Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
What's popping this, Hurricane Chris, I'm rocking with Bootleg keV gd.
Speaker 2 (00:07):
YO, Bootleg cap Podcast Man special guests in here, Hurricane.
Speaker 1 (00:11):
Chris, what's popping? What's good?
Speaker 3 (00:13):
What's good?
Speaker 1 (00:13):
Bro?
Speaker 3 (00:14):
Welcome, Nice to meet you, likewise, bro to meet you.
It's crazy because when you started, like your career, I
feel like it was around the time I was like
interning at the radio station, so like you're and like
when I first started like DJ and the club and yeah,
so like you you know, like a bay bays and
and make it clap and all that, it was very
like instrumental and like I like remember where I was
(00:37):
in life for them songs.
Speaker 1 (00:38):
Yeah, yeah, yeah, yeah yeah. A lot of people say that,
they say my music bring them back to exactly what
they was doing when I first came out. You know,
it's it really marked a special time right in people lives.
You know, like a lot of people kids first words
was so crazy, you know, it's it's a blessing.
Speaker 3 (00:56):
I gotta ask you, uh, I saw you, I saw
you share your thoughts a little bit about this. But
you know, there's been a lot of people who are
upset that Lil Wayne did not get to look for
the halftime show in New Orleans. Obviously, you know you're
in Louisiana. What are your thoughts on on Wayne getting
that snub and obviously shot to Kendrick. I think, obviously,
if anybody deserves to do a halftime show, Kendrick's one
(01:18):
of them.
Speaker 1 (01:18):
Yeah, with Kendrick heavy, like for sure, they're real golden.
But it's a bigger play at hand right now. What's
happening is a lot of big entities in large companies
are finding places that they can profit and make high
profit margins, and they pretend to cater to the community
(01:45):
just enough to get the support they need, and then
they go with their hitting agenda, which is to make
ultimately the most money they can possibly make. So it's
a bigger play at hand. In Louisiana, it's always it's
been a place that didn't have a lot of resources.
So if anybody came from upstate or out of town
(02:07):
with a lot of resources, they was kind of able
to throw their weight around and and you know, like
you know, like put themselves in in positions. So it's
it's it's really a bigger player. And we getting to
a point in time now where people don't like to
pay homage. You got youngsters who say, oh geez right right,
(02:31):
like so you got you got a whole new era
of disrespect that's coming into play. And it's the same
thing in the industry. People have begun to just feel
like it's cool to not pay hummage. It's cool to
not you know, to to pay their respects that need
to be paid. So that's the big thing that I see.
I'm not just mad that Wayne ain't get to perform,
(02:54):
because let's just be honest, like, you know what I'm saying,
it's a it's it's it's it's it's a law much
movie that I'm looking at. And this is gonna continue
to happen. It ain't just gonna be what's happening in Shreeport.
It ain't just gonna be what happened in New Orleans.
If we don't stand up and and and and demand
that people respect our culture and demand what we want,
(03:16):
then we'll never get it. It's the same thing that
that that that every other status learned how to do
California know how to do it. If you come to Cali,
Cali gonna make sure you do some type of catering
to Cali or you won't really be accepted, you know
what I'm saying.
Speaker 3 (03:32):
Yeah, I mean when the Super Bowl was here, obviously
doctor Dre had the halftime show and he was able
to bring out kind of like parts of his tree,
you know, right r.
Speaker 1 (03:40):
But the people in position in Louisiana. L. Kendrick came
out that the problem is the people in position in
Louisiana that that make the decisions instead of instead of
loving a culture and and and and embracing their culture,
they so they're trying to get relationships with with people
in places that they've never been to. So it's leading
(04:01):
to them looking over their own people that's right there
and honoring people that never done nothing for certain communities,
which is not their fault. It's not my fault that
somebody choose to honor me in your community. But what
we got to do as a people as a whole
is make sure that we hold those responsible accountable the people.
(04:22):
When I go to do the Super Bowl, I'm talking
to somebody in the city from the city somebody who
who or somebody from the league. You feel what I'm saying,
I'm speaking I'm dealing with some type of official it's
a lot of chains of command that these things go through.
Speaker 3 (04:39):
Well, from what I understand, Rock Nation is in charge
of the entertainment for the Super Bowl, since I want
to say, the first one they did was Rihanna, So
I think it was Rihanna, then fifty and then last
year was Usher. Okay, well fifty was a doctor j year,
but and then last year was Usher, and then this
year would be Kendrick. So I think it's a Rock
(05:00):
Nation thing, and it seems like but.
Speaker 1 (05:01):
See, it's always been able to be put on companies
and entities, and I think that's the easy way out.
Speaker 4 (05:09):
I think that's the easy way out.
Speaker 1 (05:10):
Is to say, oh, such and such makes this decision,
and they did it because it is I look at
stuff for what it is and what it actually looks like,
not like, oh, well, hurricane Chris is doing this because
he signed in such and such or such and such
as this recorde. But I'm just look at me for
for what I look like. And I bag up and
I look at the history of what's been happening over
(05:31):
the last couple of years, and it's been a repetitive
history of not honoring the people from the community that
helped build the community, but honoring people outside of the
community right there in their face. And if it's the
companies that's doing it without having proper knowledge, then it's
the people that's that's leaders of the community and involved
(05:53):
in the community. It's their job to step up and
let the people in power know, Hey, let's let's let's
let's let's let's.
Speaker 4 (06:00):
Kind of cater to the culture a little bit.
Speaker 1 (06:02):
You know what I'm saying, Because if I was to
come into your city as a promoter and I say,
I'm finna book all these artists, You're gonna slow me
down and make sure I cater to somebody that this
city likes.
Speaker 3 (06:14):
Yeah, I think that that would be fair as hell.
Speaker 1 (06:16):
As a friend, I think that.
Speaker 3 (06:18):
I just think that the super Bowl is just so
massive that it's like the fact that it's like it's
going to be in New orleans's bringing so much money
to like the economy. So it's like the entertainment aspect
of the halftime show is probably just like, well, we'll
just leave it up to these guys. And I wonder, like,
you know, a lot, you know, there's a lot of
speculation that Jay had some sort of issues with Wayne
(06:42):
or Drake and that that might have spilled over to
the decision. I'm not sure. Yeah, I mean, because but
I think that's all speculation.
Speaker 4 (06:51):
Yeah, I don't think Jay got no smoke with.
Speaker 3 (06:53):
I think that there's another like like way to look
at it, and that's that like if you really kind
of see.
Speaker 1 (06:58):
I don't put the blame on Jada. Let's let's get
this straight. I don't put the blame on Jay because
you gotta think he coming. He doing a million things,
so so of course people may get mad at him
in the beginning, but when you sit back and you
think about it, it's it's one of a million things
that he's doing. So I don't I don't look at
(07:18):
it like he personally attempting to insult, you know what
I'm saying, Like, I'm not looking at it like that.
Speaker 4 (07:25):
Now, if it's something going on on the inside that
I don't know.
Speaker 1 (07:27):
About, then I need to should have figged up possibly
understand what I'm saying, because if it's that they're just
sitting here getting speculating.
Speaker 3 (07:33):
I mean. The other thing is is like I've seen
Wayne recently, like he did he did WrestleMania in Philly
and his performance was very interesting. He forgot a lot
of his lyrics, so it could be ship like that,
you know, like, hey, some of the bigger performances, like.
Speaker 1 (07:48):
Maybe if he performed in New Orleans, he wouldn't even
have to sing his lyrics.
Speaker 3 (07:51):
I don't disagree. I mean they gonna sing. No, I
don't disagree. I would have liked to have seen Wayne
or at least like a young money you know, Wayne
NICKI Drake thing. I mean, hopefully Kendrick. I mean, here's
the thing.
Speaker 1 (08:04):
You got to think about some of these artists, some
of us actually reach out to these entities and acts.
Speaker 4 (08:11):
Can we be involved?
Speaker 1 (08:12):
Right? Some of us actually let it be known that
we would like to be involved, right, so we can
we can kind of try to say, well, it's not
a personal thing. But what if what if? What if?
What if you call and reach out and you ask
to be involved and you still reject it? You know
what I'm saying, Like.
Speaker 3 (08:34):
Yeah, I mean, look, it could be. And like the
other thing is is like like we said, it's like
if this is a personal thing that we don't know
about and it's just some some grudge that intertwined into
this decision. I mean, then then That's just what it is.
And then the other thing that sucks is I saw
somebody say on Twitter it was like, well if Kendrick,
it sucks as if Kendrick plan on bringing Wayne out, now,
(08:55):
people are just going to think that he did it
because he was pressured to do it, as opposed to
he just wanted to do it. You know what I'm saying, Man,
Like I think, Nah, Kendrick smart, you gotta bring Wayne
Kenja get smart, Kendrick go like Iwayne out, bro Kendrick
gets smart.
Speaker 1 (09:07):
He wouldn't be doing that because he's pressured, right to
be honest, like, I would think that that's probably something
that win in his head immediately, like.
Speaker 3 (09:15):
Oh for sure, like I got to bring Wayne out
I'm in New Orleans, or I got to bring something.
Speaker 1 (09:20):
You know what I'm saying, Like, that's just how we think.
Because if I go to a city and I'm performing
in a big city and I got a big event, right,
I'm gonna try to tap into who popping in that area.
So I wouldn't doubt that, you know, Kendrick thing.
Speaker 3 (09:32):
Like that he brings Wayne out, that'd be spech Kendrick
Gaylan dumb by far like so recently, Uh, you and
fifty have been going back and forth. I know you
spoke a little bit about it on Vlad. I'm curious
for the people who don't know. Like obviously, fifty opened
up his gun the movie studios in your hometown, right, Uh,
he had like a weekend. Right, It was like like
(09:54):
a whole weekend where people were coming to town and
performing events, et cetera. Right, your grudge with him was
that he did not necessarily reach out to pillars of
the community like you think he should have.
Speaker 1 (10:13):
Is that?
Speaker 3 (10:13):
Am I on track? There?
Speaker 1 (10:15):
You're kind of on track. But it started before that.
Speaker 3 (10:17):
Okay.
Speaker 1 (10:18):
The first thing he did when he came to the city, Trepot,
Louisiana has been called ratchet city for a real long time.
Speaker 3 (10:23):
Let's get get it.
Speaker 1 (10:25):
Yeah, for sure, you know about it, all right, So
the first thing he did when he came to the city,
everybody opened their arms and welcomed him, right, and then
he said, no more ratchet in my city. We're getting this.
Speaker 4 (10:35):
Ratchet shit out of here.
Speaker 3 (10:37):
He said that out of his mouth, out of his.
Speaker 4 (10:39):
Own mouth, with his lips and teeth and tongue.
Speaker 3 (10:41):
Wow.
Speaker 1 (10:43):
And the radio host said, hey, man, you know they
kind of crazy about that, you know, that's their thing.
Speaker 4 (10:47):
He said, no, no, no, we got to get that
out of here.
Speaker 1 (10:49):
So I reach out immediately like, hey, we need to
sit down and have a talk.
Speaker 4 (10:54):
I didn't get no response.
Speaker 1 (10:55):
So now getting calls from my neighborhood and they saying, hey,
what's what, what's wrong with fifty saying Ratchet is dead
and it ain't no more Ratchett City. Like that's kind
of disrespectful, don't you think, right? So I didn't pay
no attention. And then I've seen a sign that the
news poster that said fifty cent Councilors Ratchett City. I'm like, oh,
(11:18):
they going crazy with this ship. Okay, fuck all the
money that you, fuck all of that, fuck all this
shit up you Now you you being disrespectful.
Speaker 4 (11:26):
This is straight disrespect. So that's how I took it.
Speaker 1 (11:30):
So now when I see you do the event and
you don't even involve no Ratchet City artists on the
main stage, I'm looking at it like, so it's even
more of something that's snowballing in my mind that you're
against this Ratchet movement, which.
Speaker 3 (11:46):
If I go to the Baby, it'd be like coming
to La and being like no more gangster rap, are.
Speaker 1 (11:51):
Gone going going going over. Yeah. And if you listen
to my song the Ratchet remix e forty on there,
he say a babe Bay. Yeah, I mean he's gonna
say he say, he say Ratchet mean high feel like
where you stay? Yeah, I mean's so it's something that
been understood and it takes somebody like fifty who don't
understand the culture of the South. All he see is, oh,
(12:12):
I could buy these buildings and make a bunch of
money and give a cook.
Speaker 3 (12:15):
I'm assuming the real estate market in Treeport is a
lot more affordable to open up a studio than if
you were to go to La.
Speaker 1 (12:22):
Super cheap, Yeah, super super duper cheap. And the state
the city was trying to like beg somebody to take
that building because they built it for purposes of helping
the community. It was none profits involved with it. It
was supposed to be teaching the community and right and
a lot of stuff was supposed to happen and it
never happened. So they needed that to be taken off
of their hands because it was just sitting and nobody
was doing nothing with it. So it was actually a
(12:44):
good idea, and it was the perfect idea, you know
what I'm saying for him to do that. But I'm
down with all of that, but you just we just
got off on the wrong foot with him disrespecting his
Ratchet shit because my first album was called fifty one
fifty Ratchet. I got home boys just named Ratchet Life.
That's dead and gone. My partners created a whole record
label based off of this, this culture. You know what
I'm saying. He got sentenced to life and end up
(13:06):
giving a sentence back and coming home to seeing you
saying that Ratchett shit is dead. And he just got
home this year, like and he thought he was coming
home and to get his ship back popping, you know
what I'm saying. Like, so you're really just you saying.
Speaker 3 (13:18):
But that was where things got on the wrong foot.
Speaker 1 (13:20):
Yes, yeah, So now when I when I see the
event go down and no, no Ratchett City Artists is involved,
and I don't see no you know, like no, no,
no hommage being paid to the city. It was a
bunch of people Louisiana, Like it was some people from Louisiana,
but it was nobody, No, no, it was it was
it was a artist from Louisiana, but it was nobody
(13:41):
from Streetport. My thing is, you're saying this is your city.
You're saying it's what we're gonna.
Speaker 4 (13:45):
Call this city. This is kind of called this city.
So put some of your who is the artist in
your city?
Speaker 1 (13:51):
That's popping. What's the neighborhoods in your city? Since you're
saying this your city and we ain't gonna call it
ratch your city, what's the problems in the community. You
know what I'm saying. I understand you doing your part
and all of that, but what the fuck is they
gonna help to youngsters that's out here shooting and killing
each other. You could fool a bunch of dummies with
oh yeah, I'm finnaar people gonna be able to work
for my studios.
Speaker 3 (14:08):
So I'm about to help the community.
Speaker 1 (14:10):
Bro, If you ain't building a big ass industrial company
and hiring a thousands and thousands of people, then you're
not about to put no significant dent into the problem
that's happening with a lack of jobs in the community.
So what he got as a marketing agent that I
had hired working with me at one time, and what
they know how to do is put a message out
to the community that and make them really understand the
(14:32):
message and take it and put it into the perception.
He got somebody that I used to have working for me,
and he was the head of marketing, and his whole
thing is marketing is perception and what you can make
people believe. People so slow they don't see plays happening
right inside of their face. I'm the type of person
to where I make immediate demands. If you're gonna sell
me a dream, I don't want the dream. Tell I'm
(14:54):
make immediate demands for for you know you understand that.
If I'm doing business with somebody.
Speaker 3 (14:59):
My thing is is, did you attempt to like maybe
reach out and like before things got I reach.
Speaker 1 (15:06):
Out a few times, we need to sit down and talk.
I never got a response.
Speaker 3 (15:10):
Who did you reach out to that I.
Speaker 1 (15:11):
Reach out to him? And I actually spoke to his
right hand man, YAlO Nahnee, a guy that we both
know and come and that that that I brought to
the city that ended up bringing him to the city.
Speaker 3 (15:22):
Got it. So I guess that's my thing is, like
I think two things can be true at the same time.
It can't be true that he was a little disrespectful
with the getting rid of Raget City. And it also
can be true that he's bringing industry and jobs to
the city, right.
Speaker 1 (15:39):
I mean a move, he got a he got a studio,
so that if you can act and you want to
be in the music, I mean, a movie industry is
definitely going to be a plus to you.
Speaker 3 (15:50):
Well, I mean with acting like people I live. I
live in Burbank where there's studios everywhere, there's light people right, right.
Speaker 1 (15:57):
So it's definated. Do you want to be in the industry,
then it's definitely gonna be a good thing for you.
Speaker 3 (16:01):
Right yeah, even if you like can build shit, right.
Speaker 1 (16:04):
Right, involvement in the movie industry is gonna be a
good thing.
Speaker 3 (16:08):
And I think, I think, but I just think I
think that, like I said, both things can be true.
Like he could be he could have approached things differently.
But also he also is bringing what seems to be
some opportunity to it.
Speaker 1 (16:20):
But I don't matter how much opportunity I bring into
your house, I gotta respect the people inside of your house.
If I walk into your house just because I'm the
person who's finna pay for the food today, that don't
mean I get to swing my dick around and talk.
Speaker 3 (16:29):
Do you think he's been disrespectful to the people of
the city or do you just think he can just
relighted the hip hop culture.
Speaker 1 (16:35):
The culture so and the culture is created by the people.
We are the people, you know what I'm saying. So
I speak for the people, not the Internet. But I
speak for the people who don't even know how to
work Instagram, you know what I'm saying, the actual community.
Speaker 3 (16:49):
Like, after you guys got into your uh your dispute,
there has there been any conversation outside of the internet
back and forth.
Speaker 1 (16:56):
No, it ain't been no conversation.
Speaker 3 (16:58):
Yeah, I think, you know, I think I think think
it would it would be who fifty to you know,
if he's got a business in a city like Streetport
to talk to somebody like you and at the very
least clear up and need a disrespect You know.
Speaker 1 (17:10):
I just want you to understand that this is an
actual culture. I will never go out here till the
Bay Wing calling this debay no more. I will never
go to New York and say Win calling this the
big Apple no more. You can do the biggest shit
in the world, but you can't fucking put respect last.
Speaker 4 (17:26):
You gotta respect.
Speaker 1 (17:27):
First, bro, I don't give a fuck if you're doing
billion dollar deal. Showed that you got some fucking respect, bro,
show that first. Don't walk in the room with my wallet.
Walk in the fucking room and say how you doing?
Speaker 3 (17:39):
Shake your hand you feel.
Speaker 1 (17:41):
I don't walk in and say all this shit on
the wall. U. If we need to take this shit down,
I might think that, but let me work my way
in and talk to the people who did that and
let them know my idea.
Speaker 3 (17:50):
Right.
Speaker 1 (17:51):
Hey, man, I know you had a lot of.
Speaker 4 (17:53):
Time that you put into that wall with your face.
Speaker 1 (17:56):
I think it'll be better if we do this like this.
But I'm not about to just walk in here and
rip this fucking bootleg Camps signed off the wall, right
because I'm the new dick swinging in town.
Speaker 3 (18:05):
Would you would you be open to having a conversation
and kind of educating him on where he might have
missed it. Yeah, Yeah, that's important.
Speaker 1 (18:13):
Definitely.
Speaker 3 (18:13):
Yeah. Talk to me man, like I'm thinking all the
way back. Okay, So I'm a heavy hitter. Baby is
my boy. That's my brother. I love baby. I know
you guys had a falling out, uh, and you know
he's doing this thing in Dallas.
Speaker 1 (18:30):
What's crazy is like I've always had a big amount
of love, Like, so that's that's that's one thing.
Speaker 3 (18:37):
Well, I mean because when you so for people who
don't know, like, Babe is a legendary DJ, He's from Shreveport.
He's been fucking killing it in Dallas on the rail forever.
Speaker 1 (18:47):
He's heavier since fucking since before I was eating in
the game.
Speaker 3 (18:52):
He's been trying to get me to go down to
the South to when it's crawfish season for fucking ever.
And so so you started working with Beabe as a kid, right.
Speaker 1 (19:02):
I started working with three feet as a kid, okay,
And so that's his right hand man.
Speaker 3 (19:06):
Okay, So what ended up happening Because I saw a
little bit of what you said, I'm glad. I think
it just came out today. Actually where you were essentially
you were a kid and you were just kind of
listening to what your big homies were saying at the time,
right right, carst rated your mom didn't know much about
the business, right right, right, So where did things kind
of go wrong? And would you ever be open to
(19:26):
sitting down with beabay and kind of leaving that shit
in the past.
Speaker 1 (19:29):
What shit went wrong at was? I I signed my
idea at around like fifteen, sixteen years old, right, my
daddy was locked up. My mama didn't know nothing about this.
So she trusted my manager with me, with my safety,
with me getting home from school, everything, you know what
(19:50):
I'm saying, Like, she trusted these cats to leave me
in the right directly, well, my manager, right so bro
was my manager, right hand man. I went to the
We used to go to the club and they used
to turn up. So one night we're in the club
and everybody just going crazy, Hey baby baby, he DJing,
tan it bitch up and we in the crowd going stupid, Hey,
(20:11):
hey baby baby hey. I go to the studio that
same night. I said, Man, I'm finna make a song
about this shit. I called him. I said, I'm finna, boy,
I'm finna make a hit off this ship. He said,
make that motherfucker. I already got money and this shit
gonna help you musically, so let's do it. I made
that motherfucker and it pop blew up. This shit became
number one in the fucking universe, like praise, so boom,
(20:35):
everything all gravy. Fast forward a label come offer me
a deal. College Park. I choose listen. This was mister
Parker Collie Park, So I choose to sit down there
and listen to the meeting. After the meeting, I ain't
want to do the deal. I was ready to walk out.
(20:55):
So I walked out the room and they seen it
on my face that I wasn't gonna sign the deal.
Speaker 4 (20:59):
That's when baby come.
Speaker 1 (21:00):
And tell me, trust us to make the right decision
for you. Jesse listened to us, so I said fuck
it and I signed.
Speaker 4 (21:06):
A deal, which was the worst situation we could have did.
Speaker 1 (21:10):
Like my advance to start off with my first deal,
the advance was thirty k. This was for a Bay Bay.
Speaker 3 (21:16):
Now now this was just signing the college Park.
Speaker 1 (21:18):
No.
Speaker 4 (21:19):
College Park. Took me to Jay Records.
Speaker 1 (21:21):
They gave me the this is where I got my
first advance from Okay, Colle Park just connected the situation,
got it and got a percentage.
Speaker 3 (21:28):
So your first you did? You signed a Jay. At
the time, Jay Records had like Alicia Keys and right
right right right right, all that shit right right right.
Speaker 1 (21:35):
So I end up doing the deal, I get out.
I get into it with the record label. But when
I fall out with the label. I hear brow up
and I tell them, hey, this ship ain't going right.
I need you to I need you to reach out
and I need to try to fix this ship. To
see what I need to do to get this ship
fixed and resolved. We having problems. We're going back and
forth and a grant on shit. He telled me, Hey, man,
I don't want nothing to do with that. I still
(21:56):
want to be involved and be able to go back
and do business with him. Bro, I'm in this situation
because you told me, trust me to make the best
decision for you. Now that shit fucked up, you telling
me you ain't gonna help. So that was strike one boom.
I you fast forward Tom and I catch my case.
When I catch my case and I bun out and
(22:17):
I hit him up and I tell him, I need
you to make this move, make this call for me,
so I could put this play together and I could
take care of all this shit.
Speaker 3 (22:24):
I what year was this?
Speaker 1 (22:26):
This was matter? Don't make me live about the year
Google where Yeah, I got arrested. It was right when
I burned it out, like four years ago.
Speaker 3 (22:33):
Yeah so this was recently yeah yeah, yeah.
Speaker 1 (22:36):
So when I burned out, I called him and I
tell him a call Seuch and such and tell them
I'm trying to do this because at this point, I
got a bunch of fucking fees and I need to
keep running this bag up. Bro, tell me I ain't
fucking with the music. I ain't fucking with none of
this shit. I ain't fucking with none of it. I say, brouh,
I'm fighting for my life right now. You're telling me
(22:56):
some shit about what you ain't fucking with, and I'm
telling you I need you to make a call so
I could put my own I put my own business together,
or his boy, his baby, Okay, after all the shit
we'd have been through. I'm like, Bro, you're telling me this,
and I'm fighting for my life right now. So I'm
good on you, Homy, I'm good. I'm straight. And we
ain't talk since then.
Speaker 3 (23:15):
Damn. So that was like four years ago. Yeah that's crazy.
Speaker 1 (23:19):
Man, am I I mean how you feel about that?
Speaker 3 (23:22):
I mean I feel you, I think, especially.
Speaker 1 (23:24):
If we ain't had no situations as to where you feel,
no type of way about how many Everything is all good.
Speaker 3 (23:29):
So what I'm thinking is okay, because you had what
year did you stop kind of officially working with them
or were you always kind of still we was.
Speaker 4 (23:36):
Always still doing here and that Okay, you know what
I'm saying.
Speaker 1 (23:39):
Even at that point when I hit him about that,
we had just had a meeting probably a month ago,
where I was sitting him in his right hand man
down to try to help them get on the same
page and then maybe some out of the good to
come for it from, you know, for all of us.
We all see some good from from what's from the meeting. Damn,
you know, but you know that's what it is.
Speaker 3 (24:00):
So well, hopefully I gotta.
Speaker 1 (24:01):
Keep it g Like if I'm down and I'm fucked
up and I'm telling you, hey, people, I need you
to do that and it ain't nothing that's gonna.
Speaker 4 (24:07):
Hurt you or take from you, and you refuse.
Speaker 1 (24:09):
Yeah, I'm in a desert and I'm telling you, hey,
bring me a glass of water, and you refuse to
bring me that glass of water. I ain't never gonna
forget how fucking how it was in the desert because
now I'm in an ac right now. I don't need
a nigga for ship. So it's like, so are you
are you?
Speaker 3 (24:26):
Are you independent? Or what you what is your current
label situation.
Speaker 4 (24:28):
I'm independent, but I fucked with the Light's global like.
Speaker 3 (24:31):
Good Folk shot to Duney and them yea yea yeah.
Speaker 1 (24:33):
Yeah yeah. So we got a situation, we're working.
Speaker 3 (24:36):
Yeah, I mean I feel like uh Miguel doing it
o G. Yeah for sure. I feel like you know,
you've had a I mean ever since obviously you you
you were found not guilty of your situation. You got out.
I just feel like you've been grinding, bro fucking right working.
Speaker 1 (24:51):
They took so much from me. I had to hit
the ground and get that ship back. Yeah, I had
to get back what I lost.
Speaker 3 (24:56):
I think too. It's like it's funny too because, uh
there was a was it like a Tony Touch freestyle
or is there some freestyle.
Speaker 2 (25:03):
You got that back in the day I did, But Bro,
you was fucked like you were like a rapping ass
full for real, like you could fucking like like, are.
Speaker 3 (25:13):
You like just gifted as a freestyle or because I mean,
this ship comes so natural to you, like like do
you write like when like think about it started out freestyle.
So when you're in the when you're in the booths,
a lot of kids are punching in these days. Are
you punching in or you writing your ship out? Like?
How are you recording now?
Speaker 1 (25:27):
Right? I ain't rolling?
Speaker 3 (25:29):
So you're just saying just off the top running.
Speaker 1 (25:31):
Backs studio with me?
Speaker 3 (25:33):
Yeah?
Speaker 1 (25:33):
Have they ever saw me?
Speaker 3 (25:34):
Right? Yeah?
Speaker 4 (25:36):
I don't even use no, ain't no phone in my
hand or none of that ship.
Speaker 3 (25:39):
That's crazy.
Speaker 1 (25:39):
I hear the beat out walk in the boot. That's wow, bro,
that you hit his new ship.
Speaker 3 (25:45):
Talk to me about I saw that you had a
lawsuit that you were going to be suing the city
of Shreveport. Is that still something that's still happening or I.
Speaker 1 (25:54):
Am pressed forward with the lawsuit because I was gonna
have to spend like some stupid money on lawyers, and
I wasn't guaranteed to even get the paperwork to show
me what was saying and what happened in the courtroom,
like the records. It's hard to get the paperwork that
I need to go forward with my lawsuit.
Speaker 4 (26:11):
They got the right to deny this shit.
Speaker 1 (26:13):
They don't have to give it to me, like the
records from the courtroom that I need. They got our
long history of denying. And then the lawyer telling me
when I spend the money. It's a real big gamble,
you know what I'm saying. So I feel like God
got me out of the situation. And if I could
stop other people from getting into the situation by shedding
some light on how fucked up the justice system, if
(26:36):
I could let these youngsters know, if you go catch
a charge and you ain't got two hundred and fifty
thousand and a half a million dollars and a property to
put up, your ass gonna be sitting in.
Speaker 3 (26:45):
Jail with some bullshit public defender.
Speaker 1 (26:48):
With a bullshit public defender. Even with a real lawyer,
you still get your ass slung. I got a partner
with real lawyer, just got two thirty year sentences, got
a partner with a real lawyer, just got two like
no guarantee sitting in there right now.
Speaker 3 (27:00):
Did they try to push you, like to take a
like a plea?
Speaker 1 (27:03):
After my ship was over, my lawyer told me, you know,
they came to me and told me that they'll let
you take forty years. He said, I know, if I
would have bought it to you, you would have faed me.
Speaker 3 (27:14):
Yeah, and then you would have been fucked because you
ended up getting free and beating the charge.
Speaker 1 (27:19):
Exactly.
Speaker 3 (27:20):
But they want you to take well, they want you
to take the plea.
Speaker 1 (27:23):
I wouldn't taken five you know.
Speaker 3 (27:25):
Yeah, self defense. Yeah, that's what's crazy. Is like in
the South. You know, it's very uh possible to defend
yourself in California. If someone breaks into your fucking house
and you shoot them, you're going to jail. They don't
give a fuck out here.
Speaker 1 (27:41):
Bro like, and they going to hell.
Speaker 3 (27:44):
They're going to go to hell, and you're going to jail.
Speaker 1 (27:46):
Pick one jail a hell no.
Speaker 3 (27:48):
But but it is interesting.
Speaker 1 (27:49):
Man.
Speaker 3 (27:49):
I'm glad. I'm glad you beat your charge. And I think, uh,
you know, I think it's important that you, uh you
shed light on like kind of what happened, because, like
you said, a lot of a lot of people man
with no resources, they get put in that room and
the lawyer says, look, we could either fight this and
there's a chance you go to prison for the rest
of your life, or you could take this plea deo
(28:10):
even though you know you're innocent, and it's eight years
or it's ten years, and then you're like, well, fuck, if.
Speaker 1 (28:17):
You ain't got no bag, put up as you to
chill out, you know, lay back, don't jump out here
here first, like.
Speaker 3 (28:23):
That random question. There's a show called True Detective. Did
you ever watch it? Okay, so it was based in Louisiana,
some of it in treport. It's with Matthew McConaughey and
Woody Harrelson. It's pretty it's a pretty gnarly show. But
I was just I wanted to get your take on,
like how accurate of a depiction it was of because
(28:43):
there's like parishes and shit, which is like what.
Speaker 1 (28:46):
We got parishes?
Speaker 3 (28:46):
Would you say a parish is like a city or
like a zip code or like it's like a county
a county. So if there's a parish, like, is there
like a parish police department.
Speaker 1 (28:58):
Yeah, it's a kettle parish police plum.
Speaker 3 (29:00):
So why why like, what is a fucking parish compared Like,
why there is there only parishes in Louisiana.
Speaker 1 (29:05):
I have no idea what with how that ship is
set up.
Speaker 3 (29:08):
I'm like, it's the only fucking place with parishes.
Speaker 1 (29:10):
Because in Houston you got counties.
Speaker 3 (29:11):
Right, we got counties everywhere else?
Speaker 1 (29:13):
Yeah, I ain't never, I don't understand it.
Speaker 3 (29:15):
Yeah, No, it's interesting. Who are some of the young
up and coming artists out of Streetport that you would have, like,
you know, you obviously mentioned fifty didn't kind of is
there anybody who's on the come up that you want
to shut somebody on? Hell?
Speaker 1 (29:28):
Yeah, you got you got a lot of these boys.
You got do Wop green eyes. It's so de little man,
they're gonna be mad at me. You gotta be with
There's a lot of young cats that's popping right now,
(29:49):
Like Streetport got some heat. We got legends as well
that's been popping for a long time, like people that
was popping a long time ago that's still rock big
heavy crowds like big Popper. You know what I'm saying, KP.
Streetport got a music history, and we actually got artists
that's been rocking crowds of seven eight thousand people locally.
Speaker 3 (30:12):
That's great. That's a lot of fucking. That's a lot
of fucking.
Speaker 1 (30:14):
Half of like, we got people that have been filling
up whole sections of football stadiums and rocking that shit.
And you see, you might see ten fifteen thousand people
out here saying this shit word for words like Streetport
got a history of music and that's why I feel
like it's important that people pay homage and respect to
that shit when you come there, you understand what I'm saying?
(30:35):
What is uh?
Speaker 3 (30:36):
Give me kind of like geographically Streetport the Baton Rouge
in New Orleans? Like where like how far is where
you're from? From those two places?
Speaker 1 (30:43):
New Orleans? Probably you probably end up taking like four
and a half five hours to get there.
Speaker 3 (30:48):
That's a serious mission.
Speaker 1 (30:50):
Ben Rudge, like four.
Speaker 3 (30:52):
Hours and then you guys are pretty close to Dallas.
Speaker 1 (30:54):
Right, Yeah, we like two and a half hours from Dallas, right,
So would you say that about a good three hours max?
Speaker 3 (31:01):
Would you say that? Like Shreveport and Dallas have more
in common musically.
Speaker 1 (31:06):
Streetport and Dallas don't have more in coming musically, they
got more, They got a lot in common culture wise
because Streetport is so close to Texas, so is North Louisiana,
So it ain't they don't have the accent that Badon
Ruoge got. We ain't got the accent that New Orleans got.
Like it, right, we got our own accent. But it's different.
You know what I'm saying. You'll be able to tell
(31:27):
the difference, Like you guys.
Speaker 3 (31:28):
Aren't saying WOADI in h Streetport.
Speaker 1 (31:31):
Nah, we don't say Woday. I don't even think New
Orleans say that.
Speaker 3 (31:33):
Noing was that was the thing when I was like
Woaday whenever you were listening to the master p True albums. Shit.
Speaker 1 (31:39):
Yeah, yeah, I don't even think I think they upgraded.
They hold Lingo and Dialect.
Speaker 3 (31:44):
You and Boozye put out a dope record recently. He
obviously if you go all the way back to the
Ababay remix, he was on that. He was one of
the thirty eight rappers that was on the remix. What
was on that rebax?
Speaker 1 (31:54):
It was game Boozy forty Kiss jadakiss Uh. It was
a lot of people, bro it was Coloratcher remix, the
game for the jade ki is Boosy Birdman.
Speaker 3 (32:09):
Birdman was on it.
Speaker 1 (32:10):
Yeah, it was a lot of people.
Speaker 3 (32:12):
It was like how long was I just remember it
being too long to play on the radio?
Speaker 1 (32:15):
Man? That shit was crazy. I think I broke remix
eight minutes or something. The hardest remix in rap history.
Yeah yeah, what what was I mean?
Speaker 3 (32:22):
Obviously at that time the hottest joint out, Like, was
that something that like you were were you were some
of those like features favors, some of them the label
had to pay.
Speaker 1 (32:33):
For Nah, the record got so big bro that everybody
just said they just wanted to get on it. Everybody
just started flooding. They was like gonna beef with me.
I had people telling me, man, if you take me
off of this regular, we ain't friends no more. Wow.
Speaker 3 (32:46):
Was there anybody who didn't make it to try to
get on it?
Speaker 1 (32:48):
Like a lot of versus that I think. I think
I had a verse from Ludacris. Pimpsey was on it.
The label made the worst decision ever when they cut
Pimps off of it, like that's and he to kill
everybody from the regular Abel to.
Speaker 3 (33:03):
Pimpc. Pimpsy was on a Hey Baby remix.
Speaker 1 (33:06):
His DJ caught me like two weeks ago telling me
he got the verse, So I'm gonna get that verse.
Speaker 3 (33:11):
Oh, you gotta get that verse even if you like
you know what's crazy is you could probably like reproduce
the song and reperform it and do like a fucking
twenty twenty four, because you know that's what Taylor Swift did.
Speaker 1 (33:23):
Yeah, yeah, she re recorded all the music.
Speaker 3 (33:27):
That'd be crazy if you got the Pimps verse. Did
you have a good relationship with PIMPC when he was
a Liveye.
Speaker 1 (33:32):
I just tried to PIMC like every day, like for
probably like at least an hour on the phone. We
talked daily. Bro.
Speaker 3 (33:39):
He was so fucking ahead of his time. And I
just think if he still was with us, he would
have one of the most fire podcasts of all time.
Like I think how Drake Champs is cracking. Can you
imagine if Pimpsy had a fucking podcast in twenty twenty four.
Speaker 1 (33:52):
Man, they try to cancel his ass already, you couldn't
cancel him. They had to cancel him.
Speaker 3 (33:57):
I'd be like Pimps and Boozie are the same, Like
you could never cancel boo It don't matter what Boozy
does or says.
Speaker 1 (34:02):
He's kind of come from that umbrella, you know for sure,
kind of was affiliated with So it's a lot of
affiliation there, but that that definitely was a good friend
of mine. Like Pimp ain't give a fuck what he said,
when he said it, how he said it. If Pimp
was alive right now, a lot of this ship that's
happening wouldn't be happening. He'll be speaking up on it
for sure.
Speaker 3 (34:22):
Uh. I feel like just because of the tempo of
your records, Like the West Coast has always had a
place for your ship in the club.
Speaker 1 (34:29):
The West Coast was like when I first popped, this
is where I lived at. Where were living in l
An Like I was here, So you were lived here,
bro Like I had an apartment here and everything Like
I was here here?
Speaker 3 (34:43):
Was it like the getting out to the Bay a
lot too?
Speaker 1 (34:47):
Yeah, I was in a bay lot too. I shot
a video in the in the Bay with Bobby Valentino.
Mm hmm, yep, so I was. I was really playing
the Cali scene real heavy. A lot of people from
my label lived out here, so I had heavy resources
out here. You know. I still fuck with it out
here to for real still to this day.
Speaker 3 (35:02):
Yeah, I feel like just just with the temple of
your shit.
Speaker 1 (35:05):
I used to pull up on the game all them
every day, like I'm tapped in out here.
Speaker 3 (35:10):
Yeah, talk to me about uh this new record with Boozy.
It's crazy at Murder Murder Murder. I mean, you guys
have dealt with.
Speaker 1 (35:19):
K four seven on the side of my bed. You
should have cross housed. You drew in your head rolling
with me. Didn't need us have a body, but that
on my mama paint the city red. They tried to
take me away from my family and nigga. Just imagine
the feeling the district could turn and yell and then
my face. We're gonna do life if we'll give you
this sentence. I was protecting myself. I ain't never walked
out of my house looking for no issues. Nigga put
my life in danger. The detectors ain't even go question
the witness. I stayed on the scene telling what happened,
(35:41):
looked dead in his eyes. I really ain't capping now.
I'm in this hot ass call. Had a panic attack
in the back of the bitch crazy.
Speaker 4 (35:48):
My life on the line. It's a legal burner.
Speaker 1 (35:50):
How to fuck They still hit me with a murder
like I'm supposed to let a nigga step on me
then hop on the ground trying to rap on me.
This's a dirty game. Ain't no referee, Crazy go go
YouTube didn't murder me and Buoso.
Speaker 3 (36:01):
Yeah videos out right now. I think it's too up too,
because like we gotta listen. Side note, just a quick
side note, all of the icons from Louisiana have all
had extremely high profile legal situations. Whether it's you, Wayne
back in the day, fucking free young boy who's just
twenty seven months boozy. I mean, I feel like they
(36:23):
just stay trying to lock Boozy up.
Speaker 1 (36:24):
Man, it's hard on us, bro, Like, I don't know
what the fuck it is. I don't know what it is, bro, Like,
all the Louisiana artists have to go through this shit,
and it ain't just Louisiana. It's really a lot of
artists all over the world right now.
Speaker 4 (36:36):
They just it's the lifestyle. We come from.
Speaker 1 (36:38):
A lot of us really, you know, come from certain
type of environments, so we prone to the shit that
happened in those environments. Like you know, that's why a
lot of people, you know, they don't go back to
their community. I go back, you know, like, yeah, it's
just me.
Speaker 3 (36:51):
Do you think it's important that you you because we
see so many artists losing their life in their hometown,
is it? Do you think it was imperative for you
to kind of try to get out in terms of
just like where you live.
Speaker 1 (37:02):
I ain't get out for that reason. I got out
to do more business and handle more and have more
opportunities in bigger cities, Like I never had to leave
for that reason. I've been here my whole life, and
it's only one hundred some thousand people. It ain't. This
ain't a random place.
Speaker 3 (37:18):
One hundred thousand people is not a lot of people.
Speaker 1 (37:20):
Over It's like one eighty. Now, yeah, but this ain't
a place where. This ain't the type of you know
what I'm saying, Like you have random shit happened, But
everybody know everybody. Right, if I'm somewhere, I'm where I
supposed to be. We in our neighborhood, We were at
our spots. You know what I'm saying, I ain't and
I go and I deal with the whole city, like
(37:41):
I go in every neighborhood, and I know people. I
could walk in any house, you know what I'm saying,
Like I could walk through any neighborhood and find a
door I can knock on where they're gonna let me in.
It's gonna be my cousin or something. You know what
I'm saying. Like I'm rooted in the community. So I
ain't never felt like I need to get out of
here for my safety, Like right, I ain't never made
(38:02):
no bunch of enemies like that, you understand what I'm saying.
So it's different from me, like I ain't never been.
I ain't never really just made no bunch of enemies.
I've kind of just been cool with everybody, you know
what I'm saying, even the cats that don't fuck with
like that, I keep it quadroing. I don't even don't
make too much out of shit. You know what I'm saying.
Everybody know me is that's little Cane. Ain't nobody like
(38:25):
that nigga did this to such and such a no
shit like that. That's little Cane, right, That's it since
I was I've been there since I was a little boy.
You know what I'm saying.
Speaker 3 (38:33):
Did you ever like find out if halle Berry ever
heard your record?
Speaker 1 (38:37):
Yeah? Hell yeah, she danced to the record.
Speaker 3 (38:39):
That's amazing.
Speaker 1 (38:39):
Ellen, did they did the dance?
Speaker 3 (38:42):
Ellen? What man?
Speaker 1 (38:43):
You could hook me up with him?
Speaker 3 (38:44):
I don't know halle Berry from when I.
Speaker 1 (38:47):
Gather color somebody color.
Speaker 3 (38:49):
I don't know. If you want that smoke, I want
the smoke. She just got divorced again. I'm like, who divorces?
And it was the dude that divorced her. I'm like, yo,
who's divorced? She must be, That's what I'm saying. She
must be kind of crazy.
Speaker 1 (39:03):
I don't give a fuck, Eric, it could be crazy
Aale Barry No, but it's until you hit it.
Speaker 3 (39:09):
We wanted the right to be crazy.
Speaker 1 (39:11):
Let her be crazy.
Speaker 3 (39:12):
About halle Berry or wears off and you're like, oh,
she might be crazy.
Speaker 1 (39:16):
Your girl crazy anyway?
Speaker 3 (39:18):
Your girl crazy, my girl. You ain't lying about that
girl's crazy. That's a fair point.
Speaker 1 (39:22):
Just pick one.
Speaker 3 (39:23):
That's a fair point. What you got on the way man?
Obviously the new videos.
Speaker 1 (39:27):
Out Hurricane season two hours to drop that mix tape.
I got a whole nother project we're working on. Wantin
Luther Kines Junior. Okay, that's a mix tape off Martin
Luther Kine Junior, Wantin Luther Kine Jr.
Speaker 3 (39:40):
I like it. Can we just not put MLK on
the cover?
Speaker 1 (39:44):
Nah, I ain't gonna, you know, I just you.
Speaker 3 (39:46):
Know how there you know, there's those club flyers that
go viral every MLK day. There's the club flyer where
Martin Luther King's with some bel air on the front
of a flyer.
Speaker 1 (39:53):
Now, I ain't doing it like that. Ain't doing it
like that. It might not aven't be nobody on the cover.
Speaker 3 (39:58):
Would you and Boozye do a joint project. He's he's noted.
Speaker 1 (40:01):
We got a project. Oh yeah, we got a project
bad as hurricane too. We just got to finish it.
Speaker 3 (40:05):
That shit, oh fire, it's.
Speaker 1 (40:06):
Probably like probably got like like twelve songs done.
Speaker 3 (40:10):
Yeah, that's what's up man, Shot to Boozie, Shot to
you man, So when is uh?
Speaker 1 (40:15):
I got a non profit to the Lawyer Foundation leading
now you their life. So I'm working on that to
be able to help kids after school. And I'm gonna
have like three different people from three different career paths
to try to guide kids and.
Speaker 3 (40:29):
All career paths. And that's fucking awesome.
Speaker 1 (40:31):
And some direction and motivation, has some counselors there for
him as well. That's gonna be in Streeport Streetport and Atlanta.
Speaker 3 (40:38):
That's big man, that's big. Well, look go follow this guy.
Appreciate you pulling up man, fuck with me. Hopefully we
can get you in fifty cent to chat and you know,
do some dope shit. And I hope one day you
and baby chat because I love Baby, and you know,
I feel like you know you guys will you guys
will put that behind you one day. I think I
think it's gonna have to be him to reach out
to you, though. But if Baby reached out, would you answer.
Speaker 1 (41:00):
Yeah, I got an unblack as number. I was mad
than the motherfucker.
Speaker 2 (41:04):
W Bro ain't block his number, Man Bro did. When
Bro did that, I got a call. See now I
gotta call him and be like yo. I talked to
Hurricane Chris. From what he described it sounded a little
fucked up. You should call him man and squash it.
Because Baby is a good man. I know him to
be a good man.
Speaker 3 (41:18):
I love Baby, so I would just love to see y'all.
Speaker 1 (41:20):
You know, I don't like to keep grudges going and
shit like that.
Speaker 3 (41:24):
That you always on and then you guys are so
tied together.
Speaker 4 (41:27):
I always like for understanding and be had.
Speaker 3 (41:29):
For sure, even if it's even if it's agreeing to disagree.
Speaker 1 (41:33):
Right right, right right. What I'm saying, yeah, ain't. When
you sit down with somebody, you ain't looking for them
to just adopt your opinion.
Speaker 3 (41:38):
For sure.
Speaker 1 (41:39):
The sit down is to show that at least we have,
at least we could speak, and it showed the effort
from both sides, for sure. You know.
Speaker 3 (41:45):
That's that's what I feel like we need more of
that in general right now, just in America.
Speaker 1 (41:49):
You know a lot of people got it in their
mind that when shit goes so far that it ain't
no talking. Somebody got shot, it ain't no talking, right, bro,
How many walls didn't happen that had to end eventually?
Speaker 3 (42:01):
For sure.
Speaker 1 (42:02):
Somebody got hurt in every war, but they still had
to end eventually.
Speaker 3 (42:06):
Yep.
Speaker 1 (42:06):
So that's what I'd be wanting people to understand that
you got to leave room for conversation with sure.
Speaker 3 (42:11):
I mean, that's why a lot of the street shit
never ends, because it's like it's like bloodshed happens and
then somebody has to say, Okay, that was the last
blood to shed. I gotta get one now, you know
what I'm saying. So I appreciate you pulling up man,
Hurricane Chris, thinking for your time. Brother, you dig there
it is