a felony, Yeah they pay good. Yeah, damn,
that's what's up man, Damn, that's dope. Fucking Where you
got the name m Greasy?
Speaker 3 (10:48):
Hey yo, that's a crazy name. Who named you that?
Speaker 1 (10:59):
You? You m gree my man leaky man from MARSI
name you Greasy cou.
Speaker 5 (11:05):
You know, we was.
Speaker 1 (11:07):
Watching What's the movie with my man Denzel with the
little kid man with the little girl. He protected her.
Oh yeah, in creasy is she? That's why he like greasy.
I'm saying, So I came from that, like you know
what I mean. He was putting in pain, you know
what I mean. That's why his name was leaky. Let
you go. You know you got a name from different ships.
(11:33):
You know how it is growing up. If your name
you was cupcake, your name was cupcakes.
Speaker 4 (11:39):
Matter of fact, I was thinking about that because you're
my man's man.
Speaker 3 (11:41):
I ain't never even ask you that. I'm gonna ask
you that on this podcast. How the fuck are your brows?
Because your brows?
Speaker 1 (11:47):
Yeah, Yo, this is crazy. I noticed that.
Speaker 2 (11:53):
Yeah at the time when it was when I started
making beats.
Speaker 1 (11:58):
It was this is crazy.
Speaker 2 (12:00):
I never noticed that you got mixed with something some duba.
There was a lot of producers I wanted to producer.
Speaker 1 (12:11):
Name was Ron.
Speaker 2 (12:12):
I was like to separate, like the the names from
that was just.
Speaker 1 (12:18):
A pause. He was a hit man New Yorkers Fun
out they gets some pause. He was a hit rise
down pause. That mean he's a killer, Like he was
a hit man for Puff.
Speaker 6 (12:35):
That's see why I say, yeah.
Speaker 1 (12:49):
Let's talk about it. I got a project coming out
I Access. They go off camera, right, this is the
most double album name I ever heard in my life.
So I say the wrong, like, Yo, what's the name
of the album? Dropping nigga said, I fucking boom you.
So it's like, wow, I'm just fucking boom the nigga
(13:12):
said that. I'm like, Yo, that's kind of dope. Then
he said, Yo, it's a it's a double entendre for
boom Back. He didn't even know that. He didn't know that.
I'm gonna tell you what you in YouTube.
Speaker 4 (13:29):
He just didn't understand it because we was we was
like halfway through the ship and I said, Yo, were
gonna name this album, I should fucking boom you.
Speaker 3 (13:37):
Just like that.
Speaker 4 (13:37):
That's a statement, you know what I'm saying, because one
of the skips he got in there is the dude
saying like, oh, you hit women, I should fucking boom
your stupid ass, and so I did.
Speaker 3 (13:48):
He was just like he wasn't sure. Then when it
was like staple, he was.
Speaker 4 (13:52):
Like, oh, you meant like like because we're using drums
like boom Back.
Speaker 3 (13:57):
I was like, yeah, that true.
Speaker 4 (13:58):
But also when you hear it, it's gonna make you
want to boom something, right, So we bring in the
boom you know motherfuckers right now on that beats without
drums and just samples.
Speaker 1 (14:07):
Not do that.
Speaker 3 (14:08):
He do the whole body ship smacking your face. So
it's like both ways, it's gonna make.
Speaker 1 (14:12):
You want to boom something.
Speaker 3 (14:13):
But we're bringing that boom back to hip hop.
Speaker 1 (14:16):
Yo, rawn is my man right. But when it was drama,
he fuelled all in the meetings. It was drama with
dim say Higo ju a Jim Joe's ship, pain did
jewels what it was like the knives, It was like fair.
But you in baseline, why we wait why he was
(14:38):
giving them them, yass? That's why beans, I think was
going next. You didn't give us the drama packs given us.
It's cool, pat.
Speaker 2 (14:48):
Now the origin is I gave it to hip hop
hip hop.
Speaker 1 (14:51):
Never the ether be hip hop, hipp super A and
r Hit didn't pick ether beat.
Speaker 3 (14:59):
I gave to him on a sheet. They brung it
to the block.
Speaker 1 (15:03):
Don't worry, hip hop will be on this couch.
Speaker 3 (15:05):
Yes, I said, Yo, get his is the hole?
Speaker 1 (15:10):
I think he said, yeah. It just never made it
to baseline, no way. Not probably did they probably did.
I ain't gonna one thing about all the A and
rs from Rockefeller, them CDs used to make it there.
Now it was on niggas to be in that studio
to grab that, tell guru or somebody to push play
or take that, make the cuts with it. Yn't keep
(15:33):
it a real though, Like that eat to beat.
Speaker 4 (15:35):
If you're looking for classic Ron Brown's production, that's not it.
Speaker 3 (15:40):
You know what I'm saying, that's that's not the ebonic
the boom.
Speaker 1 (15:44):
Don't really have they got like now to be like that.
It's about to have mad queens. It's hard. It's hard,
I guess, like the slow flow. Yeah, yeah, how your
(16:19):
niggas is partners in the studio making the album our
boom niggas making heat. But then you drop the book
and he didn't even know, you know, just dropping Man,
It's like you finished beating all What about the evens?
That's what I'm about to say, because even so I
(16:43):
don't know about all the odds. Rather some odds dunking me.
Speaker 2 (16:46):
Yeah, the book is about me being around, you know,
a bunch of hustlers from uptown and fuel and the
energy to making beats.
Speaker 1 (16:55):
So shout Kevin, shout to Jewel brother.
Speaker 3 (17:00):
This is beat the odds.
Speaker 2 (17:02):
It's a crazy story from me from a kid.
Speaker 3 (17:04):
What's crazy is with this guy?
Speaker 4 (17:06):
For probably the last six months during this album, Not
only have I never seen this book, he never once
spoke about it. He never said, no, I'm doing a book, yo' yo.
It even came up in conversations. This is the first
time I've seen this on this I said, Yo, blieve
you got a book and.
Speaker 1 (17:24):
He's like, yo, so he's not in the book. Now
this is I did this interview. It just dropped. Yeah,
you're in part two. Man beat the odds, Beat the evens.
(17:44):
Amazon though, that's dope, man. Any features on the project
or just y'all to going straight thugging it out.
Speaker 4 (17:51):
At first, we ain't put no features, nothing, And then
when we gave it in the album, the lady was like, Yo, you.
Speaker 3 (17:58):
Got any features. You guys want any features? It was like,
you know what, man, we can send it.
Speaker 4 (18:02):
I said, I said, it's a little fame for m
O B gave dog. You know it's Hall them on
production in Hall and we kept in real Brooklyn.
Speaker 1 (18:12):
That's right, And that was in was in. I't even
see it.
Speaker 3 (18:17):
I want you to get hold come out on Friday.
Speaker 1 (18:20):
I gotta get a Hall ofm.
Speaker 3 (18:21):
I gotta get a Hall.
Speaker 1 (18:23):
I gotta figure it out by Friday.
Speaker 3 (18:25):
Comes on the fucking three days.
Speaker 1 (18:27):
Yo. Chill the newest nigga from Harlem Chicken right now
with this that kid Fergie, you know my dog shout
to that have to remix remixed. Nice day to be
in Brooklyn, Yo. And one thing, I ain't gonna lie.
You shot on my dog, Pap, Pap. Don't never ever
(18:47):
not have a verse like you said, Pap a record
nigga like that ship right back, yo, Like nigga was
righting around her to be before I got it, like yo,
Like how you did the record so quick? Yo?
Speaker 2 (18:59):
I was on some jam with Pat one year and uh,
he was saying it was the year they said he
took the mic and performed. He did sway the next
day and had a whole verse about him taking the mic,
pause and h.
Speaker 1 (19:14):
The nigga performed alphabitch backwards. I don't even know the
alphabets backwards, like the rapid backwards. I can't even say
it backwards that Like you're kidding me. Let's go back
a little bit to the beginning. Wrong. How was you
know being a producer from New York, especially in that
(19:37):
time early two thousands, everybody in their mama was producing.
You had a lot of competition. Neptunes was moving. You
had just Blade just coming up. Kanye West. You know
what I mean. You had baked the monster. You had
fucking rock Wilder, you know what I mean, Swiss and
then here come you. How how how tough was it
to get placements for you back in there?
Speaker 2 (19:59):
It was crazy because you have a lot of artists
to be in the studio and they have a bunch
of producers sitting in the lobby. Like next you're playing joint.
So at that time, your beats had to be like knocking.
It was like strings.
Speaker 3 (20:13):
It was string based and aggressive beats.
Speaker 1 (20:16):
So I was just able to actually listen to.
Speaker 2 (20:19):
All of them guys, so and learn from all of
them and kind of made up my own staff.
Speaker 3 (20:23):
For any producers.
Speaker 1 (20:26):
Nah, let's go jump them as a new artist, right.
I wanted to just get used some games. See, like
with producers, do you usually get your beats? Do they
usually send them email to you or like? Or they
like through their whole stash like yo yo, play the
(20:52):
whole play play the whole foul. I'm mad picky with beats.
Speaker 4 (20:58):
So, and when producers to send you ship, they're gonna
send you ship that they think you said good.
Speaker 3 (21:02):
I always tell producers, send me what you think I
won't like.
Speaker 1 (21:06):
You know what I'm saying exactly. That's a fact that
a producer like, is ninety trash. I'm telling you, if
the producer whole you hype, I got it, it's not it. Yo.
He sent me some ship. Yeah, Yo, I'm gonna listening
to to this one jot.
Speaker 4 (21:25):
It was ridiculous, hard hard, right, and I just you know,
I was just like whatever. I finally was like, Yo,
send me this beat. Let's try to do this before
the album coming. He sent me, sends me the ship.
I don't know what the fuck he did to it,
but it was totally changed the right. I said, Yo, homie,
what the fuck is this?
Speaker 1 (21:44):
Bro? Matter of fact?
Speaker 4 (21:45):
I got a voice note matter yo, ass because this
is unmuch friend, because I'm talking nobody like this.
Speaker 3 (21:51):
That's not my friend.
Speaker 1 (21:53):
You know, this is crazy. I'm gonna put it right
on them, like, look.
Speaker 3 (21:59):
What did you do beat? Whatever beat.
Speaker 1 (22:13):
You ruined?
Speaker 7 (22:14):
It took last three hours trying to fix it to
my type of send it to me, bridging the way
it was.
Speaker 3 (22:26):
You just made a fire beat trash.
Speaker 1 (22:32):
You just made a fire beats. That's so crazy, cause
produces and be like that around here. G from just
walking into your just what's this He's like, No, this
is bullshit. I'm working nigga play that beat. Let me
get that, Let me get.
Speaker 3 (22:48):
That, yo.
Speaker 1 (22:48):
I'm asked by Moss you all.
Speaker 3 (22:50):
The time, how the fun did you get that fucking whatever?
Speaker 1 (22:53):
That was the caddy? What in the ball court?
Speaker 3 (22:55):
I'll be looking. I'll be like, yo, how did there's
no entrance to this ball court where.
Speaker 1 (22:59):
You can fit car? And no, that wasn't It wasn't
the basketball court. We had it in pause. It was
in front of my building. It was in front of
my building. It's like the corridors because Marcy got like
a driveway where the change, yeah, drive exactly fied apartment
that she could get through. So I had the car
right there in front of the buildings. So the way
(23:20):
we shot it, you see the playground in the back,
but it wasn't actually in the park. But yeah, rest
in peace my dog. Ralph. Man he the one did
that for me. Man. I remember calling that nigga like, Yo,
I need a v for the for the video. He
was like, yo, bleak, I just did this motherfucking caddy
with the Lamborghini doors. Nobody saw this yet. You're gonna
(23:42):
crush him. I said, bring it, send me a picture.
I went and bought the Dodgers like we up. It's
up words. So yeah, that's my name.
Speaker 3 (23:51):
You don't hear the little kids named Ralph anymore.
Speaker 1 (23:57):
It's like little girl, Yo. Somebody said I seen them.
Somebody saying, yo, why you never meet a baby key Sha?
You only beat t shit when she grown? He be like, yeah,
what's the baby nigg this is Keisha. You only beat
t shints and adult. You're like, yo, that's kind of true.
Ralph or Ralph's mechanics. Yo, he was a code niggas
(24:20):
carr nigga mans. Ralph got rims. But yo, like one
thing I fucked with you with them is like you
brung back in this era cutting niggas up facts yo, Yo,
you fucking talking to me like that. The fucking skitto's
you got them slippers off. You just cut the camera
man up just coming out here. My dog. I ain't
gonna say his name. So niggas be like, yeah, you
(24:41):
be getting cut up and dusty. But just know the
cameraman got chopped sue here today because he got on
crops that he said he do construction.
Speaker 4 (24:54):
He did, yo, But that came because before I had
the with Goliath and Rosenberg.
Speaker 3 (25:02):
I was like on the block and my album.
Speaker 4 (25:06):
Was coming out like in the in the week, and
I was like, damn, I don't got no you know,
I don't got no budget and I don't got nothing
Like how the.
Speaker 3 (25:12):
Fun how much let people know this album was?
Speaker 4 (25:14):
I was just like I got it, like I got
the world in my palm right here now, Like I
don't know what the fuck I just put don't disrespect
my album looking like a Mario Bergen, Yo, come.
Speaker 3 (25:23):
In, I'm gonn disrespect. I kept doing it every day
until the album was coming out.
Speaker 4 (25:27):
By the time the album was coming out, people was like,
we kind of don't want your album to come out.
Speaker 1 (25:32):
They want you to keep hating these videos.
Speaker 3 (25:34):
And I was like, yo, I got signed here and
I just.
Speaker 1 (25:36):
Kept on with it. Nah man. Then that ship let
into now y'all doing the XIM station, got that disrespect radio?
Congrats on that. That's dope, man. What's that like?
Speaker 3 (25:45):
Whatever?
Speaker 1 (25:45):
Average friend come up there? You ain't tell him about
the Yeah, I had to get him back. How he
was going to interview you? If you were just gonna
talk about this ship, ya talk about how to get
him back?
Speaker 2 (25:57):
Man?
Speaker 1 (25:59):
Fact well yo, but yeah, definitely man. So how what's
that like working up there? Man? That shit is man fun,
man easy.
Speaker 3 (26:06):
I love Yo.
Speaker 4 (26:07):
You gotta understand I've been I've been like since battling,
since the early two thousands.
Speaker 3 (26:11):
I was trying to get on from man long you
know what I'm saying, and and.
Speaker 1 (26:14):
It just started happening. So I'm really like this.
Speaker 3 (26:17):
I'm like a kid in the candy store.
Speaker 1 (26:19):
Man. I love this ship.
Speaker 3 (26:20):
Man, this ship is a dream come true.
Speaker 1 (26:21):
But from one artist to another artist, do me one
favor of being inside the radio. Learn the cheat code, man,
figure out why they ain't playing that ship as much
they need to be playing. I play whatever I want
on my ships, right, No, we gotta find out why
the system. We gotta put a cheat code in it,
up up, down with start with the cheat cod in
(26:43):
the system. So it worked for us, You know, I agree,
because ship, they don't be fucking with us. Certain records
you hear even be like how what who he knows?
Facts know?
Speaker 4 (26:56):
And being in the game, you see certain people like that,
like your father must be a fucking publicist, manager, fucking agent.
Speaker 1 (27:05):
How the fuck you getting all these looks? You just
got in the know?
Speaker 3 (27:08):
You how the oh you know? El this, this guy's son, this,
this guy's fucking you know what I'm saying.
Speaker 1 (27:13):
One thing I'm gonna tell you, all right, a lot
of people, a lot of artists like you know you
you can you can agree to this. A lot of
artists look for that coach sign, Yo, I need to
be damn with such and such a be damn Now.
I'm gonna tell you, it's a gift in the curse
to this ship. I live my whole life, It's a
gift in the curse. You lick right. I ain't drop
an album in fifteen years. I still walk out something
lick whow because the big homie is on fire. So
(27:36):
they like, that's this bro. He gotta be on fire,
right fire. So that's cool. But the curse of that
ship be that with the radio, with promoters with this
because Jay is who he is, say like where he did,
this has always been the ling ship to be right,
looking at this nigga like you a basting yo, how
(27:57):
you do that? When he did ninety nine problems, He's saying, radio,
don't play my hits. If I don't play, they show
I don't give a ship. So I'm looking at that
nigga like No, that's not what they do. They don't
play bleak hits. You were supposed to say, radio don't
play bleak hits. I don't give a shit because that's
(28:24):
what's happening to me. You say no, they like fifty
less spins on mind, Yo, take that ship up the mixed, yo,
like your whole career, That's what I'm saying. So being freed,
like not free, like you free to be out here
roaming around, but like not having that pressure. You get
to experience certain things that I never got to in
(28:46):
this game. And that's why I want you to take
full advantage of that little yo.
Speaker 4 (28:51):
Fucking the other day, fucking Dave Chappelle came up and
was like, Yo, I love your video.
Speaker 3 (28:57):
I watch this shit all the time. You are hilarious.
Speaker 1 (28:59):
Then I'm the same hand.
Speaker 3 (29:00):
No rein fucking bust the rhymes, treating me like I'm
a peer.
Speaker 1 (29:05):
And I came up. I got all the albums. You
know what I'm saying, This is a dream. I love this.
We see what you're doing. You making the devil. You're
making the impact. Niggas. Respect your struggle, respect your hustle,
respect your ground number one, and then you you're making
moves that artists dream about. You know, come on, man,
we've been in this game for years. They cant getting
the radio shows. Did that ship.
Speaker 3 (29:27):
Radio all day, clearing ship all the time?
Speaker 1 (29:31):
Bro?
Speaker 3 (29:32):
I got you bro, thanks man, Yo, he got you
gotta he's halem hall them. You gotta when the cameras
is on. It's a whole exterior.
Speaker 1 (29:46):
No. I just I just started getting cool with this
mother fuck like.
Speaker 3 (29:49):
Two months ago, six months.
Speaker 1 (29:53):
He was he was hollow. Yeah, what's up?
Speaker 4 (29:57):
Many'll think at people, he'd be like, I like, boy,
you gotta like that, oh ship, hall of pause.
Speaker 3 (30:08):
You gotta crack the exterior first.
Speaker 1 (30:11):
You got to cool. That's what cool. You don't want wrinkles, sweat.
That's up down man, that's the time niggas snap on
you sweat wrinkle.
Speaker 3 (30:25):
But niggas past that though.
Speaker 1 (30:26):
They the coolest, smoother fu. That's a fact. Get past that, man,
that's a fact. So talk about that man. That Harlem
world hallm.
Speaker 2 (30:35):
Hallm is just you know, grow up seeing all the
all the drug dealers, yo, and you're getting inspired.
Speaker 1 (30:42):
Man. Listen, it was a time in hall of my nigga.
I hated walking through Broadway every two steps, not every block.
Every two steps one too fish fish fish, Oh yeah,
one to Poppy. I beat both in the practice by
be right here fish fish. Yo. That was a wild time.
(31:05):
So niggas, if you come to New York and see
the weed out here and think that's crazy, we had
that cold. Yeah, that was you walking fish fish fish.
You like, what what? Let me get that zip, go
back to the I'll be right back, poppy. But then
y'all have them niggas that will robb you. Wait not
here in the McDonald's. Wait right here. I'll be right back, poppy.
(31:28):
Niggas come sell you that motherfucker she rock. Yeah, man, yo,
So my niggas went up there blasting. You know what
I mean. You talk about you said, you speak about
that in the book. Man. That just growing up.
Speaker 2 (31:43):
Being around a lot of dudes, you know, like I said,
my man Kevin Chiles, my man Drew Rudledge and all
the people that was around. And I just got to
experience a different type of life growing up, and I
just channeled it into doing music. And you're hearing a
lot in the lines of just day to day life
growing up in Harlem and being around like a lot
(32:05):
of o G's like.
Speaker 4 (32:06):
I said that the other day though, I just I
was when I was in hallm I forgot maybe it
was doing the video something. I was like, Yo, it's
a whole different lifestyle growing up in Coney Allen where
in the wintertime it's like a fucking dead land, you
know what I'm saying.
Speaker 1 (32:19):
Where you just it's one way in, one way out.
Speaker 4 (32:21):
Like growing up there and then growing up in Harlem,
it's a whole different lifestyle.
Speaker 3 (32:27):
It's totally different, but still New York.
Speaker 1 (32:31):
You see how you say the summertime, the whole Brooklyn
come alive. In the summertime, we you lording anybody hanging
out every block. Winter time, niggas is in the crib
ghost towns. Everywhere you go to Harlem is like going
to d off. It didn't. I don't even know how
(32:53):
they separated Harlem in the Bronx. That ship is a
little bridge over that ship like it ain't like that
now that's fall place like fashion show in the winter time, y'all, niggas,
that ship has runway sent you up there. Nigga, you
can all season. You couldn't. You can't go to Harlem,
(33:13):
like imagine that, right, you're getting up to go shopping,
like yo, I gotta go buy some fresh, but you
gotta be fresh by the flash like that's Harlem Like nigga,
come out like whatever on your sweats whatever. Nigga like, yeah,
I'm going shopping tho. As nigga, you ain't them. You
had to be fly to go get fly. That's why
(33:35):
I plose out. Man, take these new sniggers over, give
me the mother joints like that.
Speaker 4 (33:40):
Like, and then you got Coney Allen, my nigga, when
they come out cruddy, they go to the store.
Speaker 1 (33:44):
Listen, listen visual description of Coney Allen. It is projects
with beach views. So just think to just imagine that
a beach view projects a lot of them too. Like facts,
my nigga. That ship is like East New York with
(34:06):
a beach exactly What the fuck happened how they did That's.
Speaker 3 (34:12):
Why they've been trying to gentrify it forever.
Speaker 1 (34:13):
But nobody wants to live over there. Yeah, no, they
can knock go on them ships.
Speaker 3 (34:17):
Down gentrify because it's close to the city.
Speaker 1 (34:20):
It's like two three.
Speaker 3 (34:21):
Stops from the city.
Speaker 1 (34:22):
Forget about dumbbo got that no more. They took it over.
They took that Dumbo's over. They took it Cony.
Speaker 4 (34:28):
It's like it's an hour and least in the fucking city.
So they've been trying to put new buildings and gentrify it,
but it just ain't happening.
Speaker 1 (34:36):
But you to upgraded Coney all in the playground, like
the motherfucker that ship the cyclone face was like, God
damn be shot a video on that ship. Facts, that's
how you know they gave it a face.
Speaker 3 (34:52):
I don't have not sin. That shit kills people.
Speaker 1 (34:54):
Yes, my nigga, listen right now, this nigga's walking around
getting back surgery port from riding the cycle. Nigga's a
true story.
Speaker 3 (35:03):
Because I'm a Coney, I'm the mayor. I gotta notice
you know what I'm saying.
Speaker 4 (35:07):
There was a roller cycle roller roller coaster enthusiasts his
whole life. He went to every he was from San Francisco,
went to every park, rode the roller coasters, loved it everything.
His dream was to ride the Brooklyn's the Cyclone. He
finally makes it on his like thirty seven, thirty eighth
birthday to the infamous Coney Island rides the Cyclone on
(35:31):
his birthday, his dream, lifelong dream. The ship snaps his
spine and he dies.
Speaker 1 (35:36):
I'm telling you that shit it occurred, my nigga. That
wouldn't by fast, my nigga. You best like putting the
shopping car on the on the track like that ship was,
like it was the most funning story.
Speaker 2 (35:52):
You went on the cyclone kidding me of course, everybody,
it's never been on this ship.
Speaker 1 (35:56):
Holler, niggas gonna be going to Wish your amusement park
where y'all with y'all don't drops. Yeah, we did that.
I ain't gonna front y'all couldn't come to Coney I'm glad.
I'm glad didn't, yes, because back then it was it
was wicked, Yo. It's some ogs in my projects right
(36:16):
that one day, Britt speaking of Cody, bring me to
the story. So OG's right, So these niggas is going
to Coney Allen. So I'm like, yo, bro, I gotta
let me roll with y'all. Got my own money, man,
I don't give a fuck. So nigga's like, bleep, now
you can't roll with us right now. But I'm like,
y'all going to Coney Allen. Y'all gonna make sure I'm good,
like the fuck I'm with y'all. Y'all owe the homies,
(36:37):
let me fuck with y'all. Got my own money. I
want to go have fun. So the nigga like, fuck
it ain't come on, we get the Coney Allen. These
niggas is not in Coney Allen for fun. These niggas
gonna have a major gangst to me type of other
gangsters and new gangsters. They want to the broadwot niggas
like bleak go get some Nathans and something like, what's
(36:59):
going on? This is four four man, this is way before.
You see, you never even had a condition many.
Speaker 2 (37:12):
School school school, like when you're gone for lunch. That's
all you can afford is a condition. Man.
Speaker 1 (37:19):
But you ain't have it from Nathan, you know what
I mean. Don't ship on Nathan Cony. Man. They could
fight for that ship. Man.
Speaker 3 (37:28):
You know you got loss on your manicure.
Speaker 1 (37:30):
Man.
Speaker 3 (37:32):
Man, we get manicures to Brooklyn, but we don't get nos.
You get on pedicules, you.
Speaker 1 (37:40):
Get gloss on the patty. On the patty. You gotta
you got to strike, you.
Speaker 3 (37:49):
Know, we gotta take that extra clean.
Speaker 1 (37:52):
Yeah, you can't get gloss on the.
Speaker 3 (37:55):
Man, you know, like, yeah, there's some holler that might
be some hollow ship.
Speaker 1 (37:59):
Loss on the petty. Y'all did wrap the chick Glettized's
gotta be right on the summertime. They just trying to
ship a hole for where chick gletized.
Speaker 4 (38:09):
And then everybody grew up that beach. Now like this,
y'all be thinking that. Y'all be thinking that too. But
that they they used to get a hold.
Speaker 1 (38:16):
Of they got the Gucci joints. Yeah, just because y'all
niggas got supreme on y'all. Ship's mean this coolie joints. Nah.
The herd man, Yeah, niggas, every nig I see what
the herd man slides for.
Speaker 3 (38:35):
It is a good friend. Look, even all this time,
I didn't even notice the NFL had on the loan.
It's like subtle, It's like something like it's just some
fresh ship.
Speaker 4 (38:45):
But then when you go behind you like oh with
the rock little the paper playing, I was like, oh,
he's slick with it.
Speaker 1 (38:53):
He's a good friend, yea with it, you know what
I mean? I gotta wrapped the squad, mean, turned me
Dominican with the Do you know what I mean, yo, yo,
you Puerto Rican or Puerto Rican, my nigga, You know
I mean, I hang with them, but Puerto Ricans Dominicans, man,
you know what I'm saying. They got me telling these
niggas fucking my my guave a play with him names
(39:16):
well and beat it well and beat you know what
I'm saying. Why these niggas only teach me the curse word?
Nigga know all that everything cursed? They don't know. I'm
about to hire a Spanish tutor teach me some game
my jeans. Do you in the building.
Speaker 3 (39:33):
Yeah, See, as soon as you said that, Dominicans just came.
Speaker 1 (39:37):
So I'm telling you I went to school with them, yo.
One of my homies right because you know in Brooklyn,
we got the major, major Dominican side of Brooklyn. So
one of my homies, my mad Deebo, shout out debo,
so he went he went to check one of his
man's that you know what I mean, that live in
fucking Brooklyn over there down on Broadway or Coskiasco and
(39:58):
all that ship over there.
Speaker 4 (40:00):
No, people don't know how to say Cosky, I know.
So the nigga's like you could say it because we
said it. So if you see the sign, you want
to know how toing else it, So you know what
I mean. So the nigga was like, yo, you hang
with Bleak?
Speaker 1 (40:13):
Like that's my bro. Man telling him. I said, what's up?
But the homie don't speak English, he only speaks Spanish.
So Debo looking at him like, how the fuck you
know Bleak? He was like, man, I went to school
with Bleak. So that Debo come back to me like, yo, Bleak,
what school you went to? I was like, yo, bro,
I went to seventy one. They caught me with the joint,
cleaned me out. Mom said you not going to thirty three?
(40:37):
Sent me where Acrosstown of forty nine. There's nothing but
Dominigans and Dorto Ricans had nothing to do but get cool.
I was over all the middle in gay parties like this,
Like what y'all nigga say? Fucking went two step Blizzard.
That's how demon Little Bleak came about. He been legged.
Speaker 3 (40:57):
On the ego.
Speaker 1 (41:00):
Yeah yeah, but what's next for my geez? We know
we got the project? You got any projects dropping on
your own?
Speaker 4 (41:06):
Yeah, I'm I'm I'm working on the dock. So I
have a three album deal with Goliath Records. Slash version
was Paul Rosenberg. So after the song we know I'm
working on the third album. I don't really know what
I'm doing yet, but I'm taking it to the next level.
Speaker 1 (41:20):
A lot of people get them rosen Birds confused with
Rose ninety.
Speaker 8 (41:24):
You got yeah, yeah, yeah, in fact, you gotta go
ros Birds love me yeah different.
Speaker 1 (41:36):
So with Shout the Pet that's my God too, though, Yo,
what's next besides the book? Any chapters in the book
you want to give us a sneak piece God reading
man to make.
Speaker 5 (41:49):
A scoop uh playing story in there, but no dark story,
just argument over the the person was like that one
thing I'm gonna give you the major props to NIMS
for because you know, when they come down to the
Puerto Ricans in the.
Speaker 1 (42:07):
Game, they don't come for the Bronx. Yeah, yeah, facts,
you know what I mean. They been fronting on my guy,
Jojoe Peller Green over your gast ain't letting my guy
what you broke through?
Speaker 3 (42:16):
But he ain't Puerto Rican?
Speaker 1 (42:17):
What Joe? He Italian? Yeah?
Speaker 3 (42:19):
He Staten Island.
Speaker 1 (42:24):
Yeah, that's my guy though, Man, don't my god.
Speaker 3 (42:28):
It's fucking fucking the well from the State Knowledge Ship.
Speaker 1 (42:32):
Yeah, that it was Hall. He's super nice and nice.
My get get that.
Speaker 3 (42:36):
That's why I go hard for Cony, look big and hold.
They ain't shout out Coney Island on Brooklyn's finance. I
fucking know that I kept the motherfucker out.
Speaker 1 (42:45):
That gives me motivation.
Speaker 4 (42:47):
Yo.
Speaker 1 (42:48):
I'm not holding out Brooklyn's five.
Speaker 3 (42:51):
Since ninety six. I've been holding that in. No, But
that's why I go hard. But Coney Island.
Speaker 1 (42:59):
Forty. You do your show out there too, man, that's
dope with gorilla Nims.
Speaker 3 (43:05):
Yeah, we shoot right in front of my store.
Speaker 4 (43:06):
I got a store on Mermaid Avenue, sixteenth Street, the
fi L Store, And we shoot the podcast there outside.
Speaker 1 (43:12):
With Goerrilla Nemes. We got seventy three episodes.
Speaker 3 (43:15):
It's outside.
Speaker 4 (43:15):
We be outside in the winter time when it's mad cold.
We put the beach shears outside all of that ship.
Speaker 1 (43:20):
That's fun, yo. They don't let black people get stores.
Only the Dominicans, the Puerto Ricans and the A Rads.
That's it. You ain't gonna never walk into bodega here
shape that ass. Never. You're gonna Every coach brought some
black shit in there. I wonder why man, Yo, they
(43:41):
never gave us one. All my homies that got one
lost they store though, because you know they was they
got stories like in the book. Yeah, they wasn't really
selling young man tay the chips.
Speaker 3 (43:55):
Rare even see a Puerto Rican corner store anymore.
Speaker 1 (43:58):
Now, that's right. That the stores when we first wren
you had to walk in like this. Yeah you begin,
let me get two due, two dunees and the snapper.
Now you got walking there, yo, what they say, I
BB yeah, yeah maybe me the bagwood was I BB?
Speaker 4 (44:13):
What side was your ship? Was just your stores to
go to? Because I be I told you I was
throwing out of garbage there. So Marsie don't got I
mean Flushing don't got no stores stores.
Speaker 1 (44:23):
That's what's crazy. What side one? It was two stores.
It was one of Flushing in Marsie. Yeah, yeah, paused,
paused because this store used to be called meat bar
from meat Bon used to be called meat bar. W Yeah,
that was all flushing and no string. And then we
had a twenty four hour store on flud on me
on Flushing and Marsie was paused meat bond and on
(44:45):
Flushing and no string They tried to open up a
twenty four hour store, but too many niggas got clapped there,
so they closed that down. We had the two stores
Brothers and then the pizza shop that turned into another
store that brother bought that was on no string Yeah.
We got the other store on the other side on
still there. The other one on the other side on
no stringing between no stringing, Murdle between parking murder was
(45:07):
still there. And we had the one on Murdle Avenue
right by the fucking.
Speaker 3 (45:14):
Kennedy Fried.
Speaker 4 (45:15):
That Ye, they got the picture, the whole specio and
the cap because he never even told them to do that.
Speaker 1 (45:22):
They just made the nigga went in there or the son.
Next thing, you know, they got a whole meal like
with his picture on it. Like they got it, yeah
with it. He ain't never shut it down. That's the
only Kennedy Fried that got the whole special right there
on Marcy, right there on Murdle Avenue. Then we got
the three stores on Marcy Avenue, the Green Store, so
(45:46):
all the stores was my neck of the woods, but
my main store was brother Store. No stringing flushing, Okay,
you know what I mean, because that's right there walking
down my building right through the leg right there. Every
store we went to. That's how them niggas start selling
backwoods because the only store on my side that so
backwards back in the day was the store by Woodhole Hospital.
Speaker 3 (46:07):
That's a mission.
Speaker 1 (46:09):
You had to go all the way down there, and
they only had the brown pack. So why's that freeway
and beans? And will meet me on a turnpike with
boxes of backwoods back there, And then I would go
to my stores in the hood, like yo, y'all got
to order these man call and buy them up. And
that's how they started ordering the backwards bro Yo, you
love giving niggas beats for bell Yo, he didn't drama producer.
(46:31):
If y'all niggas got smoke. If you want to smoke
a nigga, come see Brown because Jay Mills rappid like
the rent dude did the landlord knock on the door
and that nigga create and they got gloves and ship.
What was going on.
Speaker 2 (46:49):
He had a situation where he had to take He
took care of your wad like.
Speaker 1 (46:56):
All, he took care of it. He ain't fucking playing.
He's body dagg and rap his ship up. That ship
niggas used to say he doing it.
Speaker 3 (47:06):
I just see a battle wrap of well known one
I see the other day. His chain was mad fake.
Speaker 1 (47:11):
Yo, chill. I feel that. I was like, damn me, yo,
that's bad because niggas will kill you for that ship.
If you're a battle rapper at that niggas will kill
you for this ship. You're risking your life and some
figs ship. You wake up every day and strap on
that fig She be like, Yo, I'm gonna go out
there and put myself in mad danger. Just look, yo,
(47:32):
that's crazy because niggas and the Wolves is out right now.
Ain't no niggas. You see the video They just booked
somebody in what Patterson, New Jersey.
Speaker 6 (47:41):
Oh yeah, and.
Speaker 1 (47:42):
Niggas online and like that's French, like niggas doing Chinese nigga.
That's fucking normal. It's called wolves food. We have to eat.
You gotta be with.
Speaker 4 (47:53):
Niggas just got used to this fucking pussy culture back
in the days.
Speaker 3 (47:56):
That's how everything that was just the normal. It's just
become not the now. Yeah, it's still the normal.
Speaker 1 (48:02):
A rapper from New York. I ain't don't even say
his name because I don't like keeping shit going, and
you know, niggas loved it. But a rapper from New York.
I seen this nigga LA and that nigga like, yo,
you wear your jewelry in La. Hey, nigga, I wear
my jurry whatever. Fuck I wat's what I bought it for? Right?
A nigga like you crazy? Like no, nigga. I had
(48:25):
to explain to him, Yo, you know where I'm from, right,
He's like, yeah, you know, Brooklyn originated take nigga shit right,
like we if we had started at if you wasn't
my nigga, that ass serious. The environment in New York City, Brooklyn,
New York from when I was a jit the eighties,
(48:46):
I say, from about eighty nine to about two thousand
and four or five, my nigga, if you wasn't a
person who deserved something and God took care, niggas look
at it. Yeah, like that let they had he think
he can that's just the cold of Brooklyn, Like yeah.
Speaker 3 (49:08):
Yo, he just went.
Speaker 4 (49:09):
I just was in Medaan in Columbia and everybody was like, yo,
it's not dangerous.
Speaker 3 (49:13):
I said, Yo, I'm from Conel. Yeah, it's dangerous, dangerous.
The fun I'm not saying I'm the tough.
Speaker 4 (49:21):
But when you come from that environment, you know, when
you can see exactly, you can sense it. And it's
like if you ain't looking, if you look for, you're
gonna find it. That's right, you know what I'm saying.
Speaker 1 (49:31):
Like going through your girlfrione, you gonna find that.
Speaker 4 (49:34):
And there's there's nothing good that could come in there.
Even if you don't find something, you coulda found.
Speaker 1 (49:38):
Makeups bitch, you said you was going to the cleaners
at full class yo, word out yo, So yeah let
him know. Man, fucking boom your face off.
Speaker 3 (49:53):
I should you boom?
Speaker 1 (49:54):
You drop it out right now. If you don't listen
to it, it's probably because you pussy yo.
Speaker 3 (50:01):
Straight up yo.
Speaker 1 (50:02):
I fucking love this guy, yo. Listen, Me and them
are best friends after this episode.
Speaker 6 (50:08):
You hear me.
Speaker 1 (50:09):
This is the type of ship I like That nigga
got a sore where he told the niggas or forty
duce selling they missed the fuck is stupid that ship, yo, Listen.
I wanted to jump out my car and let it
go on his own when I heard that line, and
now that I'm sitting here with this nigga is like,
(50:30):
no fucking way. This is my best my best friend.
Now we be f f y'all. I'm y'all. A lot
of people think it's just when they don't meet me
in real life.
Speaker 3 (50:40):
They think it's like, might be an act for the
internet hunt.
Speaker 6 (50:43):
This is how I really am.
Speaker 1 (50:46):
You're a real one. I told you. He can't walk
in the door and cut the camera. Man. Nothing. I
feel bad for him because he's gonna have to edit
this ship. He might try to edit your points, my
ge know, we're gonna have to give him some bread
on the side, you know what I mean. But you
know what it is. It's been a real one. I
love my guys. Man. Run keep putting in that pain.
My niggas. Stop making niggas, stop making niggas getting beef
(51:08):
and get better. Get them niggas records when they ain't
got no drama like me, I ain't got no drama.
We can make up some drama, though. Fucking up before
we shut with the YO. They violent nigga mine head, right, yo?
They violent. I love it though, y'all. Yeah, they said
I was Yo. I like it though. Give me the owner, YO,
(51:31):
lean me up. You know what I'm saying. As long
as you get demon little Blee, the bean is outside you.
Yall niggas never had a Boston Big Bean because your
pop is soft like silent nigga, you know what it is. Yeah.
(51:55):
For more podcasts from iHeart Radio, visit iHeart Radio, app,
Apple or wherever you listen to your favorite shows at
and you can follow me on any social media platform
under the name Memphis Bleach. You see anybody fraud in,
flag him h
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