Dj Hed on Kendrick, Drake & More

Episode Transcript
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Speaker 1 (00:00):
We like to welcome you to another episode the Gainst
the Chronicles podcast where gangst the Rap Lives and it's
your boy Big Steal along with my guy. Yeah, let
me cut my fucking phone off too. You gotta make
sure mans motherfuckers be calling for real and shit man.
And it's funny is my wife had text me every
show and say, what are you busy now? And I

(00:21):
say no, I'm just in the middle of recording.

Speaker 2 (00:25):
We had. Yeah, yeah, you know we.

Speaker 1 (00:28):
Got a special guest now. I don't even like seeing
a special guest man because he my homeboy. He no
longer an' been knowing.

Speaker 2 (00:35):
You now though too long. I need new friends. New friends?

Speaker 1 (00:38):
Is the ones you got definitely getting old? They pieces
of shit too.

Speaker 2 (00:43):
Yeah, I don't even know, to be honest, we got
to be a decade at least.

Speaker 1 (00:48):
Yeah for real man. You know what's funny You was
in podcasting so early? When was g o for in
Signal Hill? When we got the studio Signal Hill? How
long ago was that? That was two eleven? We was
doing Homegrown before that? Yeah, for real and Chuck's Apartment, Yeah,
Homegrown radio, college radio. Yeah, I don't seen you go

(01:09):
through all your progressions and this ship and you the
motherfucker man. I see you on it early arguing with
Elliott Wilson them.

Speaker 2 (01:16):
You know, I don't necessarily think it's arguing. I would
say more like organized discourse. Here.

Speaker 1 (01:25):
You gonna come start, man. You know this this, this
is the cheap rent section.

Speaker 2 (01:28):
You can't come over here arguing it is. It is debate, conversation,
aggressively conversation.

Speaker 1 (01:37):
Let me ask you this, man, Some of them dudes,
and this is no disrespect to Elliott or any of them.

Speaker 2 (01:43):
That's whenever whenever a niggas say no disrespect, the disrespect
for to come in no.

Speaker 3 (01:51):
Because your opinion for to be different than what a
motherfucker talking about. No disrespect. But it's always a butt.
Probably what's the butt?

Speaker 1 (02:02):
Don't it seem like it's a lot of corn balls
that's commentating and speaking on hip hop nowadays?

Speaker 2 (02:07):
Haven't it always been? No?

Speaker 1 (02:10):
Not really, man, because I think about the catt that
I thought were corn balls. Actually, you know, looking back,
they really wasn't corn balls. They was great compared to
this crop of motherfuckers we got today.

Speaker 2 (02:22):
I mean who compared to who? Though?

Speaker 3 (02:24):
Like, what do you mean as far as who like,
what's what's the comparisons?

Speaker 4 (02:29):
What would you say, like a person that you felt was.

Speaker 2 (02:33):
You know, a.

Speaker 3 (02:36):
Great uh commentator on hip hop opposed to somebody who
was corny as I think, you know what.

Speaker 1 (02:44):
Man doctor Dre and they a lover your MTV reps.
I think they was cool. Okay, I think they was cool,
big Tigger. Back then, we really didn't have nobody that
was corny. We had you know what we had, guys,
No I said, no ticket was tight, big ticket was
So who was corny? You know what? Back then, I

(03:04):
thought the dude Joe Claire, they hosted Rap City.

Speaker 2 (03:07):
For Nigga, said Joe Claire.

Speaker 1 (03:11):
I think Joe Claire for a minute, but then compared
to the people that compared to the people that we
got today, bro, that motherfucker was amazing.

Speaker 2 (03:21):
But what what what constitutes somebody is being corny?

Speaker 1 (03:24):
Just somebody that's not really from the culture. So they
have this really skewed opinion on how stuff should be.
Like I hear people saying like just just off the
wall ship Like, well I heard that, you know, Kendrick
just drug up a bunch of shit, you know what
I mean. It's like, oh, I don't think he did this.
It's like, motherfucker, what record you've been listening to? You

(03:48):
saying you feel what I'm saying?

Speaker 2 (03:49):
What record? Just well? I think that people people always
convolute their opinion for facts. They always say they always
like they have an opinion about something, and in the
opinion they pass off as a fact instead of it
being an opinion. It's all artists all up to your
it's your opinion. Eight got an opinion, you got an opinion.
I have an opinion. So it's like, I think what

(04:10):
happens is you just disagree with their opinion. But then
it'd be a lot of people who I think what
you would say come off as corner. They try to
pass their opinion off like it's law exactly.

Speaker 3 (04:20):
You know, the days of your opinion to a motherfucker
self is is their fact?

Speaker 4 (04:28):
You get me. You try to tell.

Speaker 3 (04:33):
Motherfuckers today that you know, nigga, that's really your opinion.
But a motherfucker are you to death if they feel
like bullshit? Nigga, I heard and then so and so said,
and like I told the motherfucker the other day, there
is no fact. It's just nigga. I want to get

(04:53):
the story out or whatever it is. First, there is
no facts to this shit. So, motherfucker, if you could
tell the motherfucking nigga really what you're saying. It's your
person and there's nothing wrong with that. But people feel
like their personal opinions are their true fact.

Speaker 4 (05:12):
Nigga.

Speaker 3 (05:13):
That's whatever, nigga, You get me. So that's what I mean.

Speaker 2 (05:17):
Right there.

Speaker 1 (05:18):
You see all are arguing, right, and people really be
invested in this stuff like it's like like it's a
matter of life and death. And I told somebody the
other day, I said, bro, there's nothing because he said, well,
he wanted to get the last word, Drake Won, I said,
if you feel that in your heart, my god, that's
cool because this stuff is subjective. It is there's no
truth right or wrong. It's just who wins the who

(05:40):
wins the public opinion, belly, you feel what I mean?
If more people in public opinion seem like they're saying
you won, that's the winner.

Speaker 2 (05:48):
I mean, it's all it's all the court of public opinion.
But it's kind of crazy to say, Drake one. But
you know what, But but here's the thing, like everybody, Okay,
this is how I look at opinions, right, opinion. You know,
they'd be like, oh, it's like assholes. I think an
opinion is like an independent record label. Everybody got one
these days, right, So so when you look at it like, oh,

(06:11):
you have an opinion, I have an opinion, it's like
what he said, when you pass your opinion off, like
that's it. That's where people got it sucked up. And
I think that's where they go wrong.

Speaker 1 (06:20):
They get it really misconstrued. And then you have all
and then forget the dudes that's getting paid to commentate. Right,
Let's talk about the fans for a minute. You would
see some of these fans, man, they would like they
were about to cry.

Speaker 2 (06:35):
Man, I did see a fan cry, Actually you did, Yeah,
I did see the I saw these academics get emotional
on his stream. I don't know if he cried because
crime has a definition, but it was as close to
it as possible. Yeah, it's like, it's not this series,
it's a rep.

Speaker 4 (06:53):
It's a bat.

Speaker 2 (06:53):
I'm like, oh, man, but.

Speaker 3 (06:57):
Hey, shit is just weird man. Just niggas is just
weird man today, Man, just take me back to the ages, man,
fuck man, these niggas is weird.

Speaker 4 (07:07):
Man, Like.

Speaker 3 (07:11):
Man, I came from hip hop and beefing and whatever
and opinions in fact, whatever, man, but it's fucking music
shit or whatever.

Speaker 2 (07:21):
I'm saying.

Speaker 3 (07:21):
Man, like you're getting emotional because like Nigga was, it
makes me think, like what you got something invested in
the ship.

Speaker 1 (07:30):
Like exactly. And you know what I told somebody the
other day, I said, man, save that type of energy
for your family, for your friends, for stuff that really
matters in life. You sitting up, you're worried about two dudes,
two people that got way more money than you.

Speaker 3 (07:44):
I mean, but a lot of this shit is for
show man, if you want to ask me. You know,
niggas get on and be streaming live and then like
just a lot.

Speaker 2 (07:54):
Of this shit is for show man.

Speaker 3 (07:56):
It gotta be like, come on, this shit gotta be
for show because grown ass me and acting like like man,
this shit is crazy.

Speaker 2 (08:06):
Well, you know, Like to your point, though, I think
that they do have stuff invested. You got you got
to But but I don't think it's money or nothing
or like it ain't like the person's signed to their
label or a nothing like that. I think they invest
it because it's a distraction from like life like, for instance,
if you you know how like some people go get high,
some people go get drunk, some people have their advices.

(08:28):
Other people just dive into other people's lives, like when
you watch reality TV. I don't personally watch reality TV
because I got enough drama in my own life to
where exactly real. So I think when you when you're
going through real shit, I don't think you can really
invest that much into other people's shit like that.

Speaker 3 (08:46):
I mean, still you sit up and be emotional or
if your favorite artist got this, sitting at home crying
and shit, motherfucking bro, I.

Speaker 1 (08:56):
Don't lose a bit of sleep. And I'm gonna tell
you this too. Everybody up here really no K do right,
and they ain't there one of us got emotionally, you
know what I was telling somebody, I said, if I
would have thought K got lost, I would have said
it too. And it don't mean that I still love
him to death. It don't mean you have nothing to
do with that. But he just lost a rap battle, y'all. Man,

(09:18):
Drake got him. Because I'm not gonna lie when if
one record came out, the drop and give him fifty records.
You know that ship, I said, man, this shit is hot,
this shit is hard, Kate, Like we had the rap.
That's why I knew it would be interesting because he
came with such a strong first record. Then when Doc
came back, you know, he countered back, I said, okay,

(09:41):
we got a fight now. Yeah, it wasn't no clear
winner yet, but I said, Doc got action.

Speaker 2 (09:45):
You feel what I mean? Well, I think. I mean.
The thing is I didn't even intentionally get involved. They
dragged me into that shit, like I didn't have nothing
to do with it. But when when he dropped the
Push Ups record, I expressed a sentiment that everybody shares,
like why is academics the only person on earth with

(10:06):
the record? Like if you if it's your record, on
to claim the record? Like where we from? You can't
false flag, you can't. You can't even get away with that,
right because they either either they gonna deal with you
or they gonna deal with you. Somebody gonna deal with you. Right,
So if that's your record, claim your record, that's your
that's your song. Right. Why that's like me putting the

(10:27):
record out and you're the only one in the world
with it. Why it is not out? Why is not
on my YouTube? Why is not on my SoundCloud. That
was the only thing that I brought up. So once
he claimed the record and it became real, I had
no doubt that the hommy was gonna mop him up
like it was. It's not to be honest, you know
how like when people say, oh, h that's not a
fair fight, right, if you watch boxing or whatever. Like

(10:50):
if me and me and you go outside right now
and you're like, man, let's fight, people gonna look at
me and be like, well, at least head went out
there and took the fade. Only time you say that
is when you have doubt that the person gonna win. Yeah,
you be like, oh, at least at least he went
and fought. Though, whenever you say at least he went
and fought, that means you already know like he had
a disadvantage. He could get it in his ass. That's

(11:11):
all I'm saying.

Speaker 1 (11:13):
He's gonna get in his ass. You know what I think, man,
I think Drake is a top tier artist.

Speaker 2 (11:21):
Me too.

Speaker 4 (11:21):
One.

Speaker 1 (11:21):
You know, it's the reason why he's selling all these
records right probably the most successful hip hop artists in
the game right now. I would say, as of a
few weeks ago, you know, Doc might have took that
spot from him.

Speaker 2 (11:34):
But yeah, but this is a decade long yeah you know, so, yeah,
that's fair to say he's had a ring, man, and
he's not trash.

Speaker 1 (11:42):
I told somebody, I said, man, you can't even have
an opinion without somebody. This girl told me you just
don't like him. I said, I don't have nothing in best.
I don't have nothing personal against this man. I don't
even know him. There's nothing personal. I just feel like
base from the music i've heard. This is a little

(12:02):
bit strong gro over here. I didn't even say his
stuff was whack. I said a little bit stronger. She
got mad and told me I was an old ass hater.
She told me, yeah, I know, older motherfucker already. But
it was just like, you can't even have an opinion.

Speaker 3 (12:21):
Still you up in here clean tonight, man, I'm noticing
you clean?

Speaker 2 (12:26):
Hum up?

Speaker 1 (12:27):
Man.

Speaker 2 (12:27):
I got a jacket on, man, I got the beard clean,
took the.

Speaker 1 (12:32):
Beard off dog. You know what it was, man, you
know what it was. When I went to see my mama,
she said, is you a Muslim now?

Speaker 3 (12:41):
And I said, you walking around? Yeah, you had the
O G Muslim and ship.

Speaker 1 (12:46):
Yeah, I said, man, I don't have I said, mama, no,
I'm not a Muslim now yeah, and then she said,
well why do you have that? They just seemed like
a bit much. Can you run a cam across it?
I said, mam, I just got off the plane right now.

Speaker 3 (12:58):
Yeah, that scruffy look. Man, you're looking clean in this month.

Speaker 1 (13:04):
My mother in law was telling me I was looking
like for deal Castro. They had all kinds of jokes man.

Speaker 3 (13:09):
Yeah, yeah, yeah, that's good. I bet your wife liked
that type of ship. Nice and clean, shaven, now looking decent,
looking at looking looking acceptable.

Speaker 2 (13:19):
You would just be the one to call it.

Speaker 3 (13:21):
I had to call it because I'm getting that. I'm
about tired of the Drake and Kendrick stuff. That's why
we talked about this ship for two weeks. Now it's
time to move on. It's time to move on from
Drake and Kendrick because it's over with. It's just it's done.
We we keep we keep putting fire on motherfucking burning ashes.

(13:43):
You get me, We keep trying the ashes is you know,
when you get through barbecuing and they tell you to
pour the water on the ship and the water is dead.
That's where this ship is at right now.

Speaker 1 (13:57):
So let me ask you this. Yeah, if Drake dropped
another record righting down, what it even.

Speaker 3 (14:03):
Matter it's done with because it's done got upstairs, and
we done talked about that.

Speaker 4 (14:09):
It's then went.

Speaker 3 (14:10):
Upstairs because like you said, they done told people you
gotta cut this shit out. You're talking pedophiles and child
molestations and all of that, and regardless, at the end
of the day, that don't sit well with the nigga
sitting upstairs. You get me, the nigga who's sitting upstairs
with the three P suit on and eighty years old

(14:33):
and can barely walk and signing everybody checks. He like,
nigga's bigger than that shit. We got big ass billion
dollar companies ready to pull out because you niggas is
calling each other names and all kind of crazy shit.
Y'all fucking with the money, give me fuck the little
rap money. Y'all collect the nigga you fucking with, You

(14:55):
fucking with motherfucking president, your motherfucking persuades it, money and ship.
You get me, So it's time to cut this ship
out because you got big motherfuckers want to pull out
a ship because first of all, we can't be dealing
with motherfuckers who just just the just the just the
whisper of that type of ship. What pedophile, what kids

(15:18):
and child? Whoa you know that because that spook a
motherfuck in a minute, spook a Nike a motherfucking you
get me a nigger and big book, then please, nigga,
we can't have no no kind of no kind of
touching on that ship.

Speaker 2 (15:36):
Was that Was that like an issue like your when
you was doing your thing? Like was that was that
ever a worry about like endorsement deals?

Speaker 4 (15:43):
No?

Speaker 3 (15:44):
No, no, because we were still at the we were
still at the point of where we were an afterthought
to companies. You get me, I come from the era
of before the aster PE's and cash moneys and quality

(16:04):
controls and you know, like you said, everybody who got
their own independent label.

Speaker 4 (16:09):
Now I come before that.

Speaker 2 (16:11):
I come.

Speaker 4 (16:12):
I come from the era of.

Speaker 3 (16:15):
You know, corporate ass motherfucking white men who was running labels,
and we just happened to be a motherfucking staple on
the back of the bigger picture. So it was we
didn't have fucking investors and corporate sponsorships for motherfucker. That
was that was niggas like Hammer and shit. You know,

(16:37):
you had to be that big.

Speaker 2 (16:40):
I never even reached down to where y'all was at.

Speaker 3 (16:42):
For motherfucking you see how my nigga dre and them
at the super Bowl with low riders and crip walking
man pepsi coat and then please give them some money
to these niggas, these niggas talking about shooting niggas and
riding and riders and that bumpty bumpty bu hey. Now,

(17:04):
so we didn't we didn't deal with that. You have
to be on a different pa. You had to be
a Vanilla Ice or mc hammer to get corporate sponsorship,
Hammer had Taco bell Man.

Speaker 2 (17:15):
Come on, you know, I want to ask I got
two questions I wanted to ask you personally. But the
first one is about like the content and the music,
like you're saying, they saying, they making all these accusations
and stuff like that. But then also when you look
at you know, how like people be like, oh they
they telling them themselves and the records. Now the kids,
the kids, the young dudes is out here saying that

(17:36):
they shot Johnny and they really didn't shoot Johnny definitely,
but that was that was also kind of a thing
like back in the day too, where our company what
y'all was saying on the on the records.

Speaker 3 (17:48):
I mean because we were giving you well, you know
you shot Johnny and really I'm basically telling you a
story of tales from the hood.

Speaker 2 (17:59):
Okay, it's still, but it's based on a true story.

Speaker 4 (18:04):
Yeah, okay, because I'm not dumb.

Speaker 3 (18:07):
I'm not that dumb where I'm gonna be like me
and motherfucking Chill went through so and so and the
niggas was standing at Eddie's liquor store and Chill jumped
out with the deuce. Dudes popped the nigga knowing, damn well,
a week ago we pulled up at Eddie's Liquor and
popped two niggas. I'm not gonna do that. What I'm

(18:29):
gonna do is, I'm gonna tell you and everybody's hood,
somebody finna get popped. I'm telling you, if you slang dope,
you gonna probably go to jail. I'm telling you, niggas
who gang bang did drive bys?

Speaker 2 (18:49):
You get me.

Speaker 3 (18:50):
I'm not saying little Tooty from my block nigga last
week jumped out on the nigga at the Burger stand
shot him with the thirty eight nigga blew his head off.

Speaker 2 (19:01):
Into his mama house on Carling.

Speaker 3 (19:02):
And Nigga, it's it's and the and I and I
feel like the way that hip hop is, you know.

Speaker 2 (19:13):
As far as how that path is going.

Speaker 3 (19:16):
It's because, like you said, rap has turned into the
whatever you want to call it, man, the new dope
game to hustle whatever whatever you want to say it is.
But it's a way for these the young homies now
to glorify the aspect of their identity where they're from.

(19:38):
You get me. We couldn't do that back then.

Speaker 2 (19:41):
I couldn't.

Speaker 3 (19:43):
I couldn't get on the record and say try New
Park so and so and so and so because the
label would go, know, they knew the problems of that ship.
Doing that wasn't making them money back then. It's making
money now because niggas then depended with it, and then
the niggas who get on it's like perfect. Look at him,

(20:06):
be a young boy, nigga. I'm gonna talk nigga.

Speaker 4 (20:09):
Fuck you.

Speaker 3 (20:09):
We came through Woompy wom Look at the niggas in
Shy Town and any little hard hood nigga from from
Compton to motherfucking Georgia. You get me, nigga, I'm gonna
go in my kitchen and I'm gonna tell a nigga
I'm from so and so on, I'm from this and that.
We got to tou tou and womped because it's the
it's to solidify their identity. Now, you get me back,

(20:32):
then you had to rap. We had to rap to
prove your identity. Now all you gotta do is say
what nigga hit you bust? Or what nigga hit you
beefing with? Or what nigga we shot a nigga and
wompty wom that's the hip hop for that type of shit.
We tried to be you know, we tried to explain

(20:52):
the pitfalls of of gang life because the aspect was
nobody understood what was going on. Dumb motherfuckers thought we
banging just to wear red and blue bandanas.

Speaker 4 (21:08):
You get me, that's what we have.

Speaker 3 (21:11):
So it was more of us explaining what was going on.

Speaker 2 (21:16):
You get me.

Speaker 3 (21:17):
They know what the fuck is going on now they've
been seeing it for thirty years now.

Speaker 1 (21:21):
It's profitable, Yeah, especially considering the fact like the King
von Kid, right, I believe he sold more records after
he died than when he was alive.

Speaker 2 (21:32):
Yeah, I mean that's usually how it goes.

Speaker 3 (21:36):
Yeah, Tupaca, Yeah, you know the gang problem. I mean
it's been around since the beginning, but it's so fascinating
when I look up right now because I said niggas
was hood niggas back then and whatever, but.

Speaker 2 (21:55):
It's a gang if you look.

Speaker 3 (21:57):
At the last five years, it's a a of these
little niggas who just this week, this nigga got killed,
this week, this nigga got and and it's fucked up
because it's associated hip or hip hop. Man, you get me.
Back then, that just would have been some gang killings

(22:19):
and ship.

Speaker 2 (22:20):
Why you think that hip hop is so it's it's
synonymous with violence that way, because I don't, because don't.
I was just having this conversation on last week when
everything was going on my on my on my thread,
on my timeline. I was like, bro, people think hip
hop is violent? Have you ever listened to Corrido's music
like that met Domesican music?

Speaker 3 (22:38):
Oh no, man, please, They saying, wow, nigga, they talk
about that Donk Diller and who run the town and
the big narcos and man, please, why bang that ship?

Speaker 2 (22:48):
Why is hip hop the only way that it's looked
at like that? Like because as opposed to like country,
even some country songs and country songs. I heard a
couple of country music records on.

Speaker 3 (23:00):
Music is Man. The Narco music is on point. But
I think it's because and we've always got the negative
spin the black man and that's man. Come on, man,
we've always got the negatives. Just listen to what you
just said. I mean, they got mother for the essays nigga,

(23:20):
they got bands, nigga, so and so they.

Speaker 2 (23:24):
Came through it. Man.

Speaker 3 (23:27):
I don't know if that makes a difference, because nigga
they treacherous. We talk about our gang life and ship.
Narco's been treacherous.

Speaker 2 (23:36):
So maybe you could say it if it's in melody.

Speaker 3 (23:40):
I think just I think because it's the nature of
the beasts. As far as the black man is concerned,
we've always been looked at negatively when it comes to
the situations like that, and people aren't reminded enough that,
you know, gang culture.

Speaker 2 (23:57):
And all that shit. Nigga.

Speaker 3 (23:58):
I watched the mob been al Capone and fucking Lefty
Luciano and all their motherfuckers.

Speaker 4 (24:06):
That's what was game.

Speaker 3 (24:07):
Even though they was calling themselves the mob, that was
gang shit.

Speaker 2 (24:11):
To me.

Speaker 3 (24:11):
It was money, it was drugs, protocol. It was niggas
getting politics. You get me, just like a street gang today,
you get me. We don't have a you know, some
niggas some do some gangs out of tears of the
leaders and the followers and the soldiers and all that.
But it's still I just think because it was Black

(24:31):
culture and we've always been looked at negatively when it
came to the streets.

Speaker 2 (24:38):
Exactly was it like that? Though? Like was it like
that when when hip hop first came from New York? Like?
Cause I think the problem with that is we was
already hood niggas, so the music just came later.

Speaker 3 (24:50):
It just came later, and then we still had niggas.
Like That's why I say West Coast music was different.
I mean, like I said, we had niggas like the
Wrecking Crew, and we had Bobby Jimmy and the Critters
and shit with you know, songs like that when but

(25:11):
the gang problems were still there. Before I heard my rap,
first rap record, it was niggas on the block, gang banging.
I still got five years old, niggas was drive by shooting,
you get me.

Speaker 4 (25:24):
So before I even picked up a.

Speaker 3 (25:26):
Microphone, I was gang banging. It was already in its existence.
Hey had. And not to cut you off, I'm gonna
say this. We had niggas like Mixed, Master Spade and
Toddy T who gave us that type of music of
what was going on in the neighborhood. But I think

(25:50):
because of the gang culture that we had already established
on the West Coast is when when hip hop fell
into it. Just you know what I'm saying, when they
tell you to go from simmer to a boil, and
that's just what That's just what the fuck happened, You
know what I'm saying. We went from a light simmer

(26:12):
and to once once motherfucking crack came in and then
easy in them got to tell the niggas they were
straight out of Compton and and and the whole image
was getting broadcasted across the motherfucking world. Shit just got
turned up, man, And it was just a different time.
Can you imagine we didn't even have the internet back then.

(26:34):
Oh that just came from kt AM radio station. Well
it's the only station that played I remember we would
play that station man from early in the morning to night.

Speaker 1 (26:43):
You would hear easy E, you would hear king t,
you hear miss mess Fade all day.

Speaker 2 (26:48):
It was popping. Yeah, I couldn't imagine then.

Speaker 3 (26:51):
I mean, it was just feeding us hip hop man,
just like man fuck it. It was like, oh, now
we really got an identity. I mean because we was
already turned up banging Parliament and Atomic Dog and more
Bounce and shit like that in the hood. So when
you're throwing some now we got some Curtis Blow the Bang,

(27:12):
and we got some motherfucking run DMC the Bang, and
then some Beastie Boys the Bang. It just it just
it made the notches go up higher because now niggas
feeling like, oh, we got niggas speaking. And even though
them niggas was on the hip to hop shit and stale,
was like the way they was representing themselves, you get me,

(27:35):
niggas was they was nigga, the Jerry Curls nigga jumping
out of Cadillacs, Nigga with Dookie gold ropes on. It
still gave niggas the image of them niggas from the streets.

Speaker 1 (27:47):
You get me, niggas wasn't the mother remember the damn
right they played run DMC. But it was a lot
of parody back then because you would hear both. You
would hear like an EPMD record and for the because
it was like EPMB was a West Coast group.

Speaker 3 (28:02):
Yeah, we had a lot of that weird Al Yankovic
shit going on, like you said, parody records and ship.

Speaker 1 (28:08):
It was like a lot of period like you would
have Bobby Jimmy and the critters, like look at all
these roaches. He would take a song and make it like.

Speaker 2 (28:14):
A Yeah, they would.

Speaker 4 (28:14):
They would flip rap a lot of stuff for.

Speaker 2 (28:18):
A minute, doog.

Speaker 1 (28:18):
West Coast hip hop was real embarrassing, But then it
was a lot of hot shit too, Like King Tinam had.

Speaker 3 (28:25):
A cracking your T like I said, Tela had a
cracking uh Spade, Toddy T, Nick Master Ken, they had
it cracking on the aspect of we knew that hip
hop wasn't just my Adidas and my Lee jeans and

(28:45):
you know, push it and you get me, like we
knew that it wasn't like friendly rap you get me.

Speaker 2 (28:54):
As an aggression to it.

Speaker 3 (28:55):
We were we knew that ship, but we still played
motherfucking that type of shit because that's what what was
floating around.

Speaker 1 (29:04):
Hey, let me ask you something, man, it could be
kind of controversial when you you were on a major
radio station out here.

Speaker 2 (29:11):
Yeah, and.

Speaker 1 (29:14):
You know, everything at radio is about the bottom line,
is with testing, what's calling out? You know, I think
people searching records all that.

Speaker 2 (29:21):
Yeah.

Speaker 1 (29:21):
I think people just think, oh man, they played the record. No,
it's a lot of thought that goes in there.

Speaker 2 (29:25):
You know, it's saying it's protocols.

Speaker 1 (29:26):
Yeah, it's you know, like you just can't go up
there and play any record that you're want to.

Speaker 2 (29:31):
Do. You think that system is flawed, yes, but it's
not flow. So here's the thing about radio. And I
was at iHeart for seven years and I just left
what last year or two years ago? I've been going
that damn. So yeah, I've been going two years now.
I left. But the thing about radio that people misconstrued
and they think radio is not no matter. Now this

(29:54):
is gonna sound really bad, and I probably shouldn't say this,
but radio is not what they mark get it to
you as like oh this is the people station or
oh this is for us by That's not what it is.
The radio is just like any of the business. It's
a business, and their job is to generate revenue. Right
So in the and and their business motto is to
sell advertising. So just like if you have a podcast

(30:17):
or you have a YouTube and there's an ad that
pops up, that's all the radio is there to do
is to generate those ad those ad impressions. Right. So
they want to they want you to hear that car dealership.
They want you to hear that soft drink that they sell.

Speaker 3 (30:31):
Or whatever that that two pays, whatever they're selling, right.

Speaker 2 (30:34):
So the way the system is set up it is
to incentivize people to hear as many advertisements as possible.
With that being said, that's why they play the most
popular songs in the world or in the country. Because
if you are a bit if you if you have
a podcast, if you own the Gangster Chronicles podcasts, and
you know that there's going to be a million people

(30:55):
listening to this Drake record, you want your podcast advertisement
to come right after that drink record, not after an unknown,
big steal record that nobody heard. Because you're gonna get
you're gonna minimize the amount of people listening. That's all
the radio is it's not really rocket science. And then
when it comes to the DJs and the radio personalities
playing what they want, it's not just protocols, but and
the protocol is you can't just play whatever you want.

(31:17):
It's not your shit. It's not that, it's that, it's
not that, just like I don't know. That's how I
know that a lot of people didn't. Wasn't raised right
whenever I have conversations about radio, because I don't know
how y'all grew up. I can just go in the
kitchen and just take whatever I want. This is not
your kitchen. My mom is. I pay the bills here,
This is my refrigerator, This is my food. You come

(31:40):
to me and you see and now I might let
you get at this off a couple of times, but
this ain't finna be every day you in here just
taking whatever you want, the fruit snacks, the Graham crackers
or whatever fruit snacks the first day.

Speaker 3 (31:51):
Goddamn right, So long story short, Always trying to explain
to people like when you are talking to radio per
personalities and DJs approach you from a standpoint of they
have to check what they with whoever they superior is
before they can.

Speaker 2 (32:06):
Play what they want to play, not only that you can't.
I'm not I shouldn't say this, but I'm gonna say
it anyway. Whenever a DJ, a lot of DJs, especially
here in LA, I'm gonna say this here. I was
gonna wait to say this publicly, but a lot of
you DJ's in LA I got a problem with. And
I got a problem with y'all because either one, you

(32:26):
don't care about people, or to you ignorant. Either way,
it's a problem. You don't care about people because you're
not doing them a service by running and playing their
record on the radio. And two you either ignorant because
you don't know that that doesn't benefit them. There's a
system called media Base. Media Base monitors all the radio stations,
and you get credit whenever somebody plays your song on
the radio. If Big Still make a record, or if

(32:49):
Blasts make a record, or if Todd Alla sign give
me a record right now, we in the studio and
I run them to the rail station, I play it.
That's not gonna benefit him because it's not registered in
the system, so he gets credit for it, so he
can't get paid for it. It's not monetized, right, So
when a DJ. I'm not gonna say names, but when
DJs be like, oh, this is the new so and so,
it's hottest in the streets, you're not doing that person

(33:10):
of service by playing that record on the radio. You're
actually hurting them because they're not getting paid on that
record number one and number two once you run it
up a certain amount of spins. Let's say you get
to one hundred and fifty spins in LA. You're playing
this record on the radio. Now, the record is supposed
to go to research, and research means that they test

(33:30):
the record in the market. They do various ways of
testing the record. They go out and they test it
amongst the people, and if you get a positive score,
they keep it on the radio. If you get a
negative score, they take it off the radio. I've been there.
I've literally been at work doing my show and my
boss came in and told me like, Hey, you know
that song that we've been playing forty times a week,

(33:52):
your Homeboy, that we've been playing forty times a week,
this song not registered. I'm like, what you mean. It's
nowhere to be found. It's not on Apple, it's not
on Spotify, it's not on sound It's only exists on SoundCloud.
Pull it out now, you don't get you don't get
a second chance on that record, your shot, right. I've
seen these people pull a Beyonce record after she did

(34:12):
the super Bowl. Yeah that record not testing? Well, pull
that out. It's Beyonce, So you know what I'm saying.
So people be taking it personal like it's like, oh,
you don't fuck with me, and no, no, I actually
do fuck with your Shout out to little dudes too
from Inglewood because he actually called me a couple of
years later and said that he appreciated me for giving
him that game. But a lot of people ain't sharing

(34:33):
that information. You know how many people are defended you
from man. I can imagine people think I'm an asshole.
I can be, but I don't do what you want
me to do. I do what's best for you. I'm
not gonna tell you I like your song. If I
think it's trash, I'm not gonna go advocate for your record.
I'm not gonna go advocate for your record in these
buildings with these white people because I know what they're
looking for.

Speaker 3 (34:51):
So what do you call those people who do that?
Because you got a lot of those that won't give
that now. I'm just gonna be honest. Man, it's not
a good record, it's not a good song.

Speaker 2 (35:01):
What do I call those people?

Speaker 4 (35:02):
Yeah, I don't know.

Speaker 2 (35:04):
I just I'm me.

Speaker 3 (35:05):
I don't It's a lot of those though, you get me.
There's a lot of records that shouldn't even see the
light of day. But you got a lot of code
signers and a lot of motherfuckers who go, oh no, man,
that motherfucker hard at fuck.

Speaker 2 (35:17):
Let's roll with that. You know what I told the homie, Sorry,
you know what I told the homie about that. The
hommy was like, you know, man, you just be hating.
I'm like really, He's like, yeah, you the problem. I said, Okay,
let me paint a picture for you then, bro, Since
I'm the problem, right, because I'm the gatekeeper and I'm
the one that's stopping you from eating by not playing

(35:38):
your song on the radio, not knowing that you get
less than you get a third of a penny for
every time you get played on the radio. But since
I'm holding you back in life, let me give you
some game. You went to the studio because you don't
record in the house. You go to a studio, you
went to the studio. At the studio, there was a producer,
there was an engineer, there was four girls. That's six people,

(36:00):
right there was that's six people. Then on top of
that you had three of the homies there. That's nine people.
After that you got the song mixed. That's another person.
That's ten people. Then when it got mastered, that's eleven people.
So you mean to tell me that this song was
trashed through eleven other people, and because I told you
it was trash, I'm the asshole. That's not crazy. You

(36:23):
know what the problem is.

Speaker 3 (36:24):
All of me is them ten before you. It's telling
the nigga that is whole.

Speaker 2 (36:29):
That's what I was gonna say, that's the problem. That's
what I'm trying to tell I'm not the problem.

Speaker 1 (36:34):
Nobody gets honest. Now, I don't exactly just be an.
I'm not exactly an asshole all the time. If I
hear a record and it's not a good record, I
can steal somebody. You need to go back to the before. Yeah,
for sure, I have no problem. Yeah, I've heard them.

Speaker 4 (36:48):
Like nigga that don't sound good.

Speaker 1 (36:50):
You gotta remember eight I was a and R man.
I actually had an a and r job And I'm gonna
tell you. When I first took the position, it was
hard telling somebody that they ship was trash. You know,
I wanted to be nicecause some of the people are
actually cool people. What would you tell them?

Speaker 3 (37:03):
But after a while I would say, I know, you
wouldn't say it was trash.

Speaker 1 (37:06):
I would try to tell them because I heard two
types of trash. It was two types of trash, right,
it was two types of trash. You would have a person, yeah,
but you would have you would actually have a person.
You would actually have an artist that may have had talent,
but they just had bad production. The hook game might

(37:26):
have been. You know, you could tell they still needed
some more development, right, those people, I would kind of
spend time and tell them, hey, you need to do this,
and I would refirm like I would send people over
the fingers moaning fingers hot at the time. I would say, man,
you just need to beat your producer and good. You
just need to go get you a producer, you know,
go holler at fingers or you had the people that

(37:47):
didn't have no talent, didn't have none. You would be
looking at them like why would you go to and
what was funny. You got those two different dynamics, right,
You got the one person that got talent but can't
afford in the studio time, and you got motherfucker is trash.
And it seemed like he got unlimited resource. He got
a thirty thousand dollars music video with it. He bought
some tracks from Scott Storks. He on bought a verse

(38:09):
from this person. And you hear the record, and what
they make the mistake and do is they'll put the
feature that they brought first. Right, So you hear this
jam and ass beat, you hear feet like, yeah, this
is hard. Then he come on and it's like, broh,
you just went on to waste all this money on
this record. That's not good man, it's not a good record.

(38:30):
I had no problem telling nobody shit. I didn't have
a problem telling people that they shit was trash.

Speaker 2 (38:35):
Well, do you know what's interesting about that? I used
to I've never had a problem with that. I mean,
you know that like me and you have had that
conversation before. But I've never had a problem telling people
that their music was trash. What I have a problem
with is them having a problem with me after they
asked me, yeah, you can't ask me something and then
be mad at my answer. You if you request information

(38:56):
and I give you information, you then can't be mad
at the information I gave you because I didn't walk
in the studio and be like, you know't ate that
that record trash bro. You Now, if you asked me
and you say, hey, what's your nigga about this?

Speaker 4 (39:07):
Man?

Speaker 2 (39:07):
That shit garbage, you can't be mad because you asked me, right,
stuff that makes it.

Speaker 4 (39:13):
Yeah, some people are real sensitive when they kind.

Speaker 1 (39:16):
Of people needed to stop being so fucking sensitive though
it's not gonna happen, nah, especially doing music. H You
you've had a successful music career. I ain't gonna say
ad because that's pair you're still selling records. You had
people that didn't like your music, right, oh all the time.
That's what I'm saying. Music is so subjective, and that's

(39:38):
what I would tell people at the end of the day. Look,
I don't like it, man, but I've heard work ship
going to you know, going to do it incredible shit.

Speaker 2 (39:48):
When I first heard them, I ain't even gonna do that.

Speaker 4 (39:53):
Man, put it out there.

Speaker 3 (39:54):
It is because listen, a gang of shit is trash
today and you see motherfucker's selling a gang out of it, Like,
come on, there's a lot of trash that's out right now,
but it's pushed like it's the number one ship going.

Speaker 2 (40:12):
Yeah. I'm gonna tell you, man, is that just.

Speaker 4 (40:14):
Because mother I don't want to say this.

Speaker 3 (40:16):
Man, motherfuckers have the resources to force feed you.

Speaker 1 (40:22):
I'm gonna tell you there was a girl that was
a singer. I'm not gonna say her name because she
was huge, especially on the West coast.

Speaker 2 (40:29):
Because we're gonna figure that ship out in a minute.
It's thing.

Speaker 1 (40:33):
You know, she wasn't the prettiest girl, and you know
she wasn't. I ain't gonna say she was ugly. Well,
she didn't.

Speaker 2 (40:37):
Look like a star.

Speaker 4 (40:38):
What she was about what a four?

Speaker 1 (40:40):
She was about a four or five and she had
these big, huge records. Dog, And I would be like,
I remember her name though, but I'm not gonna say it.

Speaker 2 (40:48):
Dog. But that ship was a truth. No, I say
it's initials.

Speaker 4 (40:53):
It was the name of one of the songs.

Speaker 2 (41:00):
The initials.

Speaker 1 (41:00):
I said, like this first name begins with ah.

Speaker 4 (41:04):
You just did it right there. Somebody gonna figure that
ship and.

Speaker 1 (41:07):
Their primary markt was like the Ox Gnar Baker's Field
all that stuff.

Speaker 2 (41:11):
It played like because she was a Mexican girl.

Speaker 3 (41:15):
Okay, you just keep writing, put it out there, yeah,
walk it down, but walk it down.

Speaker 1 (41:22):
It was pretty bad and people thought this ship was amazing.
And you can't say that because you looked like a
motherfucking hater saying something. She's selling out, Jen ughs And
I be like, man, something must be wrong with me.

Speaker 2 (41:34):
I just don't see it.

Speaker 3 (41:34):
Think sometimes that be the culture of who the people are.
When you just said she was a Spanish chick, they
support they motherfucking people.

Speaker 2 (41:47):
No.

Speaker 1 (41:48):
Yeah, but I'm gonna tell you I don't think race
had nothing. I don't think race has nothing to do
with talent because I've heard some Mexican girls that they're tight.
They gotta hit records. You know the Homi beer shot.
He don't send me shitting out? Why this shit is amazing?

Speaker 2 (42:03):
It was tight? Good is good? Bad?

Speaker 1 (42:04):
It is bad, bro. But I'm gonna tell you this.
Nowadays it's well, you know what, and it's been that way.
I ain't gonna say nowadays. Radio has always been about
money for independent artists. If you've seen the independent artist
that was getting the record paid five hundred and six
hundred times a week. It was some money being paid
for that dog. You have to after a while, I

(42:26):
can say this not because I don't give a fuck
about no radio station playing my record. I remember I
was promoting the record, right, and we went on a
promo run, and I know I spent the gang of money.
I spent like thirty thousand dollars a dog. That's a
lot of money. And I was about like up to
like two hundred and fifty three hundred spins a week, right,

(42:50):
And I kept noticing in the orders to sustain the
record and keep them playing it, I kept having to
paid pread dog. Kept had to pay fucking money.

Speaker 2 (42:58):
Dog.

Speaker 1 (42:59):
And then I learned the hard way because somebody told me,
because to see at least in a rhythmic market that's
the West Coast, you know what I mean, Like the
c CHR stations, the rhythmic stations, right, they all have
a mixed show format, you feel.

Speaker 2 (43:12):
What I'm saying.

Speaker 1 (43:13):
So I was collecting a lot of spins like that, right,
I had somebody that was about to add my record,
and instead of my dumb ass just being happy with
the you know, mixed show action, I was getting I
paid money and the PD got fired the next day.
But I can say this is because this in their defense,

(43:34):
I didn't physically give the program the record of the money.
I gave it to the promoter that was with me,
the laders of the promoter, and I got up and
went to the bathroom. And that's I assume they did
whatever they did, right. This shit really go down dog
like that. So my record is playing, I'm added, man,
I'm going on the way back to the crib. They
played that motherfucker three or four times before I could

(43:54):
get the motherfucking grapevine. Good right. So I get a
call the next I'm not gonna say the man's name,
but he tells me your days of getting played at
my stations without going through me are over. Buddy, I
don't know who you think you are. And it tripped
me to fuss and who is this he wanted to cut?

(44:18):
You don't go through nobody else without going through.

Speaker 2 (44:20):
I'm talking about. I have no idea what you're talking about. Yeah,
keep it that way.

Speaker 4 (44:28):
You got damn right, dude.

Speaker 1 (44:30):
Was I'm not gonna say his name because he's a
powerful motherfucker, right, And it let me know right there
that this shit is rigged.

Speaker 3 (44:38):
Org Man, the homie was was expressing his, uh, his
opinions about that to me.

Speaker 4 (44:47):
This morning.

Speaker 3 (44:48):
The craziness about because you know, he's one of those
cats who you know, tried to get in back in
the days, you know, when everybody was coming out, and
and he was real offended to buy the fact that,
like you said, it's supposed to be for the people,

(45:10):
supposed to be for you. You supposed to be for
the average motherfucker. You should be if motherfucker, if you
win into the studio and cut you a motherfucker record,
you should be able to get it played on the radio,
because it's the station is supposed to be for the people.
You give me, And so he was real upset about
the payola shit you get me, I could get my

(45:33):
radio record on the radio, or niggas want to disc
It seems like you pay your motherfucker, you get on
the mix show, and the next thing you know, motherfucker like, oh,
you want to play next week or you want to
play the week after. It's like you just keep forking money,
keep forking money.

Speaker 1 (45:47):
Just to clarify some I want to clarify something, parl
One on six played my record a lot. I never
once gave him a dine. It wouldn't like that.

Speaker 2 (45:55):
You know.

Speaker 1 (45:55):
What I noticed is the smaller stations, But those are
the ones where you get expians from right. Because Power
is only gonna play you. You gotta test good at
the powers and at the you know, the big bigger
radio stations, the k's now and stuff like that. It
ain't just like they just up. They just in people's
pockets off the rip like that. But it is a dirty.

Speaker 3 (46:15):
Game, no, I mean share. I guess that's why I
never focused on radio. Uh my career, my label never
took that route. They didn't have to get Nigga. I

(46:36):
didn't get songs played on the radio.

Speaker 1 (46:38):
That's what they didn't have to. But that's what I'm saying.
But you was going out selling the gold album. They
look at it like this, this motherfucker go go go.
We ain't gotta do shit.

Speaker 3 (46:46):
Yeah, I didn't get radio play. They that was one
thing that Epic did not do. We're not going for
no radio with MC eight, So that was something I
never even I It never pressured me either to go, I.

Speaker 2 (47:02):
Need to make a radio song.

Speaker 3 (47:04):
You get me because I already knew that they wasn't
going to radio with my records.

Speaker 1 (47:08):
Bro it was cheap. It was cheap to make your album.
It's not like they had to call in a band
and you had tick and slipping them.

Speaker 4 (47:17):
That was it.

Speaker 1 (47:18):
You know, do your record and they go make eight
nine million dollars. I'll be with that too. It's a
perfect business model. Ship Man going to give them some
more money and let him go do his thing. We
could be profitable. It's profitable, you know. Yeah. But like
I said, I never I never made music. I felt
was gonna make radio anyway. So from the start of

(47:41):
my career it never fucked with me. I never got
in the studio and had the pressure from Epic to go.

Speaker 3 (47:49):
We need another radio single, we need another radio song,
because that's pressure you get me. So, like a, I
didn't have to deal with that. Ship Hey, Hey, let
me ask you something. Bro Bear called me. Bears the
program director the programs a lot of radio stations. To
my god, he called me one day and said, Man,

(48:09):
I'm gonna tell you who gonna be the man in
l A. And he's a man. He has to be
the one to move our culture forward. You have to
DJ Head and I can start laughing. I said, Man,
you gotta be fucking killing that motherfucker.

Speaker 2 (48:20):
Ain't shit.

Speaker 1 (48:22):
I'm just playing. But he told me that. Man, And
on top of that, I started getting a lot of
the little rapper home. He's complaining, Man, Nigga Head is
a hater. That nigga told me that. I said, well, man,
if you asked him something, he can tell you the truth.
You should respect that. Now I'm tell in the artists,
you should respect the dude that tells.

Speaker 2 (48:40):
You the truth. The dude that just let you keep
going making a fool out of yourself. It's not your friend.
I'm always gonna tell you got some in your teeth,
I'm gonna tell you got a booger in your nose,
and I'm gonna tell you if your song is whack,
it's not. It's no different to me than than when
you're about to lead a house and your your you know,
your your boxers is showing or you know. It's the
same thing to me, and and it took to be

(49:01):
honest with you. Where that comes from. Yeah, that's my personality.
That's how I grew up. But it also comes from
us not having at like nobody really helped us like that,
not in that way. Either they didn't know and they
didn't give us the information, or they had the information.
And the game is to be sold and not to
be the I don't subscribed to none of that shit,

(49:21):
because that's how we our people stay ignorant, that's how
people stay down. You can't find one person in the
music business that ever gave me a check to do anything,
play a play a record for consultations. I pull up
the Nigga studios for free. I've never taken money. I've
gotten co production on at least three hit records that
that never took points on the album. That's a fact, right. So,

(49:42):
but that's my contribution. And the only fee is for
me to be myself and to be honest. That's my fee.
I'm not willing to budget my fee. So if you
want my assistance, Oh, we need to figure out how
we're gonna get on this festival. Hey, can you help us?
Oh we need to figure out how we gonna get
on the radio head Can you help us? Yeah? What
you need nothing. I just need the space to be honest.

(50:03):
That's it. That's my feet and honesty is a rarity. Nowadays. Bro.
So then when you look at people who take that offensively,
I actually I don't even want to work with those
people at all. I don't want to be around them
out because that tells me that you're not even in
the space to receive what you're asking for if you ask.
I'm a spiritual person, So if you ask God to

(50:23):
bless you, but you know you ain't in the space
to receive, then you wasting God's time.

Speaker 1 (50:28):
I'm gonna give you a prime example of constructive criticism
working in the positive manner.

Speaker 2 (50:35):
Right.

Speaker 1 (50:37):
I talk about top Dog here and there at my
homie that you know run tde and here you know
this you was around too early days. We go back
with them dudes, like when they was back there record
and when it wasn't no Kendrick Lamar being a top
rapper in the world. They just some congree kids, right.
I remember Man, so many people. Man would sleep on
top and he would be mad at first, you know,

(51:00):
Tom would be ready to destroy some shit, but after
a while he started kind of just taking it to face, like, well,
maybe this shit ain't what I thought it was. And
they started actually making really like it left it was
already cool but they leveled up to where the records
was underniped.

Speaker 3 (51:17):
So what do you think that was? Was it the
talent or they just wasn't ready or well.

Speaker 1 (51:23):
They were always talented, right, I just think they hadn't
made the right records yet. You know, sometimes this level
was to it. They were definitely dope enough to where
that's when the bloggers started cracking a little bit where
the bloggers took notice of them. But they didn't necessarily
have no that big record. Like even though eight you
ain't never had no top forty record, you was able
to go in and produce a straight up minutes ain't

(51:46):
going the road. They hadn't got to that point. Shit,
it was still a lot. Jay Rock was hard as
a motherfucker. Jay Rock was tight. Jay Rock, he was tight.
Every last one of them dudes over at td ether
rap can rap all of them dudes.

Speaker 2 (51:59):
Can school Boy C make pop music?

Speaker 1 (52:02):
Now that's because he's a professional recording or that's a
laying he in, but he can rap. Ab Sol Lo
My god, I knew I'd get murdered if I say it,
but ab Sol might be the coldest motherfucker over there.
They got dudes, they can really rap. You feel what
I'm saying. I'm talking about and it's not easy to

(52:23):
impress me. Hey, you gotta remember the era we came
up in. I came up on you, scarface nas. All
of these just grade them seas Big Daddy Kane, Chuck
d people that were one of the ones. We wasn't
nobody to sounded like them before. They just came out
that they were the first of they kind.

Speaker 2 (52:42):
You feel what I mean.

Speaker 1 (52:43):
So I've heard some incredible motherfuckers cool she rap. It's
some motherfuckers that could spit Ray Kwan, the chef you know,
on to the day to the Homi Black thought, there's
some guys that can rap them. Dudes can really rap
over there, And I really think they got to the
place to where they had been getting slept on. Was
so bad. Wasn't nothing going right for me. But this
motherfucker said, we just gonna make undeniable records. Top used

(53:08):
to be on them dudes' ass, man, I know it wasn't.
He didn't allow them to play no games.

Speaker 2 (53:13):
I just talked to talk about that.

Speaker 1 (53:14):
He didn't allow them to play no games. Dog, And
I saw the homie lose a lot of money on
fake tours. You know, when you're trying to when you're
trying to get something going, you're gonna do whatever you
got to, right, And I saw that that he was
with and I think Top was to the point one
night man to where I think he was at that
point where he was like, I'm tired of motherfucker's playing

(53:35):
with me. But they did it though, Dog, That's why.
So that's why I salute them, because I know what
they went through. All of them dudes thugged it out, dog,
and they stayed down with each other.

Speaker 2 (53:47):
No, I agree with you. I know hell of stories,
but I think that if so. I remember glads To
said something to me one day we was driving and
you know, like, you know how when you go y'all,
I would notice. But you know how when you on
your way to the west Side from the east Side,
you on the one on one, one O five and
you're about to get that go on that overpass where

(54:08):
they film speed at going to the one ten or
you know that big overpass, see the whole east side
right there off Broadway. So we's on that overpass and
we're going over there, and that was when that light
was on right there, so we stopped at the light
and he was like, listen ahead, caush. He's like, if
you want something that's gonna change your life forever, why
would it take anything less than a lifetime to get it?

(54:30):
And I was like, damn, that's that's set with me.
You know what I'm saying. I've been thinking about that
ship was twelve years now. He told me that twelve
years ago. But I remember where I was. I was
sitting in the passenger seat of the Bendley and I
remember that. Like but I was like, Okay, so this
is gonna this is a long play. This ain't a
quick flip to go back to your point in what
you said earlier. I think everybody coming up now, they're

(54:52):
looking at it like a quick flip, like this a lit,
like hip hop is to me, is not a lit,
not at all. Rap music the music industry. It's not
a lick. It's not a quick flip. Like so I
take it personal sometimes when even when I shouldn't, when
people play with it.

Speaker 4 (55:08):
Like that, oh definitely does.

Speaker 2 (55:10):
Hip hop saved a lot of our lives. Hip Hop
and changed a lot of our families, and like, you know,
just different things like that where when people play with it.

Speaker 1 (55:18):
I feel like you're not respecting it. I'm gonna say
some head. It was a time a long time ago, dog.
I don't know if you remember this. I just lost
my I lost, but I had been lost my job
of mind of music, and I was refusing to go
get my assma the job.

Speaker 2 (55:32):
Dog.

Speaker 1 (55:32):
I got used to having that cush music industry job. Yeah,
and I was broke then. The motherfucker remember me and
you was standing on the corner about Lake will Boulevard, dog,
trying to piece up to go get some fucking cheeseburgers,
A real fucking story, and I look at his dog.
Ain't nothing in this motherfucker no overnight. I do remember that.

Speaker 2 (55:48):
Ain't. Don't nothing happen overnight, man. And I definitely think
that we split the chili cheese frog.

Speaker 1 (55:53):
Yeah, I definitely think in today's era, man, people don't
want to grind for shit. But I want to get
back to this rap shit a little bit.

Speaker 2 (56:02):
Dog.

Speaker 1 (56:03):
This is one thing I will say. I believe Kendrick
were all way out, but I'm gonna leave it alone.
I'm gonna go to something. But I didn't think that
was necessarily no battle in the specific sense you know what.
I went back and listened to just to make sure
I wasn't tripping. I went back and listened to What's
Old what's the motherfucker's name? Kars One? When he was

(56:26):
dis and meally mailed and.

Speaker 2 (56:27):
All of them.

Speaker 4 (56:30):
It was just straight rap. You feel what I'm saying.

Speaker 2 (56:33):
It was just rap.

Speaker 1 (56:34):
It's like, now, man, you gotta get so personal with it.
I don't know if I necessarily like the whole this
and shit, dog, because you just got to get too personal.

Speaker 2 (56:42):
Now.

Speaker 1 (56:43):
Yeah, I'm talking to both of y'all, but it just
got and I think that that ship was a part
of it. Dog, I think the whole thing motherfucker's teaming
up to write some shit about a nigga. You feel
what I'm saying. It's like, like, what is this ship becoming?
I think all that shit started back back during over times.

Speaker 2 (57:00):
I'm gonna I'm gonna let him so what I think.
I just talked shop to my dude, Wayno. I was
talking to Wayno and he called me. He called me
when everything was going down and I was in the middle.
He's like, hey, you know what ahead He's like, I
just realized something. As I'm getting older, I'm no longer
arguing with niggas who ain't never been punched in their mouth.

(57:21):
And I was like, that made perfect sense to me
because like, I've been punched in my mouth. So but
it's a different type of it's a different when you
move different when you've been confronted about something you have said.
Just like just like when you you say something and
I think to what you just said, Like, I think
that's the point. A lot of people ain't never had

(57:43):
to deal with the ship that they say, Like, if
somebody diss your hood, they gotta deal with that either
they running to you, they running homies, or they might
or they might violate to the point where they own homies. Like, man,
you're talking to eight like them and come to the hood.

Speaker 4 (57:59):
Exactly what I'm saying.

Speaker 2 (58:01):
A lot of people don't have don't don't have to
deal with that. You you specifically you g like all
these different people who I know if I tweet some
wild ship and I just tweeted I posted on my Instagram,
either you gonna call me, g gonna call somebody, gonna
call my phone like you, That's what the difference is

(58:21):
is checks and balances to this ship. And I don't
think that that exists no more, which is why you
could just say whatever you want to say about somebody.
And because you ain't got to see him. I'm in
I'm in New Jersey, in a house, in a random
house in New Jersey, and I go on the internet, man,
man eight is this and that, and he, you know,
just disrespecting you. And now you ain't never gonna see
me because I ain't never go out. I don't go outside,

(58:44):
I don't go to the I don't go to the functions,
I don't go to no podcast stuff. So you ain't
You ain't gotta deal with that, so you can say
whatever you want to say.

Speaker 4 (58:51):
Mm hmmm, Yeah, that's a lot of that goes on.

Speaker 3 (58:54):
Now you got you got, you got interstate this, and
right now interste Beef and niggas ain't never seen each
other before. Just get on the fucking fuck that nigga. Man,
my shit is more harder than them and we are,
so we just gonna start dissing the nigga and whatever
it's become out of the context of.

Speaker 4 (59:15):
Nigga.

Speaker 3 (59:15):
I'm I'm dissing you because my lyrical skills.

Speaker 4 (59:18):
Are superior, top notch.

Speaker 2 (59:21):
You give me I ain't disrespecting.

Speaker 3 (59:24):
I'm not dissing you because you from New Jersey or
South Carolina. I ain't dissing you because you said, nigga,
you you you took five fifteen shots out of nigger y'all.
That that's the I'm dissing you because my lyrics are hard. Nigga,
I'm the hard. Yeah, yeah, that that's not it.

Speaker 1 (59:45):
I heard about the money these niggas was spending on
that ship to get information.

Speaker 2 (59:48):
Dog, Well yeah, it's crazy. You might for run to
spend a couple hundred thousand ricks.

Speaker 3 (59:54):
Brax, it's become a become a criminal investigation.

Speaker 4 (59:58):
You might well be on try.

Speaker 3 (01:00:00):
I need to go to hire me a couple of
motherfucking investigators and have a nigga jump on the plane.

Speaker 4 (01:00:05):
I need to know what I need to know.

Speaker 3 (01:00:07):
If a nigga shitted his pants in the third grade,
it's so cool, like what I I need the dog,
if a nigga was pissing in the bed when he
was seven years old, and some ship.

Speaker 2 (01:00:25):
Like that, so I would go, I would go fire.

Speaker 3 (01:00:27):
The long distance hater cousin that the nigga old fuck with.
Now pay that nigga a couple of grand What that
nigga do used to do when he was five. He
used to take boggers out his nose and put a bit.

Speaker 4 (01:00:41):
I wouldn't go at all.

Speaker 3 (01:00:42):
It's it's criminal investigations now motherfuckers.

Speaker 2 (01:00:45):
Motherfuckers is being really facetious with shit too. Man.

Speaker 1 (01:00:49):
When I heard him say that Dave Free was the man,
I said, Man, this niggas just reached. But that was
a reach. But it was a line that was more
than real. Was a motherfucker line.

Speaker 2 (01:00:58):
Yeah, but it's it's him.

Speaker 3 (01:00:59):
He don't have no But I see, I seen a
nigga say today and it was a It was a
hip hop dude.

Speaker 2 (01:01:06):
I don't know if I read it today or who
was that thing?

Speaker 4 (01:01:09):
Was it?

Speaker 3 (01:01:11):
When he said the dissing or something is just taking
me out of it because now it's it's more about
That was quess love quis love quis yeo exactly? It
was Big Daddy. Big Daddy said, it's like motherfuckers want
to know if your facts are true or they want

(01:01:31):
to very He said, Nigga, when I was dissing niggas
back in my days coming up, I lied and said ship, nigga,
I fucked your mama in the back seat of my Cadillac. Nigga,
won't he wom I ain't never seen a nigga mama in.

Speaker 2 (01:01:44):
My life, even though even when jay Z said, you know,
condoms in the baby seat, I'm sure there was no
condoms in the baby seat, right, no baby mama. I'm
gonna I'm gonna exaggerate a little bit. I mean, that's
but that's part of.

Speaker 4 (01:01:57):
It because basically.

Speaker 3 (01:02:01):
That's the same thing like when we used to bag
against each other. You get me with the bagger, your
mom so fat, nigga, I slapped your mom on the ale,
or your mom's fed me dinner after I came through
last night.

Speaker 2 (01:02:13):
You give me.

Speaker 4 (01:02:14):
We all did that shit.

Speaker 3 (01:02:17):
It was just it was just we were just bagging
comic through on each other.

Speaker 2 (01:02:21):
Nobody took that serious at the end of the day.

Speaker 3 (01:02:23):
Well, it might have been one nigga who couldn't handle
it and then you end up scrapping.

Speaker 2 (01:02:27):
Okay.

Speaker 1 (01:02:28):
But you know what, though, Bro, I'm kind of with
and this sound because I love the bat, you know,
I like that messy shit, right, But I think I'm
kind of with questlove and Big Daddy came and all
of them shit can go to a point to where
it goes too far. Because I got thick skin. I
could take any motherfucker talking about me because I don't
give a fuck you feel what I'm saying. But when

(01:02:50):
you start involving my mama, my wife, my kids, some
probably can happen.

Speaker 2 (01:02:55):
Dog some probably that off limits though? Is it off limits? Oh?
Here's the thing right to your point. It depends on
if you It depends on your enemy, bro, It depends
on who you serve. It depends on who you battling.
If you go and I don't want to make this
hell dramatic, but if you look at somebody like if
you look at World War two, how do you fight
a Kamakze pilot? You shoot him down? It's a comic

(01:03:16):
coze pilot. His whole game plan is to fly his
plane into your into your ship. How do you fight
a nigga like that? Right? If you fighting, if you're
fighting a crash dummy, how do you fight? How do
you fight a dude? Are they't afraid to die? You
know what? We're gonna have to piece this up because
ain't no no point in us doing this because I
got I got you to do tomorrow. Like, just because

(01:03:40):
you ain't afraid to die, don't I got shit I
gotta do tomorrow, you know what I mean. So when
you when you're looking at the battle situation, it can
go too far. But it depends on who you're battling,
because just because you got limits don't mean I got limits. Yeah,
what dude, definitely stir first, but you can't first if
if you get into a hip hop into a rap

(01:04:02):
beef right and eighties like it's all everything goes no
hose barred falls count anywhere. He on that type of time,
you like, look, we're gonna battle, but just don't mention
my wife, my kids, my mom, and my grandma. You
give him a whole syllabus on what he can't talk about, bro,
and he just man, fuck that he teared up in
the video. Fucked the syllabus. Fuck you your mama.

Speaker 4 (01:04:24):
Man, that's what.

Speaker 3 (01:04:24):
It's the same situation, Like I said, with the beef
I had with me and with me and Homie, that's
a fact. It's the same. And then we didn't even
go there. You get me quick. Didn't say your mama.
I didn't say your mama or your family or your kids,
and nothing we didn't even go that route.

Speaker 4 (01:04:45):
We kept it on fuck you, fuck you.

Speaker 3 (01:04:48):
Our ship came behind the affiliations with the gang ship.
That's what made our ship so fired up because it
could have stayed on some nigga fuck you, fuck you,
fuck you fuck you because we didn't even like you said,
we didn't do this. We didn't do no crossing of paths,

(01:05:10):
you get me, So it could have stayed on the
fuck you fuck you rap suit until one day it'd
have been like, yeah, I'm cool, I'm cool. But for
the fact that outside of us, you got correct niggas
over here and blood niggas over here.

Speaker 2 (01:05:28):
And then.

Speaker 3 (01:05:30):
I think what really happened, how it really got heated,
was when the calling of the sets came into it.
That's what took it to the next level. Because I
tried to keep it because I was true hip hop nigga,
even though I'm trying to gang bang and shit, I

(01:05:53):
had real hip hop respect for hip hop. Thus I
knew that dissing came aim to play in hip hop.
I saw fucking Big Daddy Kane and whatever I saw
LL and koom O D. I saw motherfucking k r
S and mc shan and you know, I saw the distance.

(01:06:15):
But my thing was when I ain't gonna talk about
a nigga mama or his kids, or his family or
the set, I'm just gonna keep it on nigga, mean
you on some rap shit, but then you get me.

Speaker 4 (01:06:33):
It came to play.

Speaker 3 (01:06:34):
With that situation because then trag New Park was mentioned.
So now it's taking it out of the element of
back and forth dissing each other, and now it's beefing
now because now niggas are niggas are like, what the fuck?
You know what I'm saying that the affiliation was tagged

(01:06:56):
on to it. So like you said, I can't control
old niggas. You give me I'm at home. I mean
he spoke about it on a song. Niggas was at
the club with them. I wasn't nowhere near around. I'm
one hundred miles away. But now other niggas are implementing
themselves into it because oh, you spoke on us.

Speaker 2 (01:07:19):
Now, if that ship between you and.

Speaker 3 (01:07:21):
Eight, that's y'all, But now you're on us, So now
we feel like we have to step in and represent
you get me. So that's the differences of it. That's
what came to play and all because I never thought
of going, Hmmm, I'm gonna rap about this nigga baby
mama and his kid, or I'm gonna say something about

(01:07:43):
his motherfucking mama or some shit like that. I've never
once thought of doing some shit like that. I wanted
to keep it hip hop, even though it was on
some gangs.

Speaker 1 (01:07:54):
Shit, I think if you did a shit back like
that back then, I think motherfuckers might have died.

Speaker 2 (01:07:59):
Though.

Speaker 3 (01:07:59):
Yeah, and you you, like I said, we used to bag,
but we knew we was doing friendly bantering, playing with
each other, and nigga, you could bag against a nigga
you didn't even know.

Speaker 4 (01:08:14):
But it's on the aspect of like at.

Speaker 3 (01:08:17):
A rap battle, we gonna battle, battle, battle, and then
at the end of the battle, all right, my nigga
whatever whatever. That's just like if you bagging against somebody nigga,
your mama this or your mama that, niggas know it wasn't.

Speaker 1 (01:08:30):
But even with bagging, you always get somebody to take off.
You already get that one dude to get mad and
take off.

Speaker 2 (01:08:35):
Yes, that's why I said, you have to know who
you You gotta know you exactly got know you bagging
against you gonna get That's what I was trying to
explain to Elliott Wilson. Everybody ain't playing about this. You're
not playing about your wife, your kids or whatever. His
homies ain't playing about the hood. Everybody not playing about
certain things. So you have to know who you dealing
with before.

Speaker 3 (01:08:55):
You start, got it. You gotta keep it in that.
You gotta keep it to sparring and don't let it
turn into an actual boxing match. You get me, keep
it on spark, hey man, you know telling it to
hold up? Hold up, We ain't gonna go there. You
get me. But once, like I said, once you start
going to personal shit depending on who you dealing with.

(01:09:18):
I don't even want to play with you no more.
Now I want to.

Speaker 2 (01:09:20):
Fight or now it's gonna go to somewhere else. Got
my mama, What the.

Speaker 3 (01:09:24):
Fuck my mama got to do with the fucking even
when you look at the n W the fuck my
mama got to there with some hip hop songs and ship.

Speaker 1 (01:09:32):
You remember when Easy and Trey and them was going
back and forth. You never heard the niggas say nothing
nobody's mama nigga.

Speaker 3 (01:09:42):
You ain't seen your kid in ten in two years
and I heard you wasn't paying child support and ship
like they wasn't doing shit like that. Nigga was like, nigga,
fuck you. Okay, yeah, nigga, fuck you nigga. And then
niggas wasn't like I'm living in a girl heels or Nigga,
I'm over here and Calabasas Nigga, Nigga, I'm pulling up
in the in the eight fifty.

Speaker 2 (01:10:03):
Nigga.

Speaker 3 (01:10:03):
Well, Nigga, I got the motherfucking Nigga was no, it
was just nigga. It was rap, fuck you, fuck you,
and we're gonna leave it at then.

Speaker 1 (01:10:15):
Before we get up out of it. I gotta talk
about this, right. I know Height probably don't want to
talk about this ship, but I got to. You know,
Game took off on Ross.

Speaker 2 (01:10:23):
Right oh, with the he put he put the record
out there.

Speaker 1 (01:10:26):
He put the record out Ross didn't even respond back
to him. I told Glass, I said, Ross not gonna
respond back to him. I don't think he is either.
Why should he Why shouldn't.

Speaker 3 (01:10:35):
You think he's not gonna respond because he don't want
no street beef no? Or do you think he just
feel like he's too superior to respond, I think he
feels like he's above that.

Speaker 2 (01:10:46):
He above that because you think about it, and he
was just going at Drake. So why did all this
shit happen? Why did all of it? They were all
they had the whole little.

Speaker 3 (01:10:58):
Click though, Oh, Ross, Drake, Game, Ross, Lil Wayne. They
were all getting on each other's records break even with
Drake and and Ross and Drake and Future. They just
get They just did a big record together, Drake in
Future with the with the with the African girls sing.

Speaker 2 (01:11:17):
But what I've heard, I mean, I can't speak on
these men. I don't know all. The only person I
know personally is Game, and I know I know Ross too,
But everybody else I don't really know them.

Speaker 3 (01:11:26):
Why Why do you think Game just jumped on Ross?
Can I tell you?

Speaker 2 (01:11:30):
Game been trying to catch a catch a fade and
rapped for years though, even when he put out the
documentary and not the documentary, uh the recent most recent
album he just put out with Hippoy, he was he
was trying to rap against eminem The game Game is
a game is is Game is really like a really
dope MC and Game is definitely and he's crazy, so

(01:11:52):
he so he'd be looking for a sparing partner, like
I think he look at it just like he really
want to rap.

Speaker 4 (01:11:58):
I'm gonna tell you one thing, he definitely. I'm gonna
tell you one thing I.

Speaker 1 (01:12:03):
Do like about Game now is that he's not going
there talking about you. He's the throwback to.

Speaker 2 (01:12:09):
What I like.

Speaker 1 (01:12:10):
He's not gonna going in and talk about your mama,
your kids. He's gonna say you fed and tripped over
trying to chase it.

Speaker 3 (01:12:15):
She's he gonna go my Nigga is a lyricist.

Speaker 2 (01:12:22):
You know.

Speaker 1 (01:12:22):
He not gonna do no ship though I didn't understand it,
but this is what I said, and I told you this.
I said, Ross not gonna respond. But Ross is way
more capable of what motherfucker's given credit for us as
a hip hop head.

Speaker 3 (01:12:38):
Why why would he just drake in that game? Why
he don't feel it's significant enough?

Speaker 2 (01:12:45):
No, I think that he just with everything going on
with with with Ka, he just he added on to
that like he was like, Oh, we're finally going at this, dude.
Let's go at this dude. Because I think they've always
had they little you know, stuff back and forth, and
I don't know these things personally, I've always I just
heard the stories about how you know, Drake get down
and how he'll double cross people what they like. He'll
high at you like he'll come and meet through a

(01:13:07):
nice to meet you, a legend O G, you know whatever,
and then you take a picture, Oh this is my wife,
and he take a picture, and then you know he'll
d M your wife type ship, Like that's the type
ship I've heard about him. I don't I can't verify.

Speaker 4 (01:13:17):
That he's a playboy nigga.

Speaker 2 (01:13:22):
I don't know if he slapped him or not. But
I'm just saying I've heard that that's how he get down,
that's how he moved.

Speaker 1 (01:13:28):
Being politically correctcause you I don't know that well, I
don't know.

Speaker 2 (01:13:32):
So why do you think Ross won't go back at Game.
I don't think he. I don't think he looks at
it as not. He think he's scared of a street fight.

Speaker 1 (01:13:41):
I don't think it's a street fight. You know what, though,
I don't think my nigga Game will will he will.

Speaker 2 (01:13:46):
He will.

Speaker 4 (01:13:47):
He will want to fade. Like you said, he will fight.

Speaker 2 (01:13:50):
You and rap you. He'll do either or he cool cool.
Why do you think Game?

Speaker 3 (01:13:55):
I mean Ross won't take that that that line that
game and tossed in the lake.

Speaker 2 (01:14:02):
I don't think he tripping like that.

Speaker 1 (01:14:03):
But you gotta remember Ross went again fifty when fifty
was in his prime and survived just with sheer music.

Speaker 3 (01:14:10):
What you call that a pick and choose battle, like
you know Nigga's pick and choose who they fight. I
fight this nigga, but I ain't gonna fight this nigga,
of course.

Speaker 1 (01:14:18):
You know what I have found to be odd though,
And again I don't know they do it because I
don't want the mother for getting mad at making no
song about me shit, you know, But I just find
it odd man, that Games one of That's biggest supporters.
You know, that was on a lot of Games albums

(01:14:38):
early on. You know, the game was popping, you know
what I mean. I just found it odd that it's
like he went at one of Ross's that you know,
Drake's detractors. He didn't get in the middle of it.
Don't you think it was kind of weird he didn't.
He didn't get a mellow up that, you know, like
him going at Ross. What you mean, just out the

(01:14:58):
blue like for notugh of no reason.

Speaker 2 (01:15:00):
Oh, I think it's just in the spirit of him.
He you gotta you gotta remember Game is an mc bro. Yeah,
he is for ship but White Ross though, because Ross
is a Rosses in the middle of that stuff. And
he's like, oh well this is over now tag me in.
Let's I want to get cracking with homie.

Speaker 3 (01:15:16):
But like you said, a lot of people, just like
you said, he nigga. I'm looking for any nigga who
want to give him up or sparing with as far.

Speaker 2 (01:15:24):
As he might rap. Bro, he willing to rap against
whoever he want to rap, fade with whoever. He don't
care who it is. He just want to rap fade
and that I really don't think it's personal. I think
he said it actually when he was when I seen
him on an interview, he actually said He's like, Bro,
I'm not trying to beat up beat up nobody. I
don't want to fight. I don't want nobody this rap.

(01:15:44):
He's like, I want to rap. I think he just
really want to. I ain't man that he just I
guess he just shot and shut then.

Speaker 4 (01:15:50):
Yeah, he just shut.

Speaker 1 (01:15:53):
It.

Speaker 2 (01:15:53):
Mean, like I said, is.

Speaker 3 (01:15:56):
Unfortunately, you know, there's no rules in hip hop. I mean,
there's no there's no code to follow or whatever, like
I mean, it's it's just, it is what it is.

Speaker 4 (01:16:08):
You could do business with a nigga. That's just in
the regular world.

Speaker 3 (01:16:11):
You do business with a nigga today and everything is
all good six months from now. You like nigga, I
don't never fuck with you again. You get me, It's real,
it's just business. You get me. What you think about
quest Love saying that the Tupacc hit him up.

Speaker 2 (01:16:27):
He said it. You know, I saw, I saw a
quest said. I've seen I seen when he wrote and
then also watchington. I also watched the video what he
said to read to respond to what everybody was saying
to him. And I understand where he's coming from. But
I don't think that. I think it's a I think
it's kind of an archaic way to look at things.
And you have nuanced once you age. Y'all haven't been

(01:16:48):
through a lot of shit in this in hip hop.
You know what I'm saying. You just talked about your
whole thing with that. That's that for us. I was legendary,
you know, I was a kid like I don't you
know what I'm saying, Like, that's what I'm say the stuff, yo,
the stuff you was saying, the stuff y'all was saying
on records that was real to us. We didn't even
know that. It was like you was embellishing or you
was exaggerating. We didn't know. Like I'm thinking, like, oh,

(01:17:11):
it's really up, Like, oh, they see each other, they finish,
kill each other, you know what I'm saying. And then
and then hold on and then like when it comes
to the other side of it, as being elder Statesman
and OG's you still have to have perspective and know
like if Ad is sitting down talking to somebody, and
he talking to this person from this set, this hood

(01:17:32):
and this person from this hood, and and they low
key and a rap beef, but it's starting to translate
into some street ship. He can speak to them because
he been through that before. It'd be like, hey, bro,
I know y'all, y'all finna do y'all thing. Let me
just give you this game. I think that's the proper
way to approach it from an OG's perspective, and just saying,
y'all stoopid motherfuckers, you know you dumb. Not that quest

(01:17:53):
said that, but that's the that's the energy that they
were receiving it, like when Bill cosbying Oprah Winfrey with
go against hip hop or pull up your pants and
stuff like that. Yeah, that's cool, but you were once
young yourself, right, And so if you were once young
and you are authentically of the culture, then you should
be able to relate to where they at in their

(01:18:14):
life and be able to translate that and be like, hey, bro,
I know that you want to go get your get back. Bro,
let me show you how to do it in a
different way as opposed to just going on a public
platform and you know, bashing how they doing it. I
don't think that's an effective way to communicate, you know, respectfully.

Speaker 1 (01:18:30):
You know what though, too, We are in the era
man and where people don't really listen to what people say, right,
they'd take a small portion of what you say it's
all clips and lead with that and say, well, man
eight went on there and dismantle them.

Speaker 2 (01:18:44):
You know what I'm saying.

Speaker 1 (01:18:46):
It's like they kind of twist your words up. I
think what he was saying, and I kind of like,
once I looked at it, I kind of had to
agree with him a little bit. It wasn't he was
saying the track was kind of R and B ish.
You feel what I'm saying. He didn't say nothing derogatory
about the music. He could say he thought the track
was soft.

Speaker 2 (01:19:03):
No, no, no, I know that, but I'm not talking about that.
I'm talking I know what he said. I'm not I'm
not saying that he bashed young young people or hip hop.
I'm saying that's what they got from it. That's what
they received from it, right exactly. They didn't hear. He
was just talking about the music. He a request Love
is a real musicians and shit like he really is
a genius for real, so he understands, Like I just

(01:19:24):
don't understand. Why would you dis somebody with a R
and B record, you know underneath that or whatever, you know,
whatever the case may be. What he said, I understand
that how people received it though it's old. It's this
old dude hating.

Speaker 4 (01:19:37):
On the way you all washed.

Speaker 2 (01:19:39):
So what I'm saying is I'm learning this too. I
don't go in the studio and say this record trash
no more. I don't even volunteer my opinion. I wait
for somebody to ask me my opinion, and then I
give you my opinion. But that's something I had to
learn as I've gotten older. And that's all I'm saying.
I understand. I know what he was saying. He was
just like, bro, why would you put this? Why would
you make that kind of record over this music like this?

(01:20:02):
There's records for.

Speaker 4 (01:20:03):
That, right.

Speaker 2 (01:20:04):
I get what he's saying, because he's a real musician.
He really like is for real? You know what I mean?
Quits Love's next level. Yeah, he's a real musician. I
get what he's saying. That's not what people took though,
And that's what I'm saying. The message gets misconstrued when
you don't say it properly, or when you don't say
it in a way that people receive it.

Speaker 3 (01:20:20):
Yeah, because sometimes it's just the fact that some of
these people, in this newer generation of that we have,
you have to really dumb down shit for them to
all the shit. Because you could say a word to
a motherfucker they looking like what and it's just as

(01:20:40):
simple as plain as day.

Speaker 2 (01:20:42):
But are.

Speaker 3 (01:20:46):
Our youth sometimes, you know, don't want to be educated
to the simple fact of shit, you know. And like
I tell someone, I say it all the time. I
was once eighteen nineteen, I once had that head of nigga.

Speaker 2 (01:21:01):
You old as monthful.

Speaker 3 (01:21:02):
You can't tell me nothing, not that I did that
towards any of my OG's or anybody that I respected before.

Speaker 2 (01:21:11):
Me as far as hip hop is concerned.

Speaker 3 (01:21:14):
I never told a motherfuck, but I had that mind
state of nigga. I'm young, nineteen, got a record nigga
from the hood. You can't tell me a motherfucking.

Speaker 2 (01:21:25):
I agree with you. That's just the youthful you bris,
you know, I think, But I also think to what
you just said.

Speaker 3 (01:21:32):
You think you know it all definitely until you don't,
until you know you don't, or you mature enough to know.

Speaker 2 (01:21:39):
Damn.

Speaker 3 (01:21:39):
I thought I knew a gang of shit, and I
really don't know a lot. So you start being able
to accept and starting to be able to appreciate, being
able to get mature and learn the right shit, like
I said, because those critical years man for some.

Speaker 4 (01:21:57):
For us youth, it.

Speaker 2 (01:21:59):
Just be hard.

Speaker 3 (01:22:00):
Niggas just be hard headed. I mean that's all. We
just be hard headed, especially if you come from the
sides that we've come from. We be a little hard
headed until we can mature enough to be like, you
know something, it is what it is? You know what
I'm saying, i'm'a give it to you raw and none cut,
and I'm not trying to disrespect you or whatever. But
the knowledge that I've learned by now that I gotta

(01:22:22):
be able to talk to you straight up, you know
what I'm saying. So sure that only comes with maturity.

Speaker 2 (01:22:28):
Yeah. I think as you get older, man, you just
have less time for the bullshit until motherfucker's what it is.
I'm with that. I I don't. I'm with that one.
Less time for it?

Speaker 3 (01:22:39):
Yeah, sing that song and dance and the sugar coat shit.
It's just really a lot of wasted time, man's time,
real talk.

Speaker 2 (01:22:46):
Waste the time, man. Well we about to se what
do y'all.

Speaker 1 (01:22:50):
Say, the perception that there's a West Coast bias that
we support everybody from the West even if there's tight
and does that say thing apply to me?

Speaker 2 (01:23:01):
I want to want to recapt it, say the question again.

Speaker 1 (01:23:04):
Yeah, I want to say. Use you know when you
come in like that, Brian, you just sound like a
nigga on the podcast Out of Nowhere. Well, I don't
be question he said, is there a bias because niggas
feel like we support everything even if it's trash on

(01:23:28):
the West Coast as far as to on the East Coast.

Speaker 2 (01:23:31):
I'm I'm gonna say, but I'm so there's nuanced to it, though,
And I don't want to get into a science class
or a social studies class. But there's a reason why
things are set up the way they are. And that's
a great question, by the way. But for the people
who listen to this show when it comes to West
Coast from a music standpoint, it's not just music, it's culture.

(01:23:52):
We are in Mexico, it is what it is. This
land was stolen from Mexicans. That's a fact. Go back
and do your Google's right. So when you start, when
you start to when you start to look at old
West Coast music, don't get we support everybody else Los Angeles.
This is not I'm not making these numbers up because
I was in broad I'm in broadcasting Los Angeles specifically.

(01:24:13):
I'm gonna go La County, San Fernando, Orange County, and
San Bernard and Riverside County. Eighty percent Mexican, eighty percent Latino.
Those are real numbers, seven percent black. So when you're
making music, you're not making music for the homies in
your neighborhood. You're not making music for people who even
look like you. You're making music for what's for what's urban

(01:24:36):
to us. Urban to us is not black because we
make up seven percent of the entire black population that
consumes music and media in this market, right, seven percent.
That's infants to senior citizens and everybody in between. But
then geographically, for people who want to visualize it, or
go look at your Google maps and y'all could picture
this in your mind because you're from here. If you
go Dackwaller Beach and you go east to the seventeen freeway,

(01:24:59):
picture that. Then you go to the ten Freeway, and
then you go south to the to the South Bay
to Torrence. That's where all the black people is. And
writing down the little box tell me I'm lying, no, yeah, right, yeah, okay.
So that being said, LA is way bigger than that box.
I just like La County and everything I just named

(01:25:20):
is way bigger than that box. So when you think
about just driving down Wilmington, you'll go through two hundred
hoods mm hmm in real life, Like you gee, what
I'm saying going down Central Like it's just so these
things I'm trying to explain to people about the stigma
of West Coast music or LA music specific California. Our

(01:25:41):
demographic is so skewed and specific that it's more white
people and Asians and Mexicans than us. So when you
make a song, it not only has to be relatable
to Black people, but it has to be relatable to Latinos,
it has to be relatable to Asians and white people.
And then you have the difficulty of going across the
country to the other side, so you're not just a

(01:26:03):
regional act, and then your music has to be translatable
to black people in the South who don't have the
same experience as we do. There are two, No, they
just added one. There are three. There's some more game
for y'all. There are three urban radio stations on this
side of the Mississippi River. Three urban meaning, I mean
you're looking to how the way stuff music is formatted.

(01:26:25):
There's rhythm rhythmic, which still just brought up, and there's
urban and there's top forty chr formats. Right, So from
a demographic standpoint, the reason why television and radio are
great barometers is because they do real metrics based on
the census and stuff like that. So when Black people
get them in forms in the mal you don't fill
them out, or you don't vote, or the census they

(01:26:45):
come in, they come every year or every couple of
years to your house, and you don't fill that out.
That means that now you don't count when they doing
them numbers, when they passing out them programs, when they're
doing when they doing them zip codes. And I'm sorry
when schools get their funding based on the zip codes
and stuff like that. Or media standpoint, when it comes
to music, you make your song. There are three stations

(01:27:05):
on this side of the Mississippi River that cater to
black people. Three radio stations total. Okay, So if you
go Texas and you go straight up the middle and
you divide the United States in half, just look at
it like basketball conferences. You got the Western Conference and
you got the Eastern Conference. Right, It's crazy that Cleveland
is in the Western Conference because that's the Midwest exact. Okay,

(01:27:27):
So if you look at it from a basketball standpoint,
I'll give you another piece. The Mississippi River divides the
United States in half. When it comes to broadcasting, everything
east of the Mississippi River is our w stations, w
k R, z WP like they're all W every W
up N. Everything west of the Mississippi River are K stations,

(01:27:49):
K T e L A kPr kt L. I went
to school for this ship for radio. So look so
and then if you go in San Diego and you
see stations like Z ninety, the reason why it's a
Z is because their actual broadcast antenna is not in
the United States. It's in Mexico. That's why when you
go north to like you ride that Canada border, or

(01:28:11):
you go south and you ride that Mexico border. If
a station begins with Z, that means that they antenna
that they broadcast on is actually over the border and
it just come over here because it's cheaper, and you
know whatever the case may be. Long story short, every
case station, with the exception of three radio stations are
rhythmic stations. Rhythm. They cater to up tempo party Latino girls.

(01:28:33):
That's it. So when you and then so then the
urban stations music, it's not fast, it's just it's tempo music.
So when you're talking about urban music. NBA young Boy.
You ever heard the NBA Young Boy song on the
radio in La No, you won't hear that. You don't
really see GZ young Boy. You don't see Boosy Webber.

(01:28:55):
You don't see none of them dudes out here doing
shows like that. They make urban music. They make music
for black people. There's not enough black people to sustain
the ecosystem. If you did a show, whether it was
in nineties or today, and it was all black people,
it wouldn't sell out right or on true. Okay, that
being said, we don't have an ecosystem to sustain from
a music standpoint. So when you start to go in

(01:29:18):
across the country and you translate your music to the
other side. There are six urban radio stations just in Atlanta.
There are six radio stations that cater just to hip
hop just in Atlanta. There's one urban radio station in California.
So think about that, right, So there's one urb and
that's because of Doc Winner, and shout out to him.

(01:29:38):
He always wanted to empower, you know, the black person
or the black people who have a stake in the culture.
So we controlled the culture. We don't dictate the metrics
of it. We set the cools, but we don't control
the money. We don't control the numbers. YG sold out
the form I was there. If it was only black
people wouldn't have sold out, definitely, you know what I'm saying.

(01:29:58):
But you can do. They have a Chiplin circuit in
the South webby boozygz Ross. They all do the chilling
circuit out there. They go thirty thousand a night, they
go from club to club, it be twenty five hundred.
So then hold on. Look. So then when you start
looking at the music to your times. It's a long explanation.
That's why I said it's deeper. But the long explanation
is when you look at the music, the music has

(01:30:19):
to line up so perfectly culturally, sonically, the tempo, the samples,
the everything has to line up so perfectly at one
time in order for it to translate. That that's why
we get that bias. That's why it's like if any song,
any song that's ninety five to one hundred and five bpm,
everybody assumed, oh, that's West Coast, that's a West Coast sound.

(01:30:39):
I heard Officer say that when he went on the radio,
and he was like, oh, Rick Flair drip, that's a
West Coast sound. To beat every song that one hundred
bpm is not a West Coast song. I'm a DJ
by Tray, I mean d Jensen's Forever right. So if
you got Blow the Whistle Too Short, that's one hundred bpm.
Rihanna with Drake What's My Name? Oh Na Na, that's
one hundred bpm. You got Drake Passion Fruit, the disco

(01:31:04):
song that he did, that's one hundred bpm. You got
Lil John Get out of your Mind the techno get
out of Here. That's one hundred bpm. I just gave
you four songs that's one hundred bpm. So I hate
that bias when people say, oh, that's a West Coast
song because it's because it got tempo and it's moving. No,
that's not true. It's just that you people don't understand
and and and they shrunk the dance floor and got

(01:31:26):
rid of the dance floor and created sections to sell
more bottles. It's like a whole cultural overhaul that went
that we went through from a music standpoint, that made
things of what they are now. That's kind of like people.

Speaker 3 (01:31:36):
Don't dance in the club no more man, And honestly,
I don't think that.

Speaker 4 (01:31:42):
Honestly, I think.

Speaker 3 (01:31:43):
We're the one motherfucking coast that don't really support their artists.

Speaker 4 (01:31:48):
As much as they should.

Speaker 2 (01:31:49):
Well, that's what I was about to say.

Speaker 3 (01:31:51):
I think, I think, I think, I think down South
and East Coast support which still are like they just
don't support us here. Who is day though, I'm talking
about people period are.

Speaker 2 (01:32:09):
Look at look at also too from not and I'm
not I'm not copying. I'm not caping for these for
any infrastructure or any people. But LA is also the
number two market in the country. So this is another stigma, right,
So the top five media markets in the country. Number
one is New York. This is per capita based on
population and people who consume media and music and stuff

(01:32:29):
like that. Number one is New York, Number two is LA,
Number three is Chicago, number four is Dallas, and number
five is the Bay. That's those are the top five
media markets in the country, right. So that's why if
you get a song going in the Bay in LA
and it becomes huge, you got the biggest, biggest movement
going because two of the top five markets are in
California right now. Now, the other part about that is

(01:32:54):
when it comes to support in theory, you're right, but
this being the number two market in the country, the
majority people who consume media here aren't from here. This
is number one transplant city in the United States. There
is a number one transplant city in the United States
of America. So not to say not to take away
from New York, because New York is the number one
market based on population, but out here, this is where

(01:33:15):
everybody comes, actors, actresses, publicists, music artists, entertainers, dancers, songwriters, showrunners,
people who write TV, people who already this is the
number one transplant place to come. So it's not that
we don't support our people, it's not really enough of
us in position and the infrastructure to move the needle.

Speaker 1 (01:33:36):
Well, what I was going to say was this when
we was down South, ain't getting way more love down
here than me get out here. And it sounds crazy
as it sounds. So we at this spot. It's a
girl from South Carolina that come up to him rapping
his shit word for word. I just thinking, I think

(01:33:56):
the thing about la is La is just too cool too.
Everybody out here is a actor. Everybody out here is
a actors. Everybody out here as a rapper. Every one
you meet is a DJ. This is the me too
state for real. You feel what I'm saying, Oh you
do that?

Speaker 2 (01:34:12):
Me too. I do that too. Yeah. I actually went
went to a party BT weekend. It was more people
in the VIP line and it wasn't the regular line.

Speaker 1 (01:34:19):
That's what I'm saying. It's like, Nope, like your addicts,
nobody wants to be regular.

Speaker 2 (01:34:24):
You could have got in faster by going in general
mession and get in in the VP line. That was
a true story, but it was. But that's what it is.
And I think the Me and Glasses talked about this.
The one mistake I think a lot of us made,
which I'm not making that mistake anymore, is running away
from Hollywood. That's what this place is. So when you
when you when you shun it and go against it,

(01:34:46):
it's more like now you're putting yourself on the outside
of the business instead of just using it for what
it is. What it's there for. Right, Hollywood has become
a negative connotation. Oh you in Hollywood. Well no, I'm
actually going Westwood or Brentwood, to be honest with you.

Speaker 1 (01:35:00):
But yeah, here we around be here all night man.
Yeah for sure, we missed around be here all night man.

Speaker 2 (01:35:08):
I appreciate you coming down to sit with us. Man.
What night This homegrown radio come on, what day? We
don't have a specially to day. We just drop episodes.
But I do have another Shoulders coming probably for the
next two weeks. That's I'm gonna be announcing it. Just
keep it locking my stay on my socials.

Speaker 1 (01:35:28):
Yeah, whish wish your Instagram, man, I don't just assume
everybody know who the hell you is.

Speaker 2 (01:35:32):
At dj H E D on everything at dj H
E D djhead dot com. Check it out.

Speaker 1 (01:35:37):
And on that note, we go holler at show next week.
Do me your favorite though, Hit that subscribe button, hit
that light button, leave a comment, whatever, you know what
I'm saying.

Speaker 2 (01:35:47):
Yeh, another thing, Come on, I was looking at

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