October 31, 2025 • 37 mins
https://youtu.be/cevG0R7Zm5o
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Speaker 1 (00:00):
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players I use the most, and all that. Let's get
(01:03):
into an interview right now though, come on boutleg cap podcast. Man,
we got a special guest in here, one of the greats,
Mickey Facts. What's up, keV? Can you tell the people?
Because I just saw you post your n y U
I D and I know you're teaching and you got
a lot going on. Yeah, yeah, you're like quite literally
teaching rap, right, teach rap?
Speaker 2 (01:26):
So uh, something that I haven't told a lot of people.
Black Thought was teaching it for three years at YU
and nobody knew about to say, nobody knew and he
his schedule got a little hectic, so he put in
a good word along with one of my other friends,
Seawan Tatyro, so I took over the position. Wow and
(01:49):
h I fly in every Thursday to New York from
Atlanta to teach it.
Speaker 1 (01:55):
Black Thought as a rap teacher is wild. The fact
that hasn't come out like a f I as a student,
I'd be like, yo, y'all have no idea. I walked
into class today, Professor Tarique is fucking Black Thought. Yeah.
I mean, I feel like if there's anybody, it'd be him,
I obviously yourself. I think Blue Bay could teach a
rap class, which he's doing. Oh wait, I didn't know that.
(02:16):
At John Hopkins, Jesus would say, you're teaching rap, like
what is like a lesson planned for you?
Speaker 2 (02:22):
Lesson planning right now is fundamentals. So teaching them focal point,
which is like the word you used to rhyme perfect,
rhyme slant, rhyme, flow delivery, multi syllabic. And that's just
to kind of get the basics down. Then we start
looking at other MC's to kind of see what they
do so we can identify what they do, and then
from there we start to work on performances and then
(02:43):
the intricacies of lyricism and songwriting from.
Speaker 1 (02:46):
That super sick. So you guys might be like, yo,
today we're gonna study Eminem.
Speaker 2 (02:50):
Yes, and then we'll break down what he's doing, how
he's doing it, and how he's able to get his
thoughts across what uh?
Speaker 1 (02:57):
What if? I don't know if you could share, but
what rappers have? Are? Are you gonna break down?
Speaker 2 (03:01):
So I have a list of like one hundred right,
so I could start, So I try to keep it
post two thousand uh from a studying standpoint, and then
I like to keep it from a from an underground standpoint.
And then we also study some of the newer artists
as well. So you got to think if I if
(03:23):
I'm talking about previously, you know, we're talking Kanekouji rap
rock him, et cetera. Then you got the j Nah's big,
you know, the usual suspects everybody here us on the wall.
And then from a woman's standpoint, little Kim Salt and
Pepa et cetera, et cetera, et cetera. And then in
this era, you know, we make sure to cover the Rhapsodes,
the said Rocks, the uh Sahad, the princes and the
(03:45):
king Loses and those people. And then the newer artists
they have to you know, they have to present what
they see from the newer artists and how they're creating
and crafting this stuff. Right, So we got the Playboy
Carti stuff, we got some NBA young boy stuff quick
yeah yeah.
Speaker 1 (04:02):
Lay Boy Cardi. What's up? So when you are talking
about his rapping, yeah, what is what do you take
away from? Like I just like you and the obviously
the kids probably love Cardi. The kids love Cardi. I
just like when it cuts as a rapper. Sometimes it's
a lot of aura, right, it's a lot of vibe.
(04:24):
It's it's a very punk rocket.
Speaker 2 (04:26):
Everything that you're saying is literally what I take away
from it. So I say this, it's more of about
a vibe. I feel like Cardi, here's a beat, probably
gets lick it up and whatever drugs he's taken and
goes in and says whatever comes to his brain.
Speaker 1 (04:43):
Do you have any redeeming qualities to give to the
students When you hear his music.
Speaker 2 (04:46):
I think like, hey, you guys, this is how he
does it, and this is we just learn jay Z.
Speaker 1 (04:52):
But this is what you could take from Playboy Cardi.
Speaker 2 (04:54):
I think you could pull something from anybody, and I
think that what you can pull from Playboy Cardi from
that point is melodic rapping.
Speaker 1 (05:01):
Right.
Speaker 2 (05:01):
He does that at a high level. When you think
about and I say this respectfully, right, when you think
about high level MC's like a ransom or r J Payin, joelots,
any of these, they can't do what Cardi do.
Speaker 1 (05:12):
They just can't do it.
Speaker 2 (05:14):
And that's like, no, they can't do it because in
their brains. It's more about the lyrics and the writing
as opposed to the vibe and saying is less words.
Speaker 1 (05:25):
Well, I think that's why I think Future is one
of the greatest of all time.
Speaker 2 (05:27):
Yes, yes, I agree, I think Future, but you got
to also look at futures beginnings like he.
Speaker 1 (05:35):
Was, and he's got due family still in his arms,
still in his arms.
Speaker 2 (05:39):
He was going by Meathead paused and he was sounding
like Ludacris when he first came out.
Speaker 1 (05:44):
I didn't know. I didn't. I haven't dug that deep.
I mean, that's why I'm here, That's why you're the future. Yes,
So he was rapping like Ludacris when he first came out.
Then he had to switch it up, and when he
started to when he found his lane and his groove,
then he started to morph into what we love. Now.
Is there an artist that's frustrating as an as you're
an MC's MC now you literally teach this right. Is
(06:07):
there somebody who you get frustrated listening to from the
newer generation? No? I don't.
Speaker 2 (06:14):
I mean I think that there's people that I'd be
looking at. I'd be like, how did this person get
a situation or a scenario. But it's never to the
point where I get frustrated that like, Yo, what am
I listening to? I just try to pull the reason
people listen to it. I have to because I'm teaching.
Speaker 1 (06:30):
No of course, and like you know, I feel like
there's at the end of the day, there's a market
for these these artists, even if you're not necessarily into
like a lot of you know, like a yeah.
Speaker 2 (06:41):
I think that's I think what you just said is important, right,
there's a market for it. And if there's a market
for it, we as the people who run the school,
we have to we have to understand why there's a
market for it. Who is this market and what about
this person do these people like? And why you know
what I'm saying. So, like, I listen to it and
I try to pull the positive out of it so
I can understand it.
Speaker 1 (07:01):
That's that's what I look at it. Could you give
me I take away album sales, throw throw discography out
right at the talent of rapping. Who do you think
is like in the conversation for like the greatest of
all time? I throw the legacy out. I'm not like
when people will be like, well, you know, the album sales.
(07:23):
They got to five Mike almrokill the skill of rapping.
That's it, that's it, loop A fiasco, damn. I that's
my number. Yes, And if anybody's questioning that should just
go listen to murals like nine minutes or just eleven?
Is it elevens is eleven minutes? Yeah, that would be
my choice. That would be my choice. I think it's
(07:45):
like in the discs, it's like loop A then like
black thought, it's loop A black thought. It might be
I might throw in ASoP rock in there, low key.
It's I mean, if were talking just skill set, like
I think Eminem is up there, Eminem will probably be
in there. I would put them there. I'm forgetting somebody
and it's gonna bother me. Hold on my brain's uh,
(08:09):
I don't know, man, I think when.
Speaker 2 (08:10):
I'm not mad at NAS, true, I'm not mad at
Nas at all.
Speaker 1 (08:14):
I think Nas. You're talking about a guy who first
came out ninety two. What do you think about Kendrick
in that?
Speaker 2 (08:21):
Yeah, yeah, Kendrick is in there. I put Kendrick in there,
but I don't think that quietly. Royce too, I would
have I would have Royce in there. I would have.
I would got to just throw his name in there.
I'm not mad at that, I think. But if if
you told me like three people, I would probably say
loop a thought, and then it will probably like the
(08:43):
third spot.
Speaker 1 (08:43):
Can go to a few, go to a few.
Speaker 2 (08:45):
People, but I don't have anybody higher than those two.
If you remove everything and just kind of just let
them wrap, yeah.
Speaker 1 (08:54):
It's pretty tough. Yeah, I agree. I think I think
Lupe to me is the name I always go back to.
And it's crazy too, because it's like he's had this
like new like quiet run that he's on where he's
putting like the Samurai shit. It's so crazy like conceptually,
and it's.
Speaker 2 (09:07):
Like but I think when you look at when you
look at stuff like that, right, like you have to
look at it like, Okay, he's implementing his lifestyle into
the art and.
Speaker 1 (09:14):
It's so fat and it's just like, yeah, yeah, I
think Loupe when we talk about the the Greats is
like it's like almost like if Atlantic hadn't like frustrated
him so much with the industry and like made him
hate it, you know, it's like what could have been
The first two albums were so crazy it was a
gift in the curse.
Speaker 2 (09:34):
They saw they saw the success of Superstar and it
was like, oh you did that.
Speaker 1 (09:40):
Oh well, then baby, you could do this too. Here's
a Trey song took.
Speaker 2 (09:44):
Right, and here's you know, here's all of this stuff
that eventually went to Bob and he was probably like,
get the fuck out of here, Like I did this
because this was me and my man and we made
it work.
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socks dot com. Let's get back to the interview when
you were in the like cause you're quite literally like
a found foundational member of what we would call blog
era rap. Yes, Uh, you were probably one of the
(11:42):
first names I think I really kind of found online
because you know, for people who don't know, you had
kicked off like this weekly thing where you were dropping
music every week, which was like new. Yeah, nobody was
doing after you. Crooked I did it. No, so Crooked
I Cricket I do it. Okay.
Speaker 2 (11:56):
He did freestyles first in the middle of two thousand
and seven.
Speaker 1 (11:59):
So so he was doing the weekly shit, the weekly freestyles, okay,
but you were dropping like original songs.
Speaker 2 (12:05):
I was dropping the original songs started in January once
a week. That shit was unheard of.
Speaker 1 (12:09):
Did you ever get because there was like that the
blog era was very interesting because you had like a
guy like Bob who was like a blog era Darling yep,
and I had amazing mixtapes and for whatever reason, it
just felt like he just was like hitting the ceiling
at the label or whatever. And then he gets to
(12:30):
the Brunal Mars record and you know, yeah, kind of
the director of his career change with j Cole's kind
of in that same vein too. Ye. Were you ever like,
did they ever try to force feed you, like because
I had you had a major deal. Yeah, I was
with did they try to force feed you, like, uh No,
I came in there with the singles like yo, we
got this hook from.
Speaker 2 (12:50):
I came in there with those records. Ah, so it
was different from me.
Speaker 1 (12:55):
Were you like a tail end to drive existing Yes? Crazy,
That's why I never got the hit record.
Speaker 2 (13:02):
So like I came in there with the big records,
they were like, oh shit, we don't have to give
this guy the stuff because he has it already. And
then their issue was, Okay, this guy is known as
the rapper, how do we take him from being the
rapper to doing this type of music? And as they
were figuring it out, the label folds. So I went
(13:23):
from like they were getting ready to push the button.
The first single that well, Paradise did really well. We
got bdspins that charted, and then we had the Martian
and Brochure record for the Culture. As soon as they
were getting ready to impact the label, literally, Foald Barry
Weis's left like he didn't even tell anybody, He just
kind of left. He was like I took this job
at a death jam and then that was it. One
(13:46):
day he was at work at job, next day he
was at year.
Speaker 1 (13:49):
This was twenty eleven. Damn.
Speaker 2 (13:51):
So so you think, okay, I had the records, I
sat at, I was well, the entire label was defunct.
So me, Chris Brown, R Kelly, all of us, Britney Spears,
Britney Spears justin Tiberla like all of us. We didn't
have a home for like five months. And then eventually
(14:13):
Sony came because again he just left. So Sony came
in and it was like, okay, we're going to purchase. Uh,
some artists are going to go to EPIC and then
some artists are going to go to RCA. So some
people got dropped, like Diamond from Crime Moms, she got dropped, right,
I got moved to RCAA. So I had a brand
new deal. So with this new deal, I had a
(14:33):
brand new an R. I had a brand new project manager.
I had a brand new.
Speaker 1 (14:36):
All these people aren't people who like found you, so
they're not invested in it.
Speaker 2 (14:39):
And if you don't have the catalog or if you
don't have the names, because for them it's numbers and
it's about Yeah.
Speaker 1 (14:44):
They're like, well why we want to Like fuck, how
motivated can be to break an artist that you don't
really that you weren't a part of bringing into the building.
Speaker 2 (14:52):
Right, So what I had to do I had to
make all new records because Jive, as you know, it
was a pop it was pop label. The only the
only rappers on there was me, the Clips, and Diamond
from Com.
Speaker 1 (15:08):
Left.
Speaker 2 (15:08):
By then forty forty was going, so it was uh
too short, too short he was going. So it was
only like three rappers. So I wanted to do the
pop ship. I wanted to be in pop. I wanted
pop money.
Speaker 1 (15:22):
I had the Clips Drive shirt from like that era,
well that was from way earlier than that. Fuck yeah
that was like that was like I bought it on
Mixed Unit dot com.
Speaker 2 (15:31):
Yeah, so I had to call some favors and so
I called the Yellow Wolf.
Speaker 1 (15:36):
I called up Bruno and this is before he did.
Speaker 2 (15:40):
The record with No Uh yeah, this is like right
after he did the record with d Ob. So I
had a Bruno record, I had a John Legend record,
but they still wasn't trying to push the button damn.
So I was just like, all right, well listen, it's
time for me to go.
Speaker 1 (15:55):
Who who do you think is like? Because I do
feel like there was so many dope artists at that
era that like for whatever reason. I think a guy's
like Pill and Charles Hamilton and Ruggin. There's just so
many incredible artists that just XV was crazy. Zero Heroes
is insane. But who do you think was kind of
like one of the products of that era of music
(16:17):
that just for whatever reason you felt like, you know,
should have been bigger. Didn't that necessarily hit the way
that a lot of you know, the peers did. I'd
probably say myself, if you I mean, obviously take yourself
out of.
Speaker 2 (16:33):
There, If I take myself out of the conversation. I
think I think Fred rest in peace for the God.
He was on his way, you know. I think with
him in thirty eight special was doing right before he
passed away in the pandemic, I think was he was
finally kind of getting that love.
Speaker 1 (16:52):
Ace hood.
Speaker 2 (16:53):
I think he got a bad deal when people started
taking his flow.
Speaker 1 (16:56):
You think you you correlate with the blog era though, Yeah,
he was on got He was like, yeah, that is true.
He was on that cover. Was oh my god, he
was on the cover. He was on the cover, and
Motheruckers was like, why is it? Acewood is crazy? By
the way, super Fire shout out to a but he's
got some records, yeah he had, but no, he has
(17:17):
he has big records. Yeah.
Speaker 2 (17:18):
I think the issue was people took his flow after
he had those hits, and.
Speaker 1 (17:22):
Then it was yeah he's had some joints, man, big joints,
and like he's like quietly built up, like a dope
independent catalogs. He has a great following. Yeah, he's got it,
like real locked in following. Yeah. I mean a lot
of it is you know, fitness, A lot of it
is great music too. Who always on this cover? I'm
trying to remember it was that there, Me Cuddy, Yeah,
(17:46):
Charles Jesus, Corey, Corey probably it was crazy. Corey probably
should have been.
Speaker 2 (17:52):
Corey was so tough, Bob Currency, who's cooking, Yeah, cooking
Cuddy mm hmm.
Speaker 1 (18:00):
Yeah, that's that's a crazy that was because that was
the second one, right, because the first one was like
Joel er T's Crooked Eye and Blue and Blue. Yeah,
you know, j Leg was supposed to be on the cover. Damn,
he he was on sold most death. I haven't I'm
not gonna lie. He put out all that new music.
I listened to the first like piece, and I haven't
(18:22):
just had time to because I like, I feel like
I need to like sit down. I'm like, yeah, I
saw somebody's I liked it, but if somebody felt like
somebody said it sound it felt like an audiobook. Yeah,
I thought it was cool what I heard. But I
feel like it's so crazy that a single song exhibits
C can be so great that like a Damn Near,
(18:44):
like it's it's it pushed him into this like shadowy
mythical figure of music. Yes, and like the album dropped.
It was like damn Near a co album with jay
Z every the name of the album. It was cool
written testimony fucking exhibit It's like Exhibit C is such
a that was.
Speaker 2 (19:04):
Just Blaze, but you know, just just said that he
had an album full of those, because you know they
did an album and it's like, just what are you doing, bro,
like because this is at his height, because you know,
they did Exhibit A, then they had Exhibit C, and
then and then that same radio station he played Exhibit
B with fucking most death listen.
Speaker 1 (19:24):
Man, I was just Blaze was making more beats right now. Yeah,
he only makes sinc beats. Me and Alchemist were talking
about this and he was like, yo, like if just
really just tapped, like got focused for like a year.
He could just do collap albums because I was kind
of showing, like showIn everybody the way right now.
Speaker 2 (19:44):
I think just me and Just had the same We
had the same booking agent for a while.
Speaker 1 (19:51):
He got into the ed M space.
Speaker 2 (19:54):
He los video games, he's a gamer, and he just said,
I think he just got tired. He was like, nah,
because I remember after I did the album with Knots,
he came to the album release party. He was like, Yo,
I'm down to do a collab album, and then I
never heard from Just again.
Speaker 1 (20:11):
He's probably my favorite. He has a collab listen, listen
to these names. He has collab albums with that I
know of that are just sitting on hard drives. Jay Electronica,
he has an El's Eye album. Els is one of
the ones man shout to Detroit, Shoutson. He has an
Elsie album. Bro. He's actually another guy that I would
actually might be in that combo. He's yeah, yeah, definitely,
(20:34):
I put damn. He has an Elsie album Bro. That's wild.
Speaker 2 (20:40):
And you know, Just is one of the best producers
you know ever. Yeah, and he just refuses.
Speaker 1 (20:45):
He just refuses Yeah, it's kind of wild. You would
think like we'd get like a just blaze beat on
a Kendrick album or fucking something I forgot. I feel
like the last great like big just blaze beat. I
could think of what was on the Drake album? Was
it Tusking leather? Didn't he do that? Did he do
Tusking level on My Tripping? He did a he did
(21:08):
something on that show. The last beat that he did
was Kirk Franklin and Little Baby See. I don't want
to hear that ship. The beat was unbelievable. I want
to just hear the beat. That's all I want to hear.
I just want to hear instrumental. The beat was on
the record. Beat was bonkers, you know.
Speaker 2 (21:24):
You know the interesting thing about So just just gave
me a beat and.
Speaker 1 (21:30):
I put Jilla Jones on it. My guy right here.
Speaker 2 (21:33):
And the song is called Pendulum And that's where we
started our school.
Speaker 1 (21:36):
Pendulum man, that's crazy. Yes, and we did that. He
gave me that beat twenty fifteen, Lord knows is the beat.
Speaker 2 (21:44):
Lord knows that was twenty fourteen. No, that was earlier.
That was twenty twenty twelve, twenty twelve, twenty eleven.
Speaker 1 (21:51):
Yeah, twenty eleven, you already know. Man, want to give
a shout out to slap Woods for presenting the podcast
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follow them on Instagram at slap Woods. Let's get back
to the podcast. Yeah, so you have your own own school.
(22:57):
I have my own school. So tell me about that.
Speaker 2 (23:00):
Last time I was here was what twenty twenty one? Yeah,
so I started the school the next year, Okay, And
you know, it's a school for lyricism.
Speaker 1 (23:07):
We teach people how to rhyme.
Speaker 2 (23:09):
We teach them how to flow on beat if they
can't from a foundational skill standpoint. We have a mental
health a mental health class called rhyme Cology. My guy
back there. We also teach content, how to create content.
We have business classes.
Speaker 1 (23:25):
I think that's the shit that like is important because
I feel like kind of like you could tell me
if you I'm always like, look, I feel like people
could technically learn how to rap, right, yeah, but I
kind of feel like if you got it, you got it,
you know what I'm saying, Like, yes, to an extent,
(23:45):
It's like you could technically go and like train it
like a basketball coach.
Speaker 2 (23:50):
Right, but until you have to have the it, that's
what you feel. I just feel like, I mean, I
think I think the Internet has kind of removed that
a little bit.
Speaker 1 (23:59):
Like you can kind of just be that is true.
I mean, listen, there's a kid named Ian that's horrible,
but he has fans Ian. I like Ian a little bit.
I like Ian. I think he's the worst rapper alive. Really,
Oh my god, he is horrible. I feel like he
has zero redeeming qualities. Isn't he from? I don't know,
I sure hope not. What's that fucking Ian kid with
(24:21):
all the fucking n's in his name? His double XLF
freestyle by the way, people love it, by the way,
So this is I am a single opinion because apparently
he performs it on tour and people sing it. It
is the most remedial rapping I've ever heard in my life.
I mean, you gotta, you gotta pull the thing from
st Lewis him and sexy sexy reto out wrap him
(24:44):
under a fucking table by the way. Yeah, I believe that.
Speaker 2 (24:46):
But you know, I just want to apologize to the
Californian people to put in Yeah, we.
Speaker 1 (24:49):
Can't put in over here. I mean, if he was from,
he'd be from like Orange County or something. We're from
fucking like pala Alto where they got Tesla factory ship.
I cannot wait because I'm gonna get the label request
to have Ian on, and I'm gonna tell him to
his face. I think he's the worst rapper alive. He's
gonna cook you. No, I mean he could cook me like.
(25:10):
I'm like, just so you know my personal opinion, I
can't think of a worst rapper. He's going to give
you fifty bus By the way, you got more fans
of me, It's all good. They probably got more money
to me. But I don't know. Your parents look like
they probably got money. But congratulate. Yeah, prove me wrong.
Put a beat on. Put a beat on. He'll cook.
Let's throw on some shook ones. Oh, he won't cook
a goddamn thing. He will cook cereal. That motherfucker will
(25:34):
cook Ramen noodles and cereal. I'm not mad at Ian
shout out. I shout out to you. You're a nice guy.
You know.
Speaker 2 (25:40):
I just don't. I don't want to. I don't want
to piss anybody.
Speaker 1 (25:43):
He's this the one rapper that I've seen like rap
And I was just like, what is this? What the
fuck are we doing? The Playboy cardis shout I get
because I feel like the cardis shit at least, is
like I feel, because you know, punk rocks kind of
kind of. I know there's punk rock bands. I know
they exist, but like you know, when I was in
high school, punk rock was like a thing the kids
were into. They'd wear T shirts. Right. That shit's kind
(26:04):
of out now, So it's like the new punk rock
is like Playboy CARDI, right. I mean when I heard.
Speaker 2 (26:10):
The album, I was just like, I wanted him to
just tell me where he was at, where he'd been,
because he had just disappeared for so long.
Speaker 1 (26:16):
You know, I just wanted to hear that. But I
don't think we get all that. But the production on
the albums, there's some crazy beats on that album. Yeah,
you know, I thought I thought he cooked. There's like
seven or eight joints on the Playboy CARDI out my
fuck With. I thought he got Kendrick on one of them. Jones. Yeah,
I thought, you know, So, how can where's the school located? Uh?
So it's all online, Okay, so you can be anywhere
(26:38):
online courses.
Speaker 2 (26:39):
Online courses, pendulum, mek dot com. But some of my students,
you know, they're here right here in the interview, So
they flew into La having a writing retreat. You know
what I'm saying. We had the show last night with
rasc tried to rast, so some of my students ron
last night at the Pack show. You know, it's pretty dope.
And once a month we have a celebrity guest coming.
We got Jada Kiss next month. Next week part of
(26:59):
me hate it.
Speaker 1 (27:00):
Yeah, and hopefully Cam next month. Cam would be crazy. Yeah.
I just did a big breakdown on him. I was
in No, I didn't, but that was it was funny.
That was one of the artists gonna ask you about.
It's like when you're like teaching a class, like do
you like go there and be like, look, there was
this era where these guys are rhyming the same word
with the same word and it was so fire. We
call it glitchen. Yeah.
Speaker 2 (27:19):
Yeah, rather imagine me wake up seven thirty for work.
I rather run the street seven thirty with work.
Speaker 1 (27:25):
Yeah. He used to do that all the time. His
new freestyles. He drops like he's just brushing his hair.
Oh my god. Yeah, yeah, I'm like, dog, can we
get an album?
Speaker 2 (27:36):
He said him, And then Mason got some ship. They're
going together right now. Who do you think is better
of him and Mace, I.
Speaker 1 (27:43):
Think Cam's I think, yeah, I think I think Cameron
is close. I think it might be close. They can
go either way, go either way. I think Mace is
definitely underappreciated and very slept on him talk about like
his ability of right. I mean, look, both of them are.
His ascension was outrageous and it sucks because it's like
(28:06):
we you know, Harlem World was so crazy. Double Up
had some shit on it. I bought Double Up. You
know back in the double when you bought albums, you
had to find some shit you liked on the alms. Yeah,
there was some shit on Double Up that was solid.
It was great, was crazy. And then like obviously popping
up on like twenty four Hours to Live and yeah,
he was cooking fucking all of the puffs. No way,
(28:28):
he was all over, no way out. You know, Mace
is definitely I just think Cam on every R and
B records, I think, yo, yeah, but just Cam, like man,
you want to talk about just like fingers all over
the game, just like just fashion like alone, like motherfuckers
was out here buying Pink Tall Tea's dog, Like.
Speaker 2 (28:46):
Yeah, I mean I think it was something that I
said into my breakdown. Every decade he had a newer
artist with him from Harlem, right, yeah, Cardan in the nineties,
two thousands, yeah, Juel's two thousand cens he had Votto.
Speaker 1 (29:00):
That's true. I forgot about the Vodo shit. Yeah. And
then he still had Jr. Writer, the writer of writers.
Speaker 2 (29:07):
He had forty col He had Chaldy clips with him
for a little bit. He was cooking and he's from
hell els from the Bronx, I believe.
Speaker 1 (29:15):
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I think he's from the Bronx. I saw, Yeah, JR Jr.
Is doing this thing. Shout the JR Man he just
got I think he just got his master's back for
his first album. I think, well from Baby Grand.
Speaker 2 (31:01):
I think so, you know, Baby Grand is the reason
why we don't get no stove gut bro.
Speaker 1 (31:05):
Who did I just have this talk with? I won't
even say who we were talking now, I can't talk
about it. Well, I'll just say this, whoever I was
talking to about this is very very important legend. Okay.
And they were talking about how much of a piece
of ship the guy who owns Baby Grand is. Yeah,
what you would know chuck chuck, Yeah, okay the chuck
got I heard he is fucking horrible. Yeah, that's the
(31:28):
worst guys ever. Like just a piece of ship. Yeah,
and like it's holding Like I heard hell of people
try to buy Stove got out and this fool is
just a dickhead.
Speaker 2 (31:40):
West Side is like west Side off of the money.
He was like, no, he's just holding it. He's just ya.
Speaker 1 (31:46):
What's the like like? Because you know, I think when
I was like when I was going up, I remember
seeing Baby Grand was like the label like on a
bunch of dope albums, you know, but like two thousand
and three. Yeah, but fuck that dude, man, I mean
the dude like there was two people who were shipping
on him, were very pretty parted legends, I believe it,
and they're like, yeah, yeah, that dude's like the absolute worst.
Now he's black guy too short. I figured he was
(32:08):
a white dude for sure. Short, this is a fuck.
You just threw a fucking wrench into the whole thing.
I figured it was a white dude, chubby, a fat short.
I figured a fat, short, white dude. He kind of
reminds me of Jerry Hella, but just minus designism. Yeah.
(32:30):
You just don't know who he is.
Speaker 2 (32:32):
But if you was around during the block, you know
he offered a lot of people deals back then.
Speaker 1 (32:36):
I was like, no, it didn't make sense to me.
It just didn't make it never made sense to me.
I saw, Uh, somebody said one of the dudes from
Raucus and Sterns and New Ship. I don't know who
from from I think the Murdoch full Murdoch so Rupert
Murdoch's son who funded Raucous Records. Okay, but somebody had
(33:00):
said that he's getting into some other label ship. I
don't know, but I don't know. I feel like all
of those rich like lineage folks like and his son,
everyone's just kind of taking over the world right now.
And then you know, you got the the Granges running
two fucking majors. You know. Do you remember let me
ask you this, do you remember Timmy he'll figure son.
(33:20):
Of course he was a rapper, right, yes, yeah, I
remember that. Who's who's a better rapper? Him or fucking
chet Hanks. I think he'll figure son, for sure, he'll
figure son. But he was most like singing, singing. I
don't know, but I remember he was running. Uh, he
was running. He was running. He his dad hated that.
I'm sure didn't like it. He supported it though, yeah,
(33:43):
I'm sure he probably financed it.
Speaker 2 (33:45):
Yeah, but then he had him running, like the the
clothes there was another clothing line that he'll figure bought outside.
Speaker 1 (33:51):
Oh, like a secondary like but it was a big one.
I can't remember the name. Let me find out. He
was running his fucking fat farm. It was like it
was like paper denim of something like that. It probably
was paper. I think they bought paper dnim.
Speaker 2 (34:03):
And then he was running, he was it was either
paper it was something else maybe public or.
Speaker 1 (34:09):
Something probably with some shit like that. So people can
sign up online.
Speaker 2 (34:13):
Yeah, you can sign up pendulumink dot com, fill out
an application and then you know, we'll meet with you
on zoom walk you through it, you know, so you
can see that it's not a scam.
Speaker 1 (34:20):
What is uh? Like? Does it take to graduate from
this school? You need at least two years in the school.
Speaker 2 (34:26):
You know, you need a year if you're nice, you
need a year at our advanced technique class, and then
you need a year with me and then you graduate
and then we put you in I was sink class.
Speaker 1 (34:36):
And then the same class will help people get syncs.
Speaker 2 (34:39):
Yes, and then you know, we'll help you if you
you know, want to put music out, we'll support you
in that space as well.
Speaker 1 (34:44):
Nice Yeah, I mean shit, what you're you're independent? Like
what do you there's so many different like independent distroy
agencies now where people I know a lot of people
shot on District Kid shout out the District Core. But
I know District Kid was the first person to do
the first company do splits, yes, which was important, and
I know a lot of people are doing them.
Speaker 2 (35:04):
They gave us they gave us scholarship money two years
in a row.
Speaker 1 (35:07):
Oh fire. Yeah, So I have nothing bad to say.
But what I was gonna say, like, is there is
there a distro company you feel like that, you know,
anybody has access to that is better than the others.
I'm always going to say distro Kid. Yeah. I just
think distro Kid's simple, It's very simple. I don't go
through them.
Speaker 2 (35:25):
I have an independent situation with Soul Spasm, but I
feel like distro Kid is the perfect space for people,
you know what I'm saying. And then if you're trying
to go direct to consumer, you know obviously you know
even even that you know Chuck is suing them. Why
because Stove God put that album on there. Damn what
a piece of shit. He's suing them for copyright infringement.
(35:49):
What's up with this chick? Where's he from New York?
I think he's from New York. If he's not from
New York, he's from Houston. One of the two. Chuck
the fuck Okay, not mad at that? Yeah, Cooks all right.
Speaker 1 (36:04):
So we're gonna do a separate interview or a separate video.
You freestyle and man appreciate you pulling up school. Thank
you for having me up here. And if people want
to sign up on more time pendulum mink.
Speaker 2 (36:13):
Dot com, fill out an application, meet with me on zoom.
Speaker 1 (36:17):
Let's have a conversation. If someone's absolutely cheeks, nah, we'll
make them better. I'm fucking terrible though.
Speaker 2 (36:24):
If you sign up, I'll get you nice in two years.
But you got to be dead ass though, keV, You're
not really dead ass. You got all of these studios here.
Speaker 1 (36:31):
Do you rap?
Speaker 2 (36:32):
No?
Speaker 1 (36:32):
Funck? Now? Oh? Now? Do you have rhythm? If you
could DJ, that means you can count? So yeah, you know,
like I understand song like I mean, like, dude, I
have songwriters and artists I work with, So it's like
I understand I've helped with a line here or there right,
not cocaine of course, like a song a songwriter. Yeah, no,
I feel like yeah, I mean I understand like a
sixteen bar verse, eighteen bar or eight bar verse, et cetera.
(36:54):
Like if you if okay, let me ask you this, keV.
Speaker 2 (36:56):
If if you if you came, if you signed up
to the school and we asked you, what kind of
rapper would you want to be?
Speaker 1 (37:04):
What would you man Ian's dad? Yeah, like what kind
of make but the old people version. I don't think
we need. You don't need to come to the school
to do that. Now, I think you're right. You could
just fucking start rapping. Oh thank you. That's the meanest
thing you said on the podcast today, and I appreciate.
(37:24):
That's how we're gonna end it, all right, Mickey facts
m
Hey, this next interview is brought to you by Prize Picks.
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players I use the most, and all that. Let's get
(01:03):
into an interview right now though, come on boutleg cap podcast. Man,
we got a special guest in here, one of the greats,
Mickey Facts. What's up, keV? Can you tell the people?
Because I just saw you post your n y U
I D and I know you're teaching and you got
a lot going on. Yeah, yeah, you're like quite literally
teaching rap, right, teach rap?
Speaker 2 (01:26):
So uh, something that I haven't told a lot of people.
Black Thought was teaching it for three years at YU
and nobody knew about to say, nobody knew and he
his schedule got a little hectic, so he put in
a good word along with one of my other friends,
Seawan Tatyro, so I took over the position. Wow and
(01:49):
h I fly in every Thursday to New York from
Atlanta to teach it.
Speaker 1 (01:55):
Black Thought as a rap teacher is wild. The fact
that hasn't come out like a f I as a student,
I'd be like, yo, y'all have no idea. I walked
into class today, Professor Tarique is fucking Black Thought. Yeah.
I mean, I feel like if there's anybody, it'd be him,
I obviously yourself. I think Blue Bay could teach a
rap class, which he's doing. Oh wait, I didn't know that.
(02:16):
At John Hopkins, Jesus would say, you're teaching rap, like
what is like a lesson planned for you?
Speaker 2 (02:22):
Lesson planning right now is fundamentals. So teaching them focal point,
which is like the word you used to rhyme perfect,
rhyme slant, rhyme, flow delivery, multi syllabic. And that's just
to kind of get the basics down. Then we start
looking at other MC's to kind of see what they
do so we can identify what they do, and then
from there we start to work on performances and then
(02:43):
the intricacies of lyricism and songwriting from.
Speaker 1 (02:46):
That super sick. So you guys might be like, yo,
today we're gonna study Eminem.
Speaker 2 (02:50):
Yes, and then we'll break down what he's doing, how
he's doing it, and how he's able to get his
thoughts across what uh?
Speaker 1 (02:57):
What if? I don't know if you could share, but
what rappers have? Are? Are you gonna break down?
Speaker 2 (03:01):
So I have a list of like one hundred right,
so I could start, So I try to keep it
post two thousand uh from a studying standpoint, and then
I like to keep it from a from an underground standpoint.
And then we also study some of the newer artists
as well. So you got to think if I if
(03:23):
I'm talking about previously, you know, we're talking Kanekouji rap
rock him, et cetera. Then you got the j Nah's big,
you know, the usual suspects everybody here us on the wall.
And then from a woman's standpoint, little Kim Salt and
Pepa et cetera, et cetera, et cetera. And then in
this era, you know, we make sure to cover the Rhapsodes,
the said Rocks, the uh Sahad, the princes and the
(03:45):
king Loses and those people. And then the newer artists
they have to you know, they have to present what
they see from the newer artists and how they're creating
and crafting this stuff. Right, So we got the Playboy
Carti stuff, we got some NBA young boy stuff quick
yeah yeah.
Speaker 1 (04:02):
Lay Boy Cardi. What's up? So when you are talking
about his rapping, yeah, what is what do you take
away from? Like I just like you and the obviously
the kids probably love Cardi. The kids love Cardi. I
just like when it cuts as a rapper. Sometimes it's
a lot of aura, right, it's a lot of vibe.
(04:24):
It's it's a very punk rocket.
Speaker 2 (04:26):
Everything that you're saying is literally what I take away
from it. So I say this, it's more of about
a vibe. I feel like Cardi, here's a beat, probably
gets lick it up and whatever drugs he's taken and
goes in and says whatever comes to his brain.
Speaker 1 (04:43):
Do you have any redeeming qualities to give to the
students When you hear his music.
Speaker 2 (04:46):
I think like, hey, you guys, this is how he
does it, and this is we just learn jay Z.
Speaker 1 (04:52):
But this is what you could take from Playboy Cardi.
Speaker 2 (04:54):
I think you could pull something from anybody, and I
think that what you can pull from Playboy Cardi from
that point is melodic rapping.
Speaker 1 (05:01):
Right.
Speaker 2 (05:01):
He does that at a high level. When you think
about and I say this respectfully, right, when you think
about high level MC's like a ransom or r J Payin, joelots,
any of these, they can't do what Cardi do.
Speaker 1 (05:12):
They just can't do it.
Speaker 2 (05:14):
And that's like, no, they can't do it because in
their brains. It's more about the lyrics and the writing
as opposed to the vibe and saying is less words.
Speaker 1 (05:25):
Well, I think that's why I think Future is one
of the greatest of all time.
Speaker 2 (05:27):
Yes, yes, I agree, I think Future, but you got
to also look at futures beginnings like he.
Speaker 1 (05:35):
Was, and he's got due family still in his arms,
still in his arms.
Speaker 2 (05:39):
He was going by Meathead paused and he was sounding
like Ludacris when he first came out.
Speaker 1 (05:44):
I didn't know. I didn't. I haven't dug that deep.
I mean, that's why I'm here, That's why you're the future. Yes,
So he was rapping like Ludacris when he first came out.
Then he had to switch it up, and when he
started to when he found his lane and his groove,
then he started to morph into what we love. Now.
Is there an artist that's frustrating as an as you're
an MC's MC now you literally teach this right. Is
(06:07):
there somebody who you get frustrated listening to from the
newer generation? No? I don't.
Speaker 2 (06:14):
I mean I think that there's people that I'd be
looking at. I'd be like, how did this person get
a situation or a scenario. But it's never to the
point where I get frustrated that like, Yo, what am
I listening to? I just try to pull the reason
people listen to it. I have to because I'm teaching.
Speaker 1 (06:30):
No of course, and like you know, I feel like
there's at the end of the day, there's a market
for these these artists, even if you're not necessarily into
like a lot of you know, like a yeah.
Speaker 2 (06:41):
I think that's I think what you just said is important, right,
there's a market for it. And if there's a market
for it, we as the people who run the school,
we have to we have to understand why there's a
market for it. Who is this market and what about
this person do these people like? And why you know
what I'm saying. So, like, I listen to it and
I try to pull the positive out of it so
I can understand it.
Speaker 1 (07:01):
That's that's what I look at it. Could you give
me I take away album sales, throw throw discography out
right at the talent of rapping. Who do you think
is like in the conversation for like the greatest of
all time? I throw the legacy out. I'm not like
when people will be like, well, you know, the album sales.
(07:23):
They got to five Mike almrokill the skill of rapping.
That's it, that's it, loop A fiasco, damn. I that's
my number. Yes, And if anybody's questioning that should just
go listen to murals like nine minutes or just eleven?
Is it elevens is eleven minutes? Yeah, that would be
my choice. That would be my choice. I think it's
(07:45):
like in the discs, it's like loop A then like
black thought, it's loop A black thought. It might be
I might throw in ASoP rock in there, low key.
It's I mean, if were talking just skill set, like
I think Eminem is up there, Eminem will probably be
in there. I would put them there. I'm forgetting somebody
and it's gonna bother me. Hold on my brain's uh,
(08:09):
I don't know, man, I think when.
Speaker 2 (08:10):
I'm not mad at NAS, true, I'm not mad at
Nas at all.
Speaker 1 (08:14):
I think Nas. You're talking about a guy who first
came out ninety two. What do you think about Kendrick
in that?
Speaker 2 (08:21):
Yeah, yeah, Kendrick is in there. I put Kendrick in there,
but I don't think that quietly. Royce too, I would
have I would have Royce in there. I would have.
I would got to just throw his name in there.
I'm not mad at that, I think. But if if
you told me like three people, I would probably say
loop a thought, and then it will probably like the
(08:43):
third spot.
Speaker 1 (08:43):
Can go to a few, go to a few.
Speaker 2 (08:45):
People, but I don't have anybody higher than those two.
If you remove everything and just kind of just let
them wrap, yeah.
Speaker 1 (08:54):
It's pretty tough. Yeah, I agree. I think I think
Lupe to me is the name I always go back to.
And it's crazy too, because it's like he's had this
like new like quiet run that he's on where he's
putting like the Samurai shit. It's so crazy like conceptually,
and it's.
Speaker 2 (09:07):
Like but I think when you look at when you
look at stuff like that, right, like you have to
look at it like, Okay, he's implementing his lifestyle into
the art and.
Speaker 1 (09:14):
It's so fat and it's just like, yeah, yeah, I
think Loupe when we talk about the the Greats is
like it's like almost like if Atlantic hadn't like frustrated
him so much with the industry and like made him
hate it, you know, it's like what could have been
The first two albums were so crazy it was a
gift in the curse.
Speaker 2 (09:34):
They saw they saw the success of Superstar and it
was like, oh you did that.
Speaker 1 (09:40):
Oh well, then baby, you could do this too. Here's
a Trey song took.
Speaker 2 (09:44):
Right, and here's you know, here's all of this stuff
that eventually went to Bob and he was probably like,
get the fuck out of here, Like I did this
because this was me and my man and we made
it work.
Speaker 1 (09:54):
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socks dot com. Let's get back to the interview when
you were in the like cause you're quite literally like
a found foundational member of what we would call blog
era rap. Yes, Uh, you were probably one of the
(11:42):
first names I think I really kind of found online
because you know, for people who don't know, you had
kicked off like this weekly thing where you were dropping
music every week, which was like new. Yeah, nobody was
doing after you. Crooked I did it. No, so Crooked
I Cricket I do it. Okay.
Speaker 2 (11:56):
He did freestyles first in the middle of two thousand
and seven.
Speaker 1 (11:59):
So so he was doing the weekly shit, the weekly freestyles, okay,
but you were dropping like original songs.
Speaker 2 (12:05):
I was dropping the original songs started in January once
a week. That shit was unheard of.
Speaker 1 (12:09):
Did you ever get because there was like that the
blog era was very interesting because you had like a
guy like Bob who was like a blog era Darling yep,
and I had amazing mixtapes and for whatever reason, it
just felt like he just was like hitting the ceiling
at the label or whatever. And then he gets to
(12:30):
the Brunal Mars record and you know, yeah, kind of
the director of his career change with j Cole's kind
of in that same vein too. Ye. Were you ever like,
did they ever try to force feed you, like because
I had you had a major deal. Yeah, I was
with did they try to force feed you, like, uh No,
I came in there with the singles like yo, we
got this hook from.
Speaker 2 (12:50):
I came in there with those records. Ah, so it
was different from me.
Speaker 1 (12:55):
Were you like a tail end to drive existing Yes? Crazy,
That's why I never got the hit record.
Speaker 2 (13:02):
So like I came in there with the big records,
they were like, oh shit, we don't have to give
this guy the stuff because he has it already. And
then their issue was, Okay, this guy is known as
the rapper, how do we take him from being the
rapper to doing this type of music? And as they
were figuring it out, the label folds. So I went
(13:23):
from like they were getting ready to push the button.
The first single that well, Paradise did really well. We
got bdspins that charted, and then we had the Martian
and Brochure record for the Culture. As soon as they
were getting ready to impact the label, literally, Foald Barry
Weis's left like he didn't even tell anybody, He just
kind of left. He was like I took this job
at a death jam and then that was it. One
(13:46):
day he was at work at job, next day he
was at year.
Speaker 1 (13:49):
This was twenty eleven. Damn.
Speaker 2 (13:51):
So so you think, okay, I had the records, I
sat at, I was well, the entire label was defunct.
So me, Chris Brown, R Kelly, all of us, Britney Spears,
Britney Spears justin Tiberla like all of us. We didn't
have a home for like five months. And then eventually
(14:13):
Sony came because again he just left. So Sony came
in and it was like, okay, we're going to purchase. Uh,
some artists are going to go to EPIC and then
some artists are going to go to RCA. So some
people got dropped, like Diamond from Crime Moms, she got dropped, right,
I got moved to RCAA. So I had a brand
new deal. So with this new deal, I had a
(14:33):
brand new an R. I had a brand new project manager.
I had a brand new.
Speaker 1 (14:36):
All these people aren't people who like found you, so
they're not invested in it.
Speaker 2 (14:39):
And if you don't have the catalog or if you
don't have the names, because for them it's numbers and
it's about Yeah.
Speaker 1 (14:44):
They're like, well why we want to Like fuck, how
motivated can be to break an artist that you don't
really that you weren't a part of bringing into the building.
Speaker 2 (14:52):
Right, So what I had to do I had to
make all new records because Jive, as you know, it
was a pop it was pop label. The only the
only rappers on there was me, the Clips, and Diamond
from Com.
Speaker 1 (15:08):
Left.
Speaker 2 (15:08):
By then forty forty was going, so it was uh
too short, too short he was going. So it was
only like three rappers. So I wanted to do the
pop ship. I wanted to be in pop. I wanted
pop money.
Speaker 1 (15:22):
I had the Clips Drive shirt from like that era,
well that was from way earlier than that. Fuck yeah
that was like that was like I bought it on
Mixed Unit dot com.
Speaker 2 (15:31):
Yeah, so I had to call some favors and so
I called the Yellow Wolf.
Speaker 1 (15:36):
I called up Bruno and this is before he did.
Speaker 2 (15:40):
The record with No Uh yeah, this is like right
after he did the record with d Ob. So I
had a Bruno record, I had a John Legend record,
but they still wasn't trying to push the button damn.
So I was just like, all right, well listen, it's
time for me to go.
Speaker 1 (15:55):
Who who do you think is like? Because I do
feel like there was so many dope artists at that
era that like for whatever reason. I think a guy's
like Pill and Charles Hamilton and Ruggin. There's just so
many incredible artists that just XV was crazy. Zero Heroes
is insane. But who do you think was kind of
like one of the products of that era of music
(16:17):
that just for whatever reason you felt like, you know,
should have been bigger. Didn't that necessarily hit the way
that a lot of you know, the peers did. I'd
probably say myself, if you I mean, obviously take yourself
out of.
Speaker 2 (16:33):
There, If I take myself out of the conversation. I
think I think Fred rest in peace for the God.
He was on his way, you know. I think with
him in thirty eight special was doing right before he
passed away in the pandemic, I think was he was
finally kind of getting that love.
Speaker 1 (16:52):
Ace hood.
Speaker 2 (16:53):
I think he got a bad deal when people started
taking his flow.
Speaker 1 (16:56):
You think you you correlate with the blog era though, Yeah,
he was on got He was like, yeah, that is true.
He was on that cover. Was oh my god, he
was on the cover. He was on the cover, and
Motheruckers was like, why is it? Acewood is crazy? By
the way, super Fire shout out to a but he's
got some records, yeah he had, but no, he has
(17:17):
he has big records. Yeah.
Speaker 2 (17:18):
I think the issue was people took his flow after
he had those hits, and.
Speaker 1 (17:22):
Then it was yeah he's had some joints, man, big joints,
and like he's like quietly built up, like a dope
independent catalogs. He has a great following. Yeah, he's got it,
like real locked in following. Yeah. I mean a lot
of it is you know, fitness, A lot of it
is great music too. Who always on this cover? I'm
trying to remember it was that there, Me Cuddy, Yeah,
(17:46):
Charles Jesus, Corey, Corey probably it was crazy. Corey probably
should have been.
Speaker 2 (17:52):
Corey was so tough, Bob Currency, who's cooking, Yeah, cooking
Cuddy mm hmm.
Speaker 1 (18:00):
Yeah, that's that's a crazy that was because that was
the second one, right, because the first one was like
Joel er T's Crooked Eye and Blue and Blue. Yeah,
you know, j Leg was supposed to be on the cover. Damn,
he he was on sold most death. I haven't I'm
not gonna lie. He put out all that new music.
I listened to the first like piece, and I haven't
(18:22):
just had time to because I like, I feel like
I need to like sit down. I'm like, yeah, I
saw somebody's I liked it, but if somebody felt like
somebody said it sound it felt like an audiobook. Yeah,
I thought it was cool what I heard. But I
feel like it's so crazy that a single song exhibits
C can be so great that like a Damn Near,
(18:44):
like it's it's it pushed him into this like shadowy
mythical figure of music. Yes, and like the album dropped.
It was like damn Near a co album with jay
Z every the name of the album. It was cool
written testimony fucking exhibit It's like Exhibit C is such
a that was.
Speaker 2 (19:04):
Just Blaze, but you know, just just said that he
had an album full of those, because you know they
did an album and it's like, just what are you doing, bro,
like because this is at his height, because you know,
they did Exhibit A, then they had Exhibit C, and
then and then that same radio station he played Exhibit
B with fucking most death listen.
Speaker 1 (19:24):
Man, I was just Blaze was making more beats right now. Yeah,
he only makes sinc beats. Me and Alchemist were talking
about this and he was like, yo, like if just
really just tapped, like got focused for like a year.
He could just do collap albums because I was kind
of showing, like showIn everybody the way right now.
Speaker 2 (19:44):
I think just me and Just had the same We
had the same booking agent for a while.
Speaker 1 (19:51):
He got into the ed M space.
Speaker 2 (19:54):
He los video games, he's a gamer, and he just said,
I think he just got tired. He was like, nah,
because I remember after I did the album with Knots,
he came to the album release party. He was like, Yo,
I'm down to do a collab album, and then I
never heard from Just again.
Speaker 1 (20:11):
He's probably my favorite. He has a collab listen, listen
to these names. He has collab albums with that I
know of that are just sitting on hard drives. Jay Electronica,
he has an El's Eye album. Els is one of
the ones man shout to Detroit, Shoutson. He has an
Elsie album. Bro. He's actually another guy that I would
actually might be in that combo. He's yeah, yeah, definitely,
(20:34):
I put damn. He has an Elsie album Bro. That's wild.
Speaker 2 (20:40):
And you know, Just is one of the best producers
you know ever. Yeah, and he just refuses.
Speaker 1 (20:45):
He just refuses Yeah, it's kind of wild. You would
think like we'd get like a just blaze beat on
a Kendrick album or fucking something I forgot. I feel
like the last great like big just blaze beat. I
could think of what was on the Drake album? Was
it Tusking leather? Didn't he do that? Did he do
Tusking level on My Tripping? He did a he did
(21:08):
something on that show. The last beat that he did
was Kirk Franklin and Little Baby See. I don't want
to hear that ship. The beat was unbelievable. I want
to just hear the beat. That's all I want to hear.
I just want to hear instrumental. The beat was on
the record. Beat was bonkers, you know.
Speaker 2 (21:24):
You know the interesting thing about So just just gave
me a beat and.
Speaker 1 (21:30):
I put Jilla Jones on it. My guy right here.
Speaker 2 (21:33):
And the song is called Pendulum And that's where we
started our school.
Speaker 1 (21:36):
Pendulum man, that's crazy. Yes, and we did that. He
gave me that beat twenty fifteen, Lord knows is the beat.
Speaker 2 (21:44):
Lord knows that was twenty fourteen. No, that was earlier.
That was twenty twenty twelve, twenty twelve, twenty eleven.
Speaker 1 (21:51):
Yeah, twenty eleven, you already know. Man, want to give
a shout out to slap Woods for presenting the podcast
only papers I smoke man only leafs that we left
fly around here on the Blue Let Cap podcast. We
just did a crazy pool party with them too. That
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slap Woods when I tell you, man quality. They smoked
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(22:14):
I know that's like their you know, their tagline, but
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And if you're at your local smoke shop, if you're
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(22:34):
pretty soon. I want to do a giveaway with some
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you go show them some love slap woods dot com,
follow them on Instagram at slap Woods. Let's get back
to the podcast. Yeah, so you have your own own school.
(22:57):
I have my own school. So tell me about that.
Speaker 2 (23:00):
Last time I was here was what twenty twenty one? Yeah,
so I started the school the next year, Okay, And
you know, it's a school for lyricism.
Speaker 1 (23:07):
We teach people how to rhyme.
Speaker 2 (23:09):
We teach them how to flow on beat if they
can't from a foundational skill standpoint. We have a mental
health a mental health class called rhyme Cology. My guy
back there. We also teach content, how to create content.
We have business classes.
Speaker 1 (23:25):
I think that's the shit that like is important because
I feel like kind of like you could tell me
if you I'm always like, look, I feel like people
could technically learn how to rap, right, yeah, but I
kind of feel like if you got it, you got it,
you know what I'm saying, Like, yes, to an extent,
(23:45):
It's like you could technically go and like train it
like a basketball coach.
Speaker 2 (23:50):
Right, but until you have to have the it, that's
what you feel. I just feel like, I mean, I
think I think the Internet has kind of removed that
a little bit.
Speaker 1 (23:59):
Like you can kind of just be that is true.
I mean, listen, there's a kid named Ian that's horrible,
but he has fans Ian. I like Ian a little bit.
I like Ian. I think he's the worst rapper alive. Really,
Oh my god, he is horrible. I feel like he
has zero redeeming qualities. Isn't he from? I don't know,
I sure hope not. What's that fucking Ian kid with
(24:21):
all the fucking n's in his name? His double XLF
freestyle by the way, people love it, by the way,
So this is I am a single opinion because apparently
he performs it on tour and people sing it. It
is the most remedial rapping I've ever heard in my life.
I mean, you gotta, you gotta pull the thing from
st Lewis him and sexy sexy reto out wrap him
(24:44):
under a fucking table by the way. Yeah, I believe that.
Speaker 2 (24:46):
But you know, I just want to apologize to the
Californian people to put in Yeah, we.
Speaker 1 (24:49):
Can't put in over here. I mean, if he was from,
he'd be from like Orange County or something. We're from
fucking like pala Alto where they got Tesla factory ship.
I cannot wait because I'm gonna get the label request
to have Ian on, and I'm gonna tell him to
his face. I think he's the worst rapper alive. He's
gonna cook you. No, I mean he could cook me like.
(25:10):
I'm like, just so you know my personal opinion, I
can't think of a worst rapper. He's going to give
you fifty bus By the way, you got more fans
of me, It's all good. They probably got more money
to me. But I don't know. Your parents look like
they probably got money. But congratulate. Yeah, prove me wrong.
Put a beat on. Put a beat on. He'll cook.
Let's throw on some shook ones. Oh, he won't cook
a goddamn thing. He will cook cereal. That motherfucker will
(25:34):
cook Ramen noodles and cereal. I'm not mad at Ian
shout out. I shout out to you. You're a nice guy.
You know.
Speaker 2 (25:40):
I just don't. I don't want to. I don't want
to piss anybody.
Speaker 1 (25:43):
He's this the one rapper that I've seen like rap
And I was just like, what is this? What the
fuck are we doing? The Playboy cardis shout I get
because I feel like the cardis shit at least, is
like I feel, because you know, punk rocks kind of
kind of. I know there's punk rock bands. I know
they exist, but like you know, when I was in
high school, punk rock was like a thing the kids
were into. They'd wear T shirts. Right. That shit's kind
(26:04):
of out now, So it's like the new punk rock
is like Playboy CARDI, right. I mean when I heard.
Speaker 2 (26:10):
The album, I was just like, I wanted him to
just tell me where he was at, where he'd been,
because he had just disappeared for so long.
Speaker 1 (26:16):
You know, I just wanted to hear that. But I
don't think we get all that. But the production on
the albums, there's some crazy beats on that album. Yeah,
you know, I thought I thought he cooked. There's like
seven or eight joints on the Playboy CARDI out my
fuck With. I thought he got Kendrick on one of them. Jones. Yeah,
I thought, you know, So, how can where's the school located? Uh?
So it's all online, Okay, so you can be anywhere
(26:38):
online courses.
Speaker 2 (26:39):
Online courses, pendulum, mek dot com. But some of my students,
you know, they're here right here in the interview, So
they flew into La having a writing retreat. You know
what I'm saying. We had the show last night with
rasc tried to rast, so some of my students ron
last night at the Pack show. You know, it's pretty dope.
And once a month we have a celebrity guest coming.
We got Jada Kiss next month. Next week part of
(26:59):
me hate it.
Speaker 1 (27:00):
Yeah, and hopefully Cam next month. Cam would be crazy. Yeah.
I just did a big breakdown on him. I was
in No, I didn't, but that was it was funny.
That was one of the artists gonna ask you about.
It's like when you're like teaching a class, like do
you like go there and be like, look, there was
this era where these guys are rhyming the same word
with the same word and it was so fire. We
call it glitchen. Yeah.
Speaker 2 (27:19):
Yeah, rather imagine me wake up seven thirty for work.
I rather run the street seven thirty with work.
Speaker 1 (27:25):
Yeah. He used to do that all the time. His
new freestyles. He drops like he's just brushing his hair.
Oh my god. Yeah, yeah, I'm like, dog, can we
get an album?
Speaker 2 (27:36):
He said him, And then Mason got some ship. They're
going together right now. Who do you think is better
of him and Mace, I.
Speaker 1 (27:43):
Think Cam's I think, yeah, I think I think Cameron
is close. I think it might be close. They can
go either way, go either way. I think Mace is
definitely underappreciated and very slept on him talk about like
his ability of right. I mean, look, both of them are.
His ascension was outrageous and it sucks because it's like
(28:06):
we you know, Harlem World was so crazy. Double Up
had some shit on it. I bought Double Up. You
know back in the double when you bought albums, you
had to find some shit you liked on the alms. Yeah,
there was some shit on Double Up that was solid.
It was great, was crazy. And then like obviously popping
up on like twenty four Hours to Live and yeah,
he was cooking fucking all of the puffs. No way,
(28:28):
he was all over, no way out. You know, Mace
is definitely I just think Cam on every R and
B records, I think, yo, yeah, but just Cam, like man,
you want to talk about just like fingers all over
the game, just like just fashion like alone, like motherfuckers
was out here buying Pink Tall Tea's dog, Like.
Speaker 2 (28:46):
Yeah, I mean I think it was something that I
said into my breakdown. Every decade he had a newer
artist with him from Harlem, right, yeah, Cardan in the nineties,
two thousands, yeah, Juel's two thousand cens he had Votto.
Speaker 1 (29:00):
That's true. I forgot about the Vodo shit. Yeah. And
then he still had Jr. Writer, the writer of writers.
Speaker 2 (29:07):
He had forty col He had Chaldy clips with him
for a little bit. He was cooking and he's from
hell els from the Bronx, I believe.
Speaker 1 (29:15):
Hey, we gotta wrap up this interview another one presented
by Hardan. Baby you already know what it is. Shout
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I think he's from the Bronx. I saw, Yeah, JR Jr.
Is doing this thing. Shout the JR Man he just
got I think he just got his master's back for
his first album. I think, well from Baby Grand.
Speaker 2 (31:01):
I think so, you know, Baby Grand is the reason
why we don't get no stove gut bro.
Speaker 1 (31:05):
Who did I just have this talk with? I won't
even say who we were talking now, I can't talk
about it. Well, I'll just say this, whoever I was
talking to about this is very very important legend. Okay.
And they were talking about how much of a piece
of ship the guy who owns Baby Grand is. Yeah,
what you would know chuck chuck, Yeah, okay the chuck
got I heard he is fucking horrible. Yeah, that's the
(31:28):
worst guys ever. Like just a piece of ship. Yeah,
and like it's holding Like I heard hell of people
try to buy Stove got out and this fool is
just a dickhead.
Speaker 2 (31:40):
West Side is like west Side off of the money.
He was like, no, he's just holding it. He's just ya.
Speaker 1 (31:46):
What's the like like? Because you know, I think when
I was like when I was going up, I remember
seeing Baby Grand was like the label like on a
bunch of dope albums, you know, but like two thousand
and three. Yeah, but fuck that dude, man, I mean
the dude like there was two people who were shipping
on him, were very pretty parted legends, I believe it,
and they're like, yeah, yeah, that dude's like the absolute worst.
Now he's black guy too short. I figured he was
(32:08):
a white dude for sure. Short, this is a fuck.
You just threw a fucking wrench into the whole thing.
I figured it was a white dude, chubby, a fat short.
I figured a fat, short, white dude. He kind of
reminds me of Jerry Hella, but just minus designism. Yeah.
(32:30):
You just don't know who he is.
Speaker 2 (32:32):
But if you was around during the block, you know
he offered a lot of people deals back then.
Speaker 1 (32:36):
I was like, no, it didn't make sense to me.
It just didn't make it never made sense to me.
I saw, Uh, somebody said one of the dudes from
Raucus and Sterns and New Ship. I don't know who
from from I think the Murdoch full Murdoch so Rupert
Murdoch's son who funded Raucous Records. Okay, but somebody had
(33:00):
said that he's getting into some other label ship. I
don't know, but I don't know. I feel like all
of those rich like lineage folks like and his son,
everyone's just kind of taking over the world right now.
And then you know, you got the the Granges running
two fucking majors. You know. Do you remember let me
ask you this, do you remember Timmy he'll figure son.
(33:20):
Of course he was a rapper, right, yes, yeah, I
remember that. Who's who's a better rapper? Him or fucking
chet Hanks. I think he'll figure son, for sure, he'll
figure son. But he was most like singing, singing. I
don't know, but I remember he was running. Uh, he
was running. He was running. He his dad hated that.
I'm sure didn't like it. He supported it though, yeah,
(33:43):
I'm sure he probably financed it.
Speaker 2 (33:45):
Yeah, but then he had him running, like the the
clothes there was another clothing line that he'll figure bought outside.
Speaker 1 (33:51):
Oh, like a secondary like but it was a big one.
I can't remember the name. Let me find out. He
was running his fucking fat farm. It was like it
was like paper denim of something like that. It probably
was paper. I think they bought paper dnim.
Speaker 2 (34:03):
And then he was running, he was it was either
paper it was something else maybe public or.
Speaker 1 (34:09):
Something probably with some shit like that. So people can
sign up online.
Speaker 2 (34:13):
Yeah, you can sign up pendulumink dot com, fill out
an application and then you know, we'll meet with you
on zoom walk you through it, you know, so you
can see that it's not a scam.
Speaker 1 (34:20):
What is uh? Like? Does it take to graduate from
this school? You need at least two years in the school.
Speaker 2 (34:26):
You know, you need a year if you're nice, you
need a year at our advanced technique class, and then
you need a year with me and then you graduate
and then we put you in I was sink class.
Speaker 1 (34:36):
And then the same class will help people get syncs.
Speaker 2 (34:39):
Yes, and then you know, we'll help you if you
you know, want to put music out, we'll support you
in that space as well.
Speaker 1 (34:44):
Nice Yeah, I mean shit, what you're you're independent? Like
what do you there's so many different like independent distroy
agencies now where people I know a lot of people
shot on District Kid shout out the District Core. But
I know District Kid was the first person to do
the first company do splits, yes, which was important, and
I know a lot of people are doing them.
Speaker 2 (35:04):
They gave us they gave us scholarship money two years
in a row.
Speaker 1 (35:07):
Oh fire. Yeah, So I have nothing bad to say.
But what I was gonna say, like, is there is
there a distro company you feel like that, you know,
anybody has access to that is better than the others.
I'm always going to say distro Kid. Yeah. I just
think distro Kid's simple, It's very simple. I don't go
through them.
Speaker 2 (35:25):
I have an independent situation with Soul Spasm, but I
feel like distro Kid is the perfect space for people,
you know what I'm saying. And then if you're trying
to go direct to consumer, you know obviously you know
even even that you know Chuck is suing them. Why
because Stove God put that album on there. Damn what
a piece of shit. He's suing them for copyright infringement.
(35:49):
What's up with this chick? Where's he from New York?
I think he's from New York. If he's not from
New York, he's from Houston. One of the two. Chuck
the fuck Okay, not mad at that? Yeah, Cooks all right.
Speaker 1 (36:04):
So we're gonna do a separate interview or a separate video.
You freestyle and man appreciate you pulling up school. Thank
you for having me up here. And if people want
to sign up on more time pendulum mink.
Speaker 2 (36:13):
Dot com, fill out an application, meet with me on zoom.
Speaker 1 (36:17):
Let's have a conversation. If someone's absolutely cheeks, nah, we'll
make them better. I'm fucking terrible though.
Speaker 2 (36:24):
If you sign up, I'll get you nice in two years.
But you got to be dead ass though, keV, You're
not really dead ass. You got all of these studios here.
Speaker 1 (36:31):
Do you rap?
Speaker 2 (36:32):
No?
Speaker 1 (36:32):
Funck? Now? Oh? Now? Do you have rhythm? If you
could DJ, that means you can count? So yeah, you know,
like I understand song like I mean, like, dude, I
have songwriters and artists I work with, So it's like
I understand I've helped with a line here or there right,
not cocaine of course, like a song a songwriter. Yeah, no,
I feel like yeah, I mean I understand like a
sixteen bar verse, eighteen bar or eight bar verse, et cetera.
(36:54):
Like if you if okay, let me ask you this, keV.
Speaker 2 (36:56):
If if you if you came, if you signed up
to the school and we asked you, what kind of
rapper would you want to be?
Speaker 1 (37:04):
What would you man Ian's dad? Yeah, like what kind
of make but the old people version. I don't think
we need. You don't need to come to the school
to do that. Now, I think you're right. You could
just fucking start rapping. Oh thank you. That's the meanest
thing you said on the podcast today, and I appreciate.
(37:24):
That's how we're gonna end it, all right, Mickey facts
m
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James Andre Jefferson Jr.
Bootleg Kev
Brian Baumgartner
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