June 21, 2024 • 113 mins
Interview with Damizza on The Bootleg Kev Podcast.
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Speaker 1 (00:00):
Y'all. What up, It's Tomizza.
Speaker 2 (00:01):
Check me out on the Bootleg Cab podcast.
Speaker 3 (00:04):
That right, Hey Boulet Cab Podcast.
Speaker 4 (00:10):
Man special guests here a legend in the game, Domizza
aka Damien Young.
Speaker 2 (00:17):
Legend in my own mind. Welcome, Thank you, sir. I
appreciate you having me.
Speaker 3 (00:22):
Man.
Speaker 4 (00:22):
You know what's crazy is like as a kid, I
knew your name. I wasn't in radio as a kid, obviously,
so I didn't know that you were the program director
of Power six.
Speaker 2 (00:34):
Well, you know, that's actually kind of a it's interesting
because I was the senior director of programming.
Speaker 3 (00:39):
Okay, Yeah, what were you doing at Power to six?
And what years?
Speaker 4 (00:41):
Because I just remember you from the shade shie shit.
Speaker 1 (00:43):
Okay, Well it's actually a little longer story.
Speaker 2 (00:46):
Yeah, I okay, I was doing I was in Santa
Barbara doing alternative radio.
Speaker 3 (00:51):
Okay.
Speaker 2 (00:51):
I started twelve years old under Michael Newman and Steve Smith.
Ye rest p Steve Smith, Yes, rest in peace.
Speaker 1 (00:57):
Big dog Steve Smith.
Speaker 2 (00:59):
And they were the local program director of music directors.
So I would just call up and bug Michael Newman,
who was the night jock. I just call and a
fan wanted to win stuff and stuff, and finally I
became his intern, and at seventeen, I became the program
director of that radio station Jesus and I broke a
(01:19):
group called Garbage.
Speaker 3 (01:21):
Shout to Garbage.
Speaker 2 (01:22):
Yeah, Garbage was dope chicks, Yeah, Shirley Manson Syns. And
you know when what I noticed was is the producer,
you know, Butch Vig, who did Nevermind for Nirvana and
then Smashing Pumpkin Siamese Dream. I said, well, wait a minute,
if he just did those records, then this little demo
(01:42):
that I got from Almo Sounds that just said produced
by Butch Vig, it means it's probably going to be
pretty big, right, you know what I mean? Yeah, So
I was like, okay, well, and that's the first time
I realized, okay, so producers.
Speaker 1 (01:55):
You know what I mean. That's when it clicked about producers.
Speaker 2 (01:58):
So I was like, okay, well, well I'm gonna take
three songs off that album. You'll start playing them, right,
you know what I mean? And so the label was like, yo,
you broke Garbage. So when they blew up and they
went platinum, they said, well, we owe you a favor.
What do you want you want to do? Like a Flyaway.
You know, they're doing the Weenie Roast, They're going on
tourards Smashing Pumpkins. You know, you want to do something.
(02:19):
I said, no, I want them to come to Santa
Barbara and do this two hundred person club. And they said,
I don't think you heard us. They went platinum. They're
going on tour with Smashing Pumpkins and they're doing that.
And I said, well, I guess you guys aren't. Your
word doesn't mean anything. And they were like, so they
called Butch Big and they said, there's this like seventeen
(02:41):
year old, eighteen year old program director in Santa Barbara Broke,
you know, the records and all this kind of stuff,
because even like Kevin Weatherley at k Rock and all
those guys would drive to Santa Barbara, right, and they'd
hear this alternative station and they'd hear these records, and
you know, I'd be pulling, like when i'd go to
London or something. I'd hear like pennies, ever, my pennies
from Smashing Pumpkins.
Speaker 1 (03:02):
It was like an import.
Speaker 2 (03:03):
And then I'd make it a current on our station
as exclusive content, and everybody would be like, where the
hell is he finding these records and doing stuff like that.
So that's also where I learned about exclusive content. You know,
investing in artists early and having exclusive content was like
the key.
Speaker 4 (03:20):
Especially back then because radio was like, really were you
that's where you heard stuff first? Yeah, there was no internet,
there's no Yeah it was yeah, it was what it
was like. You read about it in the source, and
then you heard about it on the radio, you saw
it on BT.
Speaker 2 (03:35):
You know, it was nuts. So anyways, Butch Figg said, well,
did you make the promise? And the rep said yes,
And I said, well, I guess the one day off
that we have between the Winnie Roast and the Smashing
Pumpkins tour, we're doing a show in Santa Barbara. So
the whole industry was like, how did this seventeen year old,
(03:56):
you know get a platinum approaching double Butch vig in
a two hundred seat club that's sold out in half
a minute, and the streets flooded, and you know, all
of this news press and all this.
Speaker 1 (04:08):
So Bruce Saint James came to that show.
Speaker 3 (04:11):
Bruce is who was my first p PD ever.
Speaker 2 (04:14):
Oh wow, I love Bruce Saint James. Hell well, he
got me my job at Power. So I saw Bruce
there and I said, look, I you know, I love
all well. I had to do alternative because it was
a rock town. I wanted to do hip hop first, right,
but they said that's just not going to work. And
even in LA when we wanted to switch to doing
(04:34):
you know, West Coast s rap. I mean, you have
to remember when I got to Power, they were playing
everything from boys to Men one second, then Mob Deep,
then Already the One Man Party, then you know, Richard
Humpty vision for one show, shout out with Richard Humpty vision,
my dog, bad Boy Bill, all of them. So they said,
all we have is this Sunday night coach to Coast
(04:56):
show boardop position and I was like, great, I'll take it.
And they're like, so wait a minute, let me get
this straight. You're programming two stations in Santa Barbara, but
you want to come and board up on Sunday nights
at Power and I six, I said, look, I'll sweep
the damn floors, like whatever you want me to do, whatever, whatever.
So I walk in to board op for this show
(05:17):
and there's Curtis Blow.
Speaker 3 (05:19):
Oh shit, and I was like, so, what year is this.
Speaker 1 (05:25):
This is God ninety five ninety six.
Speaker 2 (05:28):
So Curtis saw how nervous I was and stuff, and
he was like, look, just don't mess up, and I
will tell you a story of hip hop every night
after the show. And I was like kid in a
candy store. So fast forward about a year Curtis leaves.
The next one to come in to do that show
is Iced Tea Crazy. His engineer for like Rickochet and
(05:49):
all that was this guy named Vachek where when I
was like fourteen, I wanted to be a rapper. So
I was working in Burbank at the studio called Malagro,
and the back of that studio was a studio called
back Room where battle Cat was working and he was
doing stuff like Quote and Tom Jones and all this
kind of stuff. So like, you know, and this is
(06:10):
why I say about mentorship. You know, this is where
I learned mentorship from is because there was this one
night where battle.
Speaker 1 (06:16):
Cat erased all of his sounds.
Speaker 2 (06:19):
You know, He's in the back and he's like I
just lost every sound I ever made, you know, flipping out,
And here comes this little kid wanting to be a
rapper with white kid from Santa Barbara. You know and says, hey,
but what was that guitar song sound you used on quote?
Oh well, wait a minute, Michael Jackson sent over the
tape and dah da da da da and totally stops
(06:39):
all of it and takes the time to tell this kid,
you know some game, right, And I'm like, click another
one about mentorship Steve Smith, Michael Newman, Battlecat.
Speaker 1 (06:49):
You know that's okay. You know that's how that works,
you know what I mean.
Speaker 2 (06:53):
Like, and seeing interviews with Michael Jackson was saying, like,
you know where I come from, in the school I
come from. If you know, a kid comes up and says,
that's a night shirt, you take it off and you
hand it to him, right, you know what I mean? Like,
that's the the artist and mentorship school that I came
up in, you know what I mean. So anyways, Ice
Tea does the same thing vod check. Like what I
(07:14):
was saying about vod Check is the engineer happened to be,
you know, the Iced Tea's engineer.
Speaker 1 (07:19):
So when I.
Speaker 2 (07:20):
Saw ic T the first time, I said, oh, I
know Vacheck. Then we started talking and you know, blah
blah blah blah blah.
Speaker 1 (07:26):
So Ice T started teaching me. Well, Bruce gets ready
to leave.
Speaker 2 (07:29):
Power one o six to go to KKFAR, to go
to KKFR as the PD, and he says to Michelle Mercer,
you might want to talk to that kid from Santa Barbara.
You know, I saw him at this garbage show. I
think he might have you know whatever, whatever, So shout
out to Bruce Saint James.
Speaker 1 (07:44):
He got me my job at powerwin six.
Speaker 3 (07:46):
Crazy.
Speaker 2 (07:46):
So then I became the music director at Powerwino six.
Speaker 3 (07:50):
So you were the MD. Who is the PD, Jimmy Steele.
Speaker 2 (07:53):
No, Michelle mercerche Mercer comings had just left and Michelle
Mercer was the PD.
Speaker 3 (08:00):
So what's it like?
Speaker 4 (08:00):
Because I feel like people don't really grasp like radio
obviously nowadays is a whole different ballgame, but in the nineties,
like doing hip hop radio a Power one oh six,
like that had to be like just the politics you
had to deal with.
Speaker 3 (08:15):
Dude.
Speaker 2 (08:16):
When I walked in the first time, the first people
that I met was like Chalk and c minus shout
the fucking all mighty freaking roughnecks. Yeah, the Baker Boys,
you know what I mean, shout out Nick and Eric,
I mean all of it, because these were the guys that, like,
I mean, I grew I used to be that kid
that would drive up just far enough to listen to
Kdam you know, and Julio G shout out Tony G
(08:39):
and the original mixmasters. I mean that was what I
would do, you know what I mean. I was such
a fan of it, you know. And then when Michelle
and even the Beat and Easy and Julio and recipes
ez and and Westside Radio and you know, just all
of that stuff and those icons.
Speaker 1 (08:55):
That's what I grew up on.
Speaker 3 (08:57):
So you're the music director for how long? Well?
Speaker 1 (09:01):
Well, uh.
Speaker 2 (09:03):
Well, the format of the station when we first started
wasn't hip hop.
Speaker 3 (09:08):
It was just you know, I mean, it was doing this.
Speaker 2 (09:12):
It was it was yeah, chr kind of but it
was like already the one man Party, the Voice to
Men and Mob Deep and you know, it's kind of
all over the place. And I was like, we need
to go straight West Coast Kankster Rep. That's what we
need to do. And they told me you're fucking crazy,
you know what I mean. They just I was like, dude,
I want to put eight No Fun in Morning Drive.
(09:33):
And they were like, dude, what about all about you?
What about life goes on? What about you know, all
of these records that I knew were huge in the
street because you have to remember, I started off as
a DJ. I started off, you know, my first job
at Khduy and Santa Barbara after being an intern.
Speaker 1 (09:49):
Was the night jock.
Speaker 2 (09:50):
So I'm going to high school, you know what I mean,
as the night jock programming my own show Crazy. So
I knew what the streets were listening. Plus all of
my friends, you know, growing up in Santa Barbara.
Speaker 3 (10:01):
You know, yeah, I'm.
Speaker 2 (10:02):
White, but you know, it was basically identifying as young Mexican,
you know what I mean, Like it was just that
was all my friends.
Speaker 3 (10:12):
So growing up, you know.
Speaker 2 (10:14):
The first tape I heard, you know that blew my
mind was Gangster Gangster, you know what I mean.
Speaker 3 (10:20):
And I an.
Speaker 2 (10:21):
Easy ease, So I stole that tape, you know what
I mean, And that's what my friends were listening to.
Speaker 1 (10:26):
So when I got to Power, that was my mission.
Speaker 2 (10:29):
It was like, We're going to make West Coast rap
the number one format in the world. And they said
that just won't happen.
Speaker 4 (10:35):
So this is around the time of ninety seven, So
ninety seven, so this is I mean, this is.
Speaker 3 (10:43):
Pocking big ee past.
Speaker 1 (10:46):
No, no, okay. So when I'm in Santa.
Speaker 3 (10:48):
Barbara, because that was a Biggie died what March ninety seven.
Speaker 2 (10:51):
Biggie was sitting in my office the morning before he died.
What he had done a radio run and he literally.
Speaker 4 (10:57):
Because we always see like that legendary cameo stuff he had.
So then he obviously he was in La.
Speaker 2 (11:03):
Yeah, so he went to the Baker Boys show and
he was on crutches because you know, he'd gotten out
the car accident, was seized. And what we actually what
happened was is he did the beating. He played Bone
Thugs in Harmony and I heard it the night before
and yeah, and I flipped and I called Puffy and
I was like, bro, I was like, Homie, One, bone
(11:26):
Thugs in Harmony is a power one on six artists
and two we got the Baker Boys, So what are
you doing? And he goes, we'll be there tomorrow morning, miss,
And that was that, you know what I mean. So
he came on and he played like hypnotized notorious thugs,
kicking the doors break. He was just playing all of them, so,
(11:48):
I mean, it was like crazy. And then he comes
down the thing and he's on his crutches and he
looks in the thing and this is the second time
I met him, because we had a show at the
Palace in Hollywood the night before. And I don't think
you know, Snoop doesn't get enough credit for trying to
kill the East West Beef. I mean literally, the night
that we had this show at the Palace, Biggie's on
(12:10):
stage in the middle of all of this stuff.
Speaker 1 (12:13):
He just got booted the Source rewards.
Speaker 2 (12:15):
I had the dog Pound on stage and I'm like, yo,
guys stop by and they're like, I don't know, you know,
it's a little hot, and I'm like, dude, I.
Speaker 1 (12:23):
Got this, just come come.
Speaker 2 (12:25):
Biggie gets out of the car, you know, Puffy Mace,
all of them get out of the car and they
come out, and I'm like, this is Snoop, this is
Da Da Da. And I start realizing, like by just
introducing everybody and everybody's gonna be cool. We had ice
q Dare. We have all these people there, so I'm
introducing everybody. Everybody's cool. Biggie goes out on stage. I
go to e man heye with the bigs on stage.
(12:45):
He's like, do not even bring any records. I didn't
think he was gonna show. So he just plays crush
on you, and Big does what he wrote for Little Kim,
you know what I mean, stuff like that, and Snoop
comes out in the back and just starts dancing, and
I'm like.
Speaker 1 (13:02):
He's West Beef.
Speaker 2 (13:03):
What this is in the middle of the beef, in
the middle of all of it, Yeah, you know what
I mean. And I had met Pac before that, and
you know, I mean when I was doing Alternative. You know,
they had they'd have these after the Grammys, you know
they have those parties and stuff like that. Well, they
MCA had one at the Four Seasons. It's a famous
one where PUC was in the versace with kiss and
(13:23):
all that. And afterwards they came to the Four Seasons,
well Sugar Night and Pock and everybody comes running in.
Everybody hits the walls. But I'm like, fuck, that's pucking sug.
So I just walk up and I'm like, hey, Poc,
nice to meet you. Should He's like, He's like, nice
to meet you. He said, I love the new album.
And it goes from this happy to the album doesn't
come out till Monday, how the hell.
Speaker 3 (13:45):
Did you get it?
Speaker 1 (13:46):
And I was like what, and he goes, how did
you get my album?
Speaker 3 (13:52):
Sug?
Speaker 1 (13:53):
Somebody got the album before release?
Speaker 4 (13:56):
Well, then you had you had to explain I'm a
radio guy labels hit, so I'm like, I'm an alternative
radio so they know we're not going to play it.
Speaker 1 (14:04):
They sent it to me on the Friday before the release.
Speaker 2 (14:07):
Day and she goes a hah ha and just turns
around and Pop goes, what's your favorite song?
Speaker 3 (14:14):
And I go, oh, song, this too.
Speaker 2 (14:16):
A million pair of eyes, look your heart. And he
finishes the same with me and slaps my hand and.
Speaker 1 (14:22):
Goes to Jimmy.
Speaker 3 (14:23):
Snoop, did you meet so and So?
Speaker 2 (14:24):
You met Nate, you met Da Da Da da mc hammer?
I was like EMC hammer with you guys. Yeah, you
know what it was like hip hop fan overload, you.
Speaker 3 (14:34):
Know what I mean, Like nobody's interesting you.
Speaker 4 (14:36):
I'm gonna go back to the show that like, imagine
if Instagram existed then and you would see Snoop dance.
Speaker 3 (14:46):
On stage with Biggie.
Speaker 1 (14:48):
Yeah, but that was a moment. That's a moment. So
while Snoop's there, I say.
Speaker 4 (14:52):
I'm assuming that this show transpired after Pop died.
Speaker 2 (14:58):
Yes, yes, yes, this is probably around February and March
ninety seven.
Speaker 4 (15:03):
Right, so this is okay?
Speaker 3 (15:04):
It was It was.
Speaker 1 (15:05):
It was March sixth, fifth, ninety seven, was just a.
Speaker 2 (15:11):
Four days before three four Big was gone. So he
was doing that radio run or whatever, and he came in.
He just sat down, and then Nick and Eric come
in and go, we need him to record a freestyle.
And I was like oh, and he's like, oh man,
my legs, damn.
Speaker 1 (15:26):
Can I just sit here for a little while?
Speaker 2 (15:28):
And I was, and Nick and Eric go, look, why
don't you record it when he gets when he feels
like it and whatever whatever. So Big sitting there, he
looks over and he just says, God, I love being
in California. And I'm like what and he goes the
women the weed. He goes, man, I just got I'm
going home soon. I just got good with faith again.
(15:48):
I'm gonna go see my daughter, you know, man. I
just man, I love it. And we just sat there
and we talked for like thirty minutes just about all this,
and he's like, all right, man, let's go do this Dame.
And I was like all right, cool, So we go
in there and I go, do you need a piece
of paper? And he goes, nah, I write everything in
my head right, And I was like what and he goes,
(16:10):
I'll just do the verse from Victory. He goes, pop
album coming out, I wrote some stuff. I'll just do
the verse from Victory, and I was like, all right.
Speaker 1 (16:17):
Cool.
Speaker 2 (16:17):
So I'm sitting there and he goes in the booth.
He's like, yeah, one, two, and two. Put the headphones on.
I'm watching this icon wrap and I'm just going like yo,
and he's like, so what you think of that? And
I'm just like, oh, yeah, great, great.
Speaker 3 (16:32):
You know.
Speaker 2 (16:32):
It's like he goes, you need me to run it again?
Da da da da da. I'm like cool. He's like
not cool, left and whatever whatever.
Speaker 1 (16:38):
So E won. The next night I was I went
I was going.
Speaker 2 (16:41):
To the Outcast party because Outcasts had just gone platinum
or whatever it was with at Aliens or something yeah
or our Quaminin or whatever.
Speaker 3 (16:51):
Or whatever.
Speaker 2 (16:51):
So I love those guys and shout out good kept goodie.
But anyways, so I go home to bed because they
didn't let me into the Roxbury because I had tennis
shoes on and blue jeans and I didn't even know
about the Quincy Jones party, you know what I mean,
the Peterson autun Museum party. I was just like, well,
I knew, but I was like, look, if they're not
(17:14):
gonna let me into this, I'm sure it's I'm not
going to get into that. So I just went home
and went to sleep, and about twelve thirty one calls
me up. Shout out he one mad pro and nerve
and all of that. He calls me up and he goes,
they got Big and I was like what And he goes,
they got big and I'm like, what are you talking about?
I hear Puffy wailing in the background. He goes, I'm
at the hospital. Puffy's on the phone with Biggie's mother
(17:35):
right now telling him that. And I was like, wait,
don't tell me. And he goes, Big is dead, and
I was like, what just happened? The dude was just
like here. And that was like, you know, meeting Pac
and then Poc dying and then seeing Big and then
(17:57):
Big dying.
Speaker 3 (17:58):
It was like.
Speaker 1 (18:01):
What's going on? Like right, wow?
Speaker 2 (18:06):
And that was kind of how I my introduction to
what was happening in the street and Death Row.
Speaker 1 (18:14):
And Sugar Night.
Speaker 3 (18:17):
So I gotta ask you because.
Speaker 1 (18:20):
There's a lot.
Speaker 4 (18:22):
Well, I'm curious because you would always hear that, like
you know, the magazines where radio hosts were adding gasoline
to the beef. But you always would hear about like
it on the hot ninety seven side. I never really
heard of like the Baker Boys or anybody like stirring
up the East Coast West coast beef. What was like
(18:43):
the temperature like after Pop dies, You're obviously in there, biggies,
Biggies thriving, He's about to put out, you know, life
after death. And what was the temperature like being at
the radio station it's the hip hop station quote unquote
in La during that.
Speaker 1 (19:01):
How I tell you why that started.
Speaker 2 (19:03):
I'll tell you why that started on a radio sign
because power one oh six was breaking. All these East
Coast writers and the artists were going back to ninety
seven saying, what the fuck? Biggie was broken in Los Angeles,
Puffy was broken, but in Los Angeles, Mace was broken
in Los Angeles, Big Pun was brest in Peace was
broken in Los Angeles. I mean, you have to remember,
(19:24):
Steve Rifkin comes in my office, puts in a tape
of the video of I'm Not a Player by Big
pun Right, and I go, oh, that's dope.
Speaker 3 (19:31):
Hold on a second. I popped the VHS tape out.
Speaker 2 (19:34):
I walk in the production room and take it from
the VHS tape, put it on a CD. I walk
on in the air and I sit handed to them
and say play this next. I come back in hand
him his video tape and he's like, what did you
just do?
Speaker 3 (19:46):
And I'm like, oh, nothing, you know, just chilling. That
song ends.
Speaker 2 (19:50):
All of a sudden, not a Player comes on and
Steve's like, well, are you playing that on the radio
And I'm like, yeah, dope song. He goes, dude, we
don't have CDs press yet nine seven. I haven't even
played it for UD.
Speaker 3 (20:02):
Yeah, yeah, you know what I mean.
Speaker 2 (20:04):
So what do you think? You know what I mean?
And then you know, like what Josh said, and I
love John IRV. And why I love them so much
is even when my own coast forgot about me, no
matter what, Jah and IRV would always, no matter what
they were doing any other you know, breakfast club or
or drank champs or anything, they'd be like, I got
(20:28):
broken on the West Coast, you know what I mean,
Like at New York with me brought Halla Holla and
can I Get It and all of that stuff to
to thank you Damien, you know what I mean. And
jay Z and all of them was like his first
like solo, well know it how many what it was?
Speaker 4 (20:46):
Oh well, I meant to my actual hit that I
kind of like, you know, broke through as like a
But we tried.
Speaker 2 (20:52):
With hallahala first because you have to remember IRV produced
Hotspot for Foxy Brown.
Speaker 1 (20:57):
Then he did can I Get a?
Speaker 2 (20:59):
So Jay Brown brought and brought me Dame Dash and
jay Z and we tried like five singles on jay
Z before some cart before Hard Knock Life, you know
what I'm saying, Like and it would it got to
the point where Def Jam was talking about not renewing
his budget and you.
Speaker 4 (21:16):
Know, well yeah, because like Volume one was like you know,
but there was a lot of records and big videos
that got shot like a.
Speaker 2 (21:22):
Sunshine shine his mind and I mean who he wit
and none of those like really hit, none of the
real we tried on the radio, every single one of them.
It didn't work, you know what I mean. So there
was a lot of that, but you know.
Speaker 4 (21:35):
Those were the days that like you went into the
studio because you were making a radio record, and the
money that you put into that radio record and the video.
Speaker 3 (21:44):
It was substantial. Well for the investment probably had to
be so crazy.
Speaker 1 (21:49):
And they literally said, we're not going to renew his budget. Yeah,
you know. But then IRV pops up with a soundtrack record.
Speaker 4 (21:55):
Can I get on a Nutty Professor?
Speaker 3 (21:57):
Yeah?
Speaker 2 (21:58):
I think I don't remember, but Brettner was also managing.
Speaker 4 (22:01):
No, no, no, no, no. Can I get a eight?
Speaker 5 (22:03):
No?
Speaker 2 (22:04):
Was a.
Speaker 3 (22:06):
Eight? I don't remember? Was on Nutty Professors?
Speaker 1 (22:08):
Plenty? Yeah, I think it was Plenty sound Truck.
Speaker 3 (22:11):
Yeah, yeah A no was?
Speaker 4 (22:12):
Uh was on Nutty Professor? Which and that was which
was before volume.
Speaker 1 (22:17):
One, which I think was Quest, which was Jay Brown.
Speaker 3 (22:20):
Yeah.
Speaker 2 (22:21):
So anyways, so Jay Brown keeps asking me to keep
investing in this artist because he really believes in him, and.
Speaker 3 (22:27):
It's Jay Z.
Speaker 2 (22:28):
So he comes with can I get it? Can I
get a? Does great for radio? Another record broke on
the West Coast? You know what I'm saying, Like through
a meeting IRV, you know what I'm saying. Then Jermaine
comes along, does money Ain't a Thing? And all of
these records and you know, all of that kind of stuff,
and Jay builds brand all of this kind of stuff,
(22:50):
does Hard Knock Life. Steve Smith comes in to me
because now Michelle Mercer is gone, It's just me. And
he goes, wait a minute, you're that twelve year old
that I helped in Santa Barbara and Michael and I
still have a consultancy. I'm still running Hot ninety seven.
I got thirty two stations in the middle. Tell you
(23:11):
what you know you're doing all this crazy promotions and
Hawaii stuff and all this crazy stuff. He goes, I'll
tell you what. Work with Michael on the consultancy. I'll
give you Power one o six. You do whatever you
want with Power one oh six, and I'll work on
Hot ninety seven. Just help me with the consultancy with Michael.
So I would literally do the conference calls for the
(23:32):
thirty two stations with them and Steve and Michael and
all this kind of stuff. So Steve on the conference
call says, Jay Z's Hard Knock Life is not getting
any research, pull it across the country, and I can't
say anything outshine the master on the you know what
I mean? On the call and say, wait a minute, Steve,
(23:53):
you know, da da da da da, because you know,
I'm not gonna ever disrespect my boss, you know what
I mean. Like, So after the call, I go running
into his office and say, Yo, it's number fifteen in
Los Angeles. You know we're starting to get call out
and we're two weeks ahead of New York, right, so
give it a second, bro. So literally made him get
on with every single program directory hold off and say
(24:15):
hold off, give it two more weeks, that hard Knock
Life record, give it two more weeks, and that shit popped,
you know what I'm saying. So then I start seeing
all this and I'm like, at the time, I had
met Mariah Carey and there was all that crap going on.
Speaker 1 (24:30):
So I'm like, you know what.
Speaker 3 (24:31):
What's all that crap going on? Well, she was.
Speaker 1 (24:33):
Coming off with Sony, Okay, you know what I mean.
Speaker 2 (24:36):
And you know, Tommy Mottola was her husband, and you know,
when you're a star of that stature and you're also
going to be a free agent and a record you know,
and okay, so let me rewind. So Mariah Carey goes
to release Honey right, and it wasn't a power one
of six record. We're a rap station, now, you know,
(24:57):
I'd successfully like, for instance, they ain't no fun.
Speaker 3 (25:01):
Stuff till the remix comes.
Speaker 2 (25:02):
Well, okay, So what happened was what had happened was
is ain't no fun and stuff like that. They told me,
if I put those in our research and stuff like that,
the auditorium testing, which is how radio stations decide what
they're going to play as the recurrents and the gold
records and the oldies and all of that, they said,
(25:22):
if I put ain't no fun in those records, they
just fire me, you know what I mean, because they
were never.
Speaker 3 (25:27):
Going to play ain't no fun in those kind of
records or more, which is.
Speaker 4 (25:29):
Crazy because it's fucking by ninety seven that's a classic,
but not on.
Speaker 3 (25:33):
The radio three.
Speaker 2 (25:34):
But they were never radio records. So you got to
remember radio. The way that it was driven back then
is if it was not played as a radio or
sent out as a single, then a radio station would
not play it.
Speaker 3 (25:49):
Do you know what I mean?
Speaker 1 (25:50):
You weren't playing just cuts because you wanted.
Speaker 3 (25:52):
To write like I like track seven.
Speaker 2 (25:55):
But that's what made me famous in Santa Barbara, is
that you were pulling as an alternative was such a
young format that we had a huge gold base of
David Bowie and all these kind of things, but we
didn't have many new records, you know what I mean.
So if something like Nirvana came out, I take four
cuts off the album playing his currents, and then slowly,
(26:16):
you know what I mean, run through them and literally
decide the singles basically for the labels, you know what
I mean.
Speaker 1 (26:22):
And that's what I did with Power Is.
Speaker 2 (26:24):
I took album orientated rock and said, let's make it
album orientated rock, but let's put a gangster twist on it.
So that show with Biggie, I asked Snoop to come
to weekends on Power one six.
Speaker 4 (26:40):
Had his radio show what was it called? I remember
it was on in Phoenix for a little bit.
Speaker 3 (26:45):
Well this is before that, this is before all of that.
Speaker 2 (26:48):
So Fuzzy was Fuzzy wanted to do a show called
Curb Serving Shout Out Fuzzy Shot, which connected us to
Snoop Dogg. You know, because if it wasn't for Fuzzy
introducing Snoop dog and bringing him to that show at
the Palace, then none of it would have happened.
Speaker 3 (27:06):
Crazy, you know, that's I just raised with him. A
couple of weeks ago. He brought he brought the dog
Pound up here. Yeah, I love I love Fuzzy. Yeah.
Speaker 2 (27:13):
And so Fuzzy had this idea for Curb Serving, and
everybody was like that West Coast gangster raps. I was like, well,
what about right after Friday Night Flavors, you know, so
it's like twelve o'clock, win o'clock at night, you.
Speaker 1 (27:25):
Know, give him the shot and see what happened.
Speaker 2 (27:27):
But we would get all of this exclusive content out
of those shows Friday Night Flavors, and you know, Curb Serving,
we would get like mid Night.
Speaker 1 (27:35):
He'd bring me Midnight Love.
Speaker 2 (27:37):
You know, they had Snoop and and Raphael Sidiq and
you know, all of this kind of stuff. And I'd
play him as currents, you know what I mean. They
bring him to me and I'd be like, oh, let's
let's play that as a current. So Snoop starts hearing
this stuff, you know, like what are these guys doing?
So I was like, yo, want to meet you know,
da da da da come work for us, and and
we put him on Saturdays.
Speaker 3 (27:58):
You know.
Speaker 2 (27:58):
I saw him at that show and I said, what's
going on? It's like I just got off death row.
They cut off my stipend.
Speaker 4 (28:03):
D H yeah, yeah, because that was kind of like right,
rough no limit shit happened, and.
Speaker 2 (28:08):
I'm like, dude, well, why don't you come to work
for us a power and say you can players?
Speaker 3 (28:12):
What was?
Speaker 4 (28:12):
What was like, what is the paycheck for Snoop Dogg
to do radio show in ninety si dollars an hour?
Speaker 3 (28:17):
Fifty dollars an hour?
Speaker 2 (28:18):
I mean he literally came and filled out the application
and did it.
Speaker 1 (28:22):
But it was fifty dollars an hour?
Speaker 3 (28:23):
And he it was this was a two hour specialty
show or was it? Was it longer? I was I
think for two four, two to four whatever it was?
And who was programming the music? Was Snoop or was
it you?
Speaker 1 (28:33):
He was he'll do whatever he wanted.
Speaker 3 (28:35):
So would he submit the song?
Speaker 1 (28:36):
Jeff Garcia? And you know the Flavor Unit Junior?
Speaker 3 (28:40):
So who was editing the songs that Snoop? And bring
in Jeff Garcia? So Jeff was was was?
Speaker 1 (28:45):
I love Jeff? Jeff's my guy?
Speaker 3 (28:47):
Great?
Speaker 2 (28:47):
So we thought who would be the best producer for
Snoop show? The first time we heard it, We're like,
we need to have Jeff Garcia do this because Jeff
is literally.
Speaker 3 (28:56):
The producer period.
Speaker 2 (28:58):
It's bar nothing, yes, who then became our production director.
Speaker 4 (29:02):
But if Cruse ever in him, ever break up, I'm
taking Jeff.
Speaker 2 (29:05):
And I love Chris, I love Jeff Man, but Jeff
is well. But he made that show work, you know
what I'm saying. And I mean, so Snoops in there
have funny story. So Snoop's in there working one day
and I walk in and I'm like, so, what's up
with you?
Speaker 3 (29:23):
Dry?
Speaker 1 (29:23):
You know what's going on?
Speaker 2 (29:25):
And he's like, oh, I just ain't talk to him
and and all this kind of stuff. Okay, So master
P had been coming by the station like every morning,
you know, trying to get No Limit records on Power
one O six, And he says to me, He's like, hey,
Snoops doing weekends. And I said, yeah, what's he doing right?
And I'm like, you know whatever, whatever he goes, I
(29:45):
heard that song. I heard that song. I guess Snoop
runs into mystical or something like that. And then you know,
he Masterpiece says, let me get the hotline number. No,
let me get the hotline number so I can call
the DJs and I want to talk to now.
Speaker 4 (30:00):
When you say the hotline number, are talking about like
the number the back door.
Speaker 1 (30:05):
Because you know what's so crazy.
Speaker 4 (30:06):
About the hotline? There's the warm line and then there's not.
Speaker 2 (30:08):
Let me tell you about master P. Master P when
he wants something like he would show up literally every
morning to Power one O six. Like when I got
to work, he'd be in the lobby. Dame, I got
this record, what about this one?
Speaker 3 (30:22):
Dame?
Speaker 2 (30:23):
I got to go to the studio, come back, Dame,
I got this record? What about it?
Speaker 3 (30:26):
Like?
Speaker 2 (30:26):
His goal was to get a record on powerwe six.
It got to the point where I would not come
through the lobby. I started going through the back door,
trying to avoid Mastery because I was trying to avoid
master No. But this is how crazy master P is
in a good way. He figured it out. He'd wait
at the back door crazy, so I would be coming
in through the back door.
Speaker 3 (30:43):
Did you guys make him say huh?
Speaker 1 (30:45):
That's what did it?
Speaker 2 (30:46):
Nick and Eric from the Baker Boys were championing so
hard master P finally brought me make him say uh?
He but every morning he'd sit there, show me how
the research works. Why do you make these decisions. How
do you make the decision? Always the nicest guy, you
know what I mean? And I had met Pete originally
through a guy named Mark Benish. Rest in Peace a priority,
(31:06):
you know, way back in the day, you know what
I mean, when they first did the first deal with
Independent and you know, doing it that way and Brian Shafton, Yeah,
Brian my guy. I mean, I literally just got the
following him. Brian was their finance well and and man
(31:26):
just I mean all of them, you know what I mean,
justin but he was their finance guy. So I'd run
into him in the hallway and stuff, you know. So anyways,
and all this plays into a bigger story later. But
but anyways, yeah, Pete would do that. Snoop was doing that.
And then Nino Cucinello calls me up and says, hey,
(31:47):
doctor Dre is shooting a video zoom zoom with cool Jay.
Speaker 3 (31:51):
Remember that record? What soundtrack was that? Was that bull Worth?
Speaker 1 (31:54):
I don't whatever.
Speaker 4 (31:55):
That was the Bullwarts soundtrack I think with uh yeah,
it was Bullward with halle Berry with her fine as
young halle Berry was in that.
Speaker 1 (32:03):
Oh my god, Yeah.
Speaker 4 (32:05):
That was a great soundtrack that I had the Ghetto
Superstar Proz and.
Speaker 1 (32:09):
Oh yeah we played those two.
Speaker 3 (32:10):
Yeah.
Speaker 2 (32:11):
But to me, it was about I'm trying to get
Doctor Dre and Snoop dog back together some way, some shape,
whether it's coming on his show. I mean, this was
my master plan because I just I am a Doctor
Dre and Snoop.
Speaker 1 (32:29):
Dogg fan, Like I just wanted to see the show.
Speaker 2 (32:32):
Like if I could get these two in the same
room and get a picture, then my life couldn't. If
I meet DJ Quick, shout out DJ Quick, and I
meet Doctor Dre and Snoop Dogg and get a picture
with all three, so cool, you know, my I can
in my career right there, and I'm straight.
Speaker 1 (32:48):
So they go coming, you know whatever.
Speaker 2 (32:51):
So Doctor Dre shooting zoom zoom and he goes, this
is Damien and I said zoom zoom.
Speaker 1 (32:57):
I said, what the fuck is this? And Dre looks
over at me and he's like what.
Speaker 2 (33:00):
And I go, where's the one with Snoop Dogg on
it that you lead to the Compton that's lost and
swap me And he's like what, And I said, this
had Snoop on It was released to the Compton, And
how do you know that I said, dude, I'm a
rap fan, and he's like, whoa. So we just started
talking about rap music, and I knew everything that this
(33:22):
guy did going to the DC shout out DC by
the way, and I you know, I mean it just
that's what started me on rap was gangster, gangster. So
I knew everything this guy did, going back to the
world Class Wrecking Crew and all that kind of stuff.
So I started asking those questions. I said, Yo, let's
swap and I dude, I man. When I said yo,
(33:42):
let's swap numbers, I caught myself and just went, oh shit,
you just asked doctor Drey.
Speaker 3 (33:48):
For his number, like whatever.
Speaker 2 (33:50):
So I was walking around the station and a funny
story about that, as he said, and I said, Yo,
what assistant is this to And he goes, this is
my headphone. It rings next to my head, so don't
call to her, you know what I mean. Like I
was like, Wow, he gave me whatever.
Speaker 3 (34:03):
Whatever.
Speaker 2 (34:04):
So he had just had the aftermath and the firm thing,
and him and Jimmy weren't talking, none of that kind
of stuff. So I was like, I was like, I
need an excuse to call doctor Dre. So I went
back in the studio and I said, hey, Snoop, I
heard doctor Dre wants to work with you again. And
Snoop looks at me and says, yeah, I put that
(34:25):
food back on. And I was like okay, And so
I'm like, how am I going to do this? And
I go and I called Drey and I'm like, hey,
what's going on? Even Damien for power Da da da
da da.
Speaker 3 (34:37):
Hey.
Speaker 2 (34:37):
You know, you know, it's kind of crazy. I was
talking to Snoop yesterday. He said he wanted to work
with you again, and he said the exact same thing.
Speaker 1 (34:45):
I put that fool back on, you know what. And
that's how it happened, you know.
Speaker 2 (34:50):
And then it and it was crazy because he's like, hey,
you know, no limit or something like that and this
kind of stuff. I said, well, we have a Powerhouse
coming up, and Snoop is playing at the Powerhouse. Why
don't you come to the Powerhouse and just be my guest?
And he's like, ah, think about it. So I'm like
calling talking to his wife, you know, when she answered
(35:11):
the phone before he gives it to Dre.
Speaker 1 (35:12):
Hey, man, I'm really trying to get him come the show.
You should come to the show.
Speaker 3 (35:14):
Blah.
Speaker 1 (35:15):
Blah blah blah blah, this is what I'm trying to do.
And you know, she was great.
Speaker 2 (35:18):
She was like, oh, he needs that, you know, da
da da all this, he needs to get out do
this stuff, and you know, and it was, you know,
I mean it was they both were in that phase,
you know what I mean, in between you know, and
the death Row thing, and they just had not seen
each other since it.
Speaker 1 (35:31):
But there was no bad bea.
Speaker 2 (35:33):
So what happened was is Snoop comes in and I
set up his dressing room and shout out to Diana
Obermeyer genius lady promotion like. She puts the name Snoop
Dogg on the dressing room door, and I said, yo,
I need a dressing room right next door for doctor Dre.
So as soon as Snoop walks in, I switched the
(35:53):
freaking the Doctor Drey and Snoop Dogg.
Speaker 1 (35:58):
Name flates, and Drake comes in. He's got two.
Speaker 3 (36:01):
Balls of taking.
Speaker 2 (36:02):
Hey damn, I'm here, you know whatever whatever, and I'm like,
there's your dressing room. I opened up the door and
literally just went like that, and Dad's corrupt Snoop Drey,
you know, like, and they all started talking.
Speaker 3 (36:14):
That was the first time they had seen each other
since Death Wrong the Death Row. Yeah.
Speaker 2 (36:18):
So I'm over there conspiring with DJ jam you know who.
I love DJ jam My Dog, and I'm like, Jam,
we gotta find a way to get him do a
song on stage.
Speaker 3 (36:27):
It's powerhouse, you know.
Speaker 2 (36:28):
If Dray go out there and do deep cover and
nothing but a g thang, Oh we got off this thing, Like,
come on, bro, let's do this. And Jam's like, dang,
they started the conversation, but just don't work like that.
Just chill out, chill out, It'll happen, but chill out.
I'm like, nah, I'm gonna make this happen. Fuck that,
you know, like all this stuff. So Dre's sitting on
the side of the stage on a road case. Snoop
is out there performing, and I walk over to Jam.
Speaker 3 (36:50):
I'm like, just play deep Cover. Play deep Cover.
Speaker 2 (36:53):
And He's like, damn. The conversation started, but I'm not
gonna do that. I'm like fuck this, And I walk
over and I grabbed two mics from the guy and
I hold up in front of Dre and I go, Dre,
do it, like fucking do it.
Speaker 1 (37:06):
Look at this, Like if you walk out there right now.
Do you realize what's gonna happen?
Speaker 2 (37:12):
He goes, ah, fuck this, and he grabs the two
mics out of my hand and I look at Jam
and I'm like, he's got the mikes. He's got the mics,
and Jam's just like, ah fuck it.
Speaker 3 (37:21):
Puts it on. Fucking Dre comes out, what up? Snoop?
Surprised as fuck. He's like, what the Fu's us going on?
Speaker 1 (37:27):
Like you know what I mean? It's like, oh hell yeah,
like and they did it.
Speaker 2 (37:31):
So Dre walks up to me right after you, and
he hands me back to mics and goes that what
you wanted, motherfucker. I said no, I want an album,
and he goes, don't push your luck like you know whatever.
Speaker 1 (37:39):
He's like, I'm out of here.
Speaker 2 (37:40):
And he fucking took off. But that started the relationship
with doctor Dre. So then Nino calls me again. He goes,
you need to come to office. You need to come
to office. I'm like, all right, cool, So I go
to interscope because then you know, and I have really
good friends, man, so you need to come to the office.
We're going up to Jimmy Iven's office. So I'm like,
oh god, here we go, you know, you know something
(38:01):
like that. Oh I forgot one one little thing. So
when when after that performance, I said, we need to
do a show, like we need it to be just
Doctor Dre and Snoop Dogg.
Speaker 1 (38:13):
And he's like, well, you know where are we gonna
do it.
Speaker 2 (38:17):
We can't do it in La No venue ensure that,
you know, no venue will take a West Coast kingster
rap show like that. You're never going to get Snoop
Dogg and Doctor Dre in a venue in La. Right,
And we don't have a current single, you know, the
da Da Da Da Da. I'm like, well, you know
you're making an album, you know, Da da da Da.
So you know, Dre sneaks over and starts making a
(38:40):
song with the Master Pete thing, all this kind of thing,
and I'm like, this.
Speaker 3 (38:45):
Is probably No Limit Top Dog era.
Speaker 4 (38:50):
Second No Limit album, I think the first No Limit album.
Speaker 2 (38:55):
Yeah, well it was it like they were talking about it,
you know what I mean.
Speaker 3 (39:00):
I mean like and he started recording because Bitch Please
Too was.
Speaker 4 (39:05):
On Well, Top Dog, I'm trying to roll that first
Snoop Dog album on No Limit.
Speaker 2 (39:11):
I was not a yeah, but it was kind of
like the conversation was starting, so you know, maybe there
was some sessions.
Speaker 4 (39:17):
Maybe there was in the road to two thousand and
one happens.
Speaker 2 (39:20):
Well, so then it was let's do a show, like,
let's let's get this together. And Dre is like, I
don't fucking do it right, And I'm like, Snoop, what
do you think. He's like, all right, I'll fucking do it,
and then I'll go to the and then we go around.
We can't get nobody to do it so right, so
(39:41):
I'm like, just hang out. We're going to do this
this this Puffy in Paradise showing in Hawaii. If the
Baker Boys came up with that idea, if we do
it in Hawaii, then maybe we can fly with the
winners to Hawaii like we did with this, and then
we can skate past the whole venue thing do it
in Hawaii.
Speaker 3 (40:01):
So then they're like, yeah, that's a good idea, let's
do that.
Speaker 2 (40:04):
Well, when Drake cut the promos, Snoop cuts the promos,
I go on the air with it. Jimmy Ivin calls
me and he's like, bro, what are you doing? And
I'm like, Jimmy Iveen Hi, like you're Jimmy Iven and
he goes, Bro, he goes, I have a bill on
(40:25):
my desk for two hundred and fifty thousand dollars, thank you,
Nino for a promotion.
Speaker 3 (40:31):
In Hawaii that I'm hearing on the radio that.
Speaker 2 (40:34):
Has a producer that doesn't produce and an artist that
I haven't seen since Death Row. And how the fuck
did you get doctor Dre's number? I don't even have it.
Like I'm trying to sell this label, blah blah blah
blah blah. And I mean the rumor was that he
was going to sell Aftermath because of after the.
Speaker 3 (40:54):
Firm and the Aftermath album and.
Speaker 2 (40:56):
The Aftermath album, so it was kind of like and
he and I was like, look, bro, you'll get your album.
Trust me, like, you're gonna get it. I've been to
the studio. I know he's working on something. You know,
it was the early stages of Melman and all of
that kind of stuff, And just trust me, you're going
to get it. And he goes, well, if this doesn't happen,
I'm going to sue you for the two hundred and
(41:17):
fifty grand, but go ahead and do it. And then
I get a call from Dre saying you need to
come to the house, and I was like what. And
We're in the middle of all this, you know, like it's.
Speaker 3 (41:30):
All how's already on the air, and he.
Speaker 2 (41:33):
Goes, you need to come to the house. And I'm like, like,
I know where you live. You have a fucking stalker,
like you know whatever. So I end up coming to
the house. I walk in and there's this little white
kid in the booth going slim shady you a base
head while your face red. And I was like, oh,
wait a minute, he's writing for you. And he goes, ah,
let me talk to you outside for a second, and
(41:53):
I'm like what. He goes, let me talk to you
outside for a second. I'm like, oh, no, you signed
the White Boy. And he goes, how do I break
the White Kid? And I was like, haven't you never
heard of an hour ice? And he goes, bro, how
do I break the White Kid? And I was like,
all right, I'll tell you what you tell me the
(42:14):
story of NWA from beginning to end, and I want
to know if everything from the World Class Wrecking Crew Lonzo,
what the room was like, when Easy did Freaking Boys
in the Hood, when Cube wrote it, who wrote this
who did that? What happened with Doc blah blah blah
blah blah blah blah. He goes, dude, you got all night.
I was like, yeah, I do. And he's like, all right.
So I sat on his washer and dryer. He sat
(42:37):
on his stairs, and he proceeded to tell me the
entire story of NWA from World Class Wrecking Crew and
all and Warren in the house and you know Jinks
and you know everything up until that point about six
o'clock in the morning, and comes out and goes, look, guys,
I'm going home. I've been sitting here for hours, y'all
(42:58):
have been telling these stories.
Speaker 3 (43:00):
I'm out of here.
Speaker 2 (43:00):
I said, no, you're going to the Baker Boys show,
and you're gonna announce that you're doing the Friday Night
Flavors ten year anniversary and we're going to break that record.
He goes, the record's not ready yet, so we'll at
least go do the show, set it up, and we'll
talk about this later when you have the record.
Speaker 1 (43:16):
And he was like cool.
Speaker 2 (43:19):
So then we added M to the show in Hawaii Crazy.
So then M cut all all the drops and we
added M to it. Dropped how my name is.
Speaker 3 (43:28):
So this was before Hi my name is? You already
added in.
Speaker 2 (43:30):
By so well we did it right as we dropped
how my name is? Because you really have to remember
MTV for all intents and purposes, broke eminet for sure,
you know what I mean. So you know, and I
remember this one story. M came in my office and
called me up and.
Speaker 3 (43:45):
Let me shout out to Sway and Tech who had
him Oh.
Speaker 1 (43:48):
No, the early Oh yeah, I'm sorry.
Speaker 3 (43:51):
I mean.
Speaker 2 (43:53):
Sway and Tech and a wake up show all of that.
But I'm saying my name is broken. You know what
I'm saying, as as that which made us know who
he is. Yet, so shoutouts were in Tech, no disrespect,
you know. I love those guys, but they're getting ready
to drop how my name is? And you know, EM
used to call me a lot like what's this mean?
What's that mean? You know, come to the studio and
(44:14):
listen to this or you know, dre all of them did.
So EM calls me up, he goes go, can I
stat by the office? I was like yeah, I was like,
Fo's going on? And it shows up. He's like, yo,
what's a buzz clip? And I'm like, what do you mean,
and he's like, what's a buzz clip? I mean, everybody's
so excited at the office, They're all saying congratulations and shit,
and that mean. I said, oh, dude, that's hot rotation
(44:37):
at MTV. You're about to become a megastar. So if
you want to go take your daughter to Taco Bell
or McDonald's or whatever the hell you want to do
right now, do it now because tomorrow morning you're not
going to be able to go anywhere. And he's like,
and he had this half look of like wow, I
made it, and half kind of like wait a minute,
what is that?
Speaker 3 (44:57):
Wait?
Speaker 2 (44:58):
I can't go out in public anymore? Right, And then
he was like yeah, cool and he leaves. Right the
next morning, m was everywhere and I get the record
hot ninety or MTV just national, you know what I mean.
So we broke it at the same time that they
broke it on MTVA. They literally did it at the
(45:19):
same time. So then we had him do the drops.
I called him back, said get back over the area. We're
add him to the show. Do the drops. And that
was the Chronic two thousand and one tour. So when
they got done with the Hawaii Showzy well, but check
this out.
Speaker 1 (45:33):
So they and this is how synergy works.
Speaker 2 (45:36):
Okay, this is why I always say consistency and repetition
breeds familiarity.
Speaker 1 (45:40):
Familiarity breads a relationship.
Speaker 2 (45:41):
A relationship reads teamwork or synergy, and synergy teamwork wins games.
So we add him to the show, right then, Dre
after the show calls me up and says, we want
to take this on the road, but no venue will
take us across the.
Speaker 4 (45:56):
So Hawaii was kind of the the braak, the test run,
the test run of what ended up being up in
Smoke Tour. Yeah, yeah, which I fucking I remember. I man,
I've worked so hard as like a twelve year old
kid or however old I was to get the money
to go to the.
Speaker 3 (46:13):
Warehouse and buy those tickets.
Speaker 4 (46:15):
Yeah, and it sucks because the date I went to
when Phoenix ice Cube wasn't on the tour, he wasn't
on the But that shit was crazy, dude. It came out.
Speaker 2 (46:23):
Imagine being wait but watch this, imagine in Hawaii. It's
two hundred and fifty people.
Speaker 1 (46:28):
Okay's it? Yeah, that's it in a hotel ballroom.
Speaker 4 (46:32):
So two hundred and fifty people got to see Eminem
Dre and Snoop in Hawaii.
Speaker 3 (46:35):
Yeah, what the fuck?
Speaker 2 (46:37):
Exclusive content for Power one oh six that's crazy and
the reunion and you've got m blowing up with how
my name is at that time?
Speaker 3 (46:45):
Crazy?
Speaker 2 (46:46):
Then the records still dre okay. Now here's the funny
thing about that. So Dra called me one night and
he's like, yo, I think I got the record, and
I was like what, and he goes, you need to
come to the studio. I got the record and I
was like, and keep in mind, during the recording process,
jay Z wrote a song called Malibu Dre first okay,
didn't come out right. So J's like, I'm not doing that,
you know what I mean?
Speaker 4 (47:07):
For people wo don't know.
Speaker 2 (47:08):
Jay Z wrote, well, we'll get, we'll get. It's getting there.
So so he's we're at A and M. He calls
me to A and M. It's Scott Storch's first night
and he's sitting in the back and smell man. I
think Doc was there some other people and you hear
him in the back just going bling bling bling bling
bling bling bling bling bling bling bling and the drum
beat is playing. But I'm sitting there just going like,
(47:29):
what the hell is going on? And he goes, well,
jay Z's supposed to write a song. I don't know
about the mout. Do you remember the Mala Blue Dre
I Am Malibu Dre was all right, d d Well,
we're gonna give him another shot, you know Jay, you know,
because I had just broken Jay, you know what I mean.
So he was like, is this the beat? And I
was like, oh, hell yeah, that's the beat. And he
(47:51):
goes me and snoop and I'm like, oh, hell yeah,
that's the beat. Here's you could tee off on this.
I'm like that's the beat and he's like, okay, sign
it off. Two days later, he calls me out goes,
you need to come back by the studio.
Speaker 1 (48:05):
I'm like what.
Speaker 2 (48:05):
He goes, I think we got it and I was
like what and he goes still d r E and
I was like, what's still d r E? He goes
the fucking single We got it and I was like, oh,
I'm on my way.
Speaker 1 (48:19):
So we go to record one or encore one another two.
Speaker 2 (48:22):
I walk in, I hear that record and I said
thank you, and I literally took it out of his hands.
Speaker 1 (48:27):
He's like, where are you going?
Speaker 2 (48:28):
I said, I'm gonna go play it, and he was like, okay,
and that I just put it on the radio.
Speaker 4 (48:34):
I would love to hear the jay Z reference tracks
to dr I've heard it crazy.
Speaker 2 (48:40):
It's hilarious to hear Jay doing it Andre's voice, right,
you know, which is also kind of funny to hear
em doing like you know, uh to a new house
on a new hill and how would you feel a lift?
Speaker 3 (48:53):
You know what I mean?
Speaker 2 (48:54):
Right? I mean those references, you know what I mean,
Like m wrote, I mean, uh, you know, what's the
difference between me and you? You know, like all of
those kinds of all that's that he wrote all that
stuff for DRAG. I mean, think how genius eminem is,
you know what I mean? Bitch Plea's part two. He
wrote the whole fucking record, you know what I mean,
(49:15):
snoops parts and his I think you know what I mean,
he wrote the whole I know, he wrote Nate's part
and they told me, you know what I mean, like
that's crazy, And even until I collapse, he wrote that
for Nate Nate and they just came in and sang it.
Speaker 5 (49:30):
I love doing my session work. Now I'm like going
on to see I'm gonna go do my session work.
Rest peace man to go one of my best friends
ever and I loved him.
Speaker 3 (49:40):
Yeah he was great man.
Speaker 2 (49:41):
But yeah, so that's how it all started. And then
I started playing. Literally that's when I realized how much
power we had because I took Still dre handed it
to Steve Smith and they played it on Hot ninety
seven in New York. But it was like, just hit
him over the head. But then Power win of five
(50:01):
came on. This is a little bit later. Power one
of five came on in New York and jay Z
immediately went over there because you know, people weren't fucking
with Hot ninety seven like that. They weren't breaking their
records and they were threatened to take records off and
they just had the little Kim shooting and.
Speaker 1 (50:15):
All this kind of stuff.
Speaker 2 (50:16):
So I get a call and it's like, yo, you
need to go to Hot ninety seven and fix all
this shit. And I was like what, and they go
summer Jam's not booked, Flex won't sign his contract. Jay
Z's on this new station called Power one on five
saying fuck Hot ninety seven and they don't have a
music director. And if you're going to New York, and
(50:39):
so I went to New York and cleaned up the
little kim stuff, finished booking, Summer Jam, pulled jay Z
off a Hot ninety seven and got Flex to sign
his contract.
Speaker 4 (50:51):
For people who don't know Power One of six and
Hot ninety seven were owned by the same company for
a long time called AMS Communications.
Speaker 2 (50:57):
But Steve was the consultant behind both of them. Now
what's even crazier is so when Dre called me about
the test run two thousand and one, keep in mind
I was working at Summer Jam they did.
Speaker 1 (51:10):
Hot ninety seven.
Speaker 2 (51:11):
I see that Steve Smith owns the company with Brad
Patrick and Randy Bizzelli that's doing all the staging. So
that's what I used in Hawaii. Do you see what
I'm saying? The Summer Jam infrastructure to do the chronic shit. Right,
So when Dre said I want to go on tour,
He's like, well, I'll just use the people that we
(51:32):
used in Hawaii because that was a great test run.
Now how do I get it across the country. Well,
I'm like, wait a minute. I'm like Jay Brown, who
manages jay Z. His wife works for Magic Johnson. So
I'm like, well, why don't we get Magic Johnson to
be the promoter and then he'll open up all the
venues for us, because because he's fucking magic, you know
(51:54):
what I mean. And he's like, good idea, can you
make it happen? And I was like, yeah, Jay Brown Johnson,
doctor Dry want to talk to him.
Speaker 3 (52:03):
And we were on the road. It's crazy.
Speaker 4 (52:06):
I wonder, tell me, did you ever have any you know,
when you're in radio or specific give you a program director,
artists labels takeshit personal? Did you ever have any beef
with anybody or did anyone ever have beef with you
when you.
Speaker 3 (52:23):
Were at the helms of power one of six.
Speaker 2 (52:25):
I wouldn't call it beef. I would say, like disagreement. Well, okay,
I'll tell you a funny story. How I met Buster
Rhymes Baker Boys broadcasting live from MTV Awards or something
like that, and Buster is there and you know, he's
doing the interview or whatever and are doing interviews and
(52:48):
goes to Baker Boys and all of a sudden they're
on the air doing the interview and I hear fuck
Damian Young live on the air, and I'm like.
Speaker 1 (52:57):
What the fuck was that? So I walk in this
what the fuck?
Speaker 2 (53:01):
And Baker's go talk back, you know, through through the
you know whatever we the board or whatever. I don't
know what happened with you and about rhymes, but da
da da da da And I'm like, neither.
Speaker 1 (53:11):
Do I tell him come back?
Speaker 2 (53:12):
I want to talk to him right And he said
he got back and he's there and I was like, yo,
this is Damian Young and he's like, well fucking no, no,
d D.
Speaker 1 (53:21):
I was like, whoa, whoa, whoa, whoa.
Speaker 2 (53:23):
I'm at twenty six hundred West Olive Avenue in Burbank.
Come to the office, and whatever your issue is, let's
discuss it in person. And he said well. I was like, stop,
twenty six hundred West Olive. When you're done, come over
and we will sit down and talk. Shows up to
the station, shuts the door, blah blah blah blah blah.
(53:45):
I was like, wait, what is the issue and he said, well,
the label said, you said my new single, dadda.
Speaker 1 (53:51):
I said stop.
Speaker 2 (53:52):
I said, it's like my third fourth day, bro, I
have not heard anything that you have put out. And
he goes oh, I said do you have the single?
He said, yeah, said bring it in, opens the door.
Tells the rep give me a single, Okay, put the
single in. I think it was like it was woo ha,
or put your hands on my eyes can see something,
(54:13):
or the flip mode record or one of those. I
put it in and I go, hmmm, press a jack,
take the CD out, hand it to him and he goes,
what do you think? I said, well, I think you
should stop at the on air studio on your way out,
do an interview and play that motherfucker. And he's like,
you like it? So I fucking love it? Right, I said,
next time, just fucking call and ask.
Speaker 3 (54:34):
That's crazy.
Speaker 2 (54:35):
And I never you know, I never had an artist
nobody ever. I never had an issue with anyone, you
know what I mean? Like I was always you know,
it doesn't matter whether it was the street, It doesn't
matter that. I would never take Paola. I would never
fucking play something that wasn't right for my radio station.
I would never compromise. You couldn't intimidate me. You could not.
Speaker 1 (54:57):
I mean how many streets.
Speaker 3 (54:58):
Did a lot of people try to intimidate you? Oh?
Fuck yeah?
Speaker 2 (55:00):
Because you know you have to understand every West Coast
gangster rapper affiliated with a gang, So you know, the
first thing that would happen is the intimidation thing, you
know what I mean, I'd be like kickback, like, you know.
Speaker 4 (55:11):
Dude, did sug Knight ever feel the type of way
that you were behind the scenes trying to obviously besides
the Tupac story.
Speaker 2 (55:19):
Well, I met him through the Anaheim Police Department really
oh yeah. So what happened was is we had Snoop
and all these guys on Powerhouse, right Sugar gets out
of jail and the Anaheim Police Department Diana show up
to my office and they're like, we're going to cancel
Powerhouse And I'm like, for what And they're like, sug
Knight just got out of jail and there's a rumor
(55:42):
that he's going to come to power one oh six
and fuck up the show or the Powerhouse the show.
I'm like, well, why didn't somebody call him, invite him?
At least we'll know where he's at. And the way
I got that idea is when we were in Hawaii,
the Bua tribe showed up, you know tribe.
Speaker 1 (55:59):
Yeah, so that's how I met them.
Speaker 2 (56:03):
Rest in Peace, you know Read and Godfather and you know, Giant,
one of my best friends like, I love giant giants
come and stayed at my house, knew my grandma, came
to grandma's funeral, you know what I mean? Like those guys,
I love them, Cobra, you know great guys, Biggatti, love
you bro, love you bro, Who've had my back unconditionally
(56:25):
through everything, and I just I love those guys. So
they show up, Snoop starts coming out and he's like,
will you try downstairs? We're gonna go da da da
da da. And I'm like, WHOA said, let me go
deal with it because I had heard of the Buya
tribe back when they did a record with.
Speaker 1 (56:42):
E YC on MCA, so I knew they were rappers.
Speaker 2 (56:46):
So I was like, look, at some point they're going
to want the record played, you know. So the best
way to do this is for me to go down
to introduce myself, you know, acknowledge and show them respect
and maybe they will do the same, do you know
what I'm saying?
Speaker 3 (57:00):
Right?
Speaker 2 (57:01):
So I go down the thing and I think it
was a giant was standing right there and he was.
I come down the escalator and they're arguing with the
police department to let them in or whatever it is.
In Hawaii and I say, back out, motherfucker before I
knock you out to the biggest one that I see.
You know, just little kid, white kid thought it would
be funny, you know what I mean, like whatever whatever,
(57:23):
and they're like what and I'm like, yo, I remember
when you guys were making records with E YC. I said,
you on the Janet Jackson video, you know Cobra, you know,
And that's the way love goes like, yeah, what's going
on with your music?
Speaker 1 (57:35):
By the way, and who the fuck are you?
Speaker 2 (57:37):
I said, I'm Damian Young And then Godfather comes out
through the middle rest in peace and he's like, ah,
we have heard of you, and I was like yes,
And I said, are you guys ever going to put
another record out?
Speaker 1 (57:47):
And they said well, yeah, da da da da da.
Speaker 2 (57:50):
And I'm like, well, why don't you guys come in
as my guest and the next time you have a record,
you won't have a problem, right, And they're like, come
inside as a guest, and I'm like yeah. So they
came in and I didn't know them yet, you know
what I mean. So I was like to the police department,
I'm like, you should put security around them because they're famous,
(58:13):
and I don't want any fans to fuck with.
Speaker 3 (58:15):
Them, got it? Smart?
Speaker 2 (58:21):
Yeah, So the police put a thing around them and
I go backstage and Snoop goes, you know what happened
to bulliad tribe?
Speaker 1 (58:29):
And I was like, it's handled And he was like,
what are you talking about?
Speaker 3 (58:32):
Where are they?
Speaker 2 (58:32):
And I said they're in the audience and he goes
what And I was like, dog, at least we know
where they are. They have a look through the thing,
they have police all the way around them.
Speaker 1 (58:42):
They'll just enjoy the show. I took care of it.
Speaker 2 (58:45):
And he goes, well, if you sure, da da da
da da, well I'll trust you because blah blah blah
blah blah. You know, went off without a hitch. But
from then on, the Bullard tribe and I were great. Yeah,
you know what I mean. So no, I've never had
an issue with anyone.
Speaker 3 (58:58):
That's interesting.
Speaker 2 (58:58):
But you know, through that, I met everybody. I met,
big U, I met you know mugs that ran with
Mac ten.
Speaker 3 (59:05):
Yeah, Englewood Muggs.
Speaker 2 (59:06):
One of my mentors, you know what I mean, Like,
and you know, they would make jokes like the white
boy you want to come to the hood and you know,
dah da da dah.
Speaker 3 (59:13):
So I'm like, yeah, let's go.
Speaker 2 (59:14):
So Mugs one time we go over see Gotti, you know,
at the at the shop, and then we're standing on
Mugs's porch. I just met Muggs's mom and we're standing
in Inglewood and I was scared for my life, so
I had a gun and the weed on me just
in case, you know what I mean, because I didn't
know where the.
Speaker 1 (59:30):
Fuck they were taking me. I just met these guys,
I know they're you know.
Speaker 2 (59:34):
How I met him was through mac ten and it
started kind of with an argument, you know, not an argument,
but like you know, you ain't da da da da
you afraid you white program director won't come here all this.
I'm like, fuck it, let's go. So Mugs picks me
up one day. It takes me to Inglewood to his
house to meet you know, all of his friends and
you know, all of that kind of stuff. So we're
(59:54):
standing in his driveway and rest in peace to his mom.
We're standing there the driveway and a freaking lapd cart
pulls up and just stops and hops out and they
look at Mugs, they look at everybody, and then they
look over at me and they're confused, like.
Speaker 3 (01:00:15):
The hell is going on?
Speaker 2 (01:00:16):
And back then, I wore tan Dickies, Casewiss shoes and
a white T shirt to everything.
Speaker 1 (01:00:22):
That's just what I wore, you know what I mean.
Speaker 2 (01:00:24):
And they just got back in the car and took off,
and Muggs tells a funny story. It's like yeah, and
he's the one that had the guns and weed on him,
like you know what I mean. And if that would
have gone down, my career would have been over, you
know what I mean. But that's what it was.
Speaker 3 (01:00:39):
Crazy.
Speaker 4 (01:00:40):
You've mentioned Paola, like I think that the I'll please
bring this up.
Speaker 3 (01:00:44):
Well, I think that.
Speaker 4 (01:00:45):
Back in the day, like you know, the the I
think you know, Paola was widely known, that it was
happening at a high level.
Speaker 1 (01:00:55):
Oh yeah, you know.
Speaker 4 (01:00:58):
I always hear like yo back in the day, Like
you would like rock radio back in the day, you
drop off like a fucking eight ball coke to the
PD or to the DJ or But I'm like, how
how much of Payola in the nineties early two thousands
was actually happening? And you know, like you said, you
(01:01:19):
if you say you never took Paola, that's.
Speaker 3 (01:01:20):
Like that shit.
Speaker 4 (01:01:21):
To be in the nineties and then not take any
money is crazy because it felt like everybody was doing
it back then, right.
Speaker 2 (01:01:27):
Let me explain it to you like this, I don't know,
and you know why, because since the time that I
was seventeen, every label knew you can't buy him, right,
He's gonna do what he's gonna do, right, Like you're
not like you're playing album cuts. I'm playing album cuts.
I'm going crazy. Well, how can we get Damian to
do this?
Speaker 4 (01:01:46):
Like, oh, this is the priority? Well what if I
don't want to play the priority?
Speaker 2 (01:01:49):
Well yeah, And that was the thing, is, like they
may give me a single, but when I heard the album,
you know, I'd be like, fuck it, I'm not playing that,
but I'll play this right, you know what I mean?
And so I started kind of getting a name for
just being this guy that just would do whatever the
fuck he wants and you better just get on board,
you know what I mean. So honestly, I swear to
(01:02:09):
God on my grandmother's soul that I've no one has
ever approached me and offered the money because they just
knew better, you know what I mean. And then after
the things like with mugs or meeting Big You or
you know, any of these kind of things they knew
are and the Bluyah tribe thing or any of this
kind of stuff. They're like, Okay, well, we can't intimidate him.
(01:02:30):
We're not going to be able to buy him, so
maybe we should just back this motherfucker, you know what
I mean.
Speaker 1 (01:02:36):
So, and I would every.
Speaker 2 (01:02:37):
Year at Powerhouse, I would not only invite all of
the artists, but I'd say bring your homies to you
know what I mean. So I'd be running around introducing everybody.
So I'd hear like this person is beefing with that person,
or this set doesn't get along with that set, and
be careful putting you know snoops homies next to you know,
these people's homies. And I the first thing I would
do is say which ones? And then I'd walk up
(01:02:59):
and in those two people right and say I'm Damien
from power blah blah blah blah blah, nice to meet you.
Oh you're so and so. Oh do you know so
and so from so and so? You know what I mean.
So that started to get around too. So then Stan Shephard,
good friend of mine. God bless you. Stan, I'm glad
you're feeling better. He calls me up one day because
he's managing DJ Quick and I just want to be Quick.
(01:03:21):
But Quick was a beat artist, you know, THEO who
worked at the Beat and Quick were hella close and
I needed Quick on Power, like that.
Speaker 3 (01:03:29):
Was another one I needed.
Speaker 2 (01:03:31):
And Stan saw the stuff happening, and I was talking
to Stan one day, and you know, we brought Quick
to Power one oh six and Stan. If you don't
know Stan's history, Stan's father, I mean, black music was
basically created the in Stan's basement. His dad was Bunkie Shepherd.
(01:03:53):
I mean they did bad Mammajama in his basement, you know.
So Stan was deeply rooted. I mean he he ran
Jackson Communications for the Jacksons, you know.
Speaker 1 (01:04:03):
So he calls me up one day and he goes,
come to this address on Haven Hurt.
Speaker 2 (01:04:06):
So I pull up the freaking Michael Jackson's estate, you know,
the Jackson House, and I'm like, the hell is going
on here? Like what what are we doing? You know,
like what's up? And he goes, I want you to
go to this address on Sunset Plaza And I'm like,
for what, And he goes, I want you to meet
this guy Jim Brown. And I said, Jim Brown, Who's
(01:04:27):
Jim Brown? And everybody in the room like looks at me, like,
I'm not a sports guy.
Speaker 1 (01:04:31):
I don't know nothing about.
Speaker 4 (01:04:32):
Sports the legendary running back.
Speaker 2 (01:04:34):
Right, So they all look at me like, it's Jim Brown,
right whatever. So I show up in the room, is
Jim Brown, Harry Belafante rest in Peace and James Ingram
rest in peace? And I'm like, James Ingram will p
yt from Michael Jackson. Harry Belafonti wrote deo And Okay,
Jim Brown is this guy from that I've seen in the.
Speaker 3 (01:04:55):
Movies with Ojack? Do you know what I mean?
Speaker 2 (01:04:58):
And I walk out in the back and they've got
all of the gang leaders sitting there and the or
some of the gang leaders sitting there at a table
and they go, we just started the American Foundation. It
does gang intervention. What do you think? And that's what
you've been basically doing at these shows and putting all
these people together and you're, you know, mixing up all
(01:05:18):
these colors. Like what are you thinking? I said, I
think they're like, how do we label it? And I said,
you don't fucking label it. It's gang intervention, you know
what I mean, Just fucking do it, you know what
I mean. Stop saying about it, you know, just that's
what it is, you know what I'm saying. And they
were like, Jim looks over at me and goes, I
never knew when you were gonna come.
Speaker 3 (01:05:39):
But here you are.
Speaker 2 (01:05:42):
And from then on, you know, Jim and I were
great friends. And Harry and Stan and Connie Rice and
Harry Belafontee's daughter was recording her you know thang and
you know, I mean, just all of that kind of
stuff happened.
Speaker 4 (01:05:57):
So how crazy was like the radio war between the
Beat and Power? Was it ever like a beau because man,
I've been a part of a one radio real beef.
Speaker 1 (01:06:09):
There was beef there, you know. That was on the
court though.
Speaker 2 (01:06:13):
But what was so funny is like Michelle last is
one of my best friends, you know what I mean.
But when we were on the court, we played ball,
you know what I'm saying. No, it was back radio
beef was crazy. But here's the thing is, I got
along with everybody. I didn't give a fuck about nothing,
you know what I mean. It was like, look, we
play hard on the field and yeah, I you know,
(01:06:34):
I just made it, so I mean i'd cut them out. Like,
for instance, because Doctor Dre, I helped Doctor Dre with.
Speaker 1 (01:06:41):
Two thousand and one.
Speaker 2 (01:06:41):
The two two thousand and one shows that were in
LT were powerhouses.
Speaker 4 (01:06:46):
They weren't up, they weren't up and smoke.
Speaker 1 (01:06:48):
They were powerhouses.
Speaker 2 (01:06:49):
Because I was literally on the phone with Dre as
the first one selling out, with Dre saying when do
I have the second show? They're asked me about a
second show. Hold On, I'm checking ticket Master. There's still
sea available. Hold on, well guess what. They just sold
out the first one. Go ahead and make that call.
And he goes, yeah, that one's a powerhouse too. And
I was like, wait, wait, wait, I said, Dre, wait wait,
(01:07:10):
I said, dude, you just did Hawaii for us.
Speaker 1 (01:07:13):
You just did this.
Speaker 2 (01:07:15):
I would not be mad if it was a neutral show, Like,
you don't have to do that for us, you know
what I mean? Like, I know that's going to put
you in political hot water with the other stations, right, Like,
I appreciate what you did, but I'm not trying to
fuck your shit up.
Speaker 1 (01:07:33):
And he was like, fuck, damn, click powerhouse, you.
Speaker 3 (01:07:37):
Know what I mean?
Speaker 1 (01:07:37):
And that was how the relationship was done.
Speaker 2 (01:07:40):
And so I was literally in every sessions we were,
and we were basically the radio because we had so
many stations.
Speaker 4 (01:07:47):
Would something like that affect because EMUs at that time
is a lot bigger than what it is obviously, would
it end up? Benbah would like a decision like that affect?
How still dri did nationwide a clear channel?
Speaker 1 (01:08:00):
Well?
Speaker 2 (01:08:01):
Really, you have to also have to remember we had
Power on six Hot ninety seven thirty two stations and
Mint we had Power ninety two in Phoenix.
Speaker 1 (01:08:09):
Oh we had owned bis. No, you're right, Emmis was
that fucking we were a beast.
Speaker 4 (01:08:16):
You especially if you were a hip hop artist?
Speaker 1 (01:08:18):
Oh yeah, you had and we were breaking the record.
Speaker 3 (01:08:20):
Yeah, you're right.
Speaker 1 (01:08:21):
Do you know what I'm saying?
Speaker 4 (01:08:23):
Okay, so for instance, format you don't wears off.
Speaker 2 (01:08:26):
So let's go back to joh rule between me and
you for instance, So after Hallahalla, I break between me
and you, and I'm in the video and I pop
my collar and it's a power one on six logo.
Speaker 1 (01:08:38):
Okay.
Speaker 2 (01:08:39):
In the video walking with Shade checks and Kevin Lyles
gets on the phone and he's like, God, damn it,
Damien Radio One, which owned the Beat and all these others.
They're gonna drop all Clear Channel whatever it is. They're
gonna drop all of our records across the country. Because
you're in the video with a power one on six
logo and I'm like, blurre it just blur it and that.
Speaker 3 (01:09:02):
Was that is it blurred? Yeah?
Speaker 1 (01:09:04):
So I mean it was my suggestion. Nerves like fuck them.
Speaker 2 (01:09:07):
I then dropped my record, you know what I mean,
Damien's been loyal, so drop the record. But see, even
like with the street shit and you know, all of
this kind of stuff. I mean, I knew everybody, So
everybody just knew that guy's untouchable, you know what I mean,
if something happened, you wouldn't know where it came from.
He's friends with the Buoya Tribe's helped start murdering Rockefeller
and aftermath like, so there wasn't much anyone could say,
(01:09:32):
you know what I mean, like what are you going
to drop every hot artist across They played the records
they had to play like you know, and just to
say like for instance, even like when Ja Ruled did
the Jennifer Lopez record, you know, they literally stole that
record from Glitter you know, when I was rebuilding Mariah,
you know, and Tommy did that to sabotage Mariah, and
it just happened to be the song that I.
Speaker 1 (01:09:55):
Made with Jaw and brought Jaw to the table.
Speaker 2 (01:09:58):
And then Tommy said, well, okay, well I'm gonna make
JA do this record with Jennifer Lopez to fuck Mariah.
But it put me in the middle of it. And
IRV came to me and he goes, what do I do.
We've never been offered two hundred and fifty five hundred
thousand dollars for two songs, you know what do I do?
I said, you do the fucking song. And they came
to me and they said, well are we gonna play?
Steve called me into a meeting and he goes, well,
(01:10:21):
Jennifer Lopez just released this song. I know the background
story because he was there when I told him what happened,
you know, And he's like, and I said, it's right
for the radio station. We have to play it, right,
you know what I mean. So I've never engaged in
any bullshit. I just won't do it, you know what
I mean. That's just who I am. So whether it's that,
(01:10:41):
whether it's I just that's not me.
Speaker 3 (01:10:46):
So I saw something you said.
Speaker 4 (01:10:48):
I didn't know because I had always sat with Shade Schist,
your artist.
Speaker 1 (01:10:52):
Who signed to MS Broadcasting.
Speaker 3 (01:10:55):
Which is crazy to think that. So I start producing
records from right, it'd be like if like Apple had
like a record label or so.
Speaker 2 (01:11:03):
Rick Cummings comes to me and he says, look, there's
all this outside money that you're making, and I was like, no,
I didn't charge for for I still believe I'm not
accepting any money for production. Like when I produced records,
I'd say, no, I'm not taking any money because I.
Speaker 3 (01:11:19):
Don't want to.
Speaker 2 (01:11:20):
You're THEOL program directory and I don't a music director.
Speaker 1 (01:11:24):
A music Steve Smith was the program direct you were.
Speaker 3 (01:11:27):
But you were controlling the music of Power.
Speaker 1 (01:11:28):
Of six yet, so I never wanted it to be.
Speaker 2 (01:11:31):
And that's why I wasn't the program director of Power
one oh six Okay, because I was producing records. I
did not want to be the final say right, okay, clear,
got it, so cover in your ass and my deal
went through the FCC.
Speaker 1 (01:11:45):
When I renegotiated my deal.
Speaker 2 (01:11:47):
When I started producing records, I contacted the FCC through
my attorney and said, is this a conflict of interest
that I'm producing records and hold this possession. They said,
as long as you are not the final say, then
it is not a conflict of interest.
Speaker 3 (01:12:03):
Ah.
Speaker 2 (01:12:05):
So Shade is somebody that I met, you know, just
on the and we'd hang out on the weekends and
do records and you know whatever whatever, just as fun producer,
you know what I mean. Mariah Carey says to me
one day, Hey, what else.
Speaker 1 (01:12:18):
Do you do?
Speaker 2 (01:12:18):
I said, oh, you know, play with beats, you know,
and da da da da. Oh send me a tape.
Speaker 3 (01:12:22):
You know.
Speaker 2 (01:12:23):
Well, one of them became I still believe, you know,
with her Crazy Bone in the Brath, the first record
I ever produced, shout out of Mariah, thank you for
giving me my shot, you know, all of this kind
of stuff. So they see that, and Rick comes to
me and goes, well, you produced on Jah Rule. You
did this record with Mariah Carey, Like, you know, are
they making offers for labels? Like you know, we want
(01:12:45):
to cut this, you know what I mean. And I'm like, well, okay,
it goes well, we'll make you the senior director of programming.
We'll bring in someone else to be the program director,
and you keep doing what you're doing, but we want
to label. Find out how much much you could get
for us getting a label, and I said, well you
need an artist, and they go, well, who's that kid
(01:13:06):
that you hang out with?
Speaker 1 (01:13:08):
And I'm like what.
Speaker 2 (01:13:09):
And it was that simple, like you make some records
with some kid, right, And I'm like, yeah, Shade, that's
my friend. He's like, well, he's the artist. Go find
out if you can get him a deal. And I'm like.
Speaker 1 (01:13:22):
Okay.
Speaker 2 (01:13:23):
So I go and I ask Fred Davis, who's Clive
Davis's son, who was my lawyer. I said, what do
you think? He goes, send me four songs and call me,
you know, in a week. So I go and I
make Where I Want to Be? Okay, I put Shade
on it. I go and make a song of Corrupt,
another song of Corrupt, a couple other songs you know
(01:13:44):
in KG from Naughty by Nature. So when they gave
me the beat for Where I Want to Be, you know,
he produced the beat, I just put the vocals on it.
And then I said, I, well, here's a couple of songs.
Fred Davis calls and says, London Sire wants will give
you seven hundred and fifty thousand dollars, and so I
go to Brick Cummings and say seven hundred and fifty
(01:14:07):
thousand dollars.
Speaker 3 (01:14:08):
And by the.
Speaker 2 (01:14:08):
Way, IRV Gotti says, they'll give us another you know whatever,
forty fifty grand to give him the Nate Dog song
that we're not using. And this other song that I
did with jah Rule called Life Ain't a Game. But
I'll do it under the MS deal because I don't
want to, you know, I don't want to, you know,
(01:14:29):
look like I'm taking the money for producing and I'll
just do it all everything that I'm doing under MS,
you know what I mean, outside you know whatever.
Speaker 3 (01:14:38):
Whatever.
Speaker 2 (01:14:39):
So they're like, yeah, great, well Where I Want to
Be comes out, it's the number one rap single in
the fucking country, and London Sire goes bankrupt and I'm like, shit,
what do I do?
Speaker 1 (01:14:56):
So they say, but.
Speaker 3 (01:14:58):
You guys already got the seven to fifty right, Yeah.
Speaker 2 (01:15:00):
So and the single's out and it's all over the place.
So I say, look, I'm not going to put Shade out.
Let's just call it a Domesic Presents album and say
it's just you know, a one off whatever whatever.
Speaker 1 (01:15:13):
And then I was just presenting a.
Speaker 2 (01:15:14):
Bunch of artists because that's what Flex does on his
mixtapes or you know whatever whatever, So let's just call
it that. That way, it won't burn the artist's name,
and it just it'll fall on me and we'll just
keep moving. And then MCA pops up and says, we'll
give you a million dollars and I'm like what. And
(01:15:34):
they're like, we'll give you a million dollars for Shade Shist,
plus another two hundred and fifty for the video. So
I go to Rick Cummings and I go, well, here's
another one point too, and he's like do it and
so I'm like all right.
Speaker 3 (01:15:49):
And this was so all that money was going to MS.
Speaker 2 (01:15:53):
Yeah, they say fifty cent was the first artist to
get a million dollars.
Speaker 3 (01:15:58):
No, Shade Shist was.
Speaker 2 (01:16:02):
One point seven when it was all said and done,
two million between two albums.
Speaker 3 (01:16:09):
That's crazy. I mean, how much of that did he
get to keep? Huh? How much of that did he keep? Though?
Speaker 4 (01:16:14):
Like what was his like, what was his deal?
Speaker 1 (01:16:17):
No, he got the regular artist deal.
Speaker 2 (01:16:18):
He got like what twenty five to fifty grand up
front for each project, you know, something like that. So
he did all right, amis was eating Oh they were
eating crazy because not only that, but I was giving
them all my production I was doing.
Speaker 1 (01:16:30):
Dude, you got to think about it.
Speaker 2 (01:16:31):
This the Drey and Snooper union promotion, right, think about
that alone. They were selling it as packages to the
rest of the country under the consultancy and taking their
tax on it. Do you know what I'm saying, the
two power Look when Dre said they were the two
powerhouses in Los Angeles, you don't think the sales department
sold that and made like thirty million each one.
Speaker 3 (01:16:50):
And then if you're the consultancy, you can say.
Speaker 4 (01:16:54):
Hey, you know, we'll fly you in if you're in Rally,
North Carolina and we're you want to you want your
folks to go.
Speaker 2 (01:17:00):
To Why I made a lot of people rich. Let's
just say that.
Speaker 3 (01:17:03):
Do you regret moving in that way? No?
Speaker 2 (01:17:09):
Do you know why? My grandma raised me and I
looked her in the face till the day she died.
Speaker 4 (01:17:16):
I just think in terms of the MS thing, it's.
Speaker 1 (01:17:18):
Like, I don't give a fuck because I never did
this for money. I did this, Yo.
Speaker 2 (01:17:23):
There's a funny story about doctor Dre. Doctor Dre was
on stage when they were at the two thousand and
one reunion, they walked out on stage right and I
took off. I said, my job is done. I took
off my pass and I went to the front row.
I started losing my fucking mind. Doctor Dre almost falls
over the monitor looking down, going what's wrong?
Speaker 3 (01:17:43):
What's wrong? Right? You know what I mean?
Speaker 2 (01:17:45):
Like, and I'm sitting there just going like, what are
you talking about? Everything's right? He's like, what's wrong? What's wrong?
And I'm like, oh shit. He thinks like I'm trying
to get his attention. Like, so I ran to the
back of the thing to watch. Right after the show,
Dre walks up to me and he goes, Yo, what
what the fuck was that?
Speaker 1 (01:18:00):
What was a sound?
Speaker 3 (01:18:01):
Fucked up? What happened?
Speaker 2 (01:18:02):
I go, Bro, you think I did this because I
wanted to make money? I said, bro, I wanted to
see the fucking show, you know what I mean? So no,
I don't regret shit because I know I can sleep
at night and I know my Grandma raised me right,
and know what, Look, I don't care what the fuck
(01:18:24):
the narrative is. I have never taken an artist dime
from a motherfucker.
Speaker 1 (01:18:31):
I have never done anything that is not right for
hip hop.
Speaker 2 (01:18:35):
And when I came back and when she died January sixth,
by January eighth, I was back in California. When I
got here, I turned on the radio and when it
was like a dad coming home off of vacation and
the kids trashed the motherfucking house. When I left, DJ
Quick had the very first independent deal through Fontana where
(01:18:56):
he owned his master's and eighty percent of the revenue
and got an advance ants with Brian Shafton. Because when
Brian and Fontana started that independent distribution shit DJ Quick,
they came to me and said, who's the first artist
that had sound scan history that you could put through this.
I said, oh, DJ Quick, mad science, Astevan Oriole cartoon
(01:19:18):
doing the logo the red vinyl.
Speaker 3 (01:19:20):
That's all me crazy.
Speaker 2 (01:19:22):
So I said, here we go, and I said, now
the artist is straight. I had enough power to create
the independent deal for the artists where they own their
own fucking masters, they're getting a higher eighty percent of
the revenue, and the fucking I was pissed when I
got home.
Speaker 3 (01:19:38):
Let's just say that crazy.
Speaker 2 (01:19:40):
And I went, okay, so this is the narrative, this
is what's going on Hi. Then I hit that little
button on Instagram and here we are.
Speaker 4 (01:19:49):
So let me ask you this, like you're obviously, you know,
break down because you left powerwin oh six on your own, will.
Speaker 3 (01:20:00):
Or give me? Give me because I know.
Speaker 4 (01:20:02):
You would win it because I saw you you pretty
much wud to go work with Mariah.
Speaker 2 (01:20:05):
Right, I'm not gonna get in the Ryan story. That's
way too long. Will be here all night. But what
happened was is when they brought in Jimmy Steele and
vow Mackie. Okay, Mackie, this is two thousand and two
ish one ish whatever. Everything had already happened, the drad
Snoop stuff, and you know all of that history, and
(01:20:26):
you know all the big promotions. We're already number one
and we basically went number one before any of these
motherfuckers got there, right, So they come in and.
Speaker 1 (01:20:38):
The first thing that I noticed is Val says.
Speaker 2 (01:20:42):
The DJ or the mixers, they should be paying us
because they're going to Hollywood and getting all these gigs
a cut of that, and why should I mean they
should be paying us? And I'm like, Yo, this bitch
don't get it. And we started it for the love
of hip hop, you know what I mean. And I
start to realize that that's not the game anymore. This
(01:21:04):
is now corporate, right, And my first meeting with him,
she looks at me and goes, I can't equate you
to a number.
Speaker 3 (01:21:11):
What do you do here? You're like what?
Speaker 1 (01:21:16):
And I'm like what do you mean?
Speaker 2 (01:21:19):
And they're like, what, you picked the songs or something,
and I'm like, oh, okay, so this is how this
is going.
Speaker 1 (01:21:28):
Jimmy Steele comes in from an AC.
Speaker 2 (01:21:30):
Station, the Cougar and Dallas, and I said okay, and
he's like, oh, I hear you're the most important person
at the station, but I don't understand what you do.
Speaker 1 (01:21:39):
And for instance, before them, they brought in Mike Tierney.
Speaker 3 (01:21:42):
Okay.
Speaker 2 (01:21:43):
Mike Tierney comes in, stays about a week. At the
end of the week, he goes, dude, what did they
expecting me to do here?
Speaker 1 (01:21:48):
Babysit you? And I'm like, what do you mean?
Speaker 2 (01:21:50):
He goes, well, you're making all the decisions, you're doing
all the promotions, like I mean, they hired a babysitter.
Speaker 1 (01:21:56):
And he just and then he goes. He just leaves.
Speaker 2 (01:22:00):
He doesn't resign, doesn't do nothing, just fucking leaves. So
Val Macki comes in and says, Yo, anybody heard from
Mike Tierney And I'm like no, and he's like, well,
he hasn't showed up for a week. And I'm like,
I don't know. So I finally get a hold of
Mike Tierney and goes, Dude, that bitch don't know what
she's doing. Dog Like she's telling me all this crazy shit,
(01:22:21):
how we need to cut this and charge mixes this,
and babysit's crazy, you know, like doesn't understand what you
do and why you're making this, and why we have
a record label, and you know, wants to take the
record company money and just put it straight to the
bottom line, and why you're working in a studio, and
why don't we just make a studio at the office
(01:22:41):
and make the artists do the songs, and you know,
all this kind of shit. And I'm like, I go
to Rick Commans, I'm like, bro, you got her running
the record company with me. Now do you see what
I'm saying and telling me this stuff and trying to
A and R the records and tell me what I
need to be doing and now all of it. So
the label folds and well, keep in mind, when I
(01:23:06):
started helping Mariah Carey and we started the record label,
some people in New York got mad.
Speaker 3 (01:23:13):
We'll just leave it at that, Okay.
Speaker 2 (01:23:15):
So they call their friends at the LA Times and
they plaster on the LA Times airplay raises disclosure issue
and they say I'm more powerful than Radio Disney and
that Shade Schie is my artist, and I'm getting all
this money from Mariah Carey and all these people in
dah da da and blast me on the fucking thing.
Rick Cummings doesn't back me up. He doesn't say Shade
(01:23:39):
like really like that, go out there and bang and
say no, it's our artist. He throws me under the bus,
and I'm like, oh, this is how this is gonna go.
Speaker 1 (01:23:50):
Okay, you don't know what you're doing.
Speaker 2 (01:23:53):
You're my new babysitter, and this bitch is crazy, all right,
So I'm like whatever whatever. So then they come to
me and he says to me, He goes, We're going
to flip the country station and make it MEGA, and
I'm like, no, I don't think you should do that
because then it would be an upper demo R and
B station, which would take our upper demo at Power
(01:24:15):
one oh six. Ah, you don't know what you're talking about.
I'm like, okay, you do that, we're going to have
a problem.
Speaker 3 (01:24:24):
Nah.
Speaker 2 (01:24:24):
And by the way, I rented a spot on the
stick and I'm like, what, I rented a spot on
the antenna. We're getting like five thousand dollars a month
from another station that's going to come on the air.
And I said, well, we're x percentage Hispanic in Los Angeles.
You don't think whatever they put on that signal is
going to come at us because we're the number one
(01:24:47):
Latino rhythmic station. The beat is a black station, so
you don't think that's going to come right at us.
And he goes, nah, we have a contract with him,
and I said, so we'llsue them if they do. And
I go, well, how did you put racism in a contract?
And he's like, well, they just can't do anything Latino,
(01:25:08):
trust me. Latino ninety sixty three comes on the air.
Next I look at him everybody and I'm going, oh
my god, like what the fuck is going on?
Speaker 1 (01:25:23):
And then it was Thanksgiving.
Speaker 2 (01:25:25):
Between Thanksgiving and Christmas, I go home have Thanksgiving with
my grandma and she falls down putting down. She was
getting out the she was putting away the Thanksgiving stuff,
and she was taking down the Christmas stuff, and she
fell and I just said, okay, I'm done. I said,
from now on, I'm taking care of Grandma. Remember when
(01:25:46):
I said, Look when I was a year old, I
was abandoned on her doorstep. When I was seven years old.
I told her, you take care of me. Now I'll
take care of you. Then the second she hit the ground,
I said, I'm done with all of it. Then I started.
I just started being her full time caregiver, her bodyguard,
or whatever the hell you want to call it, her whatever,
and just started hopping around the house. Well, my two
(01:26:07):
little brothers are in high school. They all have friends
that are rappers and shit. They come to me. They
start bringing all the kids. I start w here, you
guys are hanging out with gangs in Santa Barbara. They
start stealing my plaques and shit. So I'm like, look, oh,
doctor dre Plack, Oh go ahead.
Speaker 3 (01:26:21):
Take that.
Speaker 1 (01:26:22):
Just stay the fuck out of the street.
Speaker 2 (01:26:24):
And I start producing these kids, start doing gang intervention
what I was doing with Jim and all this stuff
at home. My friend Wino comes along, rest in Peace
introduces me to Bams and Skippy, and you know that's
how it all started. BAM's parents were both incarcerated. He
starts staying with us. Next thing, you know, I meet
(01:26:46):
my best friend. You know what I'm saying, start developing him. Yeah,
you know what I mean. That's how long it took
to develop Bams. I left in two thousand and four
or five something like that. But Bams wasn't a rap,
just a.
Speaker 4 (01:26:59):
Rap so four o five And when you leave the station,
do you also just like mentally check out from like everything,
just all the music.
Speaker 2 (01:27:08):
It just became about Grandma. I literally resigned. And that's
why I like, you know, people dislike me so much.
You know, is I just I literally told Mariah, I
put Mariah with Benny Medina and fixed all that stuff.
Senator to Atlanta and said, bring me back an usher record.
Have Jermaine just do we belong? And that was we
(01:27:28):
Belong together, set her up with Benny Medina and said bye,
then power one oh six. Obviously you guys are the
Titanic at this point, I can't even do anything with that.
Speaker 3 (01:27:38):
Bye, you know.
Speaker 2 (01:27:39):
And Drey and Snoop, it was just like they were
already doing what they were doing.
Speaker 3 (01:27:44):
You know.
Speaker 2 (01:27:44):
The last thing I did with Dray and Snooper in
that group is Eminem calls me up and says, do
you know fifty cent? It's like, no, he goes, I
need to do a kmart shoppers on Power one oh six, And.
Speaker 1 (01:27:53):
I'm like, what's that meaning?
Speaker 2 (01:27:54):
He goes, I need to go on Power one oh
six and say somebody find me fifty cent. That was
the last thing that I did, I think in that click,
you know. And so then I just walked away from
everything and it became about my grandma. My dad, would
you know, was still a biker, he was drunk, you know,
their mom whatever, whatever, you know. But my little brothers
(01:28:15):
ended up coming living with me. So I ended up
raising my little brothers and taking care of my grandma.
The only thing I cared about the music business is
when I could use the music business or what I
had done in the music to help get the kids
off the street.
Speaker 1 (01:28:29):
Do you know what I'm saying.
Speaker 2 (01:28:30):
So if there was a concert like Little rob would
come through Santa Barbara or something like that, and all
the kids would get excited that I'd make a phone
call the fingers and say Hey, could you hook this up?
Speaker 3 (01:28:38):
You know what I mean?
Speaker 1 (01:28:39):
Because the kids want to go. Yeah, that was the
extent of it.
Speaker 3 (01:28:43):
That's crazy.
Speaker 4 (01:28:44):
Were you able to parlay your production stuff into like
pubs situations or no?
Speaker 2 (01:28:51):
Because every cent that I made during my record time,
you have to remember, first off, I made it the
height of my career of power one o six, I
was making two hundred and fifty grand, maybe three hundred. I
never took the only money that I ever took was
to fix glitter, and that was like two hundred and
fifty you know what I mean.
Speaker 1 (01:29:11):
So I probably made five hundred.
Speaker 2 (01:29:13):
But most of the people around me were embezzling and
doing all kinds of crazy shit anyway, So sure you know,
I literally nighties are crazy, yeah, you know, but you
know I had little royalties like mix.
Speaker 3 (01:29:23):
Your Power Summing I heard was nuts. You don't even know.
Oh no, I've heard. I heard there was like a
room full of fucking dude.
Speaker 1 (01:29:31):
There was all kinds of shit.
Speaker 2 (01:29:33):
But you know, but you know, you would you go
to Obviously I went to all of them gap But
that's the thing about you know.
Speaker 3 (01:29:38):
The lookers are real thing? Oh hell yeah, yeah, I
mean it was part of the whole, you know.
Speaker 4 (01:29:42):
Like I heard if you went to mix some power
somewhere back in the day, like and they were just
a room and like everybody was fucking like, yeah, go
grab you a bitch the l I.
Speaker 3 (01:29:50):
Know what any of those you know.
Speaker 2 (01:29:51):
Someone asked me about Puffy the other day, and someone asked,
you know, did you ever see anything or did you
ever go to those parts?
Speaker 1 (01:29:57):
No, it's just not who I am.
Speaker 3 (01:29:59):
I did.
Speaker 1 (01:30:00):
I went to work. When the job was done, I
went home.
Speaker 3 (01:30:03):
Yeah, I mean.
Speaker 4 (01:30:04):
And the thing with Puffy too is like I know
hell of people that have been to ditty parties. It's
not like just because you went to a diddy party.
Speaker 2 (01:30:11):
Let me tell you this did He looked out for
me a lot, you know what I mean? And I'm
not look what happened with Cassie and all that shit.
Of course he deserves whatever, you know, whatever, whatever, But
and his kids don't. By the way, I agree, do
you know what I'm saying, Like, don't treat the sins
of your father. I love Quincy. Quincy and I talk
a lot, you know what I mean. I love his
son Christians. Another friend of mine, Miles Gaines, works with
(01:30:33):
with with Christian a.
Speaker 3 (01:30:34):
Lot, you know what I mean.
Speaker 2 (01:30:35):
Like, so you know, I look whatever whatever, and I
love and.
Speaker 3 (01:30:38):
Let me just say daughters that are in high school.
Speaker 1 (01:30:40):
But check this out.
Speaker 2 (01:30:42):
When my grandma had to have knee surgeries, right, Puffy
and I were supposed to have a meeting, and I
said to Puff, I can't go. I got to go
to Santa Barbara. I gotta go do this thing. You know,
my grandma's in the hospital, so what's wrong? How her
needs done?
Speaker 4 (01:30:55):
No?
Speaker 3 (01:30:55):
Da, He's like, oh no, no, go ahead, go ahead.
Speaker 2 (01:30:57):
What hospitals someplace, cottage hospital, you know whatever went dude.
When I got from LA to Santa Barbara, the whole
floor was buzzing, and I'm like, what the hell's going on?
Flowers everywhere and all this stuff, and nurses or two
nurses are in there like taking care of grandma, and
Grandma's like smiling and shit, and I'm like, the hell
just happened? And she's like, Puffy called and I was
(01:31:21):
like what she goes? Puffy called the nurses sent me
flowers and said I needed to be treated very special
because I'm an important person. That's the kind of shit
he did, you know what I mean? So this guy
I don't know, you know what I mean. So what
I saw, I was mortified because I've never seen that guy, right,
(01:31:41):
you know what I mean. So, but I know when
I wanted to do Puffy and Paradise back in the day,
which was my first big promotion, I know, he put
two hundred and fifty grand behind me to do it right,
you know, or the station, not me, excuse me, you know,
and paid for the promotion, you know what I mean.
Speaker 1 (01:31:58):
And that's how I met Benny Medina.
Speaker 2 (01:32:00):
So fast forward when he left Jennifer Lopez right after
Glitter with Mariah Carey. I knew him through Will Smith too,
So I just said, perfect thing to do here is
put Benny and right together.
Speaker 3 (01:32:16):
That sh it's crazy.
Speaker 2 (01:32:17):
And did jay Z's first number one too, put jay
Z and Riah together for Heartbreaker.
Speaker 1 (01:32:23):
Come on, bro, we don't play over here.
Speaker 3 (01:32:26):
What do you? What do you?
Speaker 4 (01:32:27):
What are your thoughts nowadays when you hear you know,
LA radio, like, what are your thoughts? Just radio in general?
Obviously you were a part of an era of radio that.
Speaker 1 (01:32:34):
Was why do you think I came back so tough?
Speaker 2 (01:32:38):
I was just gonna just come back and hang out,
and you know, slowly get back, you know, to figure
out what I wanted to do. My grandma just died
two months before that, Rest in peace, angel. My little
nephew dies overdoses. My dad died the year before. When
I came back. Two weeks after that, when I from
getting home, my dog dies, you know, the poodle, Grandma's poodle,
realizes that she's dead.
Speaker 1 (01:32:59):
She guys. You know, thank God for bam skipping.
Speaker 2 (01:33:02):
My family, my friends, Gabe, you know, everybody, his wife,
Talia and everybody that you know. When I got I
was a wreck when I got back, right, you know
what I mean?
Speaker 1 (01:33:12):
Like, come on, that's my it's granny, you know what
I mean.
Speaker 2 (01:33:17):
Like the last five years I spent in Louisiana just
hur and me in the house, being a full time caregiver.
Speaker 1 (01:33:24):
That's it.
Speaker 2 (01:33:25):
We didn't really have internet like that because in rural Louisiana,
a town of two hundred, it's a cloud in the sky.
You don't get fucking internet, you don't get direct TV.
So it's just me and a ninety six year old
lady just sitting there rapping. But that's my dog, that's
my grandma, that's the homie. You know what I mean like,
so we had a blast, we made it the best
of anything, you know what I mean?
Speaker 1 (01:33:44):
So I whatever.
Speaker 2 (01:33:46):
So I get back, I hear all this shit, I'm like, God,
what the fuck did y'all do?
Speaker 3 (01:33:51):
Like?
Speaker 2 (01:33:51):
And I just start tearing off, like what do I
think of it? I think, dude, the same Rick is
still in.
Speaker 4 (01:33:57):
Charge of of power.
Speaker 2 (01:34:01):
Oh yeah, you don't know who the consultants are? Rick
and Jimmy.
Speaker 4 (01:34:04):
Yeah, I know.
Speaker 3 (01:34:05):
Jimmy was a consultant.
Speaker 1 (01:34:06):
They ad into what two years right, because.
Speaker 4 (01:34:10):
No one will zones it now and yeah they're.
Speaker 1 (01:34:13):
Okay'm gonna shut up.
Speaker 3 (01:34:14):
I don't want to listen. They want to be negative.
Speaker 4 (01:34:15):
Their leadership, you know. And I'm real tight with the man.
That's my dog.
Speaker 2 (01:34:20):
Look, I love I thought into it from a mixture
into the music.
Speaker 4 (01:34:24):
That kills the PD. Now great, Yeah, but they didn't
have a PD for a while, and it was like,
why what't you guys?
Speaker 2 (01:34:29):
Okay, but look at the Hot ninety seven's ratings right
now and tell me that was a good move.
Speaker 4 (01:34:34):
Yeah, I am not hip two Hot ninety sevens ratings,
So I can't tell you.
Speaker 2 (01:34:39):
Okay, but I'm going to leave it at that. I'm
just gonna say radio is not programmed correctly. And you
have to understand the reason why we have not had
a hit in the fifty one years of hip hop
or fifty years anniversary of hip hop is because only
twenty six percent of Americans have in inner city neighborhoods
(01:35:01):
and low income areas and rural areas like I came from, have.
Speaker 1 (01:35:05):
Data plans on their phones.
Speaker 2 (01:35:08):
Right, So they're not sitting on TikTok, they're not sitting
on Spotify. They can't afford YouTube and all of those
because they're at work every day.
Speaker 3 (01:35:16):
What do they have?
Speaker 2 (01:35:17):
Ninety six percent of America still listens to the radio.
Radio is not breaking records, it's automated. And they fired
all the DJs. The record company has fired all the
radio promotion people, and radio is programmed like shit.
Speaker 4 (01:35:30):
I think that the main issue, though, is a revenue
and radio has fallen off of a cliff.
Speaker 3 (01:35:36):
Do you know why it's fallen off of a cliff? Well,
it kind of started.
Speaker 2 (01:35:39):
How many DJs do you know that's under twenty Well
in the core demo, how many people you know in
the court that are programming radio in the core demo
of any of these radio stations. U A few for
sure that are in the cord that regionally, not programming regionally,
that are sitting in the radio station in the demo,
(01:36:00):
programming to the audience that will go out in the
streets and know what that radio station is.
Speaker 4 (01:36:07):
There's a few, there's but I would say, I would
say this, I'd see Big Bear.
Speaker 2 (01:36:11):
Maybe you're not in the demo, but he knows what
he's doing.
Speaker 3 (01:36:16):
DJN and dj AO, Oh no, those.
Speaker 1 (01:36:17):
Guys, those two look, there's probably.
Speaker 4 (01:36:20):
I think this.
Speaker 3 (01:36:20):
I think you gotta like I think.
Speaker 1 (01:36:22):
Rate they're programming regionally.
Speaker 4 (01:36:24):
Well, they're also programming locally like Amen Handles Real ninety
two three.
Speaker 2 (01:36:28):
Oh, I'm not talking about that one, no, no, But
what I'm saying is what Doc does is fucking amazing.
Speaker 4 (01:36:32):
What I'm saying is uh, with the revenue in terms
of like these networks and the and the buys that
used to happen back in the day. It's just when
I say, it's not the met like the qumate there anymore. Right,
So the cube is falling off of a cliff. The
listenership is falling off of a cliff because you know, listen,
there's it hasn't evolved. That's why it hasn't evolved. But
(01:36:56):
also like the competition is at a high your level,
because like you said, obviously ninety six percent of people
still listen to radio, whether they know it or not.
They might hop an uber, but they might be in
a cab.
Speaker 3 (01:37:06):
Look. But at the same.
Speaker 4 (01:37:08):
Time, you know, like it's very very like you. I
feel like YouTube is the new radio because it's free.
Spotify you gotta pay for you, got it?
Speaker 1 (01:37:19):
But I feel like radio is free.
Speaker 3 (01:37:20):
I understand that, but radio is like.
Speaker 4 (01:37:24):
Almost like I'll say this, there's kids in gods are
popping on TikTok right now, got it? Because they're able
to document what's happening.
Speaker 3 (01:37:31):
On their understand most people have access.
Speaker 4 (01:37:35):
To their phone.
Speaker 2 (01:37:36):
Is that fair to say? Let me let me put
it to you like this. I'm not going to give
them the prescription on this show, but I will tell
you right now, there is a way to do it.
Speaker 3 (01:37:46):
No.
Speaker 4 (01:37:47):
I think that radio unfortunately has become overly simplified.
Speaker 1 (01:37:54):
Yeah, Astradized is the way to put it.
Speaker 4 (01:37:57):
As to where there isn't necessarily a one size fits
all fixed to every radio station, and at times they're
treated like.
Speaker 3 (01:38:09):
Well, if we do it here, we do it here,
we do it here. It's gonna work as opposed to you.
Remember ninety seven, it was the same thing.
Speaker 2 (01:38:17):
Oh why ninety seven? I was ten, But I'm just
saying it was the same thing. It was fragmented like that.
Speaker 3 (01:38:23):
Yeah, and.
Speaker 4 (01:38:25):
I do think you know, radio is heading to a
place where most stations are depreciating assets. So you have
to figure out ways to try to just increase. Like
you said, you figured that out when that lady came
in and said, well, I can't put a dollar figure
on what you do. And unfortunately, at the end of
the day, most of these radio stations are corporately owned.
(01:38:46):
They are businesses, and the culture aspect, or the edges
that make it make sense aren't necessarily understood or quantified
in a dollars and cents spreadshet where it's like, hey,
well we know if we can cut this and we
can have this, we can make X amount of money
(01:39:07):
and we're profitable.
Speaker 3 (01:39:08):
I understand what you're saying. So telling you there is
a way to do.
Speaker 4 (01:39:12):
It, I'm not saying that there's not. I'm not saying
that there's not. And again, this is.
Speaker 3 (01:39:17):
We're talking hip hop radio. There's so many formats around.
Speaker 2 (01:39:20):
There's AMFN, but there's a there's a look everybody is.
Like you said when we first sat down there, you
saw a video of mine where I said, it's absolute,
it's either red or blue, Republican, Democrat, blood crypt there's
nothing in the fucking.
Speaker 4 (01:39:35):
Middle, right, and you're right about black with radio. The
answer somewhere in the middle.
Speaker 1 (01:39:39):
Right between tech and radio.
Speaker 2 (01:39:41):
There is a handshake and there is a way that
it could happen very easily. Yeah you're asking, I mean literally,
like I know exactly what to do, and everybody would
make money.
Speaker 3 (01:39:54):
But the problem.
Speaker 2 (01:39:56):
Is is these corporations are attached to the DSPs, and
the DSPs are putting out a narrative that there is
no resurrection to radio.
Speaker 4 (01:40:06):
Yeah, no, DSPs, definitely it is in there. It's in
DSP's best interest if radio is dead.
Speaker 2 (01:40:12):
Okay, So two days ago, Jermaine Dupree and I were
having a discussion on or he was having a discussion
and Tega shout out, Tega want taga. The mobster posts
a thing tags me and Jermaine and it says I'd
like to be broken on radio and immediately gets flagged
and taken down.
Speaker 1 (01:40:34):
On Instagram.
Speaker 3 (01:40:36):
It's weird.
Speaker 2 (01:40:37):
Yeah, for what I posted on my thing, take a
look at it sometime. But the narrative of I bet
you Facebook's going to try to come up with something.
But whatever, I would say this, like Spotify doesn't want.
Speaker 3 (01:40:49):
You listening to the radio.
Speaker 2 (01:40:50):
Let's say that a lot of a lot of those
platforms do not want you listening to the radio.
Speaker 4 (01:40:55):
I don't disagree with that because it's against their I mean,
they want people on their platform.
Speaker 3 (01:40:58):
Why would I want people listening to the radio. I
have them listening to my product, and vice versa.
Speaker 4 (01:41:03):
What I'm telling you is if I'm if I'm iHeartRadio,
I want you listening to my ship and not listening
to a playlist on Spotify. And so that's my thing
is like nowadays, like yo, like at the end of
the day, like you said, you know, you got you got,
you got your answer. It's it's just an interesting time
because we've never had to compete with so much. Like
(01:41:24):
as a radio personality, you have to compete with.
Speaker 3 (01:41:29):
All of this. I totally understand what you know.
Speaker 4 (01:41:32):
The the bandwidth grab of people's attention is like everyone's
attention is up for grabs.
Speaker 3 (01:41:37):
I totally understand what you're saying.
Speaker 4 (01:41:39):
It's like, well, like I lay down at night and
I might put Netflix on or play my PS five,
but my wife is scrolling on TikTok just looking at bullshit,
you know, and I'm.
Speaker 3 (01:41:50):
Like, yo, let's watch this movie. It's it's it's just in.
Speaker 4 (01:41:55):
All forms of entertainment, man, the bandwidth is up for
grabs more than ever, right, So, like, how do you
make radios?
Speaker 2 (01:42:01):
And also there's also a very big hole that could
be filled. And that's all I'm saying. It might just
happen soon.
Speaker 4 (01:42:10):
I look forward to seeing what you got up your sleeve, sir.
What else are you working on? Obviously you're working with
with BAMS man.
Speaker 2 (01:42:18):
I'm just you know what, I've met soulists and left
the gun Play and OTR, and you know, I've had
a lot of fun work with them. I have fun
doing some projects with Poon, I'm having friends with, you know,
just all kinds of fun stuff.
Speaker 1 (01:42:32):
So but really my focus is BAMS.
Speaker 3 (01:42:33):
You know. I enjoy making music. I enjoy doing that kind.
Speaker 2 (01:42:36):
Of stuff, working on some I'm gonna in October, I'm
going to be doing a synergy marketing seminar in Los Angeles,
Michelle S and Power Talent Agencies helping.
Speaker 3 (01:42:48):
Me put it together.
Speaker 2 (01:42:49):
But what I've basically done with the Instagram thing and
giving up the game, I'm going to do with Syracuse
University and where Michelle teaches. Uh, they have a campus
here in Los Angeles. I hope that everything goes as planned.
And Michelle S and myself and Power Talent and kool
(01:43:10):
Aid and.
Speaker 3 (01:43:12):
I just saw you do yesterday. Yeah, we're gonna We're
gonna do some work. Yeah, that's cool. It's one of
my best friends.
Speaker 4 (01:43:23):
First time I ever got paid to do anything in
radio that wasn't set up a tent was to be
a board up to throw her show on Board upped
Pocost Pedal.
Speaker 2 (01:43:30):
Locals and when you know when it was funny because
when I when quill Aid first brought Pocost Pedal Locos,
they said no, And that was one of the first
specialty shows. I mean, it's very special to me because
it was a project that I got green lighted.
Speaker 6 (01:43:47):
Yeah, I think that, I think right now. The another
thing they told me, there was absolutely to that. I
told you did that yesterday. I was like, yo, Like
the Mexican Rapture is hotter than ever.
Speaker 4 (01:44:02):
Right now, there might be a.
Speaker 3 (01:44:05):
Missing specialty show.
Speaker 1 (01:44:08):
It's definitely something missing.
Speaker 4 (01:44:09):
Yeah for sure. Man, So all right, we'll go follow
this guy. You know, appreciate some of the stories.
Speaker 2 (01:44:16):
Didn't mean I know you got some crazy stories, oh crazy.
Speaker 4 (01:44:20):
Many more? Would you ever write a book or anything
like that?
Speaker 2 (01:44:22):
I did write a book. You didn't write by association.
And you know what's funny is I wrote Guilty by
association and you know it. It was like twenty twelve, fourteen.
But as soon as I said I was writing a book,
you know, they said, oh, it's going to be a
tell all on my Riah Kerry always going to get
you know, do write a tell? I was like, bro,
there's different chapters about the twelve chapters, you know, it's
(01:44:43):
not even like that, Like it was just a story
about a kid from Santa Barbara write a dream that
made it, you know what I mean. Like, for instance,
my friend Pharaoh in the juvenile detention centers here in
Los Angeles during COVID, they gave my book to the
kids in the juvenile hall and then I went to
so to talk. I mean, I'm heavily involved in the
juvenile system, like I mean, I mean, I've been working
(01:45:05):
in gang intervention and the systems since Jim Brown, right,
you know what I mean. And Pharaoh, who happened to
be an intern for me at Baby Ree when he
was a kid it you know, now works in the system.
Speaker 4 (01:45:16):
For people who aren't aware. What was your relationship with
Mariah for the people who don't know, obviously outside of
working with her.
Speaker 3 (01:45:27):
Uh, that's an interesting question. We were.
Speaker 2 (01:45:35):
Anything that you could say happened, you know, whether it
be friendship, whether it be working, whether it was dating,
whatever the fuck it was.
Speaker 3 (01:45:43):
It all went down.
Speaker 2 (01:45:44):
Yeah, we were best friends and it turned into something
really cool that ended up being bullshit. I mean, I
started around the time of Glitter. I even introduced her
to eminem and went through all of that, and.
Speaker 3 (01:45:57):
She essentially went to working with her to get in romance.
Speaker 2 (01:46:00):
Everything we were in the hall, we were the best
friends that ended up in a and then we were
both being attacked from two different sides. And when I
chose to help her, I went against the system, the
Sony system to begin with, do you see what I'm saying.
So that's where a lot of the narrative of some
of the bullshit started. You know is when I the
(01:46:21):
first Okay, let me I'll tell you one Mariah Carey story.
The first time I went to dinner in New York
with Mariah Carey. I get a phone call from Steve
Stout and he was the president of Black music for Sony,
and he says, what are you doing in New York?
And I'm like, what are you talking about? Do you
having dinner with Mariah Carey right now? And I said, what,
(01:46:43):
how do you know that I'm in New York? And
how do you know who I'm having dinner with? He goes,
come next door, I want you to meet somebody?
Speaker 3 (01:46:49):
Said who?
Speaker 2 (01:46:50):
I walk in and Tommy Mottola is sitting there. The
first thing out of his mouth that says, so you
know my ex wife? I was like, yeah, he goes,
you fucking her? That's how that started. And if you
know me, you know that, like yo, I'm all about
the underdog.
Speaker 1 (01:47:08):
I helped the kids in the street.
Speaker 2 (01:47:10):
If I see somebody you know, first shot, you know,
I give them advice. I sit there and give up
free game all day on my Instagram. If I see
something wrong like that, and especially when it comes to
a woman and someone that is a kid a woman,
you know, an unfair advantage which I feel this music
business is. I sit there and I talk about it.
(01:47:31):
And that's how we became friends. And when glitter happened,
she said, look, I need you to help me fix this.
So I literally spent the next however long up to
we belong together, helping her rebuild that career. Now along
that path, we became best friends. Right, that turned into
(01:47:52):
something a little more right. It happens when you spend
twenty four hours a day and seven days a week
with a person like I would. If I was in
New York. I was staying at her house. Then I
go to hot I walked to hot in ninety seven.
You know what I'm saying. If she was in La
she say at the Beverly Hills Hotel, I stay with
her and go to work at Power when I was six,
you know what I'm saying. Like it just that's what
(01:48:13):
it was.
Speaker 3 (01:48:14):
What resulted in you guys parting, if you.
Speaker 2 (01:48:18):
Will, because I said I'm leaving. I'm going home to
Santa Barbara to take care of my grandmother. Yeah, and
I don't want to be in this situation anymore. Became
that was Look, I could not sit there and take
care of my grandma and also take care of the
highest maintenance artist in the world, and she could not
(01:48:41):
process that.
Speaker 1 (01:48:43):
And then everything became like, for.
Speaker 2 (01:48:45):
Instance, when I said I want to write a book,
I get a lawyer, a letter from her lawyer.
Speaker 3 (01:48:48):
I'm like, yeah, make sure, yeah yeah, and I'm.
Speaker 1 (01:48:51):
Like, I put it up.
Speaker 2 (01:48:52):
I thought it was a joke at first, so I
made it my MySpace fucking profile picture. And then I
find out she thinks that I'm going to go spill
her being means like you obviously didn't know me, bitch, right,
you know what I mean?
Speaker 1 (01:49:03):
Sorry, you know what I mean?
Speaker 2 (01:49:05):
Like you, I'm the best friend you've ever had, Like
I know what really happened, and I've kept all of you,
all of these people's secrets, and you're out there talking
shit about me.
Speaker 3 (01:49:15):
Bro.
Speaker 2 (01:49:16):
That's what I'm finding out now, because since I've been back,
I start hearing.
Speaker 1 (01:49:19):
All this shit. I'm like, oh, that's the narrative. Oh
that's what happened.
Speaker 2 (01:49:24):
Oh okay, Like I ain't like you, so I'm not
gonna go out there and start spilling shit. But when
I see you, let's see you try to say that
to me. You know what I'm saying. Let's see what
they say when I see you in your face because
the dog.
Speaker 3 (01:49:39):
Nah crazy.
Speaker 4 (01:49:40):
Well listen, man, you've had a I look forward to
see you obviously have had a legendary run.
Speaker 1 (01:49:45):
Sorry to get serious, I really but let me say this.
Speaker 2 (01:49:49):
When I had breakfast with Big Boy when I first
came back, and I love big You know what I'm saying,
because great guy, greatest guy on the planet. And when
I came back, you know, kool Aid is the first
person I sat down with and I was in an
emotional director. She said, you just got to keep showing up,
keep showing up, just go, just work, do something, and
she got me off the couch.
Speaker 1 (01:50:09):
I went and saw a.
Speaker 2 (01:50:10):
Big Boy and Big Boy brought you up, like literally
two seconds after.
Speaker 1 (01:50:15):
It was high.
Speaker 3 (01:50:16):
How you're doing and stuff.
Speaker 1 (01:50:16):
Your biggest fan is big Boy, big Man and so
and I love.
Speaker 2 (01:50:20):
What you're doing. I watch what you're doing, yo, dude,
you're doing it right.
Speaker 3 (01:50:25):
Appreciate it, buddy, Thank you.
Speaker 1 (01:50:26):
And I love the syndication stuff you're doing.
Speaker 3 (01:50:29):
I love all of it.
Speaker 2 (01:50:30):
And you have a and from the people that I
run into, you're doing it right.
Speaker 3 (01:50:34):
I appreciate it. Man.
Speaker 4 (01:50:35):
Trying all of.
Speaker 2 (01:50:36):
These other places and some podcasts and stuff. They have
the internal stuff whatever whatever. You always keep it clean
and I appreciate it. What you're doing for hip hop,
I appreciate well.
Speaker 3 (01:50:45):
I appreciate you man. Thank you for pulling up and.
Speaker 1 (01:50:47):
Sharing it, and thank you for what you did for
my little brother.
Speaker 2 (01:50:50):
Yeah, because my grandma and BAM's or my grandma and
Whino and sweet Pea is the little doggie is happy
as shita.
Speaker 3 (01:51:00):
Know what I mean.
Speaker 1 (01:51:02):
Yeah, big bands and big skips.
Speaker 4 (01:51:04):
We'll look be on the lookout for your summit obviously
if you're not following this guy with your igs with people,
because you've you've been giving out a lot of dope
game on online.
Speaker 2 (01:51:13):
At the Mizza on Instagram, Uh the Mizza Presents on
on YouTube and.
Speaker 3 (01:51:20):
At the Mizza on Twitter or Shade Tristet no idea.
Speaker 2 (01:51:24):
At some point, you know, when I did it was
funny when we did what would you Do? That's where
the split was when we did what would you Do? Uh,
he did not like that song. He said, I said,
it's Mariah Carry and Nate Dog. You know, you know,
when we were talking about another artist and substances and stuff,
like that. I think at that point in his life,
(01:51:45):
you know, there was some stuff going on and he
said I don't like that song, and I was like,
he goes, you write it, I'll do it.
Speaker 3 (01:51:51):
I was like, all right, So I wrote what would
you do?
Speaker 1 (01:51:54):
Right?
Speaker 3 (01:51:54):
Crazy?
Speaker 1 (01:51:55):
I laid the reference vocal.
Speaker 2 (01:51:56):
He said, I'll do the third verse, you stay on
the first verse and whatever.
Speaker 1 (01:52:00):
So that's me rapping what.
Speaker 3 (01:52:01):
Would you do? That's fucking crazy and.
Speaker 2 (01:52:04):
Cruising and well, forget it, crazy man.
Speaker 3 (01:52:09):
Last question, just random?
Speaker 2 (01:52:11):
Was there a few records I wrote that nobody knows
for a lot of artists during that era?
Speaker 3 (01:52:16):
That's crazy.
Speaker 4 (01:52:18):
Who's the biggest what if could have? Should have would
have been artist? In your opinion?
Speaker 3 (01:52:24):
What do you mean?
Speaker 4 (01:52:25):
Like, which artist do you feel like had everything that
it took to be just massive but either got in
their own way or shit got cut sure or.
Speaker 3 (01:52:34):
I'd never put someone on blasts like that.
Speaker 4 (01:52:37):
I'm not about put somebody on blasts, like you know,
I think to myself, like, you know, I just you know,
but there's there's artists like in my like not even
like necess I will I'll take out there, you know
what I was talking about this, I'll take out the
narrative of getting in their own way as hard as
you think should have been bigger.
Speaker 2 (01:52:49):
Okay, Nate Dog rest in peace because if he had lived,
none of this ship would be happening.
Speaker 3 (01:52:56):
Yeah.
Speaker 1 (01:52:57):
And Andhale, his son is a fucking beast.
Speaker 2 (01:53:00):
Yeah yeah, Nay, I mean shit, dude, Nige is a beast.
Speaker 4 (01:53:04):
Yeah, Loson, Nate Dog just changed like what a lot
of people's radio records would sound like for years.
Speaker 1 (01:53:11):
And I don't hear it enough. Nate Dog rest in peace.
And I love you.
Speaker 3 (01:53:14):
Yeah. Shout out to Dimiss.
Speaker 4 (01:53:15):
Appreciate you man, Thank you, sir, Yes, sir, Fire, thanks you.
Speaker 3 (01:53:19):
Boom
Y'all. What up, It's Tomizza.
Speaker 2 (00:01):
Check me out on the Bootleg Cab podcast.
Speaker 3 (00:04):
That right, Hey Boulet Cab Podcast.
Speaker 4 (00:10):
Man special guests here a legend in the game, Domizza
aka Damien Young.
Speaker 2 (00:17):
Legend in my own mind. Welcome, Thank you, sir. I
appreciate you having me.
Speaker 3 (00:22):
Man.
Speaker 4 (00:22):
You know what's crazy is like as a kid, I
knew your name. I wasn't in radio as a kid, obviously,
so I didn't know that you were the program director
of Power six.
Speaker 2 (00:34):
Well, you know, that's actually kind of a it's interesting
because I was the senior director of programming.
Speaker 3 (00:39):
Okay, Yeah, what were you doing at Power to six?
And what years?
Speaker 4 (00:41):
Because I just remember you from the shade shie shit.
Speaker 1 (00:43):
Okay, Well it's actually a little longer story.
Speaker 2 (00:46):
Yeah, I okay, I was doing I was in Santa
Barbara doing alternative radio.
Speaker 3 (00:51):
Okay.
Speaker 2 (00:51):
I started twelve years old under Michael Newman and Steve Smith.
Ye rest p Steve Smith, Yes, rest in peace.
Speaker 1 (00:57):
Big dog Steve Smith.
Speaker 2 (00:59):
And they were the local program director of music directors.
So I would just call up and bug Michael Newman,
who was the night jock. I just call and a
fan wanted to win stuff and stuff, and finally I
became his intern, and at seventeen, I became the program
director of that radio station Jesus and I broke a
(01:19):
group called Garbage.
Speaker 3 (01:21):
Shout to Garbage.
Speaker 2 (01:22):
Yeah, Garbage was dope chicks, Yeah, Shirley Manson Syns. And
you know when what I noticed was is the producer,
you know, Butch Vig, who did Nevermind for Nirvana and
then Smashing Pumpkin Siamese Dream. I said, well, wait a minute,
if he just did those records, then this little demo
(01:42):
that I got from Almo Sounds that just said produced
by Butch Vig, it means it's probably going to be
pretty big, right, you know what I mean? Yeah, So
I was like, okay, well, and that's the first time
I realized, okay, so producers.
Speaker 1 (01:55):
You know what I mean. That's when it clicked about producers.
Speaker 2 (01:58):
So I was like, okay, well, well I'm gonna take
three songs off that album. You'll start playing them, right,
you know what I mean? And so the label was like, yo,
you broke Garbage. So when they blew up and they
went platinum, they said, well, we owe you a favor.
What do you want you want to do? Like a Flyaway.
You know, they're doing the Weenie Roast, They're going on
tourards Smashing Pumpkins. You know, you want to do something.
(02:19):
I said, no, I want them to come to Santa
Barbara and do this two hundred person club. And they said,
I don't think you heard us. They went platinum. They're
going on tour with Smashing Pumpkins and they're doing that.
And I said, well, I guess you guys aren't. Your
word doesn't mean anything. And they were like, so they
called Butch Big and they said, there's this like seventeen
(02:41):
year old, eighteen year old program director in Santa Barbara Broke,
you know, the records and all this kind of stuff,
because even like Kevin Weatherley at k Rock and all
those guys would drive to Santa Barbara, right, and they'd
hear this alternative station and they'd hear these records, and
you know, I'd be pulling, like when i'd go to
London or something. I'd hear like pennies, ever, my pennies
from Smashing Pumpkins.
Speaker 1 (03:02):
It was like an import.
Speaker 2 (03:03):
And then I'd make it a current on our station
as exclusive content, and everybody would be like, where the
hell is he finding these records and doing stuff like that.
So that's also where I learned about exclusive content. You know,
investing in artists early and having exclusive content was like
the key.
Speaker 4 (03:20):
Especially back then because radio was like, really were you
that's where you heard stuff first? Yeah, there was no internet,
there's no Yeah it was yeah, it was what it
was like. You read about it in the source, and
then you heard about it on the radio, you saw
it on BT.
Speaker 2 (03:35):
You know, it was nuts. So anyways, Butch Figg said, well,
did you make the promise? And the rep said yes,
And I said, well, I guess the one day off
that we have between the Winnie Roast and the Smashing
Pumpkins tour, we're doing a show in Santa Barbara. So
the whole industry was like, how did this seventeen year old,
(03:56):
you know get a platinum approaching double Butch vig in
a two hundred seat club that's sold out in half
a minute, and the streets flooded, and you know, all
of this news press and all this.
Speaker 1 (04:08):
So Bruce Saint James came to that show.
Speaker 3 (04:11):
Bruce is who was my first p PD ever.
Speaker 2 (04:14):
Oh wow, I love Bruce Saint James. Hell well, he
got me my job at Power. So I saw Bruce
there and I said, look, I you know, I love
all well. I had to do alternative because it was
a rock town. I wanted to do hip hop first, right,
but they said that's just not going to work. And
even in LA when we wanted to switch to doing
(04:34):
you know, West Coast s rap. I mean, you have
to remember when I got to Power, they were playing
everything from boys to Men one second, then Mob Deep,
then Already the One Man Party, then you know, Richard
Humpty vision for one show, shout out with Richard Humpty vision,
my dog, bad Boy Bill, all of them. So they said,
all we have is this Sunday night coach to Coast
(04:56):
show boardop position and I was like, great, I'll take it.
And they're like, so wait a minute, let me get
this straight. You're programming two stations in Santa Barbara, but
you want to come and board up on Sunday nights
at Power and I six, I said, look, I'll sweep
the damn floors, like whatever you want me to do, whatever, whatever.
So I walk in to board op for this show
(05:17):
and there's Curtis Blow.
Speaker 3 (05:19):
Oh shit, and I was like, so, what year is this.
Speaker 1 (05:25):
This is God ninety five ninety six.
Speaker 2 (05:28):
So Curtis saw how nervous I was and stuff, and
he was like, look, just don't mess up, and I
will tell you a story of hip hop every night
after the show. And I was like kid in a
candy store. So fast forward about a year Curtis leaves.
The next one to come in to do that show
is Iced Tea Crazy. His engineer for like Rickochet and
(05:49):
all that was this guy named Vachek where when I
was like fourteen, I wanted to be a rapper. So
I was working in Burbank at the studio called Malagro,
and the back of that studio was a studio called
back Room where battle Cat was working and he was
doing stuff like Quote and Tom Jones and all this
kind of stuff. So like, you know, and this is
(06:10):
why I say about mentorship. You know, this is where
I learned mentorship from is because there was this one
night where battle.
Speaker 1 (06:16):
Cat erased all of his sounds.
Speaker 2 (06:19):
You know, He's in the back and he's like I
just lost every sound I ever made, you know, flipping out,
And here comes this little kid wanting to be a
rapper with white kid from Santa Barbara. You know and says, hey,
but what was that guitar song sound you used on quote?
Oh well, wait a minute, Michael Jackson sent over the
tape and dah da da da da and totally stops
(06:39):
all of it and takes the time to tell this kid,
you know some game, right, And I'm like, click another
one about mentorship Steve Smith, Michael Newman, Battlecat.
Speaker 1 (06:49):
You know that's okay. You know that's how that works,
you know what I mean.
Speaker 2 (06:53):
Like, and seeing interviews with Michael Jackson was saying, like,
you know where I come from, in the school I
come from. If you know, a kid comes up and says,
that's a night shirt, you take it off and you
hand it to him, right, you know what I mean? Like,
that's the the artist and mentorship school that I came
up in, you know what I mean. So anyways, Ice
Tea does the same thing vod check. Like what I
(07:14):
was saying about vod Check is the engineer happened to be,
you know, the Iced Tea's engineer.
Speaker 1 (07:19):
So when I.
Speaker 2 (07:20):
Saw ic T the first time, I said, oh, I
know Vacheck. Then we started talking and you know, blah
blah blah blah blah.
Speaker 1 (07:26):
So Ice T started teaching me. Well, Bruce gets ready
to leave.
Speaker 2 (07:29):
Power one o six to go to KKFAR, to go
to KKFR as the PD, and he says to Michelle Mercer,
you might want to talk to that kid from Santa Barbara.
You know, I saw him at this garbage show. I
think he might have you know whatever, whatever, So shout
out to Bruce Saint James.
Speaker 1 (07:44):
He got me my job at powerwin six.
Speaker 3 (07:46):
Crazy.
Speaker 2 (07:46):
So then I became the music director at Powerwino six.
Speaker 3 (07:50):
So you were the MD. Who is the PD, Jimmy Steele.
Speaker 2 (07:53):
No, Michelle mercerche Mercer comings had just left and Michelle
Mercer was the PD.
Speaker 3 (08:00):
So what's it like?
Speaker 4 (08:00):
Because I feel like people don't really grasp like radio
obviously nowadays is a whole different ballgame, but in the nineties,
like doing hip hop radio a Power one oh six,
like that had to be like just the politics you
had to deal with.
Speaker 3 (08:15):
Dude.
Speaker 2 (08:16):
When I walked in the first time, the first people
that I met was like Chalk and c minus shout
the fucking all mighty freaking roughnecks. Yeah, the Baker Boys,
you know what I mean, shout out Nick and Eric,
I mean all of it, because these were the guys that, like,
I mean, I grew I used to be that kid
that would drive up just far enough to listen to
Kdam you know, and Julio G shout out Tony G
(08:39):
and the original mixmasters. I mean that was what I
would do, you know what I mean. I was such
a fan of it, you know. And then when Michelle
and even the Beat and Easy and Julio and recipes
ez and and Westside Radio and you know, just all
of that stuff and those icons.
Speaker 1 (08:55):
That's what I grew up on.
Speaker 3 (08:57):
So you're the music director for how long? Well?
Speaker 1 (09:01):
Well, uh.
Speaker 2 (09:03):
Well, the format of the station when we first started
wasn't hip hop.
Speaker 3 (09:08):
It was just you know, I mean, it was doing this.
Speaker 2 (09:12):
It was it was yeah, chr kind of but it
was like already the one man Party, the Voice to
Men and Mob Deep and you know, it's kind of
all over the place. And I was like, we need
to go straight West Coast Kankster Rep. That's what we
need to do. And they told me you're fucking crazy,
you know what I mean. They just I was like, dude,
I want to put eight No Fun in Morning Drive.
(09:33):
And they were like, dude, what about all about you?
What about life goes on? What about you know, all
of these records that I knew were huge in the
street because you have to remember, I started off as
a DJ. I started off, you know, my first job
at Khduy and Santa Barbara after being an intern.
Speaker 1 (09:49):
Was the night jock.
Speaker 2 (09:50):
So I'm going to high school, you know what I mean,
as the night jock programming my own show Crazy. So
I knew what the streets were listening. Plus all of
my friends, you know, growing up in Santa Barbara.
Speaker 3 (10:01):
You know, yeah, I'm.
Speaker 2 (10:02):
White, but you know, it was basically identifying as young Mexican,
you know what I mean, Like it was just that
was all my friends.
Speaker 3 (10:12):
So growing up, you know.
Speaker 2 (10:14):
The first tape I heard, you know that blew my
mind was Gangster Gangster, you know what I mean.
Speaker 3 (10:20):
And I an.
Speaker 2 (10:21):
Easy ease, So I stole that tape, you know what
I mean, And that's what my friends were listening to.
Speaker 1 (10:26):
So when I got to Power, that was my mission.
Speaker 2 (10:29):
It was like, We're going to make West Coast rap
the number one format in the world. And they said
that just won't happen.
Speaker 4 (10:35):
So this is around the time of ninety seven, So
ninety seven, so this is I mean, this is.
Speaker 3 (10:43):
Pocking big ee past.
Speaker 1 (10:46):
No, no, okay. So when I'm in Santa.
Speaker 3 (10:48):
Barbara, because that was a Biggie died what March ninety seven.
Speaker 2 (10:51):
Biggie was sitting in my office the morning before he died.
What he had done a radio run and he literally.
Speaker 4 (10:57):
Because we always see like that legendary cameo stuff he had.
So then he obviously he was in La.
Speaker 2 (11:03):
Yeah, so he went to the Baker Boys show and
he was on crutches because you know, he'd gotten out
the car accident, was seized. And what we actually what
happened was is he did the beating. He played Bone
Thugs in Harmony and I heard it the night before
and yeah, and I flipped and I called Puffy and
I was like, bro, I was like, Homie, One, bone
(11:26):
Thugs in Harmony is a power one on six artists
and two we got the Baker Boys, So what are
you doing? And he goes, we'll be there tomorrow morning, miss,
And that was that, you know what I mean. So
he came on and he played like hypnotized notorious thugs,
kicking the doors break. He was just playing all of them, so,
(11:48):
I mean, it was like crazy. And then he comes
down the thing and he's on his crutches and he
looks in the thing and this is the second time
I met him, because we had a show at the
Palace in Hollywood the night before. And I don't think
you know, Snoop doesn't get enough credit for trying to
kill the East West Beef. I mean literally, the night
that we had this show at the Palace, Biggie's on
(12:10):
stage in the middle of all of this stuff.
Speaker 1 (12:13):
He just got booted the Source rewards.
Speaker 2 (12:15):
I had the dog Pound on stage and I'm like, yo,
guys stop by and they're like, I don't know, you know,
it's a little hot, and I'm like, dude, I.
Speaker 1 (12:23):
Got this, just come come.
Speaker 2 (12:25):
Biggie gets out of the car, you know, Puffy Mace,
all of them get out of the car and they
come out, and I'm like, this is Snoop, this is
Da Da Da. And I start realizing, like by just
introducing everybody and everybody's gonna be cool. We had ice
q Dare. We have all these people there, so I'm
introducing everybody. Everybody's cool. Biggie goes out on stage. I
go to e man heye with the bigs on stage.
(12:45):
He's like, do not even bring any records. I didn't
think he was gonna show. So he just plays crush
on you, and Big does what he wrote for Little Kim,
you know what I mean, stuff like that, and Snoop
comes out in the back and just starts dancing, and
I'm like.
Speaker 1 (13:02):
He's West Beef.
Speaker 2 (13:03):
What this is in the middle of the beef, in
the middle of all of it, Yeah, you know what
I mean. And I had met Pac before that, and
you know, I mean when I was doing Alternative. You know,
they had they'd have these after the Grammys, you know
they have those parties and stuff like that. Well, they
MCA had one at the Four Seasons. It's a famous
one where PUC was in the versace with kiss and
(13:23):
all that. And afterwards they came to the Four Seasons,
well Sugar Night and Pock and everybody comes running in.
Everybody hits the walls. But I'm like, fuck, that's pucking sug.
So I just walk up and I'm like, hey, Poc,
nice to meet you. Should He's like, He's like, nice
to meet you. He said, I love the new album.
And it goes from this happy to the album doesn't
come out till Monday, how the hell.
Speaker 3 (13:45):
Did you get it?
Speaker 1 (13:46):
And I was like what, and he goes, how did
you get my album?
Speaker 3 (13:52):
Sug?
Speaker 1 (13:53):
Somebody got the album before release?
Speaker 4 (13:56):
Well, then you had you had to explain I'm a
radio guy labels hit, so I'm like, I'm an alternative
radio so they know we're not going to play it.
Speaker 1 (14:04):
They sent it to me on the Friday before the release.
Speaker 2 (14:07):
Day and she goes a hah ha and just turns
around and Pop goes, what's your favorite song?
Speaker 3 (14:14):
And I go, oh, song, this too.
Speaker 2 (14:16):
A million pair of eyes, look your heart. And he
finishes the same with me and slaps my hand and.
Speaker 1 (14:22):
Goes to Jimmy.
Speaker 3 (14:23):
Snoop, did you meet so and So?
Speaker 2 (14:24):
You met Nate, you met Da Da Da da mc hammer?
I was like EMC hammer with you guys. Yeah, you
know what it was like hip hop fan overload, you.
Speaker 3 (14:34):
Know what I mean, Like nobody's interesting you.
Speaker 4 (14:36):
I'm gonna go back to the show that like, imagine
if Instagram existed then and you would see Snoop dance.
Speaker 3 (14:46):
On stage with Biggie.
Speaker 1 (14:48):
Yeah, but that was a moment. That's a moment. So
while Snoop's there, I say.
Speaker 4 (14:52):
I'm assuming that this show transpired after Pop died.
Speaker 2 (14:58):
Yes, yes, yes, this is probably around February and March
ninety seven.
Speaker 4 (15:03):
Right, so this is okay?
Speaker 3 (15:04):
It was It was.
Speaker 1 (15:05):
It was March sixth, fifth, ninety seven, was just a.
Speaker 2 (15:11):
Four days before three four Big was gone. So he
was doing that radio run or whatever, and he came in.
He just sat down, and then Nick and Eric come
in and go, we need him to record a freestyle.
And I was like oh, and he's like, oh man,
my legs, damn.
Speaker 1 (15:26):
Can I just sit here for a little while?
Speaker 2 (15:28):
And I was, and Nick and Eric go, look, why
don't you record it when he gets when he feels
like it and whatever whatever. So Big sitting there, he
looks over and he just says, God, I love being
in California. And I'm like what and he goes the
women the weed. He goes, man, I just got I'm
going home soon. I just got good with faith again.
(15:48):
I'm gonna go see my daughter, you know, man. I
just man, I love it. And we just sat there
and we talked for like thirty minutes just about all this,
and he's like, all right, man, let's go do this Dame.
And I was like all right, cool, So we go
in there and I go, do you need a piece
of paper? And he goes, nah, I write everything in
my head right, And I was like what and he goes,
(16:10):
I'll just do the verse from Victory. He goes, pop
album coming out, I wrote some stuff. I'll just do
the verse from Victory, and I was like, all right.
Speaker 1 (16:17):
Cool.
Speaker 2 (16:17):
So I'm sitting there and he goes in the booth.
He's like, yeah, one, two, and two. Put the headphones on.
I'm watching this icon wrap and I'm just going like yo,
and he's like, so what you think of that? And
I'm just like, oh, yeah, great, great.
Speaker 3 (16:32):
You know.
Speaker 2 (16:32):
It's like he goes, you need me to run it again?
Da da da da da. I'm like cool. He's like
not cool, left and whatever whatever.
Speaker 1 (16:38):
So E won. The next night I was I went
I was going.
Speaker 2 (16:41):
To the Outcast party because Outcasts had just gone platinum
or whatever it was with at Aliens or something yeah
or our Quaminin or whatever.
Speaker 3 (16:51):
Or whatever.
Speaker 2 (16:51):
So I love those guys and shout out good kept goodie.
But anyways, so I go home to bed because they
didn't let me into the Roxbury because I had tennis
shoes on and blue jeans and I didn't even know
about the Quincy Jones party, you know what I mean,
the Peterson autun Museum party. I was just like, well,
I knew, but I was like, look, if they're not
(17:14):
gonna let me into this, I'm sure it's I'm not
going to get into that. So I just went home
and went to sleep, and about twelve thirty one calls
me up. Shout out he one mad pro and nerve
and all of that. He calls me up and he goes,
they got Big and I was like what And he goes,
they got big and I'm like, what are you talking about?
I hear Puffy wailing in the background. He goes, I'm
at the hospital. Puffy's on the phone with Biggie's mother
(17:35):
right now telling him that. And I was like, wait,
don't tell me. And he goes, Big is dead, and
I was like, what just happened? The dude was just
like here. And that was like, you know, meeting Pac
and then Poc dying and then seeing Big and then
(17:57):
Big dying.
Speaker 3 (17:58):
It was like.
Speaker 1 (18:01):
What's going on? Like right, wow?
Speaker 2 (18:06):
And that was kind of how I my introduction to
what was happening in the street and Death Row.
Speaker 1 (18:14):
And Sugar Night.
Speaker 3 (18:17):
So I gotta ask you because.
Speaker 1 (18:20):
There's a lot.
Speaker 4 (18:22):
Well, I'm curious because you would always hear that, like
you know, the magazines where radio hosts were adding gasoline
to the beef. But you always would hear about like
it on the hot ninety seven side. I never really
heard of like the Baker Boys or anybody like stirring
up the East Coast West coast beef. What was like
(18:43):
the temperature like after Pop dies, You're obviously in there, biggies,
Biggies thriving, He's about to put out, you know, life
after death. And what was the temperature like being at
the radio station it's the hip hop station quote unquote
in La during that.
Speaker 1 (19:01):
How I tell you why that started.
Speaker 2 (19:03):
I'll tell you why that started on a radio sign
because power one oh six was breaking. All these East
Coast writers and the artists were going back to ninety
seven saying, what the fuck? Biggie was broken in Los Angeles,
Puffy was broken, but in Los Angeles, Mace was broken
in Los Angeles, Big Pun was brest in Peace was
broken in Los Angeles. I mean, you have to remember,
(19:24):
Steve Rifkin comes in my office, puts in a tape
of the video of I'm Not a Player by Big
pun Right, and I go, oh, that's dope.
Speaker 3 (19:31):
Hold on a second. I popped the VHS tape out.
Speaker 2 (19:34):
I walk in the production room and take it from
the VHS tape, put it on a CD. I walk
on in the air and I sit handed to them
and say play this next. I come back in hand
him his video tape and he's like, what did you
just do?
Speaker 3 (19:46):
And I'm like, oh, nothing, you know, just chilling. That
song ends.
Speaker 2 (19:50):
All of a sudden, not a Player comes on and
Steve's like, well, are you playing that on the radio
And I'm like, yeah, dope song. He goes, dude, we
don't have CDs press yet nine seven. I haven't even
played it for UD.
Speaker 3 (20:02):
Yeah, yeah, you know what I mean.
Speaker 2 (20:04):
So what do you think? You know what I mean?
And then you know, like what Josh said, and I
love John IRV. And why I love them so much
is even when my own coast forgot about me, no
matter what, Jah and IRV would always, no matter what
they were doing any other you know, breakfast club or
or drank champs or anything, they'd be like, I got
(20:28):
broken on the West Coast, you know what I mean,
Like at New York with me brought Halla Holla and
can I Get It and all of that stuff to
to thank you Damien, you know what I mean. And
jay Z and all of them was like his first
like solo, well know it how many what it was?
Speaker 4 (20:46):
Oh well, I meant to my actual hit that I
kind of like, you know, broke through as like a
But we tried.
Speaker 2 (20:52):
With hallahala first because you have to remember IRV produced
Hotspot for Foxy Brown.
Speaker 1 (20:57):
Then he did can I Get a?
Speaker 2 (20:59):
So Jay Brown brought and brought me Dame Dash and
jay Z and we tried like five singles on jay
Z before some cart before Hard Knock Life, you know
what I'm saying, Like and it would it got to
the point where Def Jam was talking about not renewing
his budget and you.
Speaker 4 (21:16):
Know, well yeah, because like Volume one was like you know,
but there was a lot of records and big videos
that got shot like a.
Speaker 2 (21:22):
Sunshine shine his mind and I mean who he wit
and none of those like really hit, none of the
real we tried on the radio, every single one of them.
It didn't work, you know what I mean. So there
was a lot of that, but you know.
Speaker 4 (21:35):
Those were the days that like you went into the
studio because you were making a radio record, and the
money that you put into that radio record and the video.
Speaker 3 (21:44):
It was substantial. Well for the investment probably had to
be so crazy.
Speaker 1 (21:49):
And they literally said, we're not going to renew his budget. Yeah,
you know. But then IRV pops up with a soundtrack record.
Speaker 4 (21:55):
Can I get on a Nutty Professor?
Speaker 3 (21:57):
Yeah?
Speaker 2 (21:58):
I think I don't remember, but Brettner was also managing.
Speaker 4 (22:01):
No, no, no, no, no. Can I get a eight?
Speaker 5 (22:03):
No?
Speaker 2 (22:04):
Was a.
Speaker 3 (22:06):
Eight? I don't remember? Was on Nutty Professors?
Speaker 1 (22:08):
Plenty? Yeah, I think it was Plenty sound Truck.
Speaker 3 (22:11):
Yeah, yeah A no was?
Speaker 4 (22:12):
Uh was on Nutty Professor? Which and that was which
was before volume.
Speaker 1 (22:17):
One, which I think was Quest, which was Jay Brown.
Speaker 3 (22:20):
Yeah.
Speaker 2 (22:21):
So anyways, so Jay Brown keeps asking me to keep
investing in this artist because he really believes in him, and.
Speaker 3 (22:27):
It's Jay Z.
Speaker 2 (22:28):
So he comes with can I get it? Can I
get a? Does great for radio? Another record broke on
the West Coast? You know what I'm saying, Like through
a meeting IRV, you know what I'm saying. Then Jermaine
comes along, does money Ain't a Thing? And all of
these records and you know, all of that kind of stuff,
and Jay builds brand all of this kind of stuff,
(22:50):
does Hard Knock Life. Steve Smith comes in to me
because now Michelle Mercer is gone, It's just me. And
he goes, wait a minute, you're that twelve year old
that I helped in Santa Barbara and Michael and I
still have a consultancy. I'm still running Hot ninety seven.
I got thirty two stations in the middle. Tell you
(23:11):
what you know you're doing all this crazy promotions and
Hawaii stuff and all this crazy stuff. He goes, I'll
tell you what. Work with Michael on the consultancy. I'll
give you Power one o six. You do whatever you
want with Power one oh six, and I'll work on
Hot ninety seven. Just help me with the consultancy with Michael.
So I would literally do the conference calls for the
(23:32):
thirty two stations with them and Steve and Michael and
all this kind of stuff. So Steve on the conference
call says, Jay Z's Hard Knock Life is not getting
any research, pull it across the country, and I can't
say anything outshine the master on the you know what
I mean? On the call and say, wait a minute, Steve,
(23:53):
you know, da da da da da, because you know,
I'm not gonna ever disrespect my boss, you know what
I mean. Like, So after the call, I go running
into his office and say, Yo, it's number fifteen in
Los Angeles. You know we're starting to get call out
and we're two weeks ahead of New York, right, so
give it a second, bro. So literally made him get
on with every single program directory hold off and say
(24:15):
hold off, give it two more weeks, that hard Knock
Life record, give it two more weeks, and that shit popped,
you know what I'm saying. So then I start seeing
all this and I'm like, at the time, I had
met Mariah Carey and there was all that crap going on.
Speaker 1 (24:30):
So I'm like, you know what.
Speaker 3 (24:31):
What's all that crap going on? Well, she was.
Speaker 1 (24:33):
Coming off with Sony, Okay, you know what I mean.
Speaker 2 (24:36):
And you know, Tommy Mottola was her husband, and you know,
when you're a star of that stature and you're also
going to be a free agent and a record you know,
and okay, so let me rewind. So Mariah Carey goes
to release Honey right, and it wasn't a power one
of six record. We're a rap station, now, you know,
(24:57):
I'd successfully like, for instance, they ain't no fun.
Speaker 3 (25:01):
Stuff till the remix comes.
Speaker 2 (25:02):
Well, okay, So what happened was what had happened was
is ain't no fun and stuff like that. They told me,
if I put those in our research and stuff like that,
the auditorium testing, which is how radio stations decide what
they're going to play as the recurrents and the gold
records and the oldies and all of that, they said,
(25:22):
if I put ain't no fun in those records, they
just fire me, you know what I mean, because they
were never.
Speaker 3 (25:27):
Going to play ain't no fun in those kind of
records or more, which is.
Speaker 4 (25:29):
Crazy because it's fucking by ninety seven that's a classic,
but not on.
Speaker 3 (25:33):
The radio three.
Speaker 2 (25:34):
But they were never radio records. So you got to
remember radio. The way that it was driven back then
is if it was not played as a radio or
sent out as a single, then a radio station would
not play it.
Speaker 3 (25:49):
Do you know what I mean?
Speaker 1 (25:50):
You weren't playing just cuts because you wanted.
Speaker 3 (25:52):
To write like I like track seven.
Speaker 2 (25:55):
But that's what made me famous in Santa Barbara, is
that you were pulling as an alternative was such a
young format that we had a huge gold base of
David Bowie and all these kind of things, but we
didn't have many new records, you know what I mean.
So if something like Nirvana came out, I take four
cuts off the album playing his currents, and then slowly,
(26:16):
you know what I mean, run through them and literally
decide the singles basically for the labels, you know what
I mean.
Speaker 1 (26:22):
And that's what I did with Power Is.
Speaker 2 (26:24):
I took album orientated rock and said, let's make it
album orientated rock, but let's put a gangster twist on it.
So that show with Biggie, I asked Snoop to come
to weekends on Power one six.
Speaker 4 (26:40):
Had his radio show what was it called? I remember
it was on in Phoenix for a little bit.
Speaker 3 (26:45):
Well this is before that, this is before all of that.
Speaker 2 (26:48):
So Fuzzy was Fuzzy wanted to do a show called
Curb Serving Shout Out Fuzzy Shot, which connected us to
Snoop Dogg. You know, because if it wasn't for Fuzzy
introducing Snoop dog and bringing him to that show at
the Palace, then none of it would have happened.
Speaker 3 (27:06):
Crazy, you know, that's I just raised with him. A
couple of weeks ago. He brought he brought the dog
Pound up here. Yeah, I love I love Fuzzy. Yeah.
Speaker 2 (27:13):
And so Fuzzy had this idea for Curb Serving, and
everybody was like that West Coast gangster raps. I was like, well,
what about right after Friday Night Flavors, you know, so
it's like twelve o'clock, win o'clock at night, you.
Speaker 1 (27:25):
Know, give him the shot and see what happened.
Speaker 2 (27:27):
But we would get all of this exclusive content out
of those shows Friday Night Flavors, and you know, Curb Serving,
we would get like mid Night.
Speaker 1 (27:35):
He'd bring me Midnight Love.
Speaker 2 (27:37):
You know, they had Snoop and and Raphael Sidiq and
you know, all of this kind of stuff. And I'd
play him as currents, you know what I mean. They
bring him to me and I'd be like, oh, let's
let's play that as a current. So Snoop starts hearing
this stuff, you know, like what are these guys doing?
So I was like, yo, want to meet you know,
da da da da come work for us, and and
we put him on Saturdays.
Speaker 3 (27:58):
You know.
Speaker 2 (27:58):
I saw him at that show and I said, what's
going on? It's like I just got off death row.
They cut off my stipend.
Speaker 4 (28:03):
D H yeah, yeah, because that was kind of like right,
rough no limit shit happened, and.
Speaker 2 (28:08):
I'm like, dude, well, why don't you come to work
for us a power and say you can players?
Speaker 3 (28:12):
What was?
Speaker 4 (28:12):
What was like, what is the paycheck for Snoop Dogg
to do radio show in ninety si dollars an hour?
Speaker 3 (28:17):
Fifty dollars an hour?
Speaker 2 (28:18):
I mean he literally came and filled out the application
and did it.
Speaker 1 (28:22):
But it was fifty dollars an hour?
Speaker 3 (28:23):
And he it was this was a two hour specialty
show or was it? Was it longer? I was I
think for two four, two to four whatever it was?
And who was programming the music? Was Snoop or was
it you?
Speaker 1 (28:33):
He was he'll do whatever he wanted.
Speaker 3 (28:35):
So would he submit the song?
Speaker 1 (28:36):
Jeff Garcia? And you know the Flavor Unit Junior?
Speaker 3 (28:40):
So who was editing the songs that Snoop? And bring
in Jeff Garcia? So Jeff was was was?
Speaker 1 (28:45):
I love Jeff? Jeff's my guy?
Speaker 3 (28:47):
Great?
Speaker 2 (28:47):
So we thought who would be the best producer for
Snoop show? The first time we heard it, We're like,
we need to have Jeff Garcia do this because Jeff
is literally.
Speaker 3 (28:56):
The producer period.
Speaker 2 (28:58):
It's bar nothing, yes, who then became our production director.
Speaker 4 (29:02):
But if Cruse ever in him, ever break up, I'm
taking Jeff.
Speaker 2 (29:05):
And I love Chris, I love Jeff Man, but Jeff
is well. But he made that show work, you know
what I'm saying. And I mean, so Snoops in there
have funny story. So Snoop's in there working one day
and I walk in and I'm like, so, what's up
with you?
Speaker 3 (29:23):
Dry?
Speaker 1 (29:23):
You know what's going on?
Speaker 2 (29:25):
And he's like, oh, I just ain't talk to him
and and all this kind of stuff. Okay, So master
P had been coming by the station like every morning,
you know, trying to get No Limit records on Power
one O six, And he says to me, He's like, hey,
Snoops doing weekends. And I said, yeah, what's he doing right?
And I'm like, you know whatever, whatever he goes, I
(29:45):
heard that song. I heard that song. I guess Snoop
runs into mystical or something like that. And then you know,
he Masterpiece says, let me get the hotline number. No,
let me get the hotline number so I can call
the DJs and I want to talk to now.
Speaker 4 (30:00):
When you say the hotline number, are talking about like
the number the back door.
Speaker 1 (30:05):
Because you know what's so crazy.
Speaker 4 (30:06):
About the hotline? There's the warm line and then there's not.
Speaker 2 (30:08):
Let me tell you about master P. Master P when
he wants something like he would show up literally every
morning to Power one O six. Like when I got
to work, he'd be in the lobby. Dame, I got
this record, what about this one?
Speaker 3 (30:22):
Dame?
Speaker 2 (30:23):
I got to go to the studio, come back, Dame,
I got this record? What about it?
Speaker 3 (30:26):
Like?
Speaker 2 (30:26):
His goal was to get a record on powerwe six.
It got to the point where I would not come
through the lobby. I started going through the back door,
trying to avoid Mastery because I was trying to avoid
master No. But this is how crazy master P is
in a good way. He figured it out. He'd wait
at the back door crazy, so I would be coming
in through the back door.
Speaker 3 (30:43):
Did you guys make him say huh?
Speaker 1 (30:45):
That's what did it?
Speaker 2 (30:46):
Nick and Eric from the Baker Boys were championing so
hard master P finally brought me make him say uh?
He but every morning he'd sit there, show me how
the research works. Why do you make these decisions. How
do you make the decision? Always the nicest guy, you
know what I mean? And I had met Pete originally
through a guy named Mark Benish. Rest in Peace a priority,
(31:06):
you know, way back in the day, you know what
I mean, when they first did the first deal with
Independent and you know, doing it that way and Brian Shafton, Yeah,
Brian my guy. I mean, I literally just got the
following him. Brian was their finance well and and man
(31:26):
just I mean all of them, you know what I mean,
justin but he was their finance guy. So I'd run
into him in the hallway and stuff, you know. So anyways,
and all this plays into a bigger story later. But
but anyways, yeah, Pete would do that. Snoop was doing that.
And then Nino Cucinello calls me up and says, hey,
(31:47):
doctor Dre is shooting a video zoom zoom with cool Jay.
Speaker 3 (31:51):
Remember that record? What soundtrack was that? Was that bull Worth?
Speaker 1 (31:54):
I don't whatever.
Speaker 4 (31:55):
That was the Bullwarts soundtrack I think with uh yeah,
it was Bullward with halle Berry with her fine as
young halle Berry was in that.
Speaker 1 (32:03):
Oh my god, Yeah.
Speaker 4 (32:05):
That was a great soundtrack that I had the Ghetto
Superstar Proz and.
Speaker 1 (32:09):
Oh yeah we played those two.
Speaker 3 (32:10):
Yeah.
Speaker 2 (32:11):
But to me, it was about I'm trying to get
Doctor Dre and Snoop dog back together some way, some shape,
whether it's coming on his show. I mean, this was
my master plan because I just I am a Doctor
Dre and Snoop.
Speaker 1 (32:29):
Dogg fan, Like I just wanted to see the show.
Speaker 2 (32:32):
Like if I could get these two in the same
room and get a picture, then my life couldn't. If
I meet DJ Quick, shout out DJ Quick, and I
meet Doctor Dre and Snoop Dogg and get a picture
with all three, so cool, you know, my I can
in my career right there, and I'm straight.
Speaker 1 (32:48):
So they go coming, you know whatever.
Speaker 2 (32:51):
So Doctor Dre shooting zoom zoom and he goes, this
is Damien and I said zoom zoom.
Speaker 1 (32:57):
I said, what the fuck is this? And Dre looks
over at me and he's like what.
Speaker 2 (33:00):
And I go, where's the one with Snoop Dogg on
it that you lead to the Compton that's lost and
swap me And he's like what, And I said, this
had Snoop on It was released to the Compton, And
how do you know that I said, dude, I'm a
rap fan, and he's like, whoa. So we just started
talking about rap music, and I knew everything that this
(33:22):
guy did going to the DC shout out DC by
the way, and I you know, I mean it just
that's what started me on rap was gangster, gangster. So
I knew everything this guy did, going back to the
world Class Wrecking Crew and all that kind of stuff.
So I started asking those questions. I said, Yo, let's
swap and I dude, I man. When I said yo,
(33:42):
let's swap numbers, I caught myself and just went, oh shit,
you just asked doctor Drey.
Speaker 3 (33:48):
For his number, like whatever.
Speaker 2 (33:50):
So I was walking around the station and a funny
story about that, as he said, and I said, Yo,
what assistant is this to And he goes, this is
my headphone. It rings next to my head, so don't
call to her, you know what I mean. Like I
was like, Wow, he gave me whatever.
Speaker 3 (34:03):
Whatever.
Speaker 2 (34:04):
So he had just had the aftermath and the firm thing,
and him and Jimmy weren't talking, none of that kind
of stuff. So I was like, I was like, I
need an excuse to call doctor Dre. So I went
back in the studio and I said, hey, Snoop, I
heard doctor Dre wants to work with you again. And
Snoop looks at me and says, yeah, I put that
(34:25):
food back on. And I was like okay, And so
I'm like, how am I going to do this? And
I go and I called Drey and I'm like, hey,
what's going on? Even Damien for power Da da da
da da.
Speaker 3 (34:37):
Hey.
Speaker 2 (34:37):
You know, you know, it's kind of crazy. I was
talking to Snoop yesterday. He said he wanted to work
with you again, and he said the exact same thing.
Speaker 1 (34:45):
I put that fool back on, you know what. And
that's how it happened, you know.
Speaker 2 (34:50):
And then it and it was crazy because he's like, hey,
you know, no limit or something like that and this
kind of stuff. I said, well, we have a Powerhouse
coming up, and Snoop is playing at the Powerhouse. Why
don't you come to the Powerhouse and just be my guest?
And he's like, ah, think about it. So I'm like
calling talking to his wife, you know, when she answered
(35:11):
the phone before he gives it to Dre.
Speaker 1 (35:12):
Hey, man, I'm really trying to get him come the show.
You should come to the show.
Speaker 3 (35:14):
Blah.
Speaker 1 (35:15):
Blah blah blah blah, this is what I'm trying to do.
And you know, she was great.
Speaker 2 (35:18):
She was like, oh, he needs that, you know, da
da da all this, he needs to get out do
this stuff, and you know, and it was, you know,
I mean it was they both were in that phase,
you know what I mean, in between you know, and
the death Row thing, and they just had not seen
each other since it.
Speaker 1 (35:31):
But there was no bad bea.
Speaker 2 (35:33):
So what happened was is Snoop comes in and I
set up his dressing room and shout out to Diana
Obermeyer genius lady promotion like. She puts the name Snoop
Dogg on the dressing room door, and I said, yo,
I need a dressing room right next door for doctor Dre.
So as soon as Snoop walks in, I switched the
(35:53):
freaking the Doctor Drey and Snoop Dogg.
Speaker 1 (35:58):
Name flates, and Drake comes in. He's got two.
Speaker 3 (36:01):
Balls of taking.
Speaker 2 (36:02):
Hey damn, I'm here, you know whatever whatever, and I'm like,
there's your dressing room. I opened up the door and
literally just went like that, and Dad's corrupt Snoop Drey,
you know, like, and they all started talking.
Speaker 3 (36:14):
That was the first time they had seen each other
since Death Wrong the Death Row. Yeah.
Speaker 2 (36:18):
So I'm over there conspiring with DJ jam you know who.
I love DJ jam My Dog, and I'm like, Jam,
we gotta find a way to get him do a
song on stage.
Speaker 3 (36:27):
It's powerhouse, you know.
Speaker 2 (36:28):
If Dray go out there and do deep cover and
nothing but a g thang, Oh we got off this thing, Like,
come on, bro, let's do this. And Jam's like, dang,
they started the conversation, but just don't work like that.
Just chill out, chill out, It'll happen, but chill out.
I'm like, nah, I'm gonna make this happen. Fuck that,
you know, like all this stuff. So Dre's sitting on
the side of the stage on a road case. Snoop
is out there performing, and I walk over to Jam.
Speaker 3 (36:50):
I'm like, just play deep Cover. Play deep Cover.
Speaker 2 (36:53):
And He's like, damn. The conversation started, but I'm not
gonna do that. I'm like fuck this, And I walk
over and I grabbed two mics from the guy and
I hold up in front of Dre and I go, Dre,
do it, like fucking do it.
Speaker 1 (37:06):
Look at this, Like if you walk out there right now.
Do you realize what's gonna happen?
Speaker 2 (37:12):
He goes, ah, fuck this, and he grabs the two
mics out of my hand and I look at Jam
and I'm like, he's got the mikes. He's got the mics,
and Jam's just like, ah fuck it.
Speaker 3 (37:21):
Puts it on. Fucking Dre comes out, what up? Snoop?
Surprised as fuck. He's like, what the Fu's us going on?
Speaker 1 (37:27):
Like you know what I mean? It's like, oh hell yeah,
like and they did it.
Speaker 2 (37:31):
So Dre walks up to me right after you, and
he hands me back to mics and goes that what
you wanted, motherfucker. I said no, I want an album,
and he goes, don't push your luck like you know whatever.
Speaker 1 (37:39):
He's like, I'm out of here.
Speaker 2 (37:40):
And he fucking took off. But that started the relationship
with doctor Dre. So then Nino calls me again. He goes,
you need to come to office. You need to come
to office. I'm like, all right, cool, So I go
to interscope because then you know, and I have really
good friends, man, so you need to come to the office.
We're going up to Jimmy Iven's office. So I'm like,
oh god, here we go, you know, you know something
(38:01):
like that. Oh I forgot one one little thing. So
when when after that performance, I said, we need to
do a show, like we need it to be just
Doctor Dre and Snoop Dogg.
Speaker 1 (38:13):
And he's like, well, you know where are we gonna
do it.
Speaker 2 (38:17):
We can't do it in La No venue ensure that,
you know, no venue will take a West Coast kingster
rap show like that. You're never going to get Snoop
Dogg and Doctor Dre in a venue in La. Right,
And we don't have a current single, you know, the
da Da Da Da Da. I'm like, well, you know
you're making an album, you know, Da da da Da.
So you know, Dre sneaks over and starts making a
(38:40):
song with the Master Pete thing, all this kind of thing,
and I'm like, this.
Speaker 3 (38:45):
Is probably No Limit Top Dog era.
Speaker 4 (38:50):
Second No Limit album, I think the first No Limit album.
Speaker 2 (38:55):
Yeah, well it was it like they were talking about it,
you know what I mean.
Speaker 3 (39:00):
I mean like and he started recording because Bitch Please
Too was.
Speaker 4 (39:05):
On Well, Top Dog, I'm trying to roll that first
Snoop Dog album on No Limit.
Speaker 2 (39:11):
I was not a yeah, but it was kind of
like the conversation was starting, so you know, maybe there
was some sessions.
Speaker 4 (39:17):
Maybe there was in the road to two thousand and
one happens.
Speaker 2 (39:20):
Well, so then it was let's do a show, like,
let's let's get this together. And Dre is like, I
don't fucking do it right, And I'm like, Snoop, what
do you think. He's like, all right, I'll fucking do it,
and then I'll go to the and then we go around.
We can't get nobody to do it so right, so
(39:41):
I'm like, just hang out. We're going to do this
this this Puffy in Paradise showing in Hawaii. If the
Baker Boys came up with that idea, if we do
it in Hawaii, then maybe we can fly with the
winners to Hawaii like we did with this, and then
we can skate past the whole venue thing do it
in Hawaii.
Speaker 3 (40:01):
So then they're like, yeah, that's a good idea, let's
do that.
Speaker 2 (40:04):
Well, when Drake cut the promos, Snoop cuts the promos,
I go on the air with it. Jimmy Ivin calls
me and he's like, bro, what are you doing? And
I'm like, Jimmy Iveen Hi, like you're Jimmy Iven and
he goes, Bro, he goes, I have a bill on
(40:25):
my desk for two hundred and fifty thousand dollars, thank you,
Nino for a promotion.
Speaker 3 (40:31):
In Hawaii that I'm hearing on the radio that.
Speaker 2 (40:34):
Has a producer that doesn't produce and an artist that
I haven't seen since Death Row. And how the fuck
did you get doctor Dre's number? I don't even have it.
Like I'm trying to sell this label, blah blah blah
blah blah. And I mean the rumor was that he
was going to sell Aftermath because of after the.
Speaker 3 (40:54):
Firm and the Aftermath album and.
Speaker 2 (40:56):
The Aftermath album, so it was kind of like and
he and I was like, look, bro, you'll get your album.
Trust me, like, you're gonna get it. I've been to
the studio. I know he's working on something. You know,
it was the early stages of Melman and all of
that kind of stuff, And just trust me, you're going
to get it. And he goes, well, if this doesn't happen,
I'm going to sue you for the two hundred and
(41:17):
fifty grand, but go ahead and do it. And then
I get a call from Dre saying you need to
come to the house, and I was like what. And
We're in the middle of all this, you know, like it's.
Speaker 3 (41:30):
All how's already on the air, and he.
Speaker 2 (41:33):
Goes, you need to come to the house. And I'm like, like,
I know where you live. You have a fucking stalker,
like you know whatever. So I end up coming to
the house. I walk in and there's this little white
kid in the booth going slim shady you a base
head while your face red. And I was like, oh,
wait a minute, he's writing for you. And he goes, ah,
let me talk to you outside for a second, and
(41:53):
I'm like what. He goes, let me talk to you
outside for a second. I'm like, oh, no, you signed
the White Boy. And he goes, how do I break
the White Kid? And I was like, haven't you never
heard of an hour ice? And he goes, bro, how
do I break the White Kid? And I was like,
all right, I'll tell you what you tell me the
(42:14):
story of NWA from beginning to end, and I want
to know if everything from the World Class Wrecking Crew Lonzo,
what the room was like, when Easy did Freaking Boys
in the Hood, when Cube wrote it, who wrote this
who did that? What happened with Doc blah blah blah
blah blah blah blah. He goes, dude, you got all night.
I was like, yeah, I do. And he's like, all right.
So I sat on his washer and dryer. He sat
(42:37):
on his stairs, and he proceeded to tell me the
entire story of NWA from World Class Wrecking Crew and
all and Warren in the house and you know Jinks
and you know everything up until that point about six
o'clock in the morning, and comes out and goes, look, guys,
I'm going home. I've been sitting here for hours, y'all
(42:58):
have been telling these stories.
Speaker 3 (43:00):
I'm out of here.
Speaker 2 (43:00):
I said, no, you're going to the Baker Boys show,
and you're gonna announce that you're doing the Friday Night
Flavors ten year anniversary and we're going to break that record.
He goes, the record's not ready yet, so we'll at
least go do the show, set it up, and we'll
talk about this later when you have the record.
Speaker 1 (43:16):
And he was like cool.
Speaker 2 (43:19):
So then we added M to the show in Hawaii Crazy.
So then M cut all all the drops and we
added M to it. Dropped how my name is.
Speaker 3 (43:28):
So this was before Hi my name is? You already
added in.
Speaker 2 (43:30):
By so well we did it right as we dropped
how my name is? Because you really have to remember
MTV for all intents and purposes, broke eminet for sure,
you know what I mean. So you know, and I
remember this one story. M came in my office and
called me up and.
Speaker 3 (43:45):
Let me shout out to Sway and Tech who had
him Oh.
Speaker 1 (43:48):
No, the early Oh yeah, I'm sorry.
Speaker 3 (43:51):
I mean.
Speaker 2 (43:53):
Sway and Tech and a wake up show all of that.
But I'm saying my name is broken. You know what
I'm saying, as as that which made us know who
he is. Yet, so shoutouts were in Tech, no disrespect,
you know. I love those guys, but they're getting ready
to drop how my name is? And you know, EM
used to call me a lot like what's this mean?
What's that mean? You know, come to the studio and
(44:14):
listen to this or you know, dre all of them did.
So EM calls me up, he goes go, can I
stat by the office? I was like yeah, I was like,
Fo's going on? And it shows up. He's like, yo,
what's a buzz clip? And I'm like, what do you mean,
and he's like, what's a buzz clip? I mean, everybody's
so excited at the office, They're all saying congratulations and shit,
and that mean. I said, oh, dude, that's hot rotation
(44:37):
at MTV. You're about to become a megastar. So if
you want to go take your daughter to Taco Bell
or McDonald's or whatever the hell you want to do
right now, do it now because tomorrow morning you're not
going to be able to go anywhere. And he's like,
and he had this half look of like wow, I
made it, and half kind of like wait a minute,
what is that?
Speaker 3 (44:57):
Wait?
Speaker 2 (44:58):
I can't go out in public anymore? Right, And then
he was like yeah, cool and he leaves. Right the
next morning, m was everywhere and I get the record
hot ninety or MTV just national, you know what I mean.
So we broke it at the same time that they
broke it on MTVA. They literally did it at the
(45:19):
same time. So then we had him do the drops.
I called him back, said get back over the area. We're
add him to the show. Do the drops. And that
was the Chronic two thousand and one tour. So when
they got done with the Hawaii Showzy well, but check
this out.
Speaker 1 (45:33):
So they and this is how synergy works.
Speaker 2 (45:36):
Okay, this is why I always say consistency and repetition
breeds familiarity.
Speaker 1 (45:40):
Familiarity breads a relationship.
Speaker 2 (45:41):
A relationship reads teamwork or synergy, and synergy teamwork wins games.
So we add him to the show, right then, Dre
after the show calls me up and says, we want
to take this on the road, but no venue will
take us across the.
Speaker 4 (45:56):
So Hawaii was kind of the the braak, the test run,
the test run of what ended up being up in
Smoke Tour. Yeah, yeah, which I fucking I remember. I man,
I've worked so hard as like a twelve year old
kid or however old I was to get the money
to go to the.
Speaker 3 (46:13):
Warehouse and buy those tickets.
Speaker 4 (46:15):
Yeah, and it sucks because the date I went to
when Phoenix ice Cube wasn't on the tour, he wasn't
on the But that shit was crazy, dude. It came out.
Speaker 2 (46:23):
Imagine being wait but watch this, imagine in Hawaii. It's
two hundred and fifty people.
Speaker 1 (46:28):
Okay's it? Yeah, that's it in a hotel ballroom.
Speaker 4 (46:32):
So two hundred and fifty people got to see Eminem
Dre and Snoop in Hawaii.
Speaker 3 (46:35):
Yeah, what the fuck?
Speaker 2 (46:37):
Exclusive content for Power one oh six that's crazy and
the reunion and you've got m blowing up with how
my name is at that time?
Speaker 3 (46:45):
Crazy?
Speaker 2 (46:46):
Then the records still dre okay. Now here's the funny
thing about that. So Dra called me one night and
he's like, yo, I think I got the record, and
I was like what, and he goes, you need to
come to the studio. I got the record and I
was like, and keep in mind, during the recording process,
jay Z wrote a song called Malibu Dre first okay,
didn't come out right. So J's like, I'm not doing that,
you know what I mean?
Speaker 4 (47:07):
For people wo don't know.
Speaker 2 (47:08):
Jay Z wrote, well, we'll get, we'll get. It's getting there.
So so he's we're at A and M. He calls
me to A and M. It's Scott Storch's first night
and he's sitting in the back and smell man. I
think Doc was there some other people and you hear
him in the back just going bling bling bling bling
bling bling bling bling bling bling bling and the drum
beat is playing. But I'm sitting there just going like,
(47:29):
what the hell is going on? And he goes, well,
jay Z's supposed to write a song. I don't know
about the mout. Do you remember the Mala Blue Dre
I Am Malibu Dre was all right, d d Well,
we're gonna give him another shot, you know Jay, you know,
because I had just broken Jay, you know what I mean.
So he was like, is this the beat? And I
was like, oh, hell yeah, that's the beat. And he
(47:51):
goes me and snoop and I'm like, oh, hell yeah,
that's the beat. Here's you could tee off on this.
I'm like that's the beat and he's like, okay, sign
it off. Two days later, he calls me out goes,
you need to come back by the studio.
Speaker 1 (48:05):
I'm like what.
Speaker 2 (48:05):
He goes, I think we got it and I was
like what and he goes still d r E and
I was like, what's still d r E? He goes
the fucking single We got it and I was like, oh,
I'm on my way.
Speaker 1 (48:19):
So we go to record one or encore one another two.
Speaker 2 (48:22):
I walk in, I hear that record and I said
thank you, and I literally took it out of his hands.
Speaker 1 (48:27):
He's like, where are you going?
Speaker 2 (48:28):
I said, I'm gonna go play it, and he was like, okay,
and that I just put it on the radio.
Speaker 4 (48:34):
I would love to hear the jay Z reference tracks
to dr I've heard it crazy.
Speaker 2 (48:40):
It's hilarious to hear Jay doing it Andre's voice, right,
you know, which is also kind of funny to hear
em doing like you know, uh to a new house
on a new hill and how would you feel a lift?
Speaker 3 (48:53):
You know what I mean?
Speaker 2 (48:54):
Right? I mean those references, you know what I mean,
Like m wrote, I mean, uh, you know, what's the
difference between me and you? You know, like all of
those kinds of all that's that he wrote all that
stuff for DRAG. I mean, think how genius eminem is,
you know what I mean? Bitch Plea's part two. He
wrote the whole fucking record, you know what I mean,
(49:15):
snoops parts and his I think you know what I mean,
he wrote the whole I know, he wrote Nate's part
and they told me, you know what I mean, like
that's crazy, And even until I collapse, he wrote that
for Nate Nate and they just came in and sang it.
Speaker 5 (49:30):
I love doing my session work. Now I'm like going
on to see I'm gonna go do my session work.
Rest peace man to go one of my best friends
ever and I loved him.
Speaker 3 (49:40):
Yeah he was great man.
Speaker 2 (49:41):
But yeah, so that's how it all started. And then
I started playing. Literally that's when I realized how much
power we had because I took Still dre handed it
to Steve Smith and they played it on Hot ninety
seven in New York. But it was like, just hit
him over the head. But then Power win of five
(50:01):
came on. This is a little bit later. Power one
of five came on in New York and jay Z
immediately went over there because you know, people weren't fucking
with Hot ninety seven like that. They weren't breaking their
records and they were threatened to take records off and
they just had the little Kim shooting and.
Speaker 1 (50:15):
All this kind of stuff.
Speaker 2 (50:16):
So I get a call and it's like, yo, you
need to go to Hot ninety seven and fix all
this shit. And I was like what, and they go
summer Jam's not booked, Flex won't sign his contract. Jay
Z's on this new station called Power one on five
saying fuck Hot ninety seven and they don't have a
music director. And if you're going to New York, and
(50:39):
so I went to New York and cleaned up the
little kim stuff, finished booking, Summer Jam, pulled jay Z
off a Hot ninety seven and got Flex to sign
his contract.
Speaker 4 (50:51):
For people who don't know Power One of six and
Hot ninety seven were owned by the same company for
a long time called AMS Communications.
Speaker 2 (50:57):
But Steve was the consultant behind both of them. Now
what's even crazier is so when Dre called me about
the test run two thousand and one, keep in mind
I was working at Summer Jam they did.
Speaker 1 (51:10):
Hot ninety seven.
Speaker 2 (51:11):
I see that Steve Smith owns the company with Brad
Patrick and Randy Bizzelli that's doing all the staging. So
that's what I used in Hawaii. Do you see what
I'm saying? The Summer Jam infrastructure to do the chronic shit. Right,
So when Dre said I want to go on tour,
He's like, well, I'll just use the people that we
(51:32):
used in Hawaii because that was a great test run.
Now how do I get it across the country. Well,
I'm like, wait a minute. I'm like Jay Brown, who
manages jay Z. His wife works for Magic Johnson. So
I'm like, well, why don't we get Magic Johnson to
be the promoter and then he'll open up all the
venues for us, because because he's fucking magic, you know
(51:54):
what I mean. And he's like, good idea, can you
make it happen? And I was like, yeah, Jay Brown Johnson,
doctor Dry want to talk to him.
Speaker 3 (52:03):
And we were on the road. It's crazy.
Speaker 4 (52:06):
I wonder, tell me, did you ever have any you know,
when you're in radio or specific give you a program director,
artists labels takeshit personal? Did you ever have any beef
with anybody or did anyone ever have beef with you
when you.
Speaker 3 (52:23):
Were at the helms of power one of six.
Speaker 2 (52:25):
I wouldn't call it beef. I would say, like disagreement. Well, okay,
I'll tell you a funny story. How I met Buster
Rhymes Baker Boys broadcasting live from MTV Awards or something
like that, and Buster is there and you know, he's
doing the interview or whatever and are doing interviews and
(52:48):
goes to Baker Boys and all of a sudden they're
on the air doing the interview and I hear fuck
Damian Young live on the air, and I'm like.
Speaker 1 (52:57):
What the fuck was that? So I walk in this
what the fuck?
Speaker 2 (53:01):
And Baker's go talk back, you know, through through the
you know whatever we the board or whatever. I don't
know what happened with you and about rhymes, but da
da da da da And I'm like, neither.
Speaker 1 (53:11):
Do I tell him come back?
Speaker 2 (53:12):
I want to talk to him right And he said
he got back and he's there and I was like, yo,
this is Damian Young and he's like, well fucking no, no,
d D.
Speaker 1 (53:21):
I was like, whoa, whoa, whoa, whoa.
Speaker 2 (53:23):
I'm at twenty six hundred West Olive Avenue in Burbank.
Come to the office, and whatever your issue is, let's
discuss it in person. And he said well. I was like, stop,
twenty six hundred West Olive. When you're done, come over
and we will sit down and talk. Shows up to
the station, shuts the door, blah blah blah blah blah.
(53:45):
I was like, wait, what is the issue and he said, well,
the label said, you said my new single, dadda.
Speaker 1 (53:51):
I said stop.
Speaker 2 (53:52):
I said, it's like my third fourth day, bro, I
have not heard anything that you have put out. And
he goes oh, I said do you have the single?
He said, yeah, said bring it in, opens the door.
Tells the rep give me a single, Okay, put the
single in. I think it was like it was woo ha,
or put your hands on my eyes can see something,
(54:13):
or the flip mode record or one of those. I
put it in and I go, hmmm, press a jack,
take the CD out, hand it to him and he goes,
what do you think? I said, well, I think you
should stop at the on air studio on your way out,
do an interview and play that motherfucker. And he's like,
you like it? So I fucking love it? Right, I said,
next time, just fucking call and ask.
Speaker 3 (54:34):
That's crazy.
Speaker 2 (54:35):
And I never you know, I never had an artist
nobody ever. I never had an issue with anyone, you
know what I mean? Like I was always you know,
it doesn't matter whether it was the street, It doesn't
matter that. I would never take Paola. I would never
fucking play something that wasn't right for my radio station.
I would never compromise. You couldn't intimidate me. You could not.
Speaker 1 (54:57):
I mean how many streets.
Speaker 3 (54:58):
Did a lot of people try to intimidate you? Oh?
Fuck yeah?
Speaker 2 (55:00):
Because you know you have to understand every West Coast
gangster rapper affiliated with a gang, So you know, the
first thing that would happen is the intimidation thing, you
know what I mean, I'd be like kickback, like, you know.
Speaker 4 (55:11):
Dude, did sug Knight ever feel the type of way
that you were behind the scenes trying to obviously besides
the Tupac story.
Speaker 2 (55:19):
Well, I met him through the Anaheim Police Department really
oh yeah. So what happened was is we had Snoop
and all these guys on Powerhouse, right Sugar gets out
of jail and the Anaheim Police Department Diana show up
to my office and they're like, we're going to cancel
Powerhouse And I'm like, for what And they're like, sug
Knight just got out of jail and there's a rumor
(55:42):
that he's going to come to power one oh six
and fuck up the show or the Powerhouse the show.
I'm like, well, why didn't somebody call him, invite him?
At least we'll know where he's at. And the way
I got that idea is when we were in Hawaii,
the Bua tribe showed up, you know tribe.
Speaker 1 (55:59):
Yeah, so that's how I met them.
Speaker 2 (56:03):
Rest in Peace, you know Read and Godfather and you know, Giant,
one of my best friends like, I love giant giants
come and stayed at my house, knew my grandma, came
to grandma's funeral, you know what I mean? Like those guys,
I love them, Cobra, you know great guys, Biggatti, love
you bro, love you bro, Who've had my back unconditionally
(56:25):
through everything, and I just I love those guys. So
they show up, Snoop starts coming out and he's like,
will you try downstairs? We're gonna go da da da
da da. And I'm like, WHOA said, let me go
deal with it because I had heard of the Buya
tribe back when they did a record with.
Speaker 1 (56:42):
E YC on MCA, so I knew they were rappers.
Speaker 2 (56:46):
So I was like, look, at some point they're going
to want the record played, you know. So the best
way to do this is for me to go down
to introduce myself, you know, acknowledge and show them respect
and maybe they will do the same, do you know
what I'm saying?
Speaker 3 (57:00):
Right?
Speaker 2 (57:01):
So I go down the thing and I think it
was a giant was standing right there and he was.
I come down the escalator and they're arguing with the
police department to let them in or whatever it is.
In Hawaii and I say, back out, motherfucker before I
knock you out to the biggest one that I see.
You know, just little kid, white kid thought it would
be funny, you know what I mean, like whatever whatever,
(57:23):
and they're like what and I'm like, yo, I remember
when you guys were making records with E YC. I said,
you on the Janet Jackson video, you know Cobra, you know,
And that's the way love goes like, yeah, what's going
on with your music?
Speaker 1 (57:35):
By the way, and who the fuck are you?
Speaker 2 (57:37):
I said, I'm Damian Young And then Godfather comes out
through the middle rest in peace and he's like, ah,
we have heard of you, and I was like yes,
And I said, are you guys ever going to put
another record out?
Speaker 1 (57:47):
And they said well, yeah, da da da da da.
Speaker 2 (57:50):
And I'm like, well, why don't you guys come in
as my guest and the next time you have a record,
you won't have a problem, right, And they're like, come
inside as a guest, and I'm like yeah. So they
came in and I didn't know them yet, you know
what I mean. So I was like to the police department,
I'm like, you should put security around them because they're famous,
(58:13):
and I don't want any fans to fuck with.
Speaker 3 (58:15):
Them, got it? Smart?
Speaker 2 (58:21):
Yeah, So the police put a thing around them and
I go backstage and Snoop goes, you know what happened
to bulliad tribe?
Speaker 1 (58:29):
And I was like, it's handled And he was like,
what are you talking about?
Speaker 3 (58:32):
Where are they?
Speaker 2 (58:32):
And I said they're in the audience and he goes
what And I was like, dog, at least we know
where they are. They have a look through the thing,
they have police all the way around them.
Speaker 1 (58:42):
They'll just enjoy the show. I took care of it.
Speaker 2 (58:45):
And he goes, well, if you sure, da da da
da da, well I'll trust you because blah blah blah
blah blah. You know, went off without a hitch. But
from then on, the Bullard tribe and I were great. Yeah,
you know what I mean. So no, I've never had
an issue with anyone.
Speaker 3 (58:58):
That's interesting.
Speaker 2 (58:58):
But you know, through that, I met everybody. I met,
big U, I met you know mugs that ran with
Mac ten.
Speaker 3 (59:05):
Yeah, Englewood Muggs.
Speaker 2 (59:06):
One of my mentors, you know what I mean, Like,
and you know, they would make jokes like the white
boy you want to come to the hood and you know,
dah da da dah.
Speaker 3 (59:13):
So I'm like, yeah, let's go.
Speaker 2 (59:14):
So Mugs one time we go over see Gotti, you know,
at the at the shop, and then we're standing on
Mugs's porch. I just met Muggs's mom and we're standing
in Inglewood and I was scared for my life, so
I had a gun and the weed on me just
in case, you know what I mean, because I didn't
know where the.
Speaker 1 (59:30):
Fuck they were taking me. I just met these guys,
I know they're you know.
Speaker 2 (59:34):
How I met him was through mac ten and it
started kind of with an argument, you know, not an argument,
but like you know, you ain't da da da da
you afraid you white program director won't come here all this.
I'm like, fuck it, let's go. So Mugs picks me
up one day. It takes me to Inglewood to his
house to meet you know, all of his friends and
you know, all of that kind of stuff. So we're
(59:54):
standing in his driveway and rest in peace to his mom.
We're standing there the driveway and a freaking lapd cart
pulls up and just stops and hops out and they
look at Mugs, they look at everybody, and then they
look over at me and they're confused, like.
Speaker 3 (01:00:15):
The hell is going on?
Speaker 2 (01:00:16):
And back then, I wore tan Dickies, Casewiss shoes and
a white T shirt to everything.
Speaker 1 (01:00:22):
That's just what I wore, you know what I mean.
Speaker 2 (01:00:24):
And they just got back in the car and took off,
and Muggs tells a funny story. It's like yeah, and
he's the one that had the guns and weed on him,
like you know what I mean. And if that would
have gone down, my career would have been over, you
know what I mean. But that's what it was.
Speaker 3 (01:00:39):
Crazy.
Speaker 4 (01:00:40):
You've mentioned Paola, like I think that the I'll please
bring this up.
Speaker 3 (01:00:44):
Well, I think that.
Speaker 4 (01:00:45):
Back in the day, like you know, the the I
think you know, Paola was widely known, that it was
happening at a high level.
Speaker 1 (01:00:55):
Oh yeah, you know.
Speaker 4 (01:00:58):
I always hear like yo back in the day, Like
you would like rock radio back in the day, you
drop off like a fucking eight ball coke to the
PD or to the DJ or But I'm like, how
how much of Payola in the nineties early two thousands
was actually happening? And you know, like you said, you
(01:01:19):
if you say you never took Paola, that's.
Speaker 3 (01:01:20):
Like that shit.
Speaker 4 (01:01:21):
To be in the nineties and then not take any
money is crazy because it felt like everybody was doing
it back then, right.
Speaker 2 (01:01:27):
Let me explain it to you like this, I don't know,
and you know why, because since the time that I
was seventeen, every label knew you can't buy him, right,
He's gonna do what he's gonna do, right, Like you're
not like you're playing album cuts. I'm playing album cuts.
I'm going crazy. Well, how can we get Damian to
do this?
Speaker 4 (01:01:46):
Like, oh, this is the priority? Well what if I
don't want to play the priority?
Speaker 2 (01:01:49):
Well yeah, And that was the thing, is, like they
may give me a single, but when I heard the album,
you know, I'd be like, fuck it, I'm not playing that,
but I'll play this right, you know what I mean?
And so I started kind of getting a name for
just being this guy that just would do whatever the
fuck he wants and you better just get on board,
you know what I mean. So honestly, I swear to
(01:02:09):
God on my grandmother's soul that I've no one has
ever approached me and offered the money because they just
knew better, you know what I mean. And then after
the things like with mugs or meeting Big You or
you know, any of these kind of things they knew
are and the Bluyah tribe thing or any of this
kind of stuff. They're like, Okay, well, we can't intimidate him.
(01:02:30):
We're not going to be able to buy him, so
maybe we should just back this motherfucker, you know what
I mean.
Speaker 1 (01:02:36):
So, and I would every.
Speaker 2 (01:02:37):
Year at Powerhouse, I would not only invite all of
the artists, but I'd say bring your homies to you
know what I mean. So I'd be running around introducing everybody.
So I'd hear like this person is beefing with that person,
or this set doesn't get along with that set, and
be careful putting you know snoops homies next to you know,
these people's homies. And I the first thing I would
do is say which ones? And then I'd walk up
(01:02:59):
and in those two people right and say I'm Damien
from power blah blah blah blah blah, nice to meet you.
Oh you're so and so. Oh do you know so
and so from so and so? You know what I mean.
So that started to get around too. So then Stan Shephard,
good friend of mine. God bless you. Stan, I'm glad
you're feeling better. He calls me up one day because
he's managing DJ Quick and I just want to be Quick.
(01:03:21):
But Quick was a beat artist, you know, THEO who
worked at the Beat and Quick were hella close and
I needed Quick on Power, like that.
Speaker 3 (01:03:29):
Was another one I needed.
Speaker 2 (01:03:31):
And Stan saw the stuff happening, and I was talking
to Stan one day, and you know, we brought Quick
to Power one oh six and Stan. If you don't
know Stan's history, Stan's father, I mean, black music was
basically created the in Stan's basement. His dad was Bunkie Shepherd.
(01:03:53):
I mean they did bad Mammajama in his basement, you know.
So Stan was deeply rooted. I mean he he ran
Jackson Communications for the Jacksons, you know.
Speaker 1 (01:04:03):
So he calls me up one day and he goes,
come to this address on Haven Hurt.
Speaker 2 (01:04:06):
So I pull up the freaking Michael Jackson's estate, you know,
the Jackson House, and I'm like, the hell is going
on here? Like what what are we doing? You know,
like what's up? And he goes, I want you to
go to this address on Sunset Plaza And I'm like,
for what, And he goes, I want you to meet
this guy Jim Brown. And I said, Jim Brown, Who's
(01:04:27):
Jim Brown? And everybody in the room like looks at me, like,
I'm not a sports guy.
Speaker 1 (01:04:31):
I don't know nothing about.
Speaker 4 (01:04:32):
Sports the legendary running back.
Speaker 2 (01:04:34):
Right, So they all look at me like, it's Jim Brown,
right whatever. So I show up in the room, is
Jim Brown, Harry Belafante rest in Peace and James Ingram
rest in peace? And I'm like, James Ingram will p
yt from Michael Jackson. Harry Belafonti wrote deo And Okay,
Jim Brown is this guy from that I've seen in the.
Speaker 3 (01:04:55):
Movies with Ojack? Do you know what I mean?
Speaker 2 (01:04:58):
And I walk out in the back and they've got
all of the gang leaders sitting there and the or
some of the gang leaders sitting there at a table
and they go, we just started the American Foundation. It
does gang intervention. What do you think? And that's what
you've been basically doing at these shows and putting all
these people together and you're, you know, mixing up all
(01:05:18):
these colors. Like what are you thinking? I said, I
think they're like, how do we label it? And I said,
you don't fucking label it. It's gang intervention, you know
what I mean, Just fucking do it, you know what
I mean. Stop saying about it, you know, just that's
what it is, you know what I'm saying. And they
were like, Jim looks over at me and goes, I
never knew when you were gonna come.
Speaker 3 (01:05:39):
But here you are.
Speaker 2 (01:05:42):
And from then on, you know, Jim and I were
great friends. And Harry and Stan and Connie Rice and
Harry Belafontee's daughter was recording her you know thang and
you know, I mean, just all of that kind of
stuff happened.
Speaker 4 (01:05:57):
So how crazy was like the radio war between the
Beat and Power? Was it ever like a beau because man,
I've been a part of a one radio real beef.
Speaker 1 (01:06:09):
There was beef there, you know. That was on the
court though.
Speaker 2 (01:06:13):
But what was so funny is like Michelle last is
one of my best friends, you know what I mean.
But when we were on the court, we played ball,
you know what I'm saying. No, it was back radio
beef was crazy. But here's the thing is, I got
along with everybody. I didn't give a fuck about nothing,
you know what I mean. It was like, look, we
play hard on the field and yeah, I you know,
(01:06:34):
I just made it, so I mean i'd cut them out. Like,
for instance, because Doctor Dre, I helped Doctor Dre with.
Speaker 1 (01:06:41):
Two thousand and one.
Speaker 2 (01:06:41):
The two two thousand and one shows that were in
LT were powerhouses.
Speaker 4 (01:06:46):
They weren't up, they weren't up and smoke.
Speaker 1 (01:06:48):
They were powerhouses.
Speaker 2 (01:06:49):
Because I was literally on the phone with Dre as
the first one selling out, with Dre saying when do
I have the second show? They're asked me about a
second show. Hold On, I'm checking ticket Master. There's still
sea available. Hold on, well guess what. They just sold
out the first one. Go ahead and make that call.
And he goes, yeah, that one's a powerhouse too. And
I was like, wait, wait, wait, I said, Dre, wait wait,
(01:07:10):
I said, dude, you just did Hawaii for us.
Speaker 1 (01:07:13):
You just did this.
Speaker 2 (01:07:15):
I would not be mad if it was a neutral show, Like,
you don't have to do that for us, you know
what I mean? Like, I know that's going to put
you in political hot water with the other stations, right, Like,
I appreciate what you did, but I'm not trying to
fuck your shit up.
Speaker 1 (01:07:33):
And he was like, fuck, damn, click powerhouse, you.
Speaker 3 (01:07:37):
Know what I mean?
Speaker 1 (01:07:37):
And that was how the relationship was done.
Speaker 2 (01:07:40):
And so I was literally in every sessions we were,
and we were basically the radio because we had so
many stations.
Speaker 4 (01:07:47):
Would something like that affect because EMUs at that time
is a lot bigger than what it is obviously, would
it end up? Benbah would like a decision like that affect?
How still dri did nationwide a clear channel?
Speaker 1 (01:08:00):
Well?
Speaker 2 (01:08:01):
Really, you have to also have to remember we had
Power on six Hot ninety seven thirty two stations and
Mint we had Power ninety two in Phoenix.
Speaker 1 (01:08:09):
Oh we had owned bis. No, you're right, Emmis was
that fucking we were a beast.
Speaker 4 (01:08:16):
You especially if you were a hip hop artist?
Speaker 1 (01:08:18):
Oh yeah, you had and we were breaking the record.
Speaker 3 (01:08:20):
Yeah, you're right.
Speaker 1 (01:08:21):
Do you know what I'm saying?
Speaker 4 (01:08:23):
Okay, so for instance, format you don't wears off.
Speaker 2 (01:08:26):
So let's go back to joh rule between me and
you for instance, So after Hallahalla, I break between me
and you, and I'm in the video and I pop
my collar and it's a power one on six logo.
Speaker 1 (01:08:38):
Okay.
Speaker 2 (01:08:39):
In the video walking with Shade checks and Kevin Lyles
gets on the phone and he's like, God, damn it,
Damien Radio One, which owned the Beat and all these others.
They're gonna drop all Clear Channel whatever it is. They're
gonna drop all of our records across the country. Because
you're in the video with a power one on six
logo and I'm like, blurre it just blur it and that.
Speaker 3 (01:09:02):
Was that is it blurred? Yeah?
Speaker 1 (01:09:04):
So I mean it was my suggestion. Nerves like fuck them.
Speaker 2 (01:09:07):
I then dropped my record, you know what I mean,
Damien's been loyal, so drop the record. But see, even
like with the street shit and you know, all of
this kind of stuff. I mean, I knew everybody, So
everybody just knew that guy's untouchable, you know what I mean,
if something happened, you wouldn't know where it came from.
He's friends with the Buoya Tribe's helped start murdering Rockefeller
and aftermath like, so there wasn't much anyone could say,
(01:09:32):
you know what I mean, like what are you going
to drop every hot artist across They played the records
they had to play like you know, and just to
say like for instance, even like when Ja Ruled did
the Jennifer Lopez record, you know, they literally stole that
record from Glitter you know, when I was rebuilding Mariah,
you know, and Tommy did that to sabotage Mariah, and
it just happened to be the song that I.
Speaker 1 (01:09:55):
Made with Jaw and brought Jaw to the table.
Speaker 2 (01:09:58):
And then Tommy said, well, okay, well I'm gonna make
JA do this record with Jennifer Lopez to fuck Mariah.
But it put me in the middle of it. And
IRV came to me and he goes, what do I do.
We've never been offered two hundred and fifty five hundred
thousand dollars for two songs, you know what do I do?
I said, you do the fucking song. And they came
to me and they said, well are we gonna play?
Steve called me into a meeting and he goes, well,
(01:10:21):
Jennifer Lopez just released this song. I know the background
story because he was there when I told him what happened,
you know, And he's like, and I said, it's right
for the radio station. We have to play it, right,
you know what I mean. So I've never engaged in
any bullshit. I just won't do it, you know what
I mean. That's just who I am. So whether it's that,
(01:10:41):
whether it's I just that's not me.
Speaker 3 (01:10:46):
So I saw something you said.
Speaker 4 (01:10:48):
I didn't know because I had always sat with Shade Schist,
your artist.
Speaker 1 (01:10:52):
Who signed to MS Broadcasting.
Speaker 3 (01:10:55):
Which is crazy to think that. So I start producing
records from right, it'd be like if like Apple had
like a record label or so.
Speaker 2 (01:11:03):
Rick Cummings comes to me and he says, look, there's
all this outside money that you're making, and I was like, no,
I didn't charge for for I still believe I'm not
accepting any money for production. Like when I produced records,
I'd say, no, I'm not taking any money because I.
Speaker 3 (01:11:19):
Don't want to.
Speaker 2 (01:11:20):
You're THEOL program directory and I don't a music director.
Speaker 1 (01:11:24):
A music Steve Smith was the program direct you were.
Speaker 3 (01:11:27):
But you were controlling the music of Power.
Speaker 1 (01:11:28):
Of six yet, so I never wanted it to be.
Speaker 2 (01:11:31):
And that's why I wasn't the program director of Power
one oh six Okay, because I was producing records. I
did not want to be the final say right, okay, clear,
got it, so cover in your ass and my deal
went through the FCC.
Speaker 1 (01:11:45):
When I renegotiated my deal.
Speaker 2 (01:11:47):
When I started producing records, I contacted the FCC through
my attorney and said, is this a conflict of interest
that I'm producing records and hold this possession. They said,
as long as you are not the final say, then
it is not a conflict of interest.
Speaker 3 (01:12:03):
Ah.
Speaker 2 (01:12:05):
So Shade is somebody that I met, you know, just
on the and we'd hang out on the weekends and
do records and you know whatever whatever, just as fun producer,
you know what I mean. Mariah Carey says to me
one day, Hey, what else.
Speaker 1 (01:12:18):
Do you do?
Speaker 2 (01:12:18):
I said, oh, you know, play with beats, you know,
and da da da da. Oh send me a tape.
Speaker 3 (01:12:22):
You know.
Speaker 2 (01:12:23):
Well, one of them became I still believe, you know,
with her Crazy Bone in the Brath, the first record
I ever produced, shout out of Mariah, thank you for
giving me my shot, you know, all of this kind
of stuff. So they see that, and Rick comes to
me and goes, well, you produced on Jah Rule. You
did this record with Mariah Carey, Like, you know, are
they making offers for labels? Like you know, we want
(01:12:45):
to cut this, you know what I mean. And I'm like, well, okay,
it goes well, we'll make you the senior director of programming.
We'll bring in someone else to be the program director,
and you keep doing what you're doing, but we want
to label. Find out how much much you could get
for us getting a label, and I said, well you
need an artist, and they go, well, who's that kid
(01:13:06):
that you hang out with?
Speaker 1 (01:13:08):
And I'm like what.
Speaker 2 (01:13:09):
And it was that simple, like you make some records
with some kid, right, And I'm like, yeah, Shade, that's
my friend. He's like, well, he's the artist. Go find
out if you can get him a deal. And I'm like.
Speaker 1 (01:13:22):
Okay.
Speaker 2 (01:13:23):
So I go and I ask Fred Davis, who's Clive
Davis's son, who was my lawyer. I said, what do
you think? He goes, send me four songs and call me,
you know, in a week. So I go and I
make Where I Want to Be? Okay, I put Shade
on it. I go and make a song of Corrupt,
another song of Corrupt, a couple other songs you know
(01:13:44):
in KG from Naughty by Nature. So when they gave
me the beat for Where I Want to Be, you know,
he produced the beat, I just put the vocals on it.
And then I said, I, well, here's a couple of songs.
Fred Davis calls and says, London Sire wants will give
you seven hundred and fifty thousand dollars, and so I
go to Brick Cummings and say seven hundred and fifty
(01:14:07):
thousand dollars.
Speaker 3 (01:14:08):
And by the.
Speaker 2 (01:14:08):
Way, IRV Gotti says, they'll give us another you know whatever,
forty fifty grand to give him the Nate Dog song
that we're not using. And this other song that I
did with jah Rule called Life Ain't a Game. But
I'll do it under the MS deal because I don't
want to, you know, I don't want to, you know,
(01:14:29):
look like I'm taking the money for producing and I'll
just do it all everything that I'm doing under MS,
you know what I mean, outside you know whatever.
Speaker 3 (01:14:38):
Whatever.
Speaker 2 (01:14:39):
So they're like, yeah, great, well Where I Want to
Be comes out, it's the number one rap single in
the fucking country, and London Sire goes bankrupt and I'm like, shit,
what do I do?
Speaker 1 (01:14:56):
So they say, but.
Speaker 3 (01:14:58):
You guys already got the seven to fifty right, Yeah.
Speaker 2 (01:15:00):
So and the single's out and it's all over the place.
So I say, look, I'm not going to put Shade out.
Let's just call it a Domesic Presents album and say
it's just you know, a one off whatever whatever.
Speaker 1 (01:15:13):
And then I was just presenting a.
Speaker 2 (01:15:14):
Bunch of artists because that's what Flex does on his
mixtapes or you know whatever whatever, So let's just call
it that. That way, it won't burn the artist's name,
and it just it'll fall on me and we'll just
keep moving. And then MCA pops up and says, we'll
give you a million dollars and I'm like what. And
(01:15:34):
they're like, we'll give you a million dollars for Shade Shist,
plus another two hundred and fifty for the video. So
I go to Rick Cummings and I go, well, here's
another one point too, and he's like do it and
so I'm like all right.
Speaker 3 (01:15:49):
And this was so all that money was going to MS.
Speaker 2 (01:15:53):
Yeah, they say fifty cent was the first artist to
get a million dollars.
Speaker 3 (01:15:58):
No, Shade Shist was.
Speaker 2 (01:16:02):
One point seven when it was all said and done,
two million between two albums.
Speaker 3 (01:16:09):
That's crazy. I mean, how much of that did he
get to keep? Huh? How much of that did he keep? Though?
Speaker 4 (01:16:14):
Like what was his like, what was his deal?
Speaker 1 (01:16:17):
No, he got the regular artist deal.
Speaker 2 (01:16:18):
He got like what twenty five to fifty grand up
front for each project, you know, something like that. So
he did all right, amis was eating Oh they were
eating crazy because not only that, but I was giving
them all my production I was doing.
Speaker 1 (01:16:30):
Dude, you got to think about it.
Speaker 2 (01:16:31):
This the Drey and Snooper union promotion, right, think about
that alone. They were selling it as packages to the
rest of the country under the consultancy and taking their
tax on it. Do you know what I'm saying, the
two power Look when Dre said they were the two
powerhouses in Los Angeles, you don't think the sales department
sold that and made like thirty million each one.
Speaker 3 (01:16:50):
And then if you're the consultancy, you can say.
Speaker 4 (01:16:54):
Hey, you know, we'll fly you in if you're in Rally,
North Carolina and we're you want to you want your
folks to go.
Speaker 2 (01:17:00):
To Why I made a lot of people rich. Let's
just say that.
Speaker 3 (01:17:03):
Do you regret moving in that way? No?
Speaker 2 (01:17:09):
Do you know why? My grandma raised me and I
looked her in the face till the day she died.
Speaker 4 (01:17:16):
I just think in terms of the MS thing, it's.
Speaker 1 (01:17:18):
Like, I don't give a fuck because I never did
this for money. I did this, Yo.
Speaker 2 (01:17:23):
There's a funny story about doctor Dre. Doctor Dre was
on stage when they were at the two thousand and
one reunion, they walked out on stage right and I
took off. I said, my job is done. I took
off my pass and I went to the front row.
I started losing my fucking mind. Doctor Dre almost falls
over the monitor looking down, going what's wrong?
Speaker 3 (01:17:43):
What's wrong? Right? You know what I mean?
Speaker 2 (01:17:45):
Like, and I'm sitting there just going like, what are
you talking about? Everything's right? He's like, what's wrong? What's wrong?
And I'm like, oh shit. He thinks like I'm trying
to get his attention. Like, so I ran to the
back of the thing to watch. Right after the show,
Dre walks up to me and he goes, Yo, what
what the fuck was that?
Speaker 1 (01:18:00):
What was a sound?
Speaker 3 (01:18:01):
Fucked up? What happened?
Speaker 2 (01:18:02):
I go, Bro, you think I did this because I
wanted to make money? I said, bro, I wanted to
see the fucking show, you know what I mean? So no,
I don't regret shit because I know I can sleep
at night and I know my Grandma raised me right,
and know what, Look, I don't care what the fuck
(01:18:24):
the narrative is. I have never taken an artist dime
from a motherfucker.
Speaker 1 (01:18:31):
I have never done anything that is not right for
hip hop.
Speaker 2 (01:18:35):
And when I came back and when she died January sixth,
by January eighth, I was back in California. When I
got here, I turned on the radio and when it
was like a dad coming home off of vacation and
the kids trashed the motherfucking house. When I left, DJ
Quick had the very first independent deal through Fontana where
(01:18:56):
he owned his master's and eighty percent of the revenue
and got an advance ants with Brian Shafton. Because when
Brian and Fontana started that independent distribution shit DJ Quick,
they came to me and said, who's the first artist
that had sound scan history that you could put through this.
I said, oh, DJ Quick, mad science, Astevan Oriole cartoon
(01:19:18):
doing the logo the red vinyl.
Speaker 3 (01:19:20):
That's all me crazy.
Speaker 2 (01:19:22):
So I said, here we go, and I said, now
the artist is straight. I had enough power to create
the independent deal for the artists where they own their
own fucking masters, they're getting a higher eighty percent of
the revenue, and the fucking I was pissed when I
got home.
Speaker 3 (01:19:38):
Let's just say that crazy.
Speaker 2 (01:19:40):
And I went, okay, so this is the narrative, this
is what's going on Hi. Then I hit that little
button on Instagram and here we are.
Speaker 4 (01:19:49):
So let me ask you this, like you're obviously, you know,
break down because you left powerwin oh six on your own, will.
Speaker 3 (01:20:00):
Or give me? Give me because I know.
Speaker 4 (01:20:02):
You would win it because I saw you you pretty
much wud to go work with Mariah.
Speaker 2 (01:20:05):
Right, I'm not gonna get in the Ryan story. That's
way too long. Will be here all night. But what
happened was is when they brought in Jimmy Steele and
vow Mackie. Okay, Mackie, this is two thousand and two
ish one ish whatever. Everything had already happened, the drad
Snoop stuff, and you know all of that history, and
(01:20:26):
you know all the big promotions. We're already number one
and we basically went number one before any of these
motherfuckers got there, right, So they come in and.
Speaker 1 (01:20:38):
The first thing that I noticed is Val says.
Speaker 2 (01:20:42):
The DJ or the mixers, they should be paying us
because they're going to Hollywood and getting all these gigs
a cut of that, and why should I mean they
should be paying us? And I'm like, Yo, this bitch
don't get it. And we started it for the love
of hip hop, you know what I mean. And I
start to realize that that's not the game anymore. This
(01:21:04):
is now corporate, right, And my first meeting with him,
she looks at me and goes, I can't equate you
to a number.
Speaker 3 (01:21:11):
What do you do here? You're like what?
Speaker 1 (01:21:16):
And I'm like what do you mean?
Speaker 2 (01:21:19):
And they're like, what, you picked the songs or something,
and I'm like, oh, okay, so this is how this
is going.
Speaker 1 (01:21:28):
Jimmy Steele comes in from an AC.
Speaker 2 (01:21:30):
Station, the Cougar and Dallas, and I said okay, and
he's like, oh, I hear you're the most important person
at the station, but I don't understand what you do.
Speaker 1 (01:21:39):
And for instance, before them, they brought in Mike Tierney.
Speaker 3 (01:21:42):
Okay.
Speaker 2 (01:21:43):
Mike Tierney comes in, stays about a week. At the
end of the week, he goes, dude, what did they
expecting me to do here?
Speaker 1 (01:21:48):
Babysit you? And I'm like, what do you mean?
Speaker 2 (01:21:50):
He goes, well, you're making all the decisions, you're doing
all the promotions, like I mean, they hired a babysitter.
Speaker 1 (01:21:56):
And he just and then he goes. He just leaves.
Speaker 2 (01:22:00):
He doesn't resign, doesn't do nothing, just fucking leaves. So
Val Macki comes in and says, Yo, anybody heard from
Mike Tierney And I'm like no, and he's like, well,
he hasn't showed up for a week. And I'm like,
I don't know. So I finally get a hold of
Mike Tierney and goes, Dude, that bitch don't know what
she's doing. Dog Like she's telling me all this crazy shit,
(01:22:21):
how we need to cut this and charge mixes this,
and babysit's crazy, you know, like doesn't understand what you
do and why you're making this, and why we have
a record label, and you know, wants to take the
record company money and just put it straight to the
bottom line, and why you're working in a studio, and
why don't we just make a studio at the office
(01:22:41):
and make the artists do the songs, and you know,
all this kind of shit. And I'm like, I go
to Rick Commans, I'm like, bro, you got her running
the record company with me. Now do you see what
I'm saying and telling me this stuff and trying to
A and R the records and tell me what I
need to be doing and now all of it. So
the label folds and well, keep in mind, when I
(01:23:06):
started helping Mariah Carey and we started the record label,
some people in New York got mad.
Speaker 3 (01:23:13):
We'll just leave it at that, Okay.
Speaker 2 (01:23:15):
So they call their friends at the LA Times and
they plaster on the LA Times airplay raises disclosure issue
and they say I'm more powerful than Radio Disney and
that Shade Schie is my artist, and I'm getting all
this money from Mariah Carey and all these people in
dah da da and blast me on the fucking thing.
Rick Cummings doesn't back me up. He doesn't say Shade
(01:23:39):
like really like that, go out there and bang and
say no, it's our artist. He throws me under the bus,
and I'm like, oh, this is how this is gonna go.
Speaker 1 (01:23:50):
Okay, you don't know what you're doing.
Speaker 2 (01:23:53):
You're my new babysitter, and this bitch is crazy, all right,
So I'm like whatever whatever. So then they come to
me and he says to me, He goes, We're going
to flip the country station and make it MEGA, and
I'm like, no, I don't think you should do that
because then it would be an upper demo R and
B station, which would take our upper demo at Power
(01:24:15):
one oh six. Ah, you don't know what you're talking about.
I'm like, okay, you do that, we're going to have
a problem.
Speaker 3 (01:24:24):
Nah.
Speaker 2 (01:24:24):
And by the way, I rented a spot on the
stick and I'm like, what, I rented a spot on
the antenna. We're getting like five thousand dollars a month
from another station that's going to come on the air.
And I said, well, we're x percentage Hispanic in Los Angeles.
You don't think whatever they put on that signal is
going to come at us because we're the number one
(01:24:47):
Latino rhythmic station. The beat is a black station, so
you don't think that's going to come right at us.
And he goes, nah, we have a contract with him,
and I said, so we'llsue them if they do. And
I go, well, how did you put racism in a contract?
And he's like, well, they just can't do anything Latino,
(01:25:08):
trust me. Latino ninety sixty three comes on the air.
Next I look at him everybody and I'm going, oh
my god, like what the fuck is going on?
Speaker 1 (01:25:23):
And then it was Thanksgiving.
Speaker 2 (01:25:25):
Between Thanksgiving and Christmas, I go home have Thanksgiving with
my grandma and she falls down putting down. She was
getting out the she was putting away the Thanksgiving stuff,
and she was taking down the Christmas stuff, and she
fell and I just said, okay, I'm done. I said,
from now on, I'm taking care of Grandma. Remember when
(01:25:46):
I said, Look when I was a year old, I
was abandoned on her doorstep. When I was seven years old.
I told her, you take care of me. Now I'll
take care of you. Then the second she hit the ground,
I said, I'm done with all of it. Then I started.
I just started being her full time caregiver, her bodyguard,
or whatever the hell you want to call it, her whatever,
and just started hopping around the house. Well, my two
(01:26:07):
little brothers are in high school. They all have friends
that are rappers and shit. They come to me. They
start bringing all the kids. I start w here, you
guys are hanging out with gangs in Santa Barbara. They
start stealing my plaques and shit. So I'm like, look, oh,
doctor dre Plack, Oh go ahead.
Speaker 3 (01:26:21):
Take that.
Speaker 1 (01:26:22):
Just stay the fuck out of the street.
Speaker 2 (01:26:24):
And I start producing these kids, start doing gang intervention
what I was doing with Jim and all this stuff
at home. My friend Wino comes along, rest in Peace
introduces me to Bams and Skippy, and you know that's
how it all started. BAM's parents were both incarcerated. He
starts staying with us. Next thing, you know, I meet
(01:26:46):
my best friend. You know what I'm saying, start developing him. Yeah,
you know what I mean. That's how long it took
to develop Bams. I left in two thousand and four
or five something like that. But Bams wasn't a rap,
just a.
Speaker 4 (01:26:59):
Rap so four o five And when you leave the station,
do you also just like mentally check out from like everything,
just all the music.
Speaker 2 (01:27:08):
It just became about Grandma. I literally resigned. And that's
why I like, you know, people dislike me so much.
You know, is I just I literally told Mariah, I
put Mariah with Benny Medina and fixed all that stuff.
Senator to Atlanta and said, bring me back an usher record.
Have Jermaine just do we belong? And that was we
(01:27:28):
Belong together, set her up with Benny Medina and said bye,
then power one oh six. Obviously you guys are the
Titanic at this point, I can't even do anything with that.
Speaker 3 (01:27:38):
Bye, you know.
Speaker 2 (01:27:39):
And Drey and Snoop, it was just like they were
already doing what they were doing.
Speaker 3 (01:27:44):
You know.
Speaker 2 (01:27:44):
The last thing I did with Dray and Snooper in
that group is Eminem calls me up and says, do
you know fifty cent? It's like, no, he goes, I
need to do a kmart shoppers on Power one oh six, And.
Speaker 1 (01:27:53):
I'm like, what's that meaning?
Speaker 2 (01:27:54):
He goes, I need to go on Power one oh
six and say somebody find me fifty cent. That was
the last thing that I did, I think in that click,
you know. And so then I just walked away from
everything and it became about my grandma. My dad, would
you know, was still a biker, he was drunk, you know,
their mom whatever, whatever, you know. But my little brothers
(01:28:15):
ended up coming living with me. So I ended up
raising my little brothers and taking care of my grandma.
The only thing I cared about the music business is
when I could use the music business or what I
had done in the music to help get the kids
off the street.
Speaker 1 (01:28:29):
Do you know what I'm saying.
Speaker 2 (01:28:30):
So if there was a concert like Little rob would
come through Santa Barbara or something like that, and all
the kids would get excited that I'd make a phone
call the fingers and say Hey, could you hook this up?
Speaker 3 (01:28:38):
You know what I mean?
Speaker 1 (01:28:39):
Because the kids want to go. Yeah, that was the
extent of it.
Speaker 3 (01:28:43):
That's crazy.
Speaker 4 (01:28:44):
Were you able to parlay your production stuff into like
pubs situations or no?
Speaker 2 (01:28:51):
Because every cent that I made during my record time,
you have to remember, first off, I made it the
height of my career of power one o six, I
was making two hundred and fifty grand, maybe three hundred. I
never took the only money that I ever took was
to fix glitter, and that was like two hundred and
fifty you know what I mean.
Speaker 1 (01:29:11):
So I probably made five hundred.
Speaker 2 (01:29:13):
But most of the people around me were embezzling and
doing all kinds of crazy shit anyway, So sure you know,
I literally nighties are crazy, yeah, you know, but you
know I had little royalties like mix.
Speaker 3 (01:29:23):
Your Power Summing I heard was nuts. You don't even know.
Oh no, I've heard. I heard there was like a
room full of fucking dude.
Speaker 1 (01:29:31):
There was all kinds of shit.
Speaker 2 (01:29:33):
But you know, but you know, you would you go
to Obviously I went to all of them gap But
that's the thing about you know.
Speaker 3 (01:29:38):
The lookers are real thing? Oh hell yeah, yeah, I
mean it was part of the whole, you know.
Speaker 4 (01:29:42):
Like I heard if you went to mix some power
somewhere back in the day, like and they were just
a room and like everybody was fucking like, yeah, go
grab you a bitch the l I.
Speaker 3 (01:29:50):
Know what any of those you know.
Speaker 2 (01:29:51):
Someone asked me about Puffy the other day, and someone asked,
you know, did you ever see anything or did you
ever go to those parts?
Speaker 1 (01:29:57):
No, it's just not who I am.
Speaker 3 (01:29:59):
I did.
Speaker 1 (01:30:00):
I went to work. When the job was done, I
went home.
Speaker 3 (01:30:03):
Yeah, I mean.
Speaker 4 (01:30:04):
And the thing with Puffy too is like I know
hell of people that have been to ditty parties. It's
not like just because you went to a diddy party.
Speaker 2 (01:30:11):
Let me tell you this did He looked out for
me a lot, you know what I mean? And I'm
not look what happened with Cassie and all that shit.
Of course he deserves whatever, you know, whatever, whatever, But
and his kids don't. By the way, I agree, do
you know what I'm saying, Like, don't treat the sins
of your father. I love Quincy. Quincy and I talk
a lot, you know what I mean. I love his
son Christians. Another friend of mine, Miles Gaines, works with
(01:30:33):
with with Christian a.
Speaker 3 (01:30:34):
Lot, you know what I mean.
Speaker 2 (01:30:35):
Like, so you know, I look whatever whatever, and I
love and.
Speaker 3 (01:30:38):
Let me just say daughters that are in high school.
Speaker 1 (01:30:40):
But check this out.
Speaker 2 (01:30:42):
When my grandma had to have knee surgeries, right, Puffy
and I were supposed to have a meeting, and I
said to Puff, I can't go. I got to go
to Santa Barbara. I gotta go do this thing. You know,
my grandma's in the hospital, so what's wrong? How her
needs done?
Speaker 4 (01:30:55):
No?
Speaker 3 (01:30:55):
Da, He's like, oh no, no, go ahead, go ahead.
Speaker 2 (01:30:57):
What hospitals someplace, cottage hospital, you know whatever went dude.
When I got from LA to Santa Barbara, the whole
floor was buzzing, and I'm like, what the hell's going on?
Flowers everywhere and all this stuff, and nurses or two
nurses are in there like taking care of grandma, and
Grandma's like smiling and shit, and I'm like, the hell
just happened? And she's like, Puffy called and I was
(01:31:21):
like what she goes? Puffy called the nurses sent me
flowers and said I needed to be treated very special
because I'm an important person. That's the kind of shit
he did, you know what I mean? So this guy
I don't know, you know what I mean. So what
I saw, I was mortified because I've never seen that guy, right,
(01:31:41):
you know what I mean. So, but I know when
I wanted to do Puffy and Paradise back in the day,
which was my first big promotion, I know, he put
two hundred and fifty grand behind me to do it right,
you know, or the station, not me, excuse me, you know,
and paid for the promotion, you know what I mean.
Speaker 1 (01:31:58):
And that's how I met Benny Medina.
Speaker 2 (01:32:00):
So fast forward when he left Jennifer Lopez right after
Glitter with Mariah Carey. I knew him through Will Smith too,
So I just said, perfect thing to do here is
put Benny and right together.
Speaker 3 (01:32:16):
That sh it's crazy.
Speaker 2 (01:32:17):
And did jay Z's first number one too, put jay
Z and Riah together for Heartbreaker.
Speaker 1 (01:32:23):
Come on, bro, we don't play over here.
Speaker 3 (01:32:26):
What do you? What do you?
Speaker 4 (01:32:27):
What are your thoughts nowadays when you hear you know,
LA radio, like, what are your thoughts? Just radio in general?
Obviously you were a part of an era of radio that.
Speaker 1 (01:32:34):
Was why do you think I came back so tough?
Speaker 2 (01:32:38):
I was just gonna just come back and hang out,
and you know, slowly get back, you know, to figure
out what I wanted to do. My grandma just died
two months before that, Rest in peace, angel. My little
nephew dies overdoses. My dad died the year before. When
I came back. Two weeks after that, when I from
getting home, my dog dies, you know, the poodle, Grandma's poodle,
realizes that she's dead.
Speaker 1 (01:32:59):
She guys. You know, thank God for bam skipping.
Speaker 2 (01:33:02):
My family, my friends, Gabe, you know, everybody, his wife,
Talia and everybody that you know. When I got I
was a wreck when I got back, right, you know
what I mean?
Speaker 1 (01:33:12):
Like, come on, that's my it's granny, you know what
I mean.
Speaker 2 (01:33:17):
Like the last five years I spent in Louisiana just
hur and me in the house, being a full time caregiver.
Speaker 1 (01:33:24):
That's it.
Speaker 2 (01:33:25):
We didn't really have internet like that because in rural Louisiana,
a town of two hundred, it's a cloud in the sky.
You don't get fucking internet, you don't get direct TV.
So it's just me and a ninety six year old
lady just sitting there rapping. But that's my dog, that's
my grandma, that's the homie. You know what I mean like,
so we had a blast, we made it the best
of anything, you know what I mean?
Speaker 1 (01:33:44):
So I whatever.
Speaker 2 (01:33:46):
So I get back, I hear all this shit, I'm like, God,
what the fuck did y'all do?
Speaker 3 (01:33:51):
Like?
Speaker 2 (01:33:51):
And I just start tearing off, like what do I
think of it? I think, dude, the same Rick is
still in.
Speaker 4 (01:33:57):
Charge of of power.
Speaker 2 (01:34:01):
Oh yeah, you don't know who the consultants are? Rick
and Jimmy.
Speaker 4 (01:34:04):
Yeah, I know.
Speaker 3 (01:34:05):
Jimmy was a consultant.
Speaker 1 (01:34:06):
They ad into what two years right, because.
Speaker 4 (01:34:10):
No one will zones it now and yeah they're.
Speaker 1 (01:34:13):
Okay'm gonna shut up.
Speaker 3 (01:34:14):
I don't want to listen. They want to be negative.
Speaker 4 (01:34:15):
Their leadership, you know. And I'm real tight with the man.
That's my dog.
Speaker 2 (01:34:20):
Look, I love I thought into it from a mixture
into the music.
Speaker 4 (01:34:24):
That kills the PD. Now great, Yeah, but they didn't
have a PD for a while, and it was like,
why what't you guys?
Speaker 2 (01:34:29):
Okay, but look at the Hot ninety seven's ratings right
now and tell me that was a good move.
Speaker 4 (01:34:34):
Yeah, I am not hip two Hot ninety sevens ratings,
So I can't tell you.
Speaker 2 (01:34:39):
Okay, but I'm going to leave it at that. I'm
just gonna say radio is not programmed correctly. And you
have to understand the reason why we have not had
a hit in the fifty one years of hip hop
or fifty years anniversary of hip hop is because only
twenty six percent of Americans have in inner city neighborhoods
(01:35:01):
and low income areas and rural areas like I came from, have.
Speaker 1 (01:35:05):
Data plans on their phones.
Speaker 2 (01:35:08):
Right, So they're not sitting on TikTok, they're not sitting
on Spotify. They can't afford YouTube and all of those
because they're at work every day.
Speaker 3 (01:35:16):
What do they have?
Speaker 2 (01:35:17):
Ninety six percent of America still listens to the radio.
Radio is not breaking records, it's automated. And they fired
all the DJs. The record company has fired all the
radio promotion people, and radio is programmed like shit.
Speaker 4 (01:35:30):
I think that the main issue, though, is a revenue
and radio has fallen off of a cliff.
Speaker 3 (01:35:36):
Do you know why it's fallen off of a cliff? Well,
it kind of started.
Speaker 2 (01:35:39):
How many DJs do you know that's under twenty Well
in the core demo, how many people you know in
the court that are programming radio in the core demo
of any of these radio stations. U A few for
sure that are in the cord that regionally, not programming regionally,
that are sitting in the radio station in the demo,
(01:36:00):
programming to the audience that will go out in the
streets and know what that radio station is.
Speaker 4 (01:36:07):
There's a few, there's but I would say, I would
say this, I'd see Big Bear.
Speaker 2 (01:36:11):
Maybe you're not in the demo, but he knows what
he's doing.
Speaker 3 (01:36:16):
DJN and dj AO, Oh no, those.
Speaker 1 (01:36:17):
Guys, those two look, there's probably.
Speaker 4 (01:36:20):
I think this.
Speaker 3 (01:36:20):
I think you gotta like I think.
Speaker 1 (01:36:22):
Rate they're programming regionally.
Speaker 4 (01:36:24):
Well, they're also programming locally like Amen Handles Real ninety
two three.
Speaker 2 (01:36:28):
Oh, I'm not talking about that one, no, no, But
what I'm saying is what Doc does is fucking amazing.
Speaker 4 (01:36:32):
What I'm saying is uh, with the revenue in terms
of like these networks and the and the buys that
used to happen back in the day. It's just when
I say, it's not the met like the qumate there anymore. Right,
So the cube is falling off of a cliff. The
listenership is falling off of a cliff because you know, listen,
there's it hasn't evolved. That's why it hasn't evolved. But
(01:36:56):
also like the competition is at a high your level,
because like you said, obviously ninety six percent of people
still listen to radio, whether they know it or not.
They might hop an uber, but they might be in
a cab.
Speaker 3 (01:37:06):
Look. But at the same.
Speaker 4 (01:37:08):
Time, you know, like it's very very like you. I
feel like YouTube is the new radio because it's free.
Spotify you gotta pay for you, got it?
Speaker 1 (01:37:19):
But I feel like radio is free.
Speaker 3 (01:37:20):
I understand that, but radio is like.
Speaker 4 (01:37:24):
Almost like I'll say this, there's kids in gods are
popping on TikTok right now, got it? Because they're able
to document what's happening.
Speaker 3 (01:37:31):
On their understand most people have access.
Speaker 4 (01:37:35):
To their phone.
Speaker 2 (01:37:36):
Is that fair to say? Let me let me put
it to you like this. I'm not going to give
them the prescription on this show, but I will tell
you right now, there is a way to do it.
Speaker 3 (01:37:46):
No.
Speaker 4 (01:37:47):
I think that radio unfortunately has become overly simplified.
Speaker 1 (01:37:54):
Yeah, Astradized is the way to put it.
Speaker 4 (01:37:57):
As to where there isn't necessarily a one size fits
all fixed to every radio station, and at times they're
treated like.
Speaker 3 (01:38:09):
Well, if we do it here, we do it here,
we do it here. It's gonna work as opposed to you.
Remember ninety seven, it was the same thing.
Speaker 2 (01:38:17):
Oh why ninety seven? I was ten, But I'm just
saying it was the same thing. It was fragmented like that.
Speaker 3 (01:38:23):
Yeah, and.
Speaker 4 (01:38:25):
I do think you know, radio is heading to a
place where most stations are depreciating assets. So you have
to figure out ways to try to just increase. Like
you said, you figured that out when that lady came
in and said, well, I can't put a dollar figure
on what you do. And unfortunately, at the end of
the day, most of these radio stations are corporately owned.
(01:38:46):
They are businesses, and the culture aspect, or the edges
that make it make sense aren't necessarily understood or quantified
in a dollars and cents spreadshet where it's like, hey,
well we know if we can cut this and we
can have this, we can make X amount of money
(01:39:07):
and we're profitable.
Speaker 3 (01:39:08):
I understand what you're saying. So telling you there is
a way to do.
Speaker 4 (01:39:12):
It, I'm not saying that there's not. I'm not saying
that there's not. And again, this is.
Speaker 3 (01:39:17):
We're talking hip hop radio. There's so many formats around.
Speaker 2 (01:39:20):
There's AMFN, but there's a there's a look everybody is.
Like you said when we first sat down there, you
saw a video of mine where I said, it's absolute,
it's either red or blue, Republican, Democrat, blood crypt there's
nothing in the fucking.
Speaker 4 (01:39:35):
Middle, right, and you're right about black with radio. The
answer somewhere in the middle.
Speaker 1 (01:39:39):
Right between tech and radio.
Speaker 2 (01:39:41):
There is a handshake and there is a way that
it could happen very easily. Yeah you're asking, I mean literally,
like I know exactly what to do, and everybody would
make money.
Speaker 3 (01:39:54):
But the problem.
Speaker 2 (01:39:56):
Is is these corporations are attached to the DSPs, and
the DSPs are putting out a narrative that there is
no resurrection to radio.
Speaker 4 (01:40:06):
Yeah, no, DSPs, definitely it is in there. It's in
DSP's best interest if radio is dead.
Speaker 2 (01:40:12):
Okay, So two days ago, Jermaine Dupree and I were
having a discussion on or he was having a discussion
and Tega shout out, Tega want taga. The mobster posts
a thing tags me and Jermaine and it says I'd
like to be broken on radio and immediately gets flagged
and taken down.
Speaker 1 (01:40:34):
On Instagram.
Speaker 3 (01:40:36):
It's weird.
Speaker 2 (01:40:37):
Yeah, for what I posted on my thing, take a
look at it sometime. But the narrative of I bet
you Facebook's going to try to come up with something.
But whatever, I would say this, like Spotify doesn't want.
Speaker 3 (01:40:49):
You listening to the radio.
Speaker 2 (01:40:50):
Let's say that a lot of a lot of those
platforms do not want you listening to the radio.
Speaker 4 (01:40:55):
I don't disagree with that because it's against their I mean,
they want people on their platform.
Speaker 3 (01:40:58):
Why would I want people listening to the radio. I
have them listening to my product, and vice versa.
Speaker 4 (01:41:03):
What I'm telling you is if I'm if I'm iHeartRadio,
I want you listening to my ship and not listening
to a playlist on Spotify. And so that's my thing
is like nowadays, like yo, like at the end of
the day, like you said, you know, you got you got,
you got your answer. It's it's just an interesting time
because we've never had to compete with so much. Like
(01:41:24):
as a radio personality, you have to compete with.
Speaker 3 (01:41:29):
All of this. I totally understand what you know.
Speaker 4 (01:41:32):
The the bandwidth grab of people's attention is like everyone's
attention is up for grabs.
Speaker 3 (01:41:37):
I totally understand what you're saying.
Speaker 4 (01:41:39):
It's like, well, like I lay down at night and
I might put Netflix on or play my PS five,
but my wife is scrolling on TikTok just looking at bullshit,
you know, and I'm.
Speaker 3 (01:41:50):
Like, yo, let's watch this movie. It's it's it's just in.
Speaker 4 (01:41:55):
All forms of entertainment, man, the bandwidth is up for
grabs more than ever, right, So, like, how do you
make radios?
Speaker 2 (01:42:01):
And also there's also a very big hole that could
be filled. And that's all I'm saying. It might just
happen soon.
Speaker 4 (01:42:10):
I look forward to seeing what you got up your sleeve, sir.
What else are you working on? Obviously you're working with
with BAMS man.
Speaker 2 (01:42:18):
I'm just you know what, I've met soulists and left
the gun Play and OTR, and you know, I've had
a lot of fun work with them. I have fun
doing some projects with Poon, I'm having friends with, you know,
just all kinds of fun stuff.
Speaker 1 (01:42:32):
So but really my focus is BAMS.
Speaker 3 (01:42:33):
You know. I enjoy making music. I enjoy doing that kind.
Speaker 2 (01:42:36):
Of stuff, working on some I'm gonna in October, I'm
going to be doing a synergy marketing seminar in Los Angeles,
Michelle S and Power Talent Agencies helping.
Speaker 3 (01:42:48):
Me put it together.
Speaker 2 (01:42:49):
But what I've basically done with the Instagram thing and
giving up the game, I'm going to do with Syracuse
University and where Michelle teaches. Uh, they have a campus
here in Los Angeles. I hope that everything goes as planned.
And Michelle S and myself and Power Talent and kool
(01:43:10):
Aid and.
Speaker 3 (01:43:12):
I just saw you do yesterday. Yeah, we're gonna We're
gonna do some work. Yeah, that's cool. It's one of
my best friends.
Speaker 4 (01:43:23):
First time I ever got paid to do anything in
radio that wasn't set up a tent was to be
a board up to throw her show on Board upped
Pocost Pedal.
Speaker 2 (01:43:30):
Locals and when you know when it was funny because
when I when quill Aid first brought Pocost Pedal Locos,
they said no, And that was one of the first
specialty shows. I mean, it's very special to me because
it was a project that I got green lighted.
Speaker 6 (01:43:47):
Yeah, I think that, I think right now. The another
thing they told me, there was absolutely to that. I
told you did that yesterday. I was like, yo, Like
the Mexican Rapture is hotter than ever.
Speaker 4 (01:44:02):
Right now, there might be a.
Speaker 3 (01:44:05):
Missing specialty show.
Speaker 1 (01:44:08):
It's definitely something missing.
Speaker 4 (01:44:09):
Yeah for sure. Man, So all right, we'll go follow
this guy. You know, appreciate some of the stories.
Speaker 2 (01:44:16):
Didn't mean I know you got some crazy stories, oh crazy.
Speaker 4 (01:44:20):
Many more? Would you ever write a book or anything
like that?
Speaker 2 (01:44:22):
I did write a book. You didn't write by association.
And you know what's funny is I wrote Guilty by
association and you know it. It was like twenty twelve, fourteen.
But as soon as I said I was writing a book,
you know, they said, oh, it's going to be a
tell all on my Riah Kerry always going to get
you know, do write a tell? I was like, bro,
there's different chapters about the twelve chapters, you know, it's
(01:44:43):
not even like that, Like it was just a story
about a kid from Santa Barbara write a dream that
made it, you know what I mean. Like, for instance,
my friend Pharaoh in the juvenile detention centers here in
Los Angeles during COVID, they gave my book to the
kids in the juvenile hall and then I went to
so to talk. I mean, I'm heavily involved in the
juvenile system, like I mean, I mean, I've been working
(01:45:05):
in gang intervention and the systems since Jim Brown, right,
you know what I mean. And Pharaoh, who happened to
be an intern for me at Baby Ree when he
was a kid it you know, now works in the system.
Speaker 4 (01:45:16):
For people who aren't aware. What was your relationship with
Mariah for the people who don't know, obviously outside of
working with her.
Speaker 3 (01:45:27):
Uh, that's an interesting question. We were.
Speaker 2 (01:45:35):
Anything that you could say happened, you know, whether it
be friendship, whether it be working, whether it was dating,
whatever the fuck it was.
Speaker 3 (01:45:43):
It all went down.
Speaker 2 (01:45:44):
Yeah, we were best friends and it turned into something
really cool that ended up being bullshit. I mean, I
started around the time of Glitter. I even introduced her
to eminem and went through all of that, and.
Speaker 3 (01:45:57):
She essentially went to working with her to get in romance.
Speaker 2 (01:46:00):
Everything we were in the hall, we were the best
friends that ended up in a and then we were
both being attacked from two different sides. And when I
chose to help her, I went against the system, the
Sony system to begin with, do you see what I'm saying.
So that's where a lot of the narrative of some
of the bullshit started. You know is when I the
(01:46:21):
first Okay, let me I'll tell you one Mariah Carey story.
The first time I went to dinner in New York
with Mariah Carey. I get a phone call from Steve
Stout and he was the president of Black music for Sony,
and he says, what are you doing in New York?
And I'm like, what are you talking about? Do you
having dinner with Mariah Carey right now? And I said, what,
(01:46:43):
how do you know that I'm in New York? And
how do you know who I'm having dinner with? He goes,
come next door, I want you to meet somebody?
Speaker 3 (01:46:49):
Said who?
Speaker 2 (01:46:50):
I walk in and Tommy Mottola is sitting there. The
first thing out of his mouth that says, so you
know my ex wife? I was like, yeah, he goes,
you fucking her? That's how that started. And if you
know me, you know that, like yo, I'm all about
the underdog.
Speaker 1 (01:47:08):
I helped the kids in the street.
Speaker 2 (01:47:10):
If I see somebody you know, first shot, you know,
I give them advice. I sit there and give up
free game all day on my Instagram. If I see
something wrong like that, and especially when it comes to
a woman and someone that is a kid a woman,
you know, an unfair advantage which I feel this music
business is. I sit there and I talk about it.
(01:47:31):
And that's how we became friends. And when glitter happened,
she said, look, I need you to help me fix this.
So I literally spent the next however long up to
we belong together, helping her rebuild that career. Now along
that path, we became best friends. Right, that turned into
(01:47:52):
something a little more right. It happens when you spend
twenty four hours a day and seven days a week
with a person like I would. If I was in
New York. I was staying at her house. Then I
go to hot I walked to hot in ninety seven.
You know what I'm saying. If she was in La
she say at the Beverly Hills Hotel, I stay with
her and go to work at Power when I was six,
you know what I'm saying. Like it just that's what
(01:48:13):
it was.
Speaker 3 (01:48:14):
What resulted in you guys parting, if you.
Speaker 2 (01:48:18):
Will, because I said I'm leaving. I'm going home to
Santa Barbara to take care of my grandmother. Yeah, and
I don't want to be in this situation anymore. Became
that was Look, I could not sit there and take
care of my grandma and also take care of the
highest maintenance artist in the world, and she could not
(01:48:41):
process that.
Speaker 1 (01:48:43):
And then everything became like, for.
Speaker 2 (01:48:45):
Instance, when I said I want to write a book,
I get a lawyer, a letter from her lawyer.
Speaker 3 (01:48:48):
I'm like, yeah, make sure, yeah yeah, and I'm.
Speaker 1 (01:48:51):
Like, I put it up.
Speaker 2 (01:48:52):
I thought it was a joke at first, so I
made it my MySpace fucking profile picture. And then I
find out she thinks that I'm going to go spill
her being means like you obviously didn't know me, bitch, right,
you know what I mean?
Speaker 1 (01:49:03):
Sorry, you know what I mean?
Speaker 2 (01:49:05):
Like you, I'm the best friend you've ever had, Like
I know what really happened, and I've kept all of you,
all of these people's secrets, and you're out there talking
shit about me.
Speaker 3 (01:49:15):
Bro.
Speaker 2 (01:49:16):
That's what I'm finding out now, because since I've been back,
I start hearing.
Speaker 1 (01:49:19):
All this shit. I'm like, oh, that's the narrative. Oh
that's what happened.
Speaker 2 (01:49:24):
Oh okay, Like I ain't like you, so I'm not
gonna go out there and start spilling shit. But when
I see you, let's see you try to say that
to me. You know what I'm saying. Let's see what
they say when I see you in your face because
the dog.
Speaker 3 (01:49:39):
Nah crazy.
Speaker 4 (01:49:40):
Well listen, man, you've had a I look forward to
see you obviously have had a legendary run.
Speaker 1 (01:49:45):
Sorry to get serious, I really but let me say this.
Speaker 2 (01:49:49):
When I had breakfast with Big Boy when I first
came back, and I love big You know what I'm saying,
because great guy, greatest guy on the planet. And when
I came back, you know, kool Aid is the first
person I sat down with and I was in an
emotional director. She said, you just got to keep showing up,
keep showing up, just go, just work, do something, and
she got me off the couch.
Speaker 1 (01:50:09):
I went and saw a.
Speaker 2 (01:50:10):
Big Boy and Big Boy brought you up, like literally
two seconds after.
Speaker 1 (01:50:15):
It was high.
Speaker 3 (01:50:16):
How you're doing and stuff.
Speaker 1 (01:50:16):
Your biggest fan is big Boy, big Man and so
and I love.
Speaker 2 (01:50:20):
What you're doing. I watch what you're doing, yo, dude,
you're doing it right.
Speaker 3 (01:50:25):
Appreciate it, buddy, Thank you.
Speaker 1 (01:50:26):
And I love the syndication stuff you're doing.
Speaker 3 (01:50:29):
I love all of it.
Speaker 2 (01:50:30):
And you have a and from the people that I
run into, you're doing it right.
Speaker 3 (01:50:34):
I appreciate it. Man.
Speaker 4 (01:50:35):
Trying all of.
Speaker 2 (01:50:36):
These other places and some podcasts and stuff. They have
the internal stuff whatever whatever. You always keep it clean
and I appreciate it. What you're doing for hip hop,
I appreciate well.
Speaker 3 (01:50:45):
I appreciate you man. Thank you for pulling up and.
Speaker 1 (01:50:47):
Sharing it, and thank you for what you did for
my little brother.
Speaker 2 (01:50:50):
Yeah, because my grandma and BAM's or my grandma and
Whino and sweet Pea is the little doggie is happy
as shita.
Speaker 3 (01:51:00):
Know what I mean.
Speaker 1 (01:51:02):
Yeah, big bands and big skips.
Speaker 4 (01:51:04):
We'll look be on the lookout for your summit obviously
if you're not following this guy with your igs with people,
because you've you've been giving out a lot of dope
game on online.
Speaker 2 (01:51:13):
At the Mizza on Instagram, Uh the Mizza Presents on
on YouTube and.
Speaker 3 (01:51:20):
At the Mizza on Twitter or Shade Tristet no idea.
Speaker 2 (01:51:24):
At some point, you know, when I did it was
funny when we did what would you Do? That's where
the split was when we did what would you Do? Uh,
he did not like that song. He said, I said,
it's Mariah Carry and Nate Dog. You know, you know,
when we were talking about another artist and substances and stuff,
like that. I think at that point in his life,
(01:51:45):
you know, there was some stuff going on and he
said I don't like that song, and I was like,
he goes, you write it, I'll do it.
Speaker 3 (01:51:51):
I was like, all right, So I wrote what would
you do?
Speaker 1 (01:51:54):
Right?
Speaker 3 (01:51:54):
Crazy?
Speaker 1 (01:51:55):
I laid the reference vocal.
Speaker 2 (01:51:56):
He said, I'll do the third verse, you stay on
the first verse and whatever.
Speaker 1 (01:52:00):
So that's me rapping what.
Speaker 3 (01:52:01):
Would you do? That's fucking crazy and.
Speaker 2 (01:52:04):
Cruising and well, forget it, crazy man.
Speaker 3 (01:52:09):
Last question, just random?
Speaker 2 (01:52:11):
Was there a few records I wrote that nobody knows
for a lot of artists during that era?
Speaker 3 (01:52:16):
That's crazy.
Speaker 4 (01:52:18):
Who's the biggest what if could have? Should have would
have been artist? In your opinion?
Speaker 3 (01:52:24):
What do you mean?
Speaker 4 (01:52:25):
Like, which artist do you feel like had everything that
it took to be just massive but either got in
their own way or shit got cut sure or.
Speaker 3 (01:52:34):
I'd never put someone on blasts like that.
Speaker 4 (01:52:37):
I'm not about put somebody on blasts, like you know,
I think to myself, like, you know, I just you know,
but there's there's artists like in my like not even
like necess I will I'll take out there, you know
what I was talking about this, I'll take out the
narrative of getting in their own way as hard as
you think should have been bigger.
Speaker 2 (01:52:49):
Okay, Nate Dog rest in peace because if he had lived,
none of this ship would be happening.
Speaker 3 (01:52:56):
Yeah.
Speaker 1 (01:52:57):
And Andhale, his son is a fucking beast.
Speaker 2 (01:53:00):
Yeah yeah, Nay, I mean shit, dude, Nige is a beast.
Speaker 4 (01:53:04):
Yeah, Loson, Nate Dog just changed like what a lot
of people's radio records would sound like for years.
Speaker 1 (01:53:11):
And I don't hear it enough. Nate Dog rest in peace.
And I love you.
Speaker 3 (01:53:14):
Yeah. Shout out to Dimiss.
Speaker 4 (01:53:15):
Appreciate you man, Thank you, sir, Yes, sir, Fire, thanks you.
Speaker 3 (01:53:19):
Boom
Hosts And Creators
James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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