Jason Weaver in the Trap | The 85 South Show

Multi-talented actor and singer Jason Weaver explains how he got casted to sing as Simba on Lion King and getting a part on Smart Guy.

Jason also goes into detail how his mom played a big role in his career by negotiating his contracts and also teaching him about royalties and publishing.

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Episode Transcript

Speaker 1 (00:05):
Jail. I think it's about time that you play me
some pimp andle me some motherfucking pimpa. I like that man,
eat your food like ht you hungry? I'm drinking it right? No,

(00:28):
not no, man, you eat. But we got wayne, we
got fish. I see, I'm trying to like he looks,
don't offer his food? Should no? Right right right? We
had a hundred years and never aw from nobody ship.

(00:49):
He said, what it is you got over there? He's
time you see something golden fried? You can better say
with that dail, my fool your food need anyone? Now
we're straight. You know what this is about. We used
to be a managed boy, hunching behind the house. Yeah,

(01:12):
hunching behind the house. That's that old school ship. We
used to hunch behind the house. If a mama gonna
go win, hunch on the couch in her mouth. What
was that really about? Then I got grown and start
pulling it out. Don't get too nasty or don't get
too graphic, because you know him black and they want

(01:33):
to see me in plastic trash drashing. That's where I'm
coming with. I'm staying flipping and getting up on that
money ship. I came through and I'm whipping. I gotta
dummy bitch. She'd been dummy thick. She's taking dummy dick.
She's a crash dumbing. She got that ass on. And
if you walk around, I swear you ain't gonna pass on.

(01:55):
She'd be thicker than the tension in the room, with
a big moother and big old booth. You might see
me on the channel, sick new just being a nigger,
just doing what I do, like breaking in the foot lockers,
still to display, shoot, get into it in the lunch line.
That's what the nigga do. And they didn't caught me

(02:16):
with some drugs on me, hey, and then they say
I had them guns on me. I don't want to
put no bun on me. Hey, he needs some info
from my other homie, but the ain't nobody's gonna tell him. Ship.
Were just gonna be quiet and bunned down on this
ship and go to court with the lawyers, beat the

(02:37):
fucking charge and then take the rist of about the
people and new Dodgers like a challenge or motherfucking charge.
I'd be riding like a motherfucking Dodgers, talking ship like
a motherfucking flock. You said, get out. Go hold Roger,

(02:57):
this ain't fastlf showing the division of me. True right
now we're doing it behind the fish. But give me
a little time I make it. Old makes sense, ain't
no bitch. We've been bought the studios and welcome back
to the eighty five South Ship. That's just all I

(03:20):
just thought about this ship. That ship just came up
in my spirit. That was all right, yeah, man, come on, bro,
come on, man, come on, all I'm coming from and
three is what's probably already old to me. Yeah, I'm
coming from. Well, I know y'all coming in. It was impressive.

(03:45):
I mean, y'all, y'all ain't seen it because y'all just
see this the back dropping ship. But man, he's gentlemen,
this whole team that they got here, it's some ship.
You like this. I mean, man, what I respect is
I'm seeing, bro. I'm saying evolution like you know what
I'm saying. I'm seeing black entrepreneurship. I'm seeing black exit
that we let appreciate it. And old legendary ship. Now

(04:17):
everybody I could name off, I told him over I
told you over there. You the black forest gump in
the right position when it's all said and done, Man,
you're gonna have hit movies, hit song, hit TV shows.

(04:39):
I'm sure you didn't wrote a bunch of ship back nigger.
And this is the highest honor of all. This is
how I wanted to introduce you to the eighty five South.
Did you so cold? They let you play black? Michael Jackson?
Come on, come on, come on, come on. They didn't.
I ain't a man song or simble man, no man

(05:02):
for simple y'all. This was being second oldest boy. That's right,

(05:22):
that's right, man, that's right. We've only owned for nine episodes,
but not remember red Hair racist? Come on, Mandy had racist? Yes,
come on, man, but I remember that because I remember
when she got the motions. I was like, I was
worried about it that when still she came out time

(05:45):
before all that people, all the people in d c
Age bred no better, no less, he did all that.
Come on, come on, come on, come on over man, man, y'all.

(06:07):
Thank you all so much. Ay to everybody out there too.
Even before we started talking. Hey man, thank you all
everybody seriously, especially my community. You know what I'm saying.
Everybody that I have kind of grown up with indirectly
it's some kind of way, you know, people that randomly
run into the grocery store, the airport or whatever, and
people take time out of their day to stop and

(06:28):
acknowledge you in your work. I know I'm not gonna
get the opportunity to meet everybody individually out there, so
I just want to take this opportunity on eighty five South,
my favorite show. I'm so honored to be here, So
I want to take this opportunity on eighty five South
to just thank everybody out there for supporting my career

(06:50):
and especially my Black community, my brothers, and my sisters,
because throughout this whole journey, y'all have still bomb me
man and supported me even when I probably done some
films that were bullshit. But but my community ways now,
my community has always stood up for me and been
down for me. So thank y'all. Man, A man, What's

(07:19):
let's take it from the top, bro, How did all
of this come about? How did you start? What was
your introduction to the game? Man? When did your people
recognize your talent? You know what my talent was recognized.
I've always had a passion, you know, for people that
don't know. I'm born and raised in Chicago, Shottown all day. Um.

(07:39):
You know, I've always had a passion for the arts.
I come from a musical family. My my my mother,
Um started off singing jingles and stuff like that, and
in the jingle industry back in the in the eighties,
like late seventies and eighties of jingle business, especially for
black performance. What was her number one biggest if the

(08:02):
tribute to Dr King if we could light a candle.
It was something that McDonald's did. It was their main
campaign every year. And that was actually my first recording session.
I was four. I was on the backgrounds on that
record and that was my first recording session at Chicago
Recording Company on Ohio Street and I was a little
kid and my mother saying the lead on that. So

(08:24):
that's what I came up under. Like you know, my
cousin Tricky Shout out to my cousin, Tricky Stewart. People
may know his work when like Beyonce with single Ladies
to the New and Up, Uh, what is it my
soul break myself? Yeah, my cousin producing co wrote that
record with Dream. Shout out to Dream and Dream wrote

(08:47):
that ship and Um and the other the other hit
that she got out, shout out to you, shout out
to dream. I mean all those guys, like you know,
it's my family. Tricky is my blood, but Dreams extended
part of our family. But yeah, I come from a
musical background, and so I just grew up looking at movies,
like looking at Et and seeing Drew Barrymore and the

(09:07):
like little kids acted, and it just it was fascinating
to me, and I expressed in my mom I was like,
you know what I think I wanna I want to
do that. I'm wanna try that. And just you know,
based on a relationship she had been able to develop
over that period of time and being in the jingle industry,
it was kind of natural for me to start auditioning
for commercials and stuff like that because Chicago in the

(09:28):
eighties was a hub for that, like all of the
ad campaigns were created on Madison Avenue in New York.
But the music and the energy that would drive people
to buy the products, it was and it was coming
from black creators, producers, songwriters, musicians still shout out to
Barrel Barell communications. Um. For people that don't know that history,

(09:52):
you can look it up, you can google it. But
Tom Barell and Barell Communications was the first major black
advertising firm in the country and it was based in Chicago.
Is there It might be, it might be loosely based
on just the company, not the story that it possibly
could be because they were the only black advertisement firms.

(10:15):
So everybody in Chicago that was a singer, actor or whatever,
we all got our start through the Real Communications doing
commercials and jingles. That's how it happened. Yeah, and I
definitely got to make sure I get them props because
they don't. They don't get enough props. It's firms like
that to where performance like myself and others were still

(10:36):
on their shoulders, man, to where we could get our opportunity,
where we could spring board and half careers and they
don't get the credit that they rightfully deserved because they
were just doing their job. But now I'm in a
position and where I can give them their flowers, like
I do want to tell them thank you, like publicly.
I hope y'all see this, so y'all know that people
from the city that took advantage of the opportunities that
y'all provided, especially young black kids, like we're still here.

(10:59):
So man, thank the year. Real Ship and so then
from there I started auditioning for you know, for films
and stuff like that. But that was the first film,
The Law Walk Home with Whoopie Goldberg Sissy Space. That's
how you jump out the gate in your first film
with the Motherfucker's nine. That's going to do the right

(11:25):
thing and come out. And we had all gone to
the dinner and see that and uh yeah, we shot
that at Montgomery, Alabama. Is a period piece. It talked
about the two families during the start of the civil
rights movement in the Montgomery bus boy COTTI and it
was a phenomenal film to be a part of because
I got to work with Whoopie, got to work with

(11:46):
Cissy Space, and I got to do a period piece
that meant something, you know, to our our story, our
particular struggling. So I got a chance to like even
meet people. You know how you have background actors and
extras on set and stuff. So usually a lot of
those people that's on set this in these movies, they
don't have a connection to the story that we're telling.

(12:07):
With this film, it was actually women that were there,
women and men that were there who were older, but
they marched. They were doing the City and they were,
you know, part of the Freedom writers. So it was
like I was getting the experience of being on set
and training as an actor, but I was learning more
about who I was, like embracing my identity more as
a young black boy that eventually is gonna come into

(12:30):
the world as a black man. So it was like
this my first experience in film was just the ship Man.
It was incredible, incredible, good. What what would you say?
You started seeing the early success in first the music
or the acting, the acting, And it was after I

(12:52):
was saying with me and d C. We always talked
about this, how did you part lay since you say
you got a first how did you part lay like
bring the music around to your acting? I did it.
It's like all those opportunities as it relates to me
doing music, we're like organic opportunities and blessings that were

(13:12):
just brought into my life through God because there was
a time and He is different for you now. And
I love that because it's guys like yourself who are
ambidextrious in that in that regard, who are who have
a multi skill set. But but man, it was so
much harder because you had people on the music and

(13:33):
who were trying to discredit you and saying, when you're
not really a singer because you're not devoting all of
your time to this, right, But then he had people
in the film world who weren't really respecting what you
were doing in music because they were going, well, you
can make so much more money over here, why do
you give a funk about that? Like you just want
to be a star and beyond stage. And so I

(13:53):
was always in this weird position of trying to balance
myself within that and like simply trying to prove myself
and even as like a young performer, you know, you're
already going through adolescents and like your body switching up
your voice to change my mind didn't but you know
your voice Chase. He deal with all these, you know,

(14:15):
different insecurities, you know, coupled with the pressure of trying
to maintain a career in both of these different genres
of entertainment. But again I give God the credit for that,
and my mother because no matter what it was like,
she always supported me. So any time that I would
doubt myself or I get to that point where I
get discouraged or disheartened, she reminds me of who I

(14:38):
was like in our legacy and the family that we
come from. And also reminded me too that you know,
me being in the business, that doesn't define who I am.
That's just a part of who I am, you know
what I'm saying. So I was able to in my
mind and put it all together and find a way
that still be able to be constructive and like and
be productive and do my thing without losing myself in

(15:01):
the process. What was that first track like when you
when they finally when you finally displayed it and they
started taking you serious. It's both it was it was
the change. No, yeah, it was a change, but I
feel like it was something before. No, it was a
chain record because okay, let me keep it real. In Chicago,

(15:21):
my city. Know what the funk I'm as they played
and they knew and they got it was Love Ambition.
It was Love Ambition produced by Keith Crouch and written
by Rasan Patterson and Uncle Kipper shout out to those guys,
Kipper Jones. And that record was released during my tenure Motown,
but it didn't reach that national acclaim or success years.

(15:46):
I'm sorry, um, but now I went on it that long, Um,
But what ended up happening was is that the record
didn't really take off on a national level but Chicago
because it was a Steppers record and it had that
groove to it and in the city like, we support

(16:09):
our own. We may look crazy sometimes on the news, like,
but when it all boils down to Chicago, we support
our own. So when that record came out, it was
like radio kind of got behind it, but it was
the people that got behind it. And so when you
hear Chicago's talk about Love Ambition as a very personal
record for us, because that man and that was that

(16:33):
was like my coming out party as an artist. And
at that time Chicago was the only city, with the
exception of like New Orleans maybe a couple of others,
that really embraced me man and made me feel confident
of my journey moving forward and be hard. We had
to throw a Steppers ball. Should that will be on Chicago.

(16:57):
We can have the people who want to come, like
we can come and do like Sessions would like Step
of Coach. But you can only cold y'all gonna do
that ship you gonna do Chicago. Looking at this right now,
we'll talk about you talking about the dancing stepping where
you got a part time stepping that just goes to

(17:21):
show No, I don't like SKay okay, So that's that's
a that's a big thing. You gotta dressing like and
you gotta have your own partner, Like we're not letting
no singles in. You gotta Yeah, it's real classic something

(17:44):
that you do with your lady. You have a nice
leaving out y'all, had a little matching suit song, you
go dancing step, you got your fly gators on. That's
real Chicago ship, real shout out to the trip Chris Man. Like,
I wanted you to talk about Chicago a little bit because,
like you said, it's so much negative press out there
as a Chicago and you know, like the city basically

(18:08):
let from somebody who really from them. Let me tell
y'all something, man, Chicago, in my opinion, is the most
beautiful city on the planet. And it's not just the
city landscape and all of that. It's really the people.
Um and especially the black community exists there, you know,
the families on the South Side and the West Side.
That's what gives Chicago it's identity. Chicago is a working class,

(18:31):
blue collar town fill with people to keep their head down,
don't complain. They go to work every day, they support
their families, and they try their best. You know what
I'm saying. They get two different points in their life
where they view is being successful. But they're unsung heroes.
But they're not haters. If they see somebody else coming
up and doing their thing, and especially if you're from
the city, man, you'll get the support, You'll get the love,

(18:52):
you know what I'm saying. And it won't be a
thing where you know you have like a bad triom.
Mean you look at the ship that's going on the rock,
like they won't let them go. Like regardless or whatever,
it's gonna be some folks steal in Chicago that's gonna
play Step in the name of love, regardless of whatever
however you feel about him. And that's that, that's your
individual prerogative. But there are some people that are going
to continue to support his music and what he does

(19:13):
because he's from the town. That being said, there is
a lot of violence that happens. There is that gang culture,
that gang element. But I think we are getting to
a place as a people, I know collectively as black
people all over this country, in this world, we're getting
to a place where understanding that that's just that's so

(19:34):
counterproductive and it's so putting us further behind the eight ball.
It just doesn't make sense. But you're beginning to see
now a lot of the young cats taking more of
an initiative to speak out, to be more active in
their communities. Like g Herbo, you know what I'm saying.
Like you see him in the neighborhood doing certain things,
shout out to Inglewood, Barb. You know what I'm saying.

(19:54):
These are all um people from this city. Activist, my
man Justin Morrigan, Um people that are are coming to
the forefront now who want to be leaders. I sit
on the board of directors for an organization called Hello Baby,
which is geared towards keeping the Black family nucleus intact.
It's the the headquarters is literally right on East sixty

(20:15):
one in St. Lawrence, in the middle of the ship
like w F B G B G ducking on him
is front like we'll go down. But there's a there's
a community senate there that where we're promoting unity within
the community, especially amongst the youth and with single mothers
and single black fathers. So those of us who grew
up in the city that know what it is and

(20:38):
know how beautiful it is. We're trying our best to
present a different narrative, and it's gonna take some time
because mainstream media still wants to present a certain kind
of story. But as long as you've got guys like
myself and especially people like lean Away who are really
pushing the line, you know what I'm saying, with like
telling a real story, like what y'all see on the
shot that's in Chicago. I know. I grew up going

(21:02):
to cookouts, going to my grandmother's house, hanging out with
my friends, going to Lives barbecue, going to Harold's Chicken
Ship like that, going to mark him skate and rink
like that's the Chicago I know. Yeah, I knew some
g d s, I knew some beds, I knew some
Latin kings and all of that, But I didn't want
to be a part of that, so I didn't get
wrapped up in it. If you get if you want
to be a part of that, you can find what

(21:23):
you're looking for. But if you cats like myself and
many others that live there and then are part of
that community who are looking for something better and looking
and spread a different kind of message. Man, we exist. Man,
Chicago is the ship. Man, y'all come see us. Man,
don't come during the winter. You don't have a good time.
Right during summer time. Shot, Man, we'll show y'all a
good time. I had to learn that. I had to
learn that the hardware. I went up there doing shows

(21:44):
in the winter and I was like, oh no, I
was just happy to get booked in the north when
he get cold. Now I know, now, I know you
say no. And then they come back and they hit
you with the summer day and that ship is amazing,

(22:06):
and y'all tour to you like y'all really be out,
you know, with the people, so you can see how
these different cities like they flow and you know, they
chemistry and how they react to you. But Chicago is
like one of them places. Nothing. I was like, you
posted something about Detroit like that. He was like, Man,
if they funk with you, they're coming out they fun
with you. Chicago, the saying that's why we were on
the road. That should be amazing. It really be. It

(22:27):
literally feels like we're from twenty different cities. Like people
ask what's your favorite city? Like man came describe it
because they in competition when you tell them like they're
gonna out love and they just love y'all. Man's like
it's so beautiful, like and I know y'all probably hear
that all the time, but man, it's really dope what
y'are doing, man, because you're giving people a platform, you

(22:51):
know what, they could tell their stories and backstories. Like
I saw the episode with Snoop and that was a
great episode. And see, people don't get a chance to
hear them Snoop stories like that, to hear the I
can't believe how much stuff of that I hadn't heard.
I'm sitting here. I watched it back and I was
still like, Snoop, I've never met Michael Jordan's Yeah, Jordan

(23:12):
Donna hit that ship and be like somebody called this
nigga was on that road for eight months. Yeah, in
my hands, like yeah, he said, but I didn't know what,
but it was they were so active because I was
out in California during that time during the East Coast

(23:33):
West Coast ship but it felt like it was going
on forever. Yeah, I'm sure and that ship man, that
ship was that was something like and especially a cat
that wasn't from either one of those places, and you
kind of in the middle, like, god, damn, this ship
is serious ship. Yeah, I stayed out. I didn't know
when they met. Really, this is true story. So we out.

(23:57):
We offered the Soul Train Awards. I'm on Motown. Um,
this is when Andre Herrell was there. So he was
putting forth like this whole new media blitch to kind
of promote him coming over to Motown. So he had
billboards and ship everywhere. And when the Sole Train Awards
came to l A, he threw a big like Motown
coming out party, like you know, this is this is

(24:19):
my thing. I'm taking over to him. And uh, I
would never forget. It was a Sunset Plaza, that little
strip on Sunset Boulevard, and it was a restaurant there
where he had this party and was kind of like open.
So we're in there in mind you, I'm like sixteen
at the time. I shouldn't even been in that ship,
but I would. And I'm in there dancing with this

(24:39):
chick or whatever, and st I think I'm walking still
play my Michael Jackson ship, you know what I'm saying. So, um,
I'm dancing and ship. All of a sudden, it's just
this huge commotion. You just saw people kind of like
flying and going to all these different parts of the clubs.

(25:00):
I'm looking around them, like and I just see like
a red Bentley pull up, and I think it's like
a black Bentley, and like Shug and Pop jumped out
of separate Bentley's and they, I mean they skirted past
security and the whole non security didn't even they didn't
even ask them what they were doing their searching that nothing.
They breathed past security and they went around the party

(25:21):
looking for like members a bad boy and like and
looking for Andre and ship like that. Because that was
during that whole that was at the beginning of the
Ship club. N Man, my right handed guy, No, I
saw this. I was in cousin k Kevin's rill. He
was my guardian. He was traveling with me at the time.

(25:41):
So we were both in the spot hanging out and
doing our thing because it was a festive it was
the soul training work. The NIGG came through there, like, bro,
it's supposed to be fun, but man, they came through
on like they were pushing the line. All I've seen
I've seen Andre and Andrea, I let you got rest

(26:03):
your soul. Man. I saw Andre because we were laughing
about something, maybe finding this prior to that. But man,
when the niggas came through, I didn't see Andrea, and
I was like, damn, Drake, where'd you go? He was like, man,
I ain't. He was like, man, I was out. But
it was It was one of those situations where I
saw all of that, like up close and personal, like

(26:25):
seeing Pockets Sugar, real aggressive out in the l A
streets for all the Death Row, like all the Compton
outside pushing the line. It was something to see. But
then it was also cool to see bad Boy and
what they were doing. They had such a you know,
an interesting energy like you know, shout out to Slim Pickings,
all the all the cats in the Um, Super Mario,

(26:45):
all the cats in the street team where they had
to picket signs and they'd be going up and down,
you know streets in New York like a real movement,
like how y'all got y'alls jackets. It was reminiscent when
I saw that, and that's why I was smiling to
myself inside because I've seen that before. I saw that
with bad boy and that energy and that presence that
y'all have just being young, black and brilliant and creative

(27:07):
and pushing the line like it was that that energy
I saw too early on. So I've been able to
see quite a bit. Man, you grew up in the industry,
but black Man and Clayton was talking about earlier. But
you gotta tell us about your experience working on THEO
Bro and episodes. But this ship is gonna live, like
you said, that's one of the ones that the Black
community ain't gonna never forget about. Yeah, Man, THEA was

(27:30):
I gotta say that was a great show personally for
me to be a part of. UM. I won't get
too heavy into it. There was a lot of There
was a lot of behind the scenes drama that went on. UM.
Not to rehash between like THEA and Brandy, Um, there
was like a somewhat of a negative undertone as far
as that's concerned. But the experience of for me personally

(27:56):
working at Universal Studios, working on the back lot, you know,
being on the same lot for fucking Martin, When me
and Brandy would walk down to the Martin set like
on our lunch break and watch them rehearse um to
being able to like freely, you know, walk up to
Universal Studios and get on the amusement rides. Martin rehearsals

(28:17):
real talk man, we go to and go right, Me
and Brandy and y'all can ask her this like you
come on, come on, come on, come on, come on.
But what happened was we would we would have our
lunch breaks and the Martin said, like, you would come

(28:40):
out of stage five. I think that was our stage,
and you could make a right and walk maybe like
what would be equivalent with like a half a block
and it was Martin stage, and then we would just
walk in because we were the only other black show
on a lot, so we all knew we was there together.
And they never hated on this like they would let us,
you know, Mark and T Shirt, Um Tommy got rest

(29:02):
his soul called. They would see us talking because we
all kids, they be like, man, y'all go up in
the stairs and man, y'all chill out. And so we
would see the Martin Show like two weeks before that
ship would come out. So I'll be calling it his
back home, like, man, wait till y'all see this ship.
How do you know that I like, watch this ship

(29:24):
with Martin say this, So I'm seeing you know, all
of that stuff growing up and me and me and
Brandy would you know, walk back to set and I
can't I can't speak for her, but for myself, I
would apply the things that I would learn watching them,
subtle nuances, little things. Um, it wasn't like jokes, it
was a facial expression. It was a mannerism. It was

(29:47):
the letting the joke live whoever the you know, learning
that chemistry of letting your co star have his or
her moment, learning that space that in comedy, which we
all know, there's a there's a timing, is a dance,
and especially when you work in it's a beat. So
I was learning all of that and that was my

(30:07):
college man. Was sitting there and watching you know them
do they thing and they were so gracious. I mean
Eddie Murphy there too when we did. He was doing
Beverly Hills Cop three on on Universal and me and
Brandy walked over there during our lunch break and he
was like, they they would know where we would be

(30:34):
going because anything that was black that would pop up
in you know, they like and especially you saw Eddie
Murphy and lark Man Olympus. Now we're going over there
was studying, you know, and Eddie was so nice. He signed, man,
I asked that to sign six things. Signed this for

(30:54):
my beg, me and my teacher. Woman. He signed it.
He asked all our question. And you know for me
that that was the lasting impression. Man. That taught me
how to be gracious, like with interacting with your fans
and interacting when people were at mars of your work.
Like those guys taught me how to be a star
because they were like they superstars and they still were

(31:16):
taking the time to like, so, man, you know what
you want to do, and how y'all like filming over there?
Oh yeah, okay, and you know, asking a little stupid ship.
But yeah, man, it were cool. Your little brother, your
little brother, huh your little brother. Yeah, you're talking about
his face. He had the worst haircut and that might

(31:37):
have been that was one of the top of three.
They still talk about your haircut. Man, you ain't never been.
He did not choose that logical. Father had a lot
to do. He did it, he said, he had im Sorry, Gritty,
but I gotta tell the because they do you dirty

(31:57):
out here. But it didn't on his hair cut like that.
His mom was cutting his hair like that and bread
his dad. He was real when he was a nice guy.
But you know he's like one of those quiet guys,
like a quiet husband. You would just see him looking
at his boy and you should see him laughing in

(32:17):
side himself, like now, how did hear you get on
Shmart guy? First of all time? Just goddamn light scared. Yeah,
the London nig light skinned. Yeah, daddy is light skined
and you scar. It wasn't but indeed, hell Like now,

(32:39):
I'm gonna keep it real with you, d C Man,
that audition was flawless. Bro, that's one of the ones.
You just everybody want a big brother like you. I
appreciate no, and that I think that was the thing
you learned from Martin. You were shout out to Omar

(33:03):
good into like we man, we would after work, we
would study other sitcoms and other performers. So you know,
we would study Jamie Um and this is this is
the work we were doing after work because we would
go home, we ordered pizza, smoke a little something, chill out,
you know what I'm saying, And it would be like, man,

(33:24):
let's look good. What's song? So what they're doing? So
we turn on this show, we study be like we're
gonna do that ship better next week. Were don't flip
it like this and week. So me and Omar was
like doing that all the time, you know, just playing
with the craft, like just trying to figure out how
to be better. You know what I'm saying, Like how
you got young nigs that work on they jump shot
when they lay up, when they left hand, Like That's

(33:44):
what me and Omar would do every day after work.
We would just sit down and we look at shows
and we look at different performers and we would just
find those different things that maybe weren't in your face,
but they were subtle things that we knew that we
could play on them. Making my own this big brother
i've ever seen growing up good looking. It was like, okay,

(34:06):
you got your little brother from the kind of school
with he did, but it came sunk up my cool.
But how can I embrace my teen your little brother?
Fuck it? Not only that is he catching up to me?
Or it was like it was a lot of ship
as a child that y'all taught us as kids, like
and then't do with a black fatherhood. Yea period, man,
we didn't know d C Man that the kind of

(34:26):
example that we were setting, man, just keeping it all
the way and hunted like we were just having fun.
And I think for me Omar in particular, we wanted
to show young black kids who we really were versus
like how Sitcom TV would try to portray us a
lot of times like hokey and corny or you know,
and just some weird ship that they were saying the lines.
We'd be like, how the funk they get away with

(34:47):
saying that? So it was like we were the kids
where if they gave us a line and we knew
that ship wasn't gonna fly in the community, we'd be like,
I'm not saying it, Like I'm not saying that, bro,
Like okay, you want to get that kind of joke across,
why don't we say it like this? And I'll give
them credit. Shout out to Danny Kaylis, the creator the show.

(35:07):
He listened to it like he when came down the
ward robe, I was like, Man, ain't no young black
kid walking around wearing them ships on their feet? Like
I was like, ya need James Mans kids. I would
be calling up to Nike because they don't want you
to have a little logo with all that. To have
logos on anything, I want to pay for it, right,

(35:29):
So they'd be like that yeah, and I'd be like like, yo, man,
who cares, like we gotta be cool? So like I
need I need the Overson's, I need them. Everybody else
has a shot because an episode, how about this, let's
do an episode. He needs to Iverson's. But it was

(35:52):
it ideas like that were tossing around and and being
that Iverson was such like a controversial figure in sports
at that time, they were like, Okay, you're gonna wear
the shoot. You just don't want to do a lot
of digging up on that. You know, we don't want
to go to hip hop because we were introducing vernacular
and slang. We were bringing all of that to the show,
but it was still a Disney show. So we just

(36:13):
had to find a balance. But thankfully, man, like you know,
we had producers shout out to Susanne de Pass who
was my former manager, Suvan de Past. Let me let
me give her credit right now, because she's another one
that doesn't get enough credit. Some of y'all's favorite shows
from the Jackson's mini series, The Jackson's An American Dreams.

(36:36):
Smart guy. I'm sure there are a few a few
more after that. But Susan de Pasha is a brilliant
black woman who's been in this industry since the Motown days,
since the sixties. She was the one that discovered Michael
Jackson and Jackson five. We have those shows right now
that everybody can go back and look at because of her.

(36:56):
She was the one that kicked open the door for
Tea and Tamara and Todjing the home any family. She
was one that kicked over the door for me. He
sasan thank you. I'm just telling the people because they
need to know your name. There was a black woman
that blaze that trail. Because a black woman that blaze
that trail. Hell, that was after the Jackson mini Sortsson
Jackson was but again that was that was another situation

(37:27):
when we're talking about the example of music, where God
presented that opportunity because and this is just to just
bring up the thing about Lion King and I'll go
back to the Jackson's. How I got that was I
was shooting the scene, um, the live scene and Who's
loving you? And that particular day, we had already pre

(37:48):
recorded it and all I had to do was just
sing with the track. But for some of my reason
that day, sound was down and I had to sing
that ship live like all day long. So man was like,
maybe after like the fourth set up shot, I'm kind
of exhausted vocally, but I'm like really warmed up. So
I'm belting and shipped out and We're on stage and

(38:10):
the lights are shine in our way, so we don't
see who's out in the audience. We just kind of
see the cameras on the dolly, but we don't see
like who's out there out there. So we get through
with the with the day, we get through with that scene,
we're moving on me. My mom was walking back to
the trailer. She was like, Yo, you know who just
came up to me and asked me about you. I
was like, oho, Ma, She's like Ellie John. Ellie John

(38:32):
was just here. He's saying he's doing some kind of
movie with Disney. He is saying that you'd be perfect
for it. I'm like Elton John and Bennie and the Jets.
I'm like that guy, And I'm sorry, sir Elton, but
I really don't John like that. Back then, I was
a kid, you know what I'm saying. So, I mean,
I appreciate his work now. I love Elton John, especially

(38:52):
what he did for me, but you know was amazing.
I didn't know, but she said, he wants you to
audition for this singing role in this new animated thing
that they're doing for Disney. Call the line came and

(39:14):
I was just like, Okay, cool, well let's do it.
So we I think two days later we wrapped The
Jackson's and then Disney had took over everything from that
point on, like our hotel and everything, and so I'll
never forget man. Like the day after we wrapped, I
went down the bird Bank at the Disney Recording studios.

(39:35):
That was another song I sang down maybe like three
or four times. They had camera said. That's what I
vividly remember. They had cameras up like this in the
vocal booth, and they were just telling me. They was like,
be as animated as you can, like like if you're
just singing it to the world, So any movement you
want to do, like even if you're not on the mic,
just move around because we're gonna put all of that

(39:56):
in the character. I'm like, huh, I don't even make
a he said, but I did it anyway. So there's
actually footage that I saw online where they showed me
performing the song in the studio that day, and that
was one of the cameras, and so a lot of
that stuff that you see with Simba in the animation,
with stuff that I was doing. You ain't muse what man.

(40:42):
I asked you to say, okay, character white, okayybody, none
of that, and you did. And the anivators it was three,
three or four of them, and they were in the
control room drawing that ship and I'm and when I
got they would have punched him, like yeah, Jay, we're
gonna steal your whole sauce on listen bro School. Because

(41:05):
when I saw what was going on, and then I
got really excited. And this is a true story. I've
got sang the song. The producers were looking at each
other and they were like whispering, teach other like nap.
So I'm looking They're like, hey, so would you be
able to stay in Los Angeles for a little bit longer? Yeah?
I was like, yeah, sure, because I really didn't want
to go home. I'm just gonna go back to school.

(41:26):
So I was like, I was like, sure, you know,
I'll stick around. They were like, well, the reason why
we want you to stick around because we think we
may want you to do the voice of this character,
like you're perfect for Simba. So I'm like, oh, ship,
like that sounds kind of big, Like okay, man. Like
fifteen minutes later, Um Business Affairs from Disney At called

(41:48):
back and they just closed their deal with Jonathan Taylor Thomas.
So the deal have been finalizing clothes. But if if
they would have waited, if this agent would have waited
another two hours to close that deal, I would have
had that role. But it wasn't your voice. See yeah,

(42:16):
I've met Jonathan and hung out with him on a
couple of different occasions. Because Home Improvement their sound stage
or Disney was next to Smart Guy, so like the
voice of Symbol was right there. And then the singing voice, Yeah,
that's what happened. And then when that came out, you know,

(42:37):
people didn't know that it was a black hid behind
that voice. And I wasn't really tripping on it because
I knew that I was a part of it anyway,
and nobody could take that away. From me. So if
we knew black it is possible. But that just goes
to show you everything is supposed to happen when it's
supposed to happen, when God wants it to happen. Because

(43:00):
it was finally revealed who the voice the singing was
behind it, the singing voice behind it, I think it
was more impactful at that time, especially when the community
was made more aware of it, because this is the top,
this is a Black renaissance that we're in now, and
especially here in Atlanta, and you're seeing so many people
emerge or come to the forefront that you didn't know
or a part of these iconic projects, and it it just

(43:22):
seemed like it was kind of like a snowball effect,
you know, of all this information coming out that our
people could learn and be aware. So I don't regret it, Like,
you know, my whole journey in this industry, good bad
or ugly, man, the journey has just been absolutely incredible.
I feel like, you know, we still got a lot
more left to do, but man with God has taken
me thus far. Man, it's just been nothing short of amazing,

(43:45):
especially a kid coming from Chicago, like there's not too
many of us they get opportunities. You know what I mean?
Ship man, how you get into a T could? I
mean these we got? You got? You didn't do the
American dream Ship? Oh okay, hold on and then we're

(44:07):
going to a T and I hope they get it together.
Like Warner Brothers. They y'all need to stop playing. Let's
do an a t L two. Man, Sylvie, Hey, Dallas,
stop man, we gotta figure this out night in the game.
Oh yeah, man, everywhere together? No, so man, we gotta

(44:30):
do a t L two. But anyway, the Jackson's mini series, Um,
how that came about real quick. My cousin Laney Stewart,
another successful music producer. Multiplatin music producer was being managed
by um Susanne the Pass at that time, and he
was working with like Aaron Hall and Seante Moore and

(44:50):
Keep Washington's real old school R and B. They were
all coming up to Chicago working in his studio. And
so one of Suzanne's representatives came up to Chicago go
from l A. And I was there at the studio
because that's when I first started songwriting. That's when me
and Tricky were like first training him as a producer,
me as a songwriter. And I was like eleven years old,

(45:11):
and Ruth Carson, that's her name. She would come to
the studio and every time she's seen me, she'd be like, yo,
who's that little guy? Like he's always singing, he's always dancing. Like,
because I don't know if y'all notice, but we're about
to do this bio pick about Michael Jackson and his family,
and he needs audition for that ship. Like I'm gonna
tell Susan that he needs the audition for that ship.

(45:32):
So I was like, man, whatever, I'm out of all
the kids that could play Michael Jackson, they're gonna pick me.
That's what I'm thinking. What I'm saying. So I'm like, man, whatever,
she's just talking sure enough, Like I get a call
from my agent. I had a local agent at the time,
Elizabeth Gettis in Chicago. Shout out to Elizabeth. She called
me and said, yo, um, the cast and director from

(45:52):
the Jackson's An American Dream wants you to audition and
blase blind. So come down here to the office. Is
when you still had to actually go to someone's office.
They put you on videotape. They have to FedEx to
tape out it was like a whole fund process, you
know what I'm saying. So I go to go audition
maybe about two weeks later, ABC and the producer's call

(46:15):
back and said they want to fly me out to
l A for um for producers callback go out to
l A and here's here's here's some other real ship.
The minute I was supposed to audition for the Jackson family,
because even when you got to l A, there was
a round of audition. There was like three rounds of
audition that you had to go through before you got
to audition for the actual Jackson family. So I had

(46:38):
to go through that gauntlet of just like stuff to
finally make it to audition in front of them. And
so when I finally got there, there was an assistant
casting director who I guess that day had just been
having a shitty day and she was just over it.
So she would just passing sides out two kids that
were left, and so she wasn't taken into consideration the

(46:59):
kids who have been hold who they were specifically auditioning for.
So she had handed me some sides for like Randy
or some ship, sorry Randy, and there's none, but it
was there was two faces I care to do. I'm

(47:22):
here to do, Michael, And so I'm saying that in
my mind, I'm skinned skin So ship, no real ship
he's taking no, no no. I started Sandy Ship and
there was a kid that came out and I'm about

(47:43):
to go in. There was a kid that came out
and I guess he had a horrible audition and he
threw his sides and the garbage can next to me
and like this name with a mic side. So I
took him about a garbage can and I just started
reviewing them real quick, trying to get reacquainted with the dialogue.
And I just did like a quick jam crack courts
and then they called my name and I went in

(48:04):
and I said the lines and that was cool. But
then that's when they started asking me to sing, and
I was so like me and my mother ever heard
those routines so much, man, I could have did that
ship in my sleep. And it was just like and
I'll never forget. I knew I kind of had the
part sort of when I saw Mrs Jackson smiling at me,
and she looked over at the director and she was
like he's good, and so I was like, okay, cool,

(48:28):
but I didn't get the part that day. They put
me on the red eye, me and my mother back
to Chicago and he was back in Illinois and I'm
waited maybe about five months because Michael was on tour.
And then Michael had finally seen the tape and he
made the decision to hire me for the role. And
that's how I got shout out to Mike. So Mike

(48:49):
having having he had to make the final decision, all
three actors that played him, the young one, the middle
one which was me and my man Wilely Draper got
rest while he sould who was who was Atlanta native,
who was from here in Atlanta. Um he picked us
like we were the ones that Michael personally chose. And

(49:10):
so you know, we all we knew we had to
do was when we got on set, we had to
live up to his expectations because we were just on it.
Like man, if Michael see something, and it's like we
gotta be on our ship. And we worked hard. I
worked seven days a week on that ship willingly voluntarily.
Let me make this clear, we technically only worked five

(49:31):
days a week, but the cast we all would get
together on Saturday and Sunday and rehearse like every weekend,
no matter what, and I'm talking about five six hours
and straight dance rehearsal in front of a mirror in
the conference room at the hotel we were staying at
and Bumper Bumper. Robinson was the one who would orchestrated
shout out to Bumper, but he was like, yo, man,

(49:54):
we're about to be portraying to Jackson family, like this
is Black Royalty. We cannot funk this uping It's like,
we can look this up. So everybody like being on
your ship, vocalized every day having your ship together, and
when we were on point by the time that came out,
when we looked back on on the work that we did, oh,
it made sense. It made sense that man, thank you, man, man,

(50:22):
I appreciate y'all like real ship like you know that.
That means a lot to me because I've been in
this business a long time and I think you guys
know from being in the in the industry for the
amount of time that you all have been in you
all have vests as well. You can kind of get
a little jaded, man, because you go through so much ship.
You know what I'm saying. Leading up to whatever that
opportunity is that takes you into your next chapter of

(50:44):
life in your career. And so when you get the
opportunity to meet with your peers, to build with your
peers and they express to you how much they appreciate
your work and that they see you, that means a
lot to me, man, because well, he's working about your face.
But I would be thinking about y'all. I'll be thinking

(51:06):
about who's the next generation like coming up after What
kind of example are we setting? Like what are we saying?
Because I want I want kids to come up after
us knowing that they can do it. But like, man,
we got a real responsibility. So now to have this
opportunity to meet y'all, then to build with y'all, and
to see y'all exceeding past what we've done, because honestly,

(51:28):
looking at this whole situation over here, man, it's is
taking whatever groundwork and foundation that we laid as young
black performers. Man, y'all taking it ship to the next
level and have an ownership and what it is that
y'all doing. So like the cake is this this this platform?

(51:48):
We cherish you because we get to sit here, have
people that we're fans of like just to see did
you say that? It's like? But still we had to
watch y'all in order for us to know what the
blue print was like for us anyway, you see what
I'm saying, And for us to be doing it for
the amount of time that we're doing it, and for
us to even have people like you to come on

(52:08):
is just here how we make you feel we'd really
be like you, but we had to keep out of the
the cold. But we nonded y'all some months because we
it allows us to engage with the people that inspired us,
and we get y'all kicking yeah. And I'm gonna say

(52:33):
this too, man, You one of the people that need
to be celebrated more. Man. I feel like a lot
of times, just in our community, a lot of times,
everything we celebrate is the negative and the worst of
the ship. They celebrate the fall off, they celebrate how
it nigga fell off. They want to know how to
what happened to the ship, But talk about the motherfucker's
they're still here, talk about the motherfucker here like it's

(52:54):
more the game from somebody who did good business and
did continually succeed and craft and then looking at the
tragedy and travesty shop. I appreciate that because there are
a lot of us man who have been able to
maintain careers without like you know what we discussed early,

(53:16):
we all human beings, law had our ship, you know
what I'm saying. But we've been really really blessing a
way where the mistakes that we've made, um that have
helped us grow as men. We've been able to do
that in private, like without you know, having social media
and you know TENZ and people like that on your back,
where you can make your mistakes as a human being
and growing evolved. So I was even blessed with that

(53:38):
as well, where you know, my mother created a certain
type of balance in my life where work was over
in Los Angeles and we'd be back on the plane,
I'll be right back in the neighborhood, like interacting with
my friends, going to school, going to the grocery store,
having a real life, and where I could I could

(53:59):
see what my neighbors were going through in their everyday lives,
whatever struggles that they may have had, and then that
would allow me to look back and go, man, I'm
really blessed. Man Like like man, I'm getting on the
fucking plane them all to go to a place that, man,
I never thought i'd go to to do make Believe
where they make fucking TV. And that ship will blow
your mind and it and it blew my mind. Man.

(54:22):
Such it's been such just a blessing. Man. I'm just grateful, man,
just grateful to God for everything, Grateful for the support
from the community. I can't stress that enough. It's like
what you said, we live in a time where you know,
people kind of find joy in your pain or the
struggles that you go through. But I've just been really
really blessed where with our community in particular, it's all

(54:43):
been about celebrating and acknowledging the work that I've done
and supporting me and like letting me know on the
street and let me know on social media, and may
keep doing your things, you know what I'm saying, Like
black men coming up to me, like especially with the shot,
like with the show on and all of that, with
the character and I'm portraying like I know a lot
of guys like that back home whose stories never get
told like that. So I'm having guys come up to

(55:05):
me and be like, hey, Joe, and I appreciate you
man like, because that's how that ship that he is.
You know what I'm saying it for you to for
you to tell the real story like that and presenting
in a real way. You're not glorifying it. You're not
glamorizing it, like you're telling it what it is to
hear that ship from other black men like that. There's
a lot we don't talk. We don't don't talk. We
don't And even if the nigga like you ain't gonna yeah,

(55:35):
let me get the picture, like you're a fan. It's
okay if you really think it's out there your public something.

(55:56):
But even even all that, it's history. Just like you said,
it's what's her name was Susan the past put the
things in place and and we don't know that, you
see what I'm saying. So it's like, so when you
hear Hunter and you're like, Okay, she's important. Yeah, she's
quant of history. Like it's so many iconic and icons
out the pioneers who we don't know about. But and

(56:17):
let me tell you, they know y'all though, because the
one thing about those pioneers and people like Susan in
the past who are trail Blazers. They always keep their
air to the street. They always checking to see what
the youth is talking about, what it's relevant in the culture.
It may seem like they distant and that day over
and just Hollywood, but no, they because they're the ones
that find that talent and go. Man, they need to

(56:39):
be on the bigger platform, you know what I'm saying.
So now I'm just and I want you all to
know that. And y'all know this already, but man, please
know that the work that you're doing in the platform
that you're providing for guys like myself, for the O
G s like Snoop Man, we appreciate this man because
we don't get a lot of opportunities to speak to
our community directly like that and give them the real
you know what I'm saying, and for black men and

(56:59):
say clebrate one another the way that y'all do us
like man. The world needs to see that. So that's
why y'all winning, because you'll some real niggas with that ship.
But you heard sound different different Heldo. We gotta get
to a T L please, because I got to get

(57:21):
the a T He got his case on the back
to get with big family man none other than Jason.
We first dig over there, get done with j J.

(57:44):
Know how that ship that's why here too we do yeah,
all about it said, oh that the same thing, j J. Harold.
And then in Atlanta, you're gonna be able to get
at least two restaurants from wherever you're from. Yeah we
got we got Harrolds. Yeah we gotta yeah, Yeah, they'll
get enough sauce. Don't want to marry. Yeah, the one

(58:10):
on our avenue, they got their rational after sault. Look
we get talking about they're trying to do the thing

(58:31):
in Chicago. They put sauce on your bags from the house.
Go with everything, be thinning the mother you have the
opening ship. You could just push it out. Oh yeah,
Oh talking about at because I'm gonna let y'all gonna
let us. Yeah, I gotta kiss out because this is

(58:52):
important Atlanta history. Were Atlanta somewhere listen, shout out to
Dallas Austin. Let me tell of y'all something about Dallas
Austin For those of y'all who may not know, Dallas
Austin is a mega super producer who has been producing
some of the biggest records in the music industry since
the late eighties going into the nineties. He discovered Monica

(59:14):
another Boys to Men. He was responsible for that. There
was a whole movement. Listen the face records all at
the foundation of Atlanta. He's one of the founding fathers.
He's there with Jermaine, He's there with organized noise, He's
there with camp uh l a baby face. Who else?
I mean, the list goes on and on off. But

(59:35):
he's one of the founding fathers. The reason why y'all
have movies like Drumline and A t L Is because
of Dallas Austen, Yes, sir, He's castle and the ghost
was in there. Ye, Dallas got some crazy start man.

(59:57):
You both y'all, y'all, y'all run close with me. Dallas
is even crazy the whole industry. You didn't probably see
the weirdest ship, that's true. But Dallas founded a city.
He did. He founded an entertainment capital. Like we all
came down here, cast them up north and like from
the West coast in l A. We all came down

(01:00:19):
here because he was trying to work with Dallas and
Jermaine and organize nothing. That's why I came down here.
I was trying to work with them and like learn
what this was. And I knew that there was a
component to this town where it could be a film
and TV town, But those were the guys. I've never
seen that before. I've never seen niggas pulling up like
young niggas pulling up in Ferraris and ship and you're
go into their houses and they're sitting on acres and

(01:00:40):
where they sucking houses all the way back there, Like
I'd never seen that before. And so Atlanta open my
eyes to that, and Dallas was like one of the
first people to do that and like to welcome me
and my family to this city. So when a t
L came up, Dallas and I had already done Drumline together.
We already did Drumline, so we had had some success

(01:01:02):
on the film side. But at L was originally titled
jelly Bean, and it was gonna be based on the
story of Dallas, like discovering till c and all of that,
because jelly Bean was like where all of those groups,
the outcast and all that, that's where they wouldn't hung

(01:01:23):
out when they were kids, you know what I'm saying.
So we were trying to retell that story. It evolved
over time, and especially with the studio's involvement, the script adjusted.
But dallas And hit me one day and he's like,
hey man, you know I'm doing another movie down here,
Like you're funking with me because you ain't auditioned for it.
I was like, well, I didn't even know what was
going on. And that's when I got rid of my

(01:01:43):
agent that I was with, because Up dropped the ball.
So I called him. I was like, hey man, they're
shooting another movie down here in Atlanta, a big budget
film called Jelly Bean Man, and like TIMPs supposed to
being in all these different people, I was like, how
are they gonna shoot a movie down here like that?
And I'm not in it? And so they found a
way for me the auditions, and I came in at

(01:02:05):
the tail end. They hadn't cast Teddy yet, they hadn't
cast Esquire or Teddy yet, so auditioned for Esquire wasn't
really convincing with that one um. But Teddy, it was like,
I mean, because I know, I know that I liked
to kick it with guys like that at five nine
and one twelve and ship I know people, so you know,

(01:02:35):
I don't know what it is. So when I auditioned
for that role, everything just rode into place and it
just made sense. And man, we had a ball uh
two months, but every day it was a video shoot. Man,
it was what I mean, we had so much fun.
Man to this day, Like I may not speak the

(01:02:56):
Tip every day, I may not see Lauren every day,
I may not see Jackie, but man, let us run
and teach other on the streets somewhere and just some
random ship. Man, we're together for the rest of the night.
Like we all became a real family on that show,
and we just enjoyed. We genuinely enjoyed each other's company.
Tip was gracious because you know, I've been living in
Atlanta for a long time, but there were still some

(01:03:17):
things I didn't know about it. And then the rest
of them, they were all out from California. Ship, so
they're thinking, after we get through rehearsing that skatetown. He
get everybody in the car. We would like go through
the Swats, we go through Bankheads. He would like, should
we go down Simpson Roll, then we go to like Buckhead.
He would take us around the city so we could
get a feel with the like what's going on with
the people in the culture and the energy, and just

(01:03:39):
him being so gracious. Big Boy, Like big Boy would
always set up where he'd had the massus come. If
we had like a hard dawn set and we've been
skating all day, he would have like his private massuits
come and like give everybody back rubs and you can
get your nails done, and it was just play ship.

(01:04:00):
We had a ball. Shout out to Chris Robinson, shout
out to Will Smith who was one of our executive
producing shots. T Bos Smith one of this afternoon he
was one of the EPs and Tebos right, yeah, yeah,
over James Lasseter, those guys. Charlie Mack was down here.
Charlie see Jock would be skating with us. That were

(01:04:22):
her let me tripping off down she got to she
got a story to town. Y gotta come to I
feel like you still the jelly Bean movie still need
to be made Fat Fat because said, yeah, that was

(01:04:45):
my generation. Now you gotta understand when y'all made it.
Look look, I'm i gotta take it back. When they
said cast skate, I grew up on case. I grew
up in the cast case scary. That's my ships. I
was the first young skateing crew cast Scad ever had.
We don't want a couple of tissues. I don't care
what nobody said. That's my ship, you understand, man. I

(01:05:06):
remember when the first open up Nigga dust used to
be coming down in our eyes. Skate You feel what
I'm saying. We got ship straight in that bitch. So
when y'all came down, they were like, it's yeah, they're
about to shoot a movie in the beach. Because we
thought it was just our ship. This is a hangout,
and we were like, they're not about to make a
movie about skaters. They like nigga. They finished its pitched

(01:05:29):
down for about two and a half months, and we
got nowhere to go, So we was mad about not
having nowhere to go, But we were like, we can't
wait to see the movie because we want to see
what type of ship they're gonna portray about. At La Nigga,
y'all had skate Creus who I used to skate week
in the movie, all them, Nigga Mario, the nigga who
took took Laura from in the in the house party. Yeah,

(01:05:50):
I know that. Okay, you see what I'm saying he
was in the top of man man. But it was
like when this ship came out, bro, and I know
was so we was excited and we appreciate the movie.
So because that's how ship. That's like the whole world
need to know about a t L too. They got
damn movie and a lot of people in the movie

(01:06:12):
theater resonated with you more sol because you was Eddy.
You didn't who did? And it goes at the time
and everybody knew, I don't know what. We don't go
to edit. Ain't gonna make a goals to be nigger man.
That's what we say. You won't know what we said.

(01:06:34):
The rest of this video, Just in case you wonder
what we're doing, we are now showing you just how
important having the eighty five South Show append is because
you was watching this show thinking, oh, they did finally
put the ship back on you too. They was listening.
We weren't We weren't that The rest of this listen.
The rest of the audio is on half yeah, yeah,

(01:07:09):
all right. Now you gotta know what we're saying. You
gotta go get the apps show app. It's available on Amazon, Biastick,
Apple TV, wherever you get yourself available directly where they
sell apps, or they don't sell apps on Apple TV?
Why with us? To Apple TV? It is put on

(01:07:30):
real coup don't say fun nobody, No, I say put it.
Oh we do full of real couse. Yeah, so subscribe
to the app. It's only eight ninety nine a month
or eighty five dollars a year, so you get a
whole year for eighty five dollars. Did you know that
it's eight fifty and then you gotta pay tax. Yeah,

(01:07:51):
so you know, you know, we get them all type
of content. You know what, We're not even gonna tell
them who you got your glasses from until they get
on happen. I mean, hey, you gotta watch the app.
The app is available. All of these people that say
we should keep putting this on YouTube for free, what
about the years of freeness that we've already provided upon you.

(01:08:11):
We gave this away for free for years. Let's moved
together and this is the show, and put it on
another network and you're buying their subscription. You don't ask
them why you're buying their ship, So don't ask us.
We're putting it on the app. Who's over the app?
Nobody knows get Yeah, we saw what you said in

(01:08:41):
the comments. We saw it the good, the bad, and
the ugly. So you know what we're folding under this pressure.
We hear you, We hear you. We'll just get the
funk on that you all way just for an hour though.
That's all you get is out, so don't you can't

(01:09:02):
complain with the rest of it. Something I'll see we
got with a whole bunch of ads in between, like, hey,
how you doing waste motherfucking yeah, let's just uh go
ahead and make sure Channel eighty five dot com. I

(01:09:24):
want to make sure I read what they wrote. They
wrote some ship out for us. These niggers don't know
how to spell or type proper sentences, but they try
it to get us to get y'all to buy the app.
What you think we want to read this ship man
so we can talk that ship man ladies. Don't you like?

(01:09:45):
That's right on the app uncensored, unfiltered and edit it.
Can you believe that I'm talking about what actual production
and it jump cuts clips all taxes, types of like
exclusive ship that they don't even know that we they
don't even know that we got a show where we'll
be cooking like anxiety foods and ship that's on the app. Yep,

(01:10:08):
Chico got a head right and clan did he toach?
Nobody passed it because that's why the ship looked like this.
We're working on it and you can see it on
the app. They didn't didn't even tell them about the
text courts that we had uploaded on that. They don't
even know that. We got a whole show about Long
Street on the app, right, and we got the alts

(01:10:30):
in the end until the color purple up there. Oh man, Yeah,
we got the raw edition all the hood cook all right,
so on the app. So if you want to see
some ship that you know they're trying to have from that,
I'm leaving the dot com. Bok Dad, you got a
hour for free. We gave you what you wanted. Now
give us some subscriptions to the app. Eighty five dollars

(01:10:56):
a year Chandway five dot com eighty five South show.
Get that this is what they don't know. Really three
dollars but adjusted for inflation is a done. Get the app, man,
stop bushing. Were out of here, man, We're not about
to keep working all this time for working for we are.

(01:11:17):
Maybe we are only well your way too, fly oh,