DJ Mr. Mixx: 2 Live Crew Lost Millions Due To Bad Business

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
But all right, job.

Speaker 2 (00:03):
All across the USC Compton, Watts Bay to LA. Come
on to California day from Rowley the Valley. We represent
that Keller County. So if you're keeping it real on
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Chronicles Chronic Goals.

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We gonna tell you how we goals. If I lie,
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This is not your average shows.

Speaker 2 (00:33):
You're now tuned into the rail mc ain't Big Steals
the streets.

Speaker 3 (00:39):
Hello, we welcome to the Gainst the Chronicles podcast, the
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(01:02):
to another episode of the Gainst the Chronicles podcast. It's
your boy Big Steal along.

Speaker 1 (01:06):
With ye.

Speaker 4 (01:08):
You know we had the building people, wake y'all glasses up.

Speaker 1 (01:13):
Yeah, there we go, there we go.

Speaker 3 (01:15):
Also, we have the Patreon page Against the Chronicles Patreon
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Yeah, because we tied to the censorship ship.

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(02:02):
up today. You know, speaking of controversy, we had one
of my good friends in the building the night, David
Mister Mixed Hobbs from the Infamous to Live Crew.

Speaker 1 (02:13):
What's happening Hobbs so brought up how you doing? I'm
just so are you what's happening with it?

Speaker 5 (02:22):
Man? Hey, I'm on this side of the grass and
not the other side of the grass.

Speaker 3 (02:28):
I'm good for sure. I'll see you out there working.
You just came back from Germany and London and all
that good stuff.

Speaker 1 (02:34):
Yeah, yeah, yeah, it was very cool.

Speaker 5 (02:38):
I mean, you know, I was stationed over there years
ago and in England. Matter of fact, that's kind of
where I got into the hip hop game, not really
knowing that I.

Speaker 1 (02:49):
Was getting into the game. I was.

Speaker 5 (02:52):
I was in the service straight out of high school
and that was my first based location. I went to
England and a lot of DJ's and MC's from New York.
They were coming to London to do a lot of
exhibitions like eighty two, eighty three, eighty four, African Islam,
rock Steady Crew, a couple of other people, and I

(03:15):
would hear about these things that the military.

Speaker 1 (03:20):
One of the events.

Speaker 5 (03:22):
And that's why I seen Africa Islam and I seen
Rock Steady Crew. I was just in the audience. I
wasn't wasn't no, I wasn't in it at all, but
I was, you know, curious about hip hop. Being from
California at that time, nineteen eighty eighty one, you would
hear Grand Master Flash and the Furious Five. But at

(03:44):
that time, nobody knew what the hell or who the
hell Grand Master Flash was because you wasn't hearing those
scratching any of that stuff.

Speaker 1 (03:51):
But you was hearing sugar Hill Gang. You were here,
the Crash Crew, a couple.

Speaker 5 (03:55):
Of other groups, but you didn't really get You wasn't
really getting the so called you know, underground New York
element in all the other places, you know what I mean.
I didn't know shit about it until I got, you know,
to England and a lot of the East Coast guys
was coming over with turn tables and this and that,
and that's what got me into one of the scratch

(04:16):
see in Africa Islam doing it.

Speaker 3 (04:19):
Yeah, for sure, I tell a lot of people because
you know, I used to run around England a lot.
I've been in England probably fifteen times.

Speaker 1 (04:25):
Man.

Speaker 3 (04:27):
England is only four hours away from New York, so
they were kind of around during the early days of
hip hop. They was kind of getting stuff in real time,
you know, versus the rest of Europe.

Speaker 1 (04:38):
You know, so is that where you picked up yess
where you bought your first drum machine in that too? Right? Yeah?

Speaker 5 (04:46):
Matter of fact, you know, like I said, I was
raised in southern California, right outside of LA. I was
raised in Santa Anna, and I wanted to end up.
My parents moved out to Corona. I went to school
out there in Corona. Like I said, I've been.

Speaker 1 (05:05):
In Corona for a long time. What high school you
went to? I went to Corona High School. Okay, I
stayed right off the Surf Club drive.

Speaker 4 (05:15):
Okay, you went to the Panthers man Corona, right right right?

Speaker 1 (05:19):
Yeah?

Speaker 5 (05:19):
Really, I stayed right off off of ninety one, off
of Surface.

Speaker 1 (05:24):
Club where in and out burgers that.

Speaker 4 (05:26):
Okay, I know what surface Club is, where the A
m PM and all of that shit is right there
on the Surface Club. Yeah yeah, yeah, yeah.

Speaker 1 (05:34):
I coached.

Speaker 4 (05:35):
I coached a little league football in Corona for like
shit ten years.

Speaker 1 (05:39):
Man, Corona Charge.

Speaker 3 (05:41):
Yeah they got a serious football team over there.

Speaker 4 (05:45):
Yeah yeah, they got serious football team being big bill
boards used to have over shit, they used to have
over three hundred kids sign up every year to play
for the Corona Charger. So big football program in Corona.
Shout out the city at Corona.

Speaker 1 (06:01):
Man. Wow.

Speaker 5 (06:03):
You know what's funny. I moved out there when I
was in tenth grade. I was in seventy nine. Now,
there was like twenty some thousand people in Corona at
that time, and I was one of the few specs
that was out there. I don't think it was like
fifteen black families in Corona yet at the time, that's
all it was out there.

Speaker 1 (06:22):
Yeah, it definitely was.

Speaker 4 (06:24):
I think I'm i'm I'm moved out there when they
first started developing. But part of it, well, it was
nothing but orange groves out there every year.

Speaker 1 (06:36):
Right next to Coroda High School. Nothing but our broke.

Speaker 4 (06:39):
It was nothing but that whole city was nothing but
orange groves and shit until they started developing and building.

Speaker 1 (06:47):
Yeah. Now it's a lot of brothers out there, a
lot of cats up there. I know a lot of people,
a lot of celebrities out there too. I know Kennergy's
out there for a minute. Yeah, I saw me out
there for a minute. Shit.

Speaker 4 (06:59):
I stayed out there for about eight years.

Speaker 1 (07:02):
Hm hmm.

Speaker 3 (07:03):
That's crazy. So you're in the military and that hip
hop bug Dick You when did you start putting the
group together? How did that come about?

Speaker 5 (07:13):
Well, the funniest thing about it is is that when
I was and I know Ada attested this in l A.
If you wasn't no pop locking nigga, you was nothing.
If you wasn't banging, you was nothing. But it wasn't
really publicized, you know, outside of you know, California, I

(07:33):
mean the whole California scenario. If you didn't know how
to pop or if you wasn't gang banging, you was nothing.

Speaker 1 (07:40):
You was you was invisible. So I wasn't banging, so
I was.

Speaker 5 (07:44):
I wasn't the pop So so what happened?

Speaker 4 (07:50):
I started motherfucking pop locking and ship before I started
banging and ship breakdancing. Breakdancing was real heavy.

Speaker 1 (07:59):
Uh.

Speaker 4 (08:00):
They used to have little contests and talent shows and ship.
Niggas used to have little cruise and ship. We took uh,
we took high to that pop locking and ship. It
was a part of the culture. If you want to say,
you feel.

Speaker 1 (08:15):
Me, but.

Speaker 4 (08:17):
Unfortunately me, I got led to. You know, like you said,
you was either banging or you was breaking. And if
you wasn't banging, you definitely wasn't. You definitely was breaking.
You was wind milling pop locking all that ship. I
couldn't wind mill and ship, so I started banging. Fucking

(08:41):
I could pop good like a motherfucker. But when it
came to nutcrackering and wind milling and all that, the
time of dropping and that ship, I said, Man, fuck
this ship, man, I'm about to start banging for the hood.
Fuck this ship. You know how to pop luck, man,
like a motherfucker man. I used to ender contests and everything.

(09:03):
Me and the home shit. Nigga used to go get
our Fela sweatsuits or Sergio Tacquini's Nigga routine. Nigga be
fucking it up. But shit, Nigga, by time you turn
twelve thirteen, niggas in the hood is serving and nigga,
you got niggas you going to high school with pulling
up in brand new whips and shit. And that's when

(09:25):
Dayton's first started cracking. So nigga, you know that was
the knee sign trucks, the motherfucking h volkswagging bugs plus
seats era.

Speaker 1 (09:36):
Man.

Speaker 4 (09:36):
So niggas was like, man, fuck this pop lock and shit,
ain't no money coming from this shit. You know, you
learned wisely and then you got talk. You know as
a kid man that still didn't that still didn't alienate
you from getting sweated. So nigga, you going to places
riding buses and shit, niggas is pulling up on you,

(10:00):
asking you where the fuck you from. You're an innocent
little kid, like where I'm from, Like you know, so
a lot of that ship was going down around that time,
so you really had to make a decision. And for
for me, you get me ninth or tenth grade. Moms.
We wasn't moving the corona. We were still in the hood.

(10:20):
So nigga, it was time to pick up a heat
and a rag and nigga, you from the set.

Speaker 1 (10:25):
And that's what it was. Fuck niggas was like.

Speaker 4 (10:28):
Fuck that breakdance and ship Cuz you from the hood, nigga,
He go your bandanner, your strap, he go your sack.

Speaker 1 (10:36):
Nigga. Now, nigga like you, like you, like you're private
in the army. You feel me.

Speaker 4 (10:41):
Shit, So that's that's that's the route I had to take, man.
I just you know my gang, I take your motherfucking head. Niggas,
swallow that motherfucking mother to the boat.

Speaker 1 (11:00):
You know.

Speaker 5 (11:01):
The crazy thing about it, right, is that most of
the people in different parts of the country.

Speaker 1 (11:07):
I mean, it's quite obvious.

Speaker 5 (11:09):
In the late seventies early eighties, nobody was really moving around,
flying around. Nobody knew what anybody anywhere else was doing.
It was just your immediate area. That's all that mattered.
Nobody had a clue what was going on in New
York or Philly or this place of that, and didn't
give a fuck off top of that, because you just
felt like I mean, when I went into the service,

(11:31):
I was scots of how many different people it was
from different parts of the country, and they talked different
and they slang it's different, and you know, New York
needed to say, y'all will come to LA and mopped
it up and this and that, and it's just people
wasn't traveling enough to really know how people really got down.
So when, like I said, when I got pation to

(11:54):
England with all of these New York guys and they're
telling me about the breaking and than that, but I
didn't have I'd never seen turntables be used the way
that they was using them, and guys was telling me said, yeah, man,
go stuff here and there. It was it was kind

(12:14):
of a culture shock because when you're just hearing the records,
especially from California, you know, the turntables didn't start happening
until maybe I don't really know when Uncle Jam's Army
started out there. I don't know if it was like
eighty three or eighty four, but I know that it
wasn't happening before I left. I had left like in
early eighty two. I know they wouldn't do no this

(12:36):
shit before that. If they was, they was doing it
in LA and I just didn't have no clue that
that's what they was doing.

Speaker 1 (12:43):
I don't think like eighty.

Speaker 3 (12:45):
Yeah, well you know what, actually Uncle Jam's Army actually,
but it wasn't popping off yet. They started around seventy eight,
but it wouldn't pop and popping until. You know, it
wasn't at the stage that it was when they were
doing this stuff in the what was that they were
doing that stuff?

Speaker 1 (13:01):
Sports arena arena?

Speaker 4 (13:03):
Yeah, I could say, because I think I'm just start
peeping out Uncle Jam's on me until they hit the
you know, kday and Ship and I think that's when
they really.

Speaker 1 (13:16):
Started cracking off.

Speaker 4 (13:18):
Around the motherfucking Egyptian Lover early Ice Tea you know
them days you know record before but that was where
you uh went to uh as the source of getting
your motherfucking hippop was listening to KD and then like

(13:39):
another thing, like, yeah, we we didn't know what the
fuck was going on in other parts of the country
because shit, unless you went to places like, uh, you know,
some families did fucking you know, family reunions and ships
like that, and that was basically the only time we
got to travel as kids. So and then by that time,

(14:02):
you were still naive to shit, you get me. I
didn't see none of the shit I saw as a thirteen, fourteen,
fifteen year old, you know, going back down south of
Mississippi in places like Texas, which I'm sure you know
niggas was active or getting it in, but you was
naive to shit like that. You stayed in your own circle,

(14:23):
so we didn't know what the fuck niggas was. I
didn't start seeing what niggas was getting down like until
I started making records and start going on promo tours
and shit. Then I started going them these niggas out here,
and these niggas out here and niggas over here and shit.
So you know, those family vacations and shit and traveling,

(14:45):
Like I said, they kept you secluded to a lot
of shit.

Speaker 3 (14:49):
Right, Yeah, so you were in there, you met the
other guys that were in the group in the military, right.

Speaker 5 (14:57):
Right, Yeah, when I got to my second law location
when I was in England, just like I said, once
I seen rock steadying them and Islam, I went and
got me some makeshift turntables and a makeshift mixer, and
I had turntables actually in my barracks room. So I'm

(15:17):
in there practicing what it is, and I'm hearing on records.
And you know, once I seen Islam doing what he
was doing, so okay, so one hand is on the
fader and the other hand is on the record. I
didn't have no clue of how they was making the
record scratch and then because basically the scratching is like
if you're scratching your arm, your hand is going back

(15:38):
and forth. That's basically what they're meaning by it, you
know what I'm saying. So I didn't have no clue.
I was just totally green lame about what it was
that you're hearing on these records. But all we had
back in those early days was imagination seeing the whole
bunch of stuff, you know, But when you're hearing it,
and especially in those early record it's you know, it's

(16:01):
funny how grand Master Flass wasn't doing no scratching or
cutting or anything like that on the early stuff. But
we would hear the Birthday Song and the Freedom Song
and what was it Rappers Delight and the Patchy record.
We're not hearing no scratching, but it's quite obvious they
was flull fledged doing that stuff at that time.

Speaker 1 (16:22):
It just wasn't on records at that time.

Speaker 5 (16:24):
And then Malcolm McLaren showed up with the Buffalo Gals
record and the Supreme Team and all of that. Then
you're starting to hear it, but you still ain't seeing
it because there ain't no MTV yet, you ain't there's
no videos, so you're still just hearing stuff, you know
what I mean?

Speaker 1 (16:43):
You did not have no.

Speaker 5 (16:44):
Clue places other than New York and New Jersey and Philadelphia,
nobody else had I know, nobody else had a clue.

Speaker 4 (16:53):
Damn well, we was as far as West coast because
around like you said, around that time of listening to
gro like you said, Grandmaster Flash and then you didn't
hear no scratching on on a fucking sugar heel Rappers
d like you didn't scratching white lines or none of

(17:17):
that type of shit like that. But uh, as far
as us over here on the West Coast, you know,
we pretty much got introduced to the DJ because a
lot of niggas was making mixtapes over here, and so
we had niggas like DJ m Walk. We had a like,

(17:41):
you know, Dre was scratched, like niggas was really scratching
over here. I don't know how that came about, but
I guess niggas got an early whimps of niggas DJ
because you know Dre and them, he, you know he,
That's how they got that. Those dudes from New York.

(18:01):
You know what I'm saying, they first artists. They picked
up niggas from New York. So they was all about
knowing about scratching and ship and I think we got
like you said with Malcolm mclar with the Hobo scratch,
and then over here, you know, Dre and them were scratching.
Yellow was scratching. So even with the Wrecking Crew, Drey

(18:24):
had singles. Drey had a single called Surgery. We had
a whole record. You remember Surgery. Man. Back to the States,
I was.

Speaker 1 (18:36):
Killer.

Speaker 4 (18:36):
You're talking about a nigga who was scratching his ass
off and so about around that time you start hearing
uh my nigga like you and uh Mixed Master Ice
and like niggas who could really get down on the
turntables and ship, and then we started seeing that was
very significant. Like you had you had to expose the

(18:57):
DJ and and give him some props because ship most
of the time there was the break downs in records.
When they first started. Niggas wasn't doing hooks. Niggas was
scratching on they that's what we did. You feel me
right exactly.

Speaker 5 (19:14):
When I when I first got turned onto Compton's Most Wanted,
y'all woke me up out of my sleep with the
video y'all had because y'all had the Yellow Man ship
going through the record man. Oh yeah, yeah, I think
I'm tripping said man out the hell Yellow Man on
my TV at three in the morning.

Speaker 1 (19:33):
And then I'm looking at I'm saying, you know about
the cop and killing. I said, okay, well, yeah, were
different with our music. Man.

Speaker 4 (19:44):
Like I said, I always tell people Slip was our producer,
and Slip Man he he would find records, you know,
So we had we had different sounds and ship that
you would probably typically use as a as a West
Coast rap group, you know what I'm saying.

Speaker 1 (20:03):
N was pretty different. Uh so, yeah, that was all right.

Speaker 4 (20:08):
That was our introduction that Yellow Man at one time
got for them.

Speaker 1 (20:12):
Nth right, my man doing about a hunting you see.
And the other thing about it.

Speaker 5 (20:21):
The other thing about it, though, eight, is that before
you showed up, nobody, you know, whether it was dre
or Cubanam, nobody really talked had the La accent on
their records. You're like the first one Ice team. None
of them they really you know your voice. I know

(20:42):
it because I'm from the area, but other people wouldn't
know it if they don't know what it is, if
you ain't a Calfornia wouldn't know exactly.

Speaker 3 (20:54):
I think a lot of people back then was kind
of emulating what was going on in New York. They
definitely did. C MW came out. Eight definitely was you
could tell like this dude.

Speaker 1 (21:04):
Is from Compton. Yeah, everybody else is kind of New Yorkers.

Speaker 4 (21:11):
Yeah, we tried to be distinctive with it, you know,
like you said, we didn't want to get you know,
easy and then was already popular as a motherfucker, and
we we wanted to have our own identity from n
w A.

Speaker 1 (21:26):
Uh.

Speaker 4 (21:26):
So we just tried to make our ship different as
far as what we spoke about, uh, the delivery, how
we wrapped on records. You know, a lot of that
ship was up tempo, a lot of our ship was
slowed down and mellow. So we wanted to basically separate ourselves,
not just saying that we weren't influenced the ship, because

(21:48):
we was, but you know, you gotta you gotta, uh,
you gotta separate yourself from ship, you know when it's
a lot of it going around. So and that's just
what we did.

Speaker 1 (21:59):
Man.

Speaker 4 (21:59):
We came from a different part of town. Our gang
banging and the way we came up, you know, might
have been different than what a lot of other niggas
was doing. Even though we was off from the city
of Compton. Everybody structured themselves differently, you know what I'm saying.
So that's just what we did. Being Compton's most wanted

(22:22):
we wanted to We just wanted to stay, you know,
neighborhood with it, sinister with it, and let people not
forget what really we was going through because it really
wasn't about making rap records and being fun and having fun.
We was trying to tell niggas like, it's heated out here,
Compton is cracking, it's a war zone, and it's all

(22:46):
kinds of situations, poverty, police brutality. Niggas can't get ahead,
you know what I'm saying. A lot of niggas is
uneducated and shit like that. So we just wanted to
put that story out there. You know what I'm saying,
right for sure, It's just funny. It's just funny when
you when you hear it, Like.

Speaker 5 (23:06):
I said, I'm in Miami, when I heard y'all stuff
for the first time in Miami is a whole another animal.
It's just totally different than Los Angeles or New York
as far as the black side of the city is concerned.
It's more Caribbean, you know. So if you out of
haste to make in the Puerto Rican or Cuban or

(23:29):
Dominican or whatever. It was almost like when I got
out there, it was like a culture shot. It was
way different than what California was like to me. It
was almost like ass backwards, but they had their own
flavor and style of what it was that they were doing.
But it was definitely different and it was no rappers
out there. When we actually got to Miami, and I,

(23:51):
you know, back to what you were saying, still kind
of kind of trailed off a little bit. I met
the other guys when I was when I got to
my second base location, which was March Air Force Base
in Riverside.

Speaker 1 (24:04):
And that's why Chris Warm he was.

Speaker 5 (24:10):
Uh yeah, more Valley, right right off of Alessandro, So
I met him. We both worked at the at the hospital.
I worked in the dining hall and Chris worked in
outpating records, so he would always, you know, I would
be working the grill, flipping burgers and all of that.

(24:32):
And we stayed in the same dorm set up. But
like I said, word was getting around the base that
there's some guy in there scratching and got turntables in
the dorm room and all this other stuff. So that's
how I met him. He came and came through the
line and asked me about you know, you see, yeah,

(24:52):
I heard you got turntables in your room.

Speaker 1 (24:55):
And you know, I'm from New York.

Speaker 5 (24:57):
I'm from Brooklyn, blah blah blah, you know, and I
was doing some stuff at my other other base in Illinois.
So you know, we just started hanging out from that standpoint,
just crazy, just crazy stuff that you would never think,
you know, how people, you know, how you meet people.

Speaker 1 (25:17):
It was just weird. I mean, it.

Speaker 5 (25:18):
Wasn't weird, but it was just back in those days,
you just didn't know what you was gonna run across,
or who you was gonna meet, or this or that,
or who you were falling favor with, you know what
I mean.

Speaker 1 (25:28):
And that's definitely what that was.

Speaker 3 (25:31):
So you met Chris Warong first. Now Marquis rest in peach.
You know, I want to say, rest in peace, Marquise.
He recently just passed away. But Marquise wasn't in the military, wasn't, no, no,
he was. He was still in high school. But we
would see him at little parties in Riverside. There was
some cats, a guy named Spanky D and Funk Machine.

Speaker 5 (25:52):
They were doing parties out in Riverside and we would
come from off the base to go to the little
events and Mark East is out there and Rodney Old
was out there. But they was also lightweight affiliated with
Egyptian Lever because they would come out to the skating
rink out there and in Riverside and do parties. So
that's how we all kind of met. And and I've

(26:15):
seen you know, Mark cuts somebody up, you know, wrapping.

Speaker 1 (26:18):
It was some some cat. And you know, like I said.

Speaker 5 (26:22):
I don't even really know how we met met, but
you know, were just out at different places, you know,
And I wasn't really djaying outside of the base. I
wasn't really DJing nowhere. I would just see, like I said,
Egyptian Lover and these other cats. They was doing stuff.
And back in them days, you know, nobody was letting
you get on they turntables.

Speaker 1 (26:41):
They thought you was crazy. They figured.

Speaker 3 (26:49):
Yeah, man, so it was you met Chris Wan. And
then there was another guy.

Speaker 1 (26:57):
In the group.

Speaker 5 (26:58):
Yeah, yeah, amazing if he was enough person that was
in the military. He was from New York also, and
uh he he was a little more versed in hip
hop stuff.

Speaker 1 (27:10):
He was.

Speaker 5 (27:10):
He said that they was doing little DJ stuff before
he came into the military.

Speaker 1 (27:15):
He knew how to scratch and all of that little stuff.

Speaker 5 (27:19):
Not not super duper scratching, but he he was familiar
with you know, DJ equipment, so he we, uh, well,
we ended up doing We were just listening to all
of the hip hop from eighty four to eighty five
people that was coming out with records, which was you
know Man Tronics, uh you know, run DMC, Fat Boys,

(27:43):
and there was a gang of underground accident most people
don't know exist, but they would have records out on
Profile Records. They have records out on Tommy Boy had
records out on Prelude and sugar Hill and different things.
So we're listening to the records and I'm constantly in
the practice, and I'm trying to get you know, doubles
of every.

Speaker 1 (28:03):
Record so I can scratch and this and that. So
one day.

Speaker 5 (28:08):
Some people turned me on to this record pool in
LA called Impact Record Pool. Foot had the Yeah, yeah,
was you know running the running the record pool. So
we would ride out to LA all the time to
get our records. And then, you know, so you know,

(28:31):
niggas really feeling like they special because now now I'm
actually getting records, like I'm really in the music business.
You know, you got the records before everybody else, and
they're kind of free because you're only paying like fifty
dollars a month for the you know, for the record abilities,
but we're getting you know, boxes and boxes of records.

(28:52):
It was so funny back in those days, man, it
was like the records that you knew about are the
major labels with it? Once that and all of the
independent record companies with records you never heard of? Was
it another stack? That stack never made it to the
turn table, which is terrible because it probably could have
been some good stuff for.

Speaker 1 (29:11):
That, but you just never se bias shit.

Speaker 4 (29:18):
We was, we we wanted, we wanted what we wanted,
We knew what was the hot shit out. So yeah,
that's like a nigga. That's like a nigga giving you
a well known CD. Buy a nigga, you know, and
then a nigga's selling his motherfucking tape in front of
sevent eleven.

Speaker 1 (29:33):
You're gonna be.

Speaker 4 (29:34):
Like, man, shit, as soon as the nigga had you got, motherfucker,
it's out the window somewhere, you feel me. And the
bad thing about it is some of the niggas probably
was potential future artists, you know what I'm saying.

Speaker 1 (29:49):
That was just the bias shit you had.

Speaker 4 (29:51):
You give me, like nigga, I ain't never heard of
this nigga before, nigga pushing this ship like nigga, you.

Speaker 1 (29:57):
Probably give me sack of bad dough right here.

Speaker 4 (29:59):
So let me get rid of this shit right way
as quick as it had a digger hand.

Speaker 1 (30:04):
To tell you.

Speaker 4 (30:05):
You give it the digga, ship the Frisbee test on
the highway, and ship.

Speaker 1 (30:13):
All that shit on Frisbee and that motherfucker out the window.

Speaker 4 (30:17):
You ain't never gave nobody the Frisbee test still, man.

Speaker 1 (30:21):
A whole bunch of times.

Speaker 3 (30:22):
Man, you get some stuff, man, But you know what, though,
it depends on their presentation too.

Speaker 1 (30:28):
There's been a few cats.

Speaker 3 (30:29):
That I met man that actually wound up coming like
That's how I met Glasses, okay, and we didn't know
who he was, but he had this confidence about hisself.
I said, Man, this dude mighte mess wrong. Let me
check his stuff out. He at least got the dash
test and I heard it, and his voice was the
first thing that caught me. I said, you know what

(30:50):
you like? You can tell somebody a little green but
they got talent right because it's song structure wasn't really cool,
but you could tell he could rap. He was a
natural that rapping feel what I'm saying. And so I
was like this, and so I started kind of linking
up with him. From then I gave him my number
because I listened to him right in front of him,
and I say, here, man, take my number down, bro,
And I got this number, and we've been kind of

(31:11):
rolling ever since.

Speaker 1 (31:12):
Then.

Speaker 3 (31:14):
I want to ask you this, So was Vince out
there in Riverside with y'all too, Vince Amazing.

Speaker 5 (31:22):
V amazing v Uri. Yeah, the name of Juri. Black
person got a Russian name. I've never understand that, y'all
would have never thought that. I just figured it was
Vince amazing v him out there right.

Speaker 4 (31:39):
It's crazy, though, that you know a lot of motherfuckers
who don't know symbolize y'all with Miami, and to know
that damn all of y'all meant in La you feel
me like that. Shit is crazy as fun because I
didn't even know that when I first started listening.

Speaker 1 (32:00):
In the y'all around y'all era, the shy d era.

Speaker 4 (32:04):
You know, I'm like, these niggas all from Miami, and shit,
I would have never known in a million years that
niggas was right in Riverside in Mobile when they all
hooked up.

Speaker 1 (32:16):
Right right right for sure. You know.

Speaker 5 (32:19):
The whole way that we got to Miami is like
some needle in the haystack situation with when we were listening,
like I said, the hip hop records and I'm practicing
and this and that. He said, man, you know what,
let's try to go into the studio and see if
we can emulate what it is that we're hearing on

(32:39):
these records. Let's see if we could make it happen.
Let's see if we could try to you know, we
have some money, you know, you know, being in the military.
You know, that's one thing about the military. Everybody feels like,
you know, I you know, nigga ain't shouldn't be in
the military. Niggas should be in the military because you're
getting a vocational skill that you would never be able
to get it. But you just have to go on

(33:01):
the Air Force or the Navy. Don't go into the
army or the Marines though them the motherfuckers that go
to war and get shot up.

Speaker 4 (33:13):
You thinking you there get some money and the education.
Next thing you know, they put your somewhere shooting that niggas,
you ain't never met your life over some motherfucking foreign
policy board ship.

Speaker 5 (33:30):
So so, uh, we we have went in into a
recording studio. Matter of fact, now this is the funniest ship.
The eight away drum machine that I ended up getting,
I didn't have it when I was in England. Well,
we had one of I have met cooked up with
some mother cats. When I was in England, we set
up a pop locking group and we had one second

(33:52):
place in this big contest that they had out there.
We got like maybe six hundred dollars worth of studio equipment,
so I got a drum machine, some microphones, a couple
of other little things. It was a rolling six oh
six drum machine that I was able to get out
of the out of the voucher that we won, so
I was able to program on net and then you know,

(34:15):
come to find out, when I seen the eight oweight
drum machines, which was way out of Nigga league to
be able to purchase at that time, I seen that
it programmed the same way as the six oh six machine.
So when I was coming back from one of those
trips from Impact Record Pool, I'm riding down the street
and I see an eight oweight drum machine and the

(34:36):
pawnshop window, so I'm thinking I'm seeing things. So I
busted you and to go back around to see what
it was George, shit is an eight oh weight drum
machine A button I think the tap button was missing
on it. And the dude said, man, give me three
hundred dollars for it. Three hundred dollars. Well, eight oweight

(34:57):
drum machine with a broken tap button. And I really like,
I said, I knew how to program it, but it
was it was a steal of the century. And now
as I'm doing the you know, practicing scratching and all
of that, I got to eight away drum machine hooked
up to my DJ equipment, so I'm programming the beats
and then scratching along with the beats. And so that's

(35:19):
what made me really feel like I can actually have
a sporting chance of competing because I'm hearing what I'm
hearing myself do and hearing how these beats are being
made with some of these guys that was doing run
DMCs and stuff and Rick rubin them and all of that,
and I'm kind of able to program the same way.

Speaker 1 (35:37):
And man tronics them.

Speaker 5 (35:39):
That's what made us feel like we had a supporting
chance to be able to go in the studio and
do something. So there was a studio out in Mantclair
off of it and went out then cut a single
amazing v was on one side and China Man was
on the on the other side, and that you know,

(36:01):
it's it's like I said, if you don't have imagination,
that you know, into a thought process. We figured out
when we was getting all the records from l A,
we will start seeing these West Coast records and it
was you know, they had like I said, Egyptian Lever
had this record out Egypt, Egypt, and they had Dollar
Freak and all these other records. The U they had,

(36:24):
but Cola records, but they had the whole address at
the bottom, Doug the address, the phone.

Speaker 1 (36:29):
Number, like MA give most of those addresses. Come on
up here and give us your money. We will press.
We got the money.

Speaker 4 (36:39):
Folk, come on up here, and we're gonna cut a
few for ourselves out the back door on the side.

Speaker 1 (36:44):
So come on, sobs. Let me ask you this.

Speaker 3 (36:50):
Right back then, that's how you kind of got your
fur way into production because pretty much back then, if
you had a drum machine and some scratching, that was
the beat right there. It wouldn't no bunch of keyboards
and stuff. You might hear a little piano sound here
and there you feel what I'm saying. But it wasn't
a whole bunch of you know, real intricate melodies going
on on some record.

Speaker 5 (37:13):
Beating to keep it one hundred. That was people that
you know, just I would imagine eight. No, there was
all kind of you know, musicians, bass players, guitar players.
We said, not no, you can't come, nagger, that's just
not gonna be authentic. Know, the ship was simple funding.

Speaker 4 (37:35):
We're gonna get the drum machine with an eight oh
eight kick and get a break beat, nigga, and throw
that motherfucker in there, Nigga, and we got the song, Nigga,
let's go. I mean, first of all, we ain't got
the motherfucking money to be hiring studio musicians, right and
then back then, motherfucking studios was costing a thousand an hour.

(37:55):
And ship you know right now, Nigga set up in
the crib, nigga. Ship is freezie. But back to him
day when you recording on two tracks and ship and
you know the two inch reels I mean, and ship, Nigga,
the prices was high as motherfucking giraffe pussy to get
into a studio, so you had to get in all

(38:16):
mother fucking you had to get in there. Get in
that motherfucker quick, lay your ship, try not to fuck
up too much and get up out of it there.
It was ridiculous. The prices for studio like you just
that's something you just couldn't do. You see our music nowadays,
motherfucker ship, it's so simplified right now.

Speaker 1 (38:38):
But back in them days, man, it was. It was fun.

Speaker 5 (38:45):
Made us better catch though, because we wasn't necessarily one
one take jakin.

Speaker 1 (38:50):
But you have, I mean, the record that you did
had to work. You can go in there experiment for sure.
So so let me ask you this.

Speaker 3 (39:02):
Let me ask you this mix when you first heard,
because you said the amazing V was a little further
alone than Chris Rohn was right right?

Speaker 1 (39:11):
Did you like the way Chris rapped the first? Was
you a fan of his raps?

Speaker 5 (39:14):
Are first, not necessarily from the standpoint of how you
would listen to other rappers, but his the guy that
he liked the most, which he did sound like the
guy that was rapping on Mantronics records.

Speaker 1 (39:30):
That's how that's who he got his style from. So
list his name was mct He got his style.

Speaker 5 (39:39):
Of what he was doing from him and then also
by Chris being you know, you know Trinidad, you know.

Speaker 1 (39:47):
Chinese and Black, you know, Nigga neese.

Speaker 5 (39:49):
You know, you just gotta like reggae influenced also, so
you know, some of his time, it wasn't all the
way right. He wasn't no musician, but he just knew
being out of the atmosphere of New York, he had,
you know, a lightweight clue.

Speaker 1 (40:04):
He just wasn't a musician.

Speaker 5 (40:06):
So, you know, some people just naturally can just fall
into a groove, and then some people just love the
vibe of being able to try to be in that
they gonna just make theirselfs be a part of it.
I would say that that's how he was. He made
himself become the rapper that he actually became. So he
just didn't have the musical chops. He wasn't that type

(40:29):
of cat.

Speaker 1 (40:31):
Okay, So y'all get this record down. What do y'all
do with the record after y'all get it done? Shit,
we went through.

Speaker 5 (40:38):
Matter of fact, we probably looked on Egyptian Love record
for the Maclas record the phone.

Speaker 1 (40:44):
Number, and we called him. We called her this hey man,
we got a record and we want to see if
we can bring it up there to you guys. You know,
don McMillan, come on down here, bring it all down there.
Let us check it out out. So, you know, so

(41:04):
we we drove up there. He didn't, you know, he didn't.
He didn't.

Speaker 5 (41:09):
I don't even think we played a demo or nothing.
We just ate, is it is it on Master reels?

Speaker 1 (41:17):
Yeah, we got the.

Speaker 5 (41:19):
So we took them up there. He took the reels
from us and did about shid. About three weeks later,
we had some motherfucking out test pressings and uh, I say,
god damn, this is how easy it was to get
the test. We all was tripping. We got like fifteen
test pressings and then we got like a box of

(41:40):
records after they did the initial run of them to
take them.

Speaker 1 (41:43):
The charge of huh they charged off a prisoner, right, No,
he just took the Master.

Speaker 5 (41:50):
We didn't pay for nothing. But they knew that green
as fucked. They knew that we didn't have a clue
what we was doing. We was really feeding them. Yell,
you got the Master, so he wanted the baby.

Speaker 1 (42:10):
But then everything was selling everything, nigga do They didn't
know a goddamn thing about music. You got the master.
It was like yeah, man, he was like okay, he
was like look he shout of a box of records.
It was like and then he was shipping. They shipped

(42:36):
all over seas and everything.

Speaker 4 (42:38):
Finally he was back door and did and everything like
ship the Master's nigga, And you don't get no motherfucking
how many are impressed up? How many then shipped and
saw nigga, please nigga? That was the That was the
ultimate get down back then with them label with him as.

Speaker 1 (42:57):
He left, get y'all a contract? Did he charge off
for your records? Now?

Speaker 5 (43:04):
I will say they didn't give us a contract. They
had the right to distribute the stuff because technically it
was our record company. So they had to you know,
give us, you know, some paperwork to say that they
had the right to press them up and this and that,
and like I say, at that time, we used my
mom's address and Corona as the as the record company.

(43:26):
We didn't we couldn't use the military address, so we
used my mom's address for the records.

Speaker 1 (43:31):
So the records are you.

Speaker 5 (43:32):
Know, coming there to the house that I should say,
the invoices was coming to my mom's house. So they said, okay, yeah,
some three hundred records went to Saint Louis, some other
records went to Seattle, some other records went to Miami.
Some records with this, that and the other. It would
say three thousand dollars on the on the invoice, but

(43:52):
they no checking it. But you know, you know, you
just said okay, Well damn okay. So the records are
moving around, moving around. We don't know shit about promotion.
We don't have no clue about anything. I mean, just nothing.
So three or four months that was going on, but
I constantly kept seeing people was ordering the record from Miami.

(44:15):
We constantly was seeing Miami, Miami, Miami, Miami all the time.
So what ended up happening is I was over there
visiting my mom and she said, some guy named Luke
Skywalker called it for You said, I don't know, nobody
know Luke Skytwalker. So he left and he left the number.

(44:37):
So when I called him back, you know, like I said,
niggas the soa god dead great. It is laughable now,
I mean you could laughing just up be agreed. In
those days, you could really laugh, look back and just
have a good laugh about it. So when I called
the number, you know, rotary phone, I think it was
a tap phone at that time. So I'm tapping the phone,

(44:58):
doll it.

Speaker 1 (44:59):
Then you hear the ship due beeple. I said, what
kind of fucking number is this kind of the nigga?

Speaker 5 (45:09):
It was this beeper numbers? But you know, you know
about people, if you wasn't in the streets, you don't
know nothing about no goddamn people real. So so I
guess he you know, I didn't know how to you know,
make it work or whatever. So I guess he figured that,
you know, he called back, but you know, I didn't
leave no number of where you know, I was calling from.

(45:30):
So I guess I did it a couple of times,
So I guess he kind of figured that might it
might have been us trying to reach out to him.
So then I got on a conversation with him. He
told me that he was a concert promoter in Miami.
You guys, record is doing good down there. I'm up
here tripping right, y'all.

Speaker 1 (45:48):
Record is doing good. Y'all want to bring you guys
down here to do some shows.

Speaker 5 (45:53):
Okay, all right, I'm looking at the phone like kind
of Steiny, like, damn, is this how it worked?

Speaker 1 (45:59):
And so he say, how many people is in your group?

Speaker 5 (46:04):
He said, well, you know we got you know, we
got people that break dance, we got people that do
the I don't want all those people.

Speaker 1 (46:11):
I just want to know who's on the record. So
I said, yeah, me and two other guys.

Speaker 5 (46:16):
So he said, okay, I'm gonna get you guys some
some flights to come out and come d with shows
out here in Miami. So I'm saying, wow. I mean,
I didn't even know how to take it for I
didn't know if he was bullshit or not. We hadn't
talked about what we're gonna get paid for those shows, nothing,

(46:37):
you know. So you could tell by my conversation it
was green as fuck because he had already been doing
you know, parties with run DMC, who dn tylor Rock
from out of New York, you know, Divine Sounds, all
of those guys, was coming to Miami doing underground rap shows.
So he was even Egyptian. He hit him double with

(47:01):
Egypt and Bobby Jimmy and them, you know, rush parting them.
So he had been doing the stuff for a little while,
so he knew that We were just totally green twice
the square, the whole ship. So he he got the
tickets and stuff for us to come out to fly
out there and do the stuff. We, like I said,

(47:21):
were just flying out there. Willie Neilly don't know we're
supposed to have a hotel. We're wondering, okay, you know,
we didn't even ask about no hotel. We just got
on the damn plane and we going.

Speaker 1 (47:34):
God must had his hands on us or something, because yeah, yeah,
we was.

Speaker 5 (47:40):
You know, he got his you know, hotel rooms. And
he still hadn't talked about no money yet. We had
did a show on a Saturday, and we did a
show on a Sunday because it was Labor Day weekend.
So we got over there in the neighborhood that he
is from, and he said, man, what you know, what,

(48:00):
how much money y'all want? So he he paid us
two three hundred dollars each for that weekend by flying
us out and all that. Right, So we're acquitting it
to well ship. That's what we make it. Two weeks
in the military. What he gave you, that's what that's
what I paidcheck for us for two weeks in the military.

(48:22):
So I said, okay, well, I mean that's that's what
it is, and that's what it is. So I asked
him could I stayed down there a week? And he
let me stay down there at his mom's house, you know,
just moving around, just peeping out the scene and what
it is. It was very cordially. He could tell that,
you know, and like I said, he was a few

(48:42):
years older than all of us, and he just knew that.
I guess the thing that that connected us. Kid Ice
had a lyric in his record said like Luke Skywalker,
I got the force every time I arrived, I am
the boss whatever, and was telling people out there that
he knew us based off of that line, like we

(49:04):
talking about it doing the DJA.

Speaker 1 (49:09):
He milked that promotion this off.

Speaker 5 (49:16):
You can't make this ship up, man, I mean, it's
just you know, the story gets funnier in Frontier as
it goes along.

Speaker 3 (49:24):
It's just so so so I want to kind of
speed up ahead now because I want to, you know,
get to the real point.

Speaker 1 (49:31):
Right.

Speaker 3 (49:32):
So y'all doing this right now? Amazing V I know
his woman at some point decides like you gotta go
get you a job. This rap stuff ain't happening.

Speaker 5 (49:42):
No, No, he was in the military. He was like,
you probably had a better job than me, and Chris
that's probably the main reason why he didn't want to
continue on. He was he was doing civil engineering.

Speaker 1 (49:52):
He was a plumber.

Speaker 5 (49:54):
You know, I'm in there flipping eggs and uh in
Christmas like a professional secretary or something. So, you know,
I and at the time that we went down there
to Miami, I was just getting out of the service.
My four years was up. And you know, kid Ice
and the dude Jury that's still in They ain't even

(50:17):
supposed to be flying to Miami. It's like, you go
one hundred miles outside of the military base, you a wall.
So especially if you ain't got but it was it
was Labor Day weekend, so mother Bucks had time to
get back and this and that or whatever.

Speaker 1 (50:32):
So so you didn't go back. Huh you didn't go back.

Speaker 5 (50:39):
I didn't. I didn't have to come back because I
was already out. I'd been out of the military for
two weeks. So it's like as soon as I came
out of that, I fell right into this situation. Just
you know, you can't you can't make up my story.
You definitely can't.

Speaker 1 (50:54):
Make it up. Well, let's keep it going there. Man.

Speaker 3 (50:57):
So you down in Miami and doing your thing. When
did Luke proposition you? Like, hey, man, I want to
do something with the group. What happened? Did that come about?

Speaker 1 (51:06):
Shit?

Speaker 5 (51:07):
I propositioned him Basically, I said, man, I don't know
anything about this stuff.

Speaker 4 (51:14):
Man.

Speaker 1 (51:15):
I see that.

Speaker 5 (51:16):
You know, you guys got these speakers and the ship,
you sounding good, sounding over the system that you got,
and you know people.

Speaker 1 (51:23):
Are coming down.

Speaker 5 (51:23):
That's when I met that following week schooly D, you
know from Philadelphia, he came down doing the PSK record.

Speaker 1 (51:32):
I met him. So I'm just in the zone of
stuff that I ain't never really been exposed to this.
That the third so I meet him, So I said.

Speaker 5 (51:40):
Man, this is you know, dude, got people coming down there,
and it seemed like everybody liked this cat, you know
what I mean? Nick, He never really had no real animosity. Shit,
it didn't seem like he had those types of issues
or anything like that. So I asked him and said, man,
I don't know anything about this shit, man, do you
think that you can manage us? That's after I came

(52:03):
after I came back home and we went back for
New Year's to do some more shows that we didn't
negotiate no price for. I'm asking him to say, hey, man,
I don't know anything about this stuff, will you manage us?
He said, yeah, you know, I don't know shit about manager,
but I'll do it. Fuck it, let's do it. So

(52:25):
I guess you know, he'd seen that. You know, he
just knew that the record was doing well in Miami,
more than we could ever think that the record was doing.
So here's the next year. When Chris got out of
the service, Like five months later.

Speaker 1 (52:40):
Like in May, we came down to Miami. We didn't
have nowhere to live, and we just came.

Speaker 5 (52:47):
We just drove and we ended up living at Luke's
girlfriend's mom's house for like forty days.

Speaker 1 (52:59):
I mean, obviously he had.

Speaker 5 (53:01):
To talk to the mama strong enough to make them say, man,
this nigga, these niggas don't know how good their record
is or whatever.

Speaker 1 (53:09):
They're gonna it's gonna be okay, it's gonna be all right.

Speaker 5 (53:11):
Just let them be here for a minute. What until
I can get them a place, get them an apartment.
We was at the house forty days, sleeping in the
living room. Wow.

Speaker 3 (53:24):
Wow, So so stuff is taking off. So I ain't
needless to say Micola was making some money. It was
worth the investment then, right right.

Speaker 5 (53:32):
But now now now, I did pull it fast with
all my coola. They thought they will the fast would
all be. I pulled the fast with all death. They said, hey, man,
when you're gonna do all my album for us? I said, okay, yeah,
I'm gonna come down there and do an album. So
I say, yeah, man, I'm gonna give you some money
for it. I don't give you like fifteen hundred dollars for.

Speaker 1 (53:52):
The oh album.

Speaker 4 (53:55):
Yeah, right, was treacherous for me. This man, their mothers
robbing us blind, my nigg I'm telling you, I'm gonna be.

Speaker 3 (54:06):
You a whole fifteen and back then by the time
you because you produce everything. So I guess they figuring
he's going but they gonna at least pay for you
to record it.

Speaker 5 (54:16):
No, I guess that was obviously just some money just
to solidify the fact of me doing the project with him, right,
So what I did, I said, Man, I'm gonna you know,
I'm gonna trick this motherfucker. You know, he thinks he's
doing something slick to me, I'm gonna do something to him.
So I wrote on the on the contract, this is

(54:36):
an album for a rock on crew, not too live crew.
So he ain't paying no attention to that. He gave
me the check. I use that same check to be
able to drive across country to go to Miami and
we start doing.

Speaker 1 (54:49):
What we do was doing down there. Victoa, ain't never
heard of you nowhere after that ship, Well we heard
from them about a year a half later.

Speaker 4 (55:01):
We're gonna wait till these niggas come up, and then
we finished come in them.

Speaker 1 (55:05):
Right, that's exactly.

Speaker 3 (55:09):
So y'all down there with yo. So you and Chris
was down there with with with with Luke. When did
Uri decide to lead the group? Well, at the time
that we was headed down there, Uh, well, slightly before
we was headed down there.

Speaker 5 (55:25):
What happened was we were just letting you know, all
comers being a part of the you know, the crew
in general, and Ury just felt like, man, you know,
y'all being real loose with this stuff. You're letting this
guy be around, and this guy being around, you know,
I ain't really feeling that. I don't really want to
fuck with the situation no more, and we just stopped.

(55:48):
He just stopped doing the stuff with us, and uh,
what what ended up happening was now, now.

Speaker 1 (55:55):
I will say this.

Speaker 5 (55:56):
When we was going back and forth to Miami the
first couple of times, you know, like I said, it
was so much of a culture shot. There was this
record called Dance to the Drummers Beat that was like
the record that they would play at the heat of
the party. Right motherfuckers were on bomxers in there, and
they was doing this dance called the throw the d Dance.

Speaker 1 (56:16):
So what we ended up doing is saying, man.

Speaker 5 (56:20):
In appreciation for you guys helping us out when we
would come out and this and that or whatever, let's
make a song together. So we took the you know,
Chris wrote down what it was that he was seeing
at the party out these guys and girls was doing
these dances, and I took the Dance to the Drummers
Beat record and freaked it when we got back to California.

(56:44):
So that's what started everything off. Lucas, like I said,
Lucas not no record guy. He's not no producer, he's
not no musician. But he was a hell of a
concert promoter. You know, his whole thing was being like
our Hayman back in the day, cool jazz festival, the
fresh vests and all that.

Speaker 1 (57:01):
That was what he was into.

Speaker 5 (57:03):
He was in the market and then promoting, So we
do the record. He started playing the record out there,
you know, off of a cassette because you know, at
the time, you know, there was no way for us
to get the record press that. I didn't want to
take it over there to Micola, so they just had
they was just playing the shit off of the cassette
thing that we did in the in the studio. So

(57:24):
he took the record around to a couple of different
places in Miami. Nobody wanted to take the record, so
he took his own money and started getting some records
pressed up to give it to the record pool. And
that's how the whole shit started with the record company.
You know, it wasn't nothing that he was looking at
to try to be involved with. He was just really

(57:44):
called himself trying to help and and at that time
he didn't have no ambition of being no record company
at all period. It was just that the stuff was
just doing so well. When he was playing the records
at the you know at the parties that they was doing.
So once that happened, you know, that's where we actually

(58:04):
moved down there because the single had been out maybe.

Speaker 1 (58:07):
Like a week or so as we had got down there,
so he knew that there was some interest.

Speaker 5 (58:14):
And at at the same time, once he got started
getting the records pressed up, he was able to sell
the record cod to the to the distributives.

Speaker 1 (58:24):
We was able to pick up some money by you know.

Speaker 5 (58:27):
You know, so I'm seeing the process that you know,
this stuff, this might actually work. So we get the apartment.
All the records are being brought over to the apartment.
At first they were stacked up along the wall and
motherfuckers wasn't moving. And then all of a sudden they
started moving, and then we just had our understanding, Okay,

(58:48):
we you know, maybe the stuff was gonna work. We
worked off of that single for like ten months before
we actually did the other songs and the stuff they
ended up being on the first album.

Speaker 3 (59:01):
Okay, let's get to that point now. So it's just
you and Chris Wong at this point, right.

Speaker 5 (59:09):
Yeah, Mark was Mark didn't come into the situation until
Uriy totally left and I told Mark, I said, look,
if there's ever a chance I could do some work
with you, I'm definitely holler back and you know, see
if it's something that you could do with us. So
when Ury left the thing, I found out that Mark

(59:31):
had went back to New York because even like I said,
him and Rodney Old went to school together. They went
to North High School out in Riverside. They was actually
still in high school when I met those guys. They
were still digging around with high school stuff. So he
reached out to Mark. Mark is like eighteen maybe nineteen
at the time. He flew back out to California, and

(59:54):
right in my back's room me he had Ice, Rodney Old, Marquise.
We wrote the first song that we did for our
album two Live is what we are writing the Barracks,
because we had to go out to Miami and we
needed more songs to do at the show. That look
at book for us because we only had the one single,

(01:00:17):
so figuring out other stuff to do. So that was
done and that you know how he came off on
the record. Let me know that, Okay, he's ready and
he's you know, be a part of the thing from
now on. And he moved out there with us.

Speaker 1 (01:00:33):
Okay, so y'all in Miami now doing your thing, and
y'all start working on the first album.

Speaker 5 (01:00:39):
Yeah, after maybe like three or four months, you know,
we was getting up enough money to be able to
start doing studio stuff.

Speaker 1 (01:00:46):
But like I said, the money wasn't my money.

Speaker 5 (01:00:48):
I'm just I'm just the guy to know how to
you know, communicate with the engineer to be able to
get the stuff done.

Speaker 1 (01:00:54):
So you know, Luke would never really come to the.

Speaker 5 (01:00:57):
Studio outside of you know, coming in there, you know,
just checking to see what was going on or whatever.
But like I said, he wasn't those studio.

Speaker 1 (01:01:05):
Dude that way.

Speaker 5 (01:01:06):
And you know, the first time the group, well the
way that he became a part of the group was
Mark and Chris didn't really know how to They didn't
have stage presence, They didn't know how to talk to
the crowd in between the records, and so luc Is,
you know, he's out there on the road with us,
you know, as the manager of everything, and he's seeing

(01:01:28):
that we dying on stage. So you know, the one
thing Luke did do he was you know, the Ghetto
Style DJs was the name of their DJ group, Just
like how Uncle Jan's army was so he they do
a different type of DJing in Florida. They'll you know,
they'll pull the music down and talk over the records
and all that old school DJing. So that's what he

(01:01:51):
comes from. So what he did start doing the stuff
that he would do as a DJ on stage to
keep the people hyped up. And you know, he would
say stuff in between the stuff before their rap parts
would come up.

Speaker 1 (01:02:06):
So that ended up working out.

Speaker 5 (01:02:09):
And then you know, when I was doing my scratch
show and all of that, he would tell him off, Yeah,
hes gonna go behind his back and then he's gonna
do he was Ringling Brothers.

Speaker 1 (01:02:18):
You know what I'm saying. Yeah, yeah, Master, he was.
He was conducting the whole show right right.

Speaker 5 (01:02:29):
So that's but but the the funniest thing about it though,
still he did it a couple of times, right, and
then you know we go down there to the office.

Speaker 1 (01:02:40):
He hot about ship.

Speaker 5 (01:02:41):
You know what I'm saying, man, You know said, man,
I ain't gonna be going out on that stage doing
this ship and not getting paid.

Speaker 1 (01:02:47):
Man, I got to get paid from what it is
that I'm doing. I got to get paid. All the
money's coming in him already anyway, So you want to
cut now, you want to cut what he given us
all the time of whatever that he could be skinned
already taking.

Speaker 4 (01:03:05):
The cut, and now I want to cut it at
because now y'all got me on stage too. So not
only I want my manager cut, I want my member
cut because I'm a part of the show. Yeah, I'm
double I'm double dipping around this bitch.

Speaker 3 (01:03:26):
And so and so y'all doing these shows and he's
a part of the show now and everything y'all doing
y'all thing. When does it come up that y'all will
release this first OLB. It came out at the top
of eighty seven. Throw the D came out like like
February eighty six.

Speaker 5 (01:03:44):
We worked all through the you know, without having another
single or anything like that until eighty seven. But there
was other little groups that, you know, like Shadi's project.

Speaker 1 (01:03:58):
Came out and I used to bang some I D.

Speaker 5 (01:04:04):
And him work on the first record, that Gotta Be
Tough record. We worked on that together with a couple
of other little records that was coming out that was
kind of pacifying the scenario. But we only had that
one single. So as we're working along you know, getting
the getting the album ready and together. We want some
pussy song. Basically, it was a DJ chant they used

(01:04:27):
to say in the club. And that's the only record
Lucas on on the first album. Like I said, he
wasn't in it that way. You know, it was just me,
Marquise and Chris that was doing on the stuff on
the records. It was just that one thing that he
was on.

Speaker 1 (01:04:44):
So you knew, by you being down there, dudes from California,
you pretty much created the sound for the soft at
that time, right exactly. There was there was got, there
was cats. You know.

Speaker 5 (01:04:55):
I didn't even realize this until maybe like four or
five months ago. There was a couple of records that
was you know, that was around town that was being played,
but I just really just thought about it. It was
the same drum pattern as the record that got us
down there the first time. I wasn't even thinking it
was other stuff was on top of it, but the

(01:05:17):
what the what The drum pattern was the same. This
record was super big out there and people was copying
what we was doing. They didn't realize they was copy.

Speaker 3 (01:05:28):
Gave you the fifteen hundred to do the album because
they said were gonna get in for some more. Man,
we canna get the whole album him.

Speaker 1 (01:05:33):
This time we got free. This one gonna fifteen hundred, yeah, fifteen.
Here you go.

Speaker 3 (01:05:41):
So y'all doing y'all thing. Hobbs, right, y'all, y'all doing y'all.
When y'all hear me call them hobbs, that's his. I
shouldn't be calling you by your government now, y'all.

Speaker 1 (01:05:50):
But it wasn't been calling me that for years.

Speaker 3 (01:05:53):
So I mean, you know, so, y'all doing y'all thing right, Cool,
y'all doing y'all thing. At any point did Luke ever
come to y'all to say, hey, mister mix, you go
be the A n R. I'm starting look records up.
Here's a contract for y'all. Never think the contract never
was signed.

Speaker 5 (01:06:09):
Well, this is what happened. Like I said, we fall
into the management thing with him. Nope, we're all just
kind of like in profit, you know what I'm saying.
He started the record company stuff up based off of
the fact that nobody would take to throw the d record.
So he said, Okay, look, man, I want to give

(01:06:30):
you guys shares in the company. I said, man, I
don't want no shares in no company. I don't know
shit about business. All I want to do is just
do my part with making these records, making this music.
And if you can do that, I'm good.

Speaker 1 (01:06:45):
I'm cool. Just pay me for what it is that
that we do on these records, and that's that's it.

Speaker 5 (01:06:50):
I don't I don't want to be responsible or liable
for something that I don't know shit about.

Speaker 1 (01:06:54):
I don't have no clue of what it is that's
going on with this stuff.

Speaker 5 (01:06:57):
So he offered all three of us, Mark and Chris
some money as a shareholders of the record coming. It
was just was too green to understand what it was
that he was really coming at us.

Speaker 1 (01:07:10):
With and but Black.

Speaker 5 (01:07:14):
With that being said, we were just dealing with each
other as independent contractors. We didn't have no contract amongst
each other at all period. We weren't even signed m
So making the record, I go on and make the
records market, Chris be on the record rapping. You take
the records and start selling them.

Speaker 3 (01:07:35):
So y'all doing your thing? Now, when did the big
record deals start coming in?

Speaker 1 (01:07:39):
Like?

Speaker 3 (01:07:40):
When did the big district? Because I know he was
selling he was making millions of dollars selling these records independently. Yeah,
you know, but the thing is the first album and
go if I if I'm not mistaken.

Speaker 1 (01:07:50):
The first album it took like maybe he would.

Speaker 5 (01:07:55):
You know, in those days, it was so funny. You
didn't have to give up your amount of records that
you sold unless you just wanted to get that gold certification.
You could keep that part a secret. A mother would
have to audit you to find out if that's really.

Speaker 1 (01:08:10):
What it was that you did.

Speaker 5 (01:08:12):
And so he would always dismiss the fact the record
went gold. You know, once you say it, when did
five hundred thousand? Now everybody we think, okay, well there's
a gang of money there, this, that and the third.
So he was, you know, tap dancing around that. But
at the same time, there was other little record people
that he was meeting. I remember we had got we

(01:08:34):
had did something for we did something for Twins movie
soundtrack that was like maybe like a year later. But
he would get all kinds of little offshoot deals that
you know that I know that you know he got
paid for them. Never really told us that he was
getting paid for those things. He would just say, hey, man,
there's a record that we got to do, and we

(01:08:56):
did it. You know what I'm saying, nobody's really stunting
it because everybody was okay, nobody was really in struggle.

Speaker 1 (01:09:02):
He made sure y'all had money in y'all pockets.

Speaker 5 (01:09:04):
Y'all had creating cars that we didn't make sure that
we had money in our pocket. It was just things
was going and it was deservedly so that we would
get the money for what we did. I'll put it
that way.

Speaker 1 (01:09:17):
It wasn't like, you know, you know, he'd knock on
my door and say, heys, I got some money for you.

Speaker 5 (01:09:23):
No, it was we did the show, we break bread
after the show, and and everybody went their own individual wave.

Speaker 3 (01:09:30):
Well, they's show money. I'm talking about the records and
stuff you're supposed to get, like if they going the road.
You know, he get paid for the show. Yeah, I
mean record that's a whole thing. You got to think
about it at that time.

Speaker 5 (01:09:40):
You know, you're dealing with the distributors and you're on
maybe sixty day terms, ninety day terms for the records
that you're being invoiced out. So he was getting money
from the standpoint that the records were selling through fast.
But he wasn't really displaying the fact that, you know,
order to keep making the records, you have to get

(01:10:04):
paid for the In order for you to get paid
for the records that they had at the distributor, you
had to have a new one to make them break
bread with you.

Speaker 1 (01:10:12):
And we didn't have an understanding that that's what. Yeah,
because you know I used to work with ground Level.
You remember that, right.

Speaker 3 (01:10:19):
So the way the distributors work back then was they
would have what was called a reserve. They might hold
twenty percent of reserve. Because records can come back from
the store, you might have returns, right, So they had
the reserve just in case. So with the distributor, like, okay,
they have freedom reserves up if you give a new album. Okay,
give me a new album, and I'm gonna free these
reserves up for you because I'm gonna tell you now,

(01:10:40):
he probably was seeing about six fifty a record back then.

Speaker 1 (01:10:44):
Let me see it. But the six fifty level, Yeah,
I do love my people up. That's where I learned
the game from. Huh nigga. The mother was sisty and
wasn't that it was bad. And we had a record

(01:11:07):
went through Ground Level. So you you knew, you knew
John Smith.

Speaker 4 (01:11:13):
John brought a record through the ground level, John John Johnson.

Speaker 1 (01:11:20):
They had a they had a label called Native. I
remember Native. I didn't have any with Native. Native had
a record going today.

Speaker 5 (01:11:29):
What it was.

Speaker 1 (01:11:32):
I know about Native? I knew about.

Speaker 4 (01:11:35):
Native Native was my motherfucking attorney and manager. They had
started a label and they called it Native. Yeah, I
put a we put a record through ground level, a
C m W record.

Speaker 3 (01:11:49):
That's crazy, man, because you know he probably made about
three or four million dollars hobs off that first album.

Speaker 1 (01:11:55):
Me, I'm talking about this level.

Speaker 5 (01:11:59):
This is.

Speaker 4 (01:12:02):
The nigga sh Yeah. I was getting that Buddy.

Speaker 1 (01:12:07):
Gold on.

Speaker 3 (01:12:07):
Let me get it straight. No, I didn't have the
ownership in them. They kind of like I did intern
work for them. You know, I was a young dude
at the time. My intern worked like for I don't
have It was the office that still it was Inglewood,
right up right by the airport, right off the airport,
right off right off the four or five freeway. You
can see it in the black building.

Speaker 1 (01:12:28):
Yeah, what happened to him? Just letting it go?

Speaker 3 (01:12:37):
Dog. They had a lot of They had hieroglyphics, they
had a lot of people magnet.

Speaker 4 (01:12:42):
Like I know because, like I said, my my sisty
attorney in them. They had started.

Speaker 3 (01:12:47):
No, I think what it was was Natives might have
been shisty dog, but Brown level pretty much paying people
dog when they had to. The Brown level pay broke bread,
marganting was good cats Mark, it was Mark, Jeff and
Rick Hole cut a white dude. They was cool people doog. Yeah,
they paid not whatever labeled it there was up there.
Now what would happen? He was usually the labels to

(01:13:10):
get that check and the side what man, I ain't
I ain't cutting.

Speaker 1 (01:13:13):
Up with ground.

Speaker 3 (01:13:17):
Definitely they did some shit so mixed. What I'm trying
to get to, I'm trying to get to what trickery
come in at?

Speaker 1 (01:13:24):
Right?

Speaker 3 (01:13:25):
So y'all doing these albums? He making money? What is
he doing just giving y'all show money?

Speaker 1 (01:13:31):
Well, we were getting show money and we was getting royalties,
but we didn't know how to base the royalties, you
know what I'm saying.

Speaker 5 (01:13:38):
We didn't we did There was never no contract, so
we didn't have anything to base it off of. We
were just getting money based off of Okay, we you know,
four or five months passed by, Okay, I'm gonna throw
up some money and then but you got to think
about it. It's three of us. So if you want
to give out one hundred and fifty grand, so it's

(01:13:59):
you know, fifty and then that's that. But we don't
we're not basing it off of you know, we're not
getting no layouts.

Speaker 1 (01:14:08):
What is it really?

Speaker 3 (01:14:09):
You producing the records? So you could have been on
some stuff like you know what I need my production
money I need?

Speaker 1 (01:14:15):
You know, did not tell you how I was.

Speaker 4 (01:14:18):
Basically they was doing the game like, okay, nigga's probably
making a million, two million, and so to satisfy I'm
not gonna give y'all no reporting of how many records
that was pressed or how many were shacked or whateverever.

(01:14:38):
What I'm just gonna do is is I gotta check
for a million dollars and these niggas don't know shit.
You get me a couple of what I'm gonna do
is and let's just face it, it's fucked up. But
when you're homengry, motherfucking the nigga dangling a one hundred
and fifty thousand in your face.

Speaker 1 (01:15:00):
You like, give it here, man and young and you're
young as fuck. You gotta think about all young.

Speaker 4 (01:15:08):
We run young and naive, and like I said, we
didn't know much about the rap game. We knew how
to make the music, we knew how to write the
lyrics and shit, and we you know as who we are,
as these artists. But nigga, you I didn't know nothing
about no publishing contract. I didn't know nothing about writers

(01:15:31):
and fifty percent to the to the to the music
maker and a hundred writers, a hundred publish. I didn't
know none of that shit. All I knew is I
want to make a record, right, and maybe getting a
couple of maybe getting a couple of magazines, Nigga, a
couple of limo rides, a couple of shows.

Speaker 1 (01:15:52):
That's what you thought being an artist was.

Speaker 4 (01:15:56):
Nobody sent you down in the motherfucking Nobody set you
down in music.

Speaker 1 (01:16:03):
One oh one.

Speaker 4 (01:16:04):
You get me and said, okay, well, but you know
anything about publishing? Do you know about writers? Do you
know about royalties and all this and all this counting
and how many records were pressed and shipped out, how
many returns came back?

Speaker 1 (01:16:21):
You didn't know none of that shit. Off and so.

Speaker 4 (01:16:25):
And so you don't get the knowledge to do that
a nigga go here, you go, you get me and
so to speak, let me distract you with this shiny
gold chain or watch or this check, and you be
like like you said as a young nigga to nineteen
twenty twenty one, back then a nigga handing you fifty

(01:16:48):
grand right, please you remember and see.

Speaker 1 (01:16:53):
You got a thing too. Hey.

Speaker 3 (01:16:55):
I learned pretty much about the music industry from Mster mixed.
I met hobbson I was twenty four, and he started explaining, Yeah,
I was that young girl. Yeah, we messed with each
other about thirty something years up. They Doug hen Skid
was four years old.

Speaker 1 (01:17:12):
This motherfucker right now said.

Speaker 3 (01:17:17):
Well, yeah, because you got to remember how that's why
we had kind of like an advantage because you had
kind of taught us already to publishing this like a
piece of pine. So I kind of knew already in
these situation I walked into, I knew what was going
on because between him and Bobcat, they had already kind
of schooled me on what was going on about the
business of music. And then you gotta remember I had

(01:17:38):
friends like I had cats like Mark Gordon on ground
level so I knew how to sell the records. I
knew how all that stuff worked already, you know. So
it was like you wasn't getting over from me with
no slicey shit.

Speaker 1 (01:17:48):
Yeah.

Speaker 5 (01:17:49):
Well, the thing, the thing of it is at that
time though, I mean at the time when I heard
each first project. I don't know how early you guys
were doing stuff, but I know that I was. I
was like nineteen ninety, like the summer of ninety when
I heard One Time Got from Them Up. I don't
know if that was your first record, but that's when
I was made aware that you guys existed.

Speaker 1 (01:18:11):
So at that time, at the time that he I'm hearing.

Speaker 5 (01:18:15):
His career already four albums in, four albums at that
time nineteen ninety it was four albums in already, and
a nigga still don't really have a real clue because
nobody wanted to be the cat that was tapping you
on the shoulder.

Speaker 1 (01:18:31):
And on top of that, would you believe them.

Speaker 5 (01:18:35):
You wouldn't even give them more fuck the time of
day because the money that you're running across as a
young black dude, moving around and benzes and doing this
nice homes and then you're hearing the horror stories about
guys in New York. They ain't making no money. They
fucked up, but you're living good. You know who's gonna
question the scenario.

Speaker 4 (01:18:57):
Yeah, you hear the horror store, and you know, I
guess you know, because we were all going through that
type of shit.

Speaker 1 (01:19:07):
You feel me.

Speaker 4 (01:19:08):
We were all getting fucked by somebody around that time.
But like you said, even for me, and I wasn't
even making that much money. But just the fact, like
you said, I'm still able to pay my rent, living
in my own space. I'm able to not have to

(01:19:29):
get up and punch a nine to five clock. Uh, nigga,
I'm smoking and fucking and riding through the nigga's knowing
all that's that's eight And you know what I'm saying.
I got, I got my little whipping shit, my little
one ninety bens and shit, and you know what I'm saying.

Speaker 1 (01:19:48):
So you never know that or shit.

Speaker 4 (01:19:53):
Nigga, if you got one hundred and fifty thousand and
that nigga done got one point five million, you not
thinking like that because you feeling you figuring this is
the position we be. You don't know what the executive
I don't know what he's supposed to make. The nigga
who's going in there sitting at the table with the
white motherfuckers and negotiating the contracts and getting the budget,

(01:20:18):
I don't know what he's supposed to make. All I
know is a nigga telling me here, this is what
you're supposed to get. And I'm going, Okay, I'm a
young ass nigga coming from the block.

Speaker 1 (01:20:29):
You get me.

Speaker 4 (01:20:30):
I gotta hustle up my sack and money every day
on the block with six seven other niggas.

Speaker 1 (01:20:36):
So if a nigga handed me a check for ten
fifteen grand, I'm going you give me.

Speaker 4 (01:20:43):
And so we're not eve to those questions, and it
usually makes something that starts happening to where you start questioning, hmmm, Okay,
I got a one ninety, but this nigga got a
five hundred.

Speaker 1 (01:21:00):
You get it, and it always comes out. It always
comes out.

Speaker 4 (01:21:05):
I got mine, I got a little I got a
little apartment over here in Compton, But this nigga got
a half a million dollar crib bot down the street
from Michael Jackson. Something that is not right. And then
you going, I'm the nigga that's making all the beats
right them niggas is the ones doing all the work

(01:21:27):
while we like why we ain't got what dude got.
So it's something that always, like you said, still, it's
something that always comes out to make you question what's
really going on. And like I said, for me, you
can be naive for so long.

Speaker 1 (01:21:42):
You get me you beat.

Speaker 4 (01:21:44):
Because like you said, you're eating good, you're going out
bitches and parties and the nicest drink and you got
a couple of new fits and starter.

Speaker 3 (01:21:55):
You gotta think about it this too, because you always
go have a contingency of people even when you're doing right. Mind,
I think you're robbing them anyway, so you might as
well do the right thing. So when they do come
with the bullshit, you could be like, no, bro, I
can show you right here. You feel what I'm.

Speaker 1 (01:22:11):
Saying you as an older cat now though, it's almost
like it's.

Speaker 5 (01:22:18):
A fade that you have to take back then, because
even if a cat showed you the right way, at
the end of the day, you might not you know,
you might feel like you're respected, but at the same time,
it's almost like now you're really trying to trigger.

Speaker 3 (01:22:32):
You can't win and you can't win with the shit
doog because you go always have someone to think. So
he robbing me and let's take it. This is the
reality of it. This right, You either have to wind
up making someone a part of the business, your partner,
or letting them just go do their own thing. And
that's why my whole thing is this, I'd rather work

(01:22:55):
with people who I can make partners and we can
do equal amount of work and we can have this
and do stuff together, because trying to be over somebody
is only it ain't gonna last.

Speaker 5 (01:23:05):
No, yeah, not only that, I will say this though,
with it all boils down to it, we never had
a problem of going into the studio and doing what
it is that we needed to make. We could get
in there and cook it up and make it be
what it needs to be. The thing with Luke was
is that he had to be in the space of

(01:23:28):
I can't let the left hand know what the right
hand is.

Speaker 1 (01:23:30):
Doing, you know what I mean.

Speaker 5 (01:23:32):
And in the early days it was okay because if
you didn't want know better, you can't do better to
you know better. But the way that it got handled
back then, when we found out how some things was done,
I'm not gonna go into specifics, but once it has
found out, was like, okay, man, okay, yeah, this is
what it is to happen. So when can we go

(01:23:54):
in and start making some more reference? Can we motherfucking
maceive back up?

Speaker 3 (01:24:02):
I know that this is a long story because we're
talking about a period of years, right, I kind of
want to get into because eventually y'all wound up. Y'all
wound up doing a huge deal with Atlantic Records. It
was Atlantic, right.

Speaker 5 (01:24:14):
He ended up doing deal with Atlantic Records. The you
know the thing with that right, And like I said,
this is still nineteen ninety. Niggas don't really have you know,
the lawyers that you do know about ain't music lawyers.
They are other kind of lawyers. So and the ones

(01:24:35):
that were that did have a clue of it, they
were working for the company because they knew your answer
in that no, man, your money's coming from them. So
you didn't have no dog and you didn't have no
dog in the fight. You were just you know, really,
if you had if you had some success.

Speaker 1 (01:24:53):
You have to let it be. You know, it was
just a god thing. It was. It was something that
you were supposed to experience.

Speaker 5 (01:25:00):
It was supposed to go the way that it went
because I know that I came into the game not
having a dime. I didn't have a hustle. I wasn't
out there, you know, I was in in the streets
or nothing. So everything that I got basically was a profit.

Speaker 1 (01:25:15):
You know what I'm saying. I didn't really see I
really looked at it, like, I don't know why he
would handle us the way that he did. I don't
know why he would do that because he he.

Speaker 5 (01:25:25):
Had the best type of cat that was dealing with
somebody that was never going to challenge him, someone that
was never going.

Speaker 1 (01:25:32):
To really try the situation.

Speaker 5 (01:25:35):
And that's why I say it'll never be right, because
some people can't see a gift horse for what the
situation is.

Speaker 1 (01:25:43):
They We could, we were good dudes, and he still
handled it the way that he felt like he needed
to handle it.

Speaker 3 (01:25:51):
Well, you know, to play Devil's advocate. In his mind,
he might be like, well, man, I asked y'all if
y'all wanted to be partners in the company.

Speaker 1 (01:25:58):
Yeah, y'all, it partners in the company.

Speaker 5 (01:26:01):
Ain't got shit to do with what it is that
you're gonna make off of records being sold that you're
still responsible for making that part of the movie happen
true to.

Speaker 1 (01:26:13):
So.

Speaker 5 (01:26:14):
And and then on top of that, the biggest thing
with you know, I don't I don't even think anybody
could has this story like the way our story was from,
you know, from move something me so Horny, to pop
that couchie, all of that stuff there was you know,
we'll pop that couchie. That's when contracts did get put

(01:26:36):
in place with all of that stuff. Before that, there
was no contract. So, but this is what happened.

Speaker 1 (01:26:44):
We were dealing with another booking agency. I see him,
So he come to us.

Speaker 5 (01:26:52):
And say that, hey man, you know we got a
new you know, you got some people that's gonna be
doing shows, but they want contra on us to make
sure that we don't weasel out of any shows and
this and that or whatever. So we did some makeshift
contracts in nineteen ninety. The only reason why I know
it's nineteen ninety because the woman that I was ended

(01:27:14):
up marrying, she was in Miami at that time and
she didn't get there until ninety, So this is when
the contract was done. So the contract was done four
years after we're doing stuff together, right, So nobody even
looked at these contracts. It was just contracts. It was
just rolled up and backdated for the for them, not management,

(01:27:36):
but for the booking agency to see that.

Speaker 1 (01:27:39):
You know, we were signed to Luke Records blah blah blah,
this and the.

Speaker 3 (01:27:43):
And that's how he was able to go in and
get the deal for Atlantic without having to consult with
none of you.

Speaker 1 (01:27:47):
Exactly.

Speaker 3 (01:27:48):
He used those contracts right there, because I do know,
I can't go eight It is my partner and gainst
the chronicles, right, so I just can't go make a
new deal and keep him blind doing it. Right. He
has to be a part of that deal, you see
what I'm saying, because they can always he can always
come back and say, hey, I didn't approve of this
or that, right, So he had to have some kind

(01:28:08):
of contracts and that he had to have some kind
of contractual obligation from you guys in order to make
that happen and facilitate that deal.

Speaker 1 (01:28:16):
So he does that.

Speaker 3 (01:28:18):
Man, when does all the trickery wind up coming to
a surface, Because I know Joe Weinberg, the attorney, winds
up taking position of the company at one point that
was way later.

Speaker 5 (01:28:31):
Weinberger wasn't even around at the time that all of
this stuff was going on. He wasn't even around. He
may have been doing some you know, you know, out
council with certain things, but he wasn't a part of
the company at that time. So what what ended up
happening is, you know, it was like.

Speaker 1 (01:28:50):
What what what?

Speaker 5 (01:28:51):
What broke my back about it was is that when
he got the deal with Atlantic, it's all advertising how
much money the deal was. But he made it sound
like and the way that they disguised I mean, you know,
Atlantic is that fault too. They disguised it as a
distribution deal. They made it like they were doing distribution

(01:29:16):
for Luke Records. So to our crew still ain't signed
to Atlantic. They disguised it as a distribution deals. But
it's really a deal for him by himself. That's what
it ended up becoming. And then when we got our
first rawalty checks from that, it was the lowest ship
that we had ever gotten since we had been working

(01:29:38):
with each other, because we had went at this wife
was up here. We went from being you know in
you know, independent contractors to workers.

Speaker 1 (01:29:48):
Right, and they gonna they gonna tell you ship. We
gave money to Luke, so.

Speaker 3 (01:29:57):
Yeah, I don't have they tell them how much he
got from from Loaded With. I'm pretty sure he got
something before he turned in the album and after.

Speaker 1 (01:30:04):
Yeah, I'm sure.

Speaker 5 (01:30:07):
He got a distribution dollars. Yeah, million dollars. That's like
the equation of uh of what a platinum Marvel would be.
He got like about five million dollars to.

Speaker 4 (01:30:22):
Hit the ball on a distribution deal. They he walked
in and he said, Nigga, I want a distribution deal
for Luke Records with the track record of what the
group is doing.

Speaker 1 (01:30:33):
Atlantic is like, fuck it, Yeah, let's do it. But
putting old records back then when nobody was going.

Speaker 4 (01:30:39):
To the situation is is it's the same shame, it's
the same ship would happen to me with Unknown. Basically
we started doing records with Unknown under techno Hop. And
with the success of what Compton's most wanted was doing,
he was able to walk in and say, no, don't

(01:31:02):
give me a deal for conference most wanted, give me
a deal for Big Beat Productions, which is his production company.
And so now he's with a production company. It's like,
I'm gonna just bring you our acts, and because of
the success of CMW, they're gonna go, Okay, nigga, fuck it,

(01:31:23):
We'll turn around and give you fucking half a million
dollars because your deal is probably for the next you know.
Back then deals was for five to seven years. You
get me signing, know, turn in three albums and you
done no labels. Was like, nigg you're signing this seven

(01:31:44):
year deal. So he got a production deal for Big Beat.
Sony cut him a check, and then he came back
to us and say, we gotta start doing this new
contence most wanted record.

Speaker 3 (01:32:00):
Me.

Speaker 1 (01:32:00):
We was like, fuck it. We didn't get no advances
up front or none of that shit.

Speaker 4 (01:32:06):
It was just like, let's get in the studio and
crack out this CEM dub record and then so.

Speaker 1 (01:32:14):
We couldn't.

Speaker 4 (01:32:15):
So by the time I started bitching and complaining, I
was just I'm like, Okay, y'all dealing with him, but
I'm the nigga that's putting out the music. So this
is what's gonna happen. Since y'all trying to play that
flip flop game.

Speaker 1 (01:32:31):
I'm not gonna make no records, right, I'm not making
any records. So y'all gonna either.

Speaker 4 (01:32:38):
Kick him out completely and give me the deal that
y'all got with him, or I'm not making no records
because I'm not signed to y'all. I'm signing this nigga,
and I'm not fucking with this nigga, and he already
know it because I can take his ass to court
right now and get him on all kind of fraudulent shit.

(01:32:59):
So I'm just to bust down and not make no records.
And then I did it right at the time. I
just got through film and minutes to society. So what
y'all want to do? Y'all want to hustle and bustle
in with a nigga who ain't got ship to give,
or y'all want to fuck with the nigga who's in
the studio writing the songs and putting out the music.

Speaker 1 (01:33:17):
Which one you want to do?

Speaker 4 (01:33:19):
And they decided to go, Okay, we're just gonna stop
fucking with Big Beat and deal with you directly. But
it's the same shit Atlantic, go, nigga, we gotta deal
with Luke Records. So we don't even know what the
fuck y'all talking about, right man? When it's for the
when it's time for y'all to put out. Y'all put
out that record through Luke undistributed by Atlantic. You ain't

(01:33:43):
finna see no royalty checks. Money finna go from here
to here now right, getting no more? Why because they
then gave him all the money up front right to
do that, probably the eighty percent of it, get y'all
a little to go finish it. And now y'all got
to recoup all that because he him took five million

(01:34:06):
up front. The videos is costing three hundred grand. Y'all
around the country doing promos, and all Atlantic is going
charge back, charge back, charge back, charge back, charge back, right, And.

Speaker 5 (01:34:24):
Even at that time, you know, I will say this,
for what it is that you did, you was able
to work your hand in the you know, good for yourself.

Speaker 1 (01:34:33):
Me, on the other hand, it was still nineteen ninety.
We just came off of that.

Speaker 5 (01:34:39):
The whole thing was built around you know, censitsive ship,
with the with the MTV awards, all of this momentum,
all of that, we get this low ass royalty check.

Speaker 1 (01:34:49):
So then I leave, I go to Oakland, and I'm
just posted in Oakland.

Speaker 5 (01:34:54):
Hoping that you know, I can get people to pay
attention to what it is that they need to be
paying attention to, because I'm the one who's doing all
of the studio, working this and the third right. So
what they ended up trying to do, they got you know,
some offshoot guys that that you know, emulate my style
and all of that. They couldn't get it done. So
I guess Atlantic told him say, hey man, you better

(01:35:16):
try to get it. Get this nigga back over here.
So he shot me some money to come back to
do the album that got popped that Kucci on it,
and and that was the first time, you know, we
actually got an actual contract with him and.

Speaker 1 (01:35:34):
Got an advance to do the project.

Speaker 5 (01:35:39):
We got like maybe what like seventy five or something
like that each to deliver the project something like that,
And and.

Speaker 1 (01:35:51):
We did the stuff.

Speaker 5 (01:35:52):
But then at the like I say, all of the
you know, nobody was feeling each other the same way
after that, and you know, I came down to Miami
and did the records. I went back to Oakland, and
when they came time to do the videos and this
and that, you know, niggas barely had cell phones at
that time. You know, you catch a motherfucker, you don't

(01:36:12):
catch a motherfucker. You got skyt pages, you might.

Speaker 1 (01:36:15):
Catch a motherfucker whatever. And that was his other thing too.

Speaker 5 (01:36:18):
He said, man, I can't I came, you know, in
some aspects by me being a CEO of my own situation.
I get the crossroads that certain cats come to. Some
cats can make better decisions than others. He just felt like, man,
I can't afford to get these niggas all this money
and they you know, they running all over.

Speaker 1 (01:36:37):
Fucking holes all over the place.

Speaker 5 (01:36:38):
I ain't gonna be all and find these niggas when
it come time to work, so I gotta give him
a short leash. But you know, he made that decision
based off of he didn't really have to be that
way with us because nobody was giving them no real Oh.

Speaker 1 (01:36:58):
Yo, yeah, there we go. Yeah, Like I was saying,
I don't.

Speaker 3 (01:37:02):
Know what part it froze at, but you he was
talking about if he would have give y'all some sustantial,
he might not have been able to find y'all. You know,
I know we had an hour and forty right now.
I want to get to the one part man where
because Luke eventually winds up losing Luke records.

Speaker 1 (01:37:25):
Yeah, that's based off of mc shid.

Speaker 5 (01:37:29):
Yeah, went to prison, and there was a guy that
was because I don't think he was actually there at
the court case when it actually happened.

Speaker 1 (01:37:39):
That was during the time when the group was in hiatus.

Speaker 5 (01:37:41):
We weren't working together, you know, like from like ninety
two to like ninety five, we weren't working together. And
there was a lawsuit that Shaid then was able to
come with and the judge awarded him like one point
five million dollars and Luke wasn't liquid enough to pay
off the the situation, so I guess he got forced

(01:38:04):
into involuntary bankruptcy and that's where the whole Weinberger then
came in. Weinberger was working for the company at the time,
and Weinburger comes from bread. His family gave him an inheritance,
so he already had money alone with being a tax attorney.
So he would loan Loop money, you know, to do

(01:38:26):
certain things and this and that Looke paid back loan
some more money.

Speaker 1 (01:38:30):
Lu could pay him back.

Speaker 5 (01:38:32):
Then it started getting the point where he wouldn't pay
him back, and they got up to like three hundred
three hundred big ones and then he ended up kicking
the man out of the office. I don't know what
their dealings were or you know, all I know is
what the result was.

Speaker 1 (01:38:46):
You know, he pi out of here. I ain't paying shit.

Speaker 5 (01:38:50):
So so what ended up happening is when he wasn't
liquid enough to satisfy the debt of what this court
order was, Weinberger doubles back and said, hey, man, I'll
pay into the bankruptcy. I put another eight from the
three that you already done took, but I want these
some of these properties. I want this masters, I want

(01:39:12):
the pulishin this, that and the third.

Speaker 1 (01:39:15):
And that's what was. It was a transaction. You know,
he always speaks on the fact.

Speaker 5 (01:39:19):
That like the stuff was stolen from him, but you know,
he did that and got out of the bankruptcy, but
never really speak on the fact that that's what he
really did, you know what I'm saying. And you know,
at the end of the day, at the time that
it was going on, we were that was right at
the time that all of this stuff was happening, we

(01:39:39):
had got back up and around each other and we'll say, okay,
we're gonna make a new two live crew record. This
is in ninety five, and you know, he looked on
his desk. He said, man, I got this VHS ice
Cube sent me out here. Been sitting on my desk
two months. You know, they you know, trying to do
a movie out there, and I think they call it

(01:40:01):
calling it Friday or something. You know, Take this video
and go to the studio, y'all check it out what
he sent out here and see if we can put
some music to what it is that he sent us.

Speaker 1 (01:40:14):
And what he sent us was the infamous scene, the
hou Chie Mama scene. Mm hmm.

Speaker 5 (01:40:19):
So we wrote to to what cbe sent on that
on on that thing, and that's how hu Chi Mama
got done and got done. And two or three wasn't
even though that record wasn't he wasn't. No, he wasn't
on the record because.

Speaker 3 (01:40:33):
That was you doing a chant that on that right there,
y'all back in the game. That that was a platinum record,
wouldn't it. Yeah, Yeah, for being on on the Friday
on soundtrack.

Speaker 1 (01:40:44):
Yeah.

Speaker 5 (01:40:45):
So it's just like I say, man, you know, my
thing is I funk would look so hard from the
standpoint of me, I've never you know, like I don't
know if y'all ever watched the Malcolm X movie. You know,
it's like, you know, say, man, you can you can
walk in front of bullets twenty four to seven and
and don't think nothing of it. But betrayal is the

(01:41:05):
last thing that you would ever think that a cat
would do. I was on the same space with him,
and I never was ever in those states with him,
you know.

Speaker 1 (01:41:15):
And then you know, Mark used to always say, man,
that nigga just took advantage of us. He took advantage
you know what. He was out here and neked.

Speaker 5 (01:41:21):
You know, Mark, he's got people that's on eight trade cats,
you know, and he took you know, Mark us from
a different cloth than me and Chris. So he said, man,
you just had us out here neckt and you're out
there with these Miami niggas and this and that. We
could have been handled any old kind of way if
we got out out of line with you.

Speaker 1 (01:41:41):
I wasn't even on that space, but Mark definitely was
on that space, you know, saying I wanted to tear
some shit up. Then there was you know, I ain't
even gonna speak on the other ship. But it could
have went bad. It could have went bad. I'll just
say that it could have.

Speaker 3 (01:42:00):
Yeah, you know, because because at the end of the day,
and this is how you have to look at stuff too,
because I've had partnerships that turned out bad. But then
I will say this, man, when you do something that
kind of changed the game, you got to kind of
look at it like a player too and say, you
know what, we was able to do some phenomenal stuff
when we did it. We was able to you know,

(01:42:21):
accomplish some phenomenal things.

Speaker 5 (01:42:22):
Man.

Speaker 3 (01:42:23):
You know, you went on to have a story career.
You know what I'm saying. I would definitely say that
she went eight. It's definitely both first ballot Hall of Famer.
So to speaking this hip hop thing, you feel what
I mean because you all was doing it at a
time when it wasn't easy. It wasn't easy to sell
records back then, right, exactly right, and it wasn't easy,
especially something called hip hop.

Speaker 1 (01:42:42):
Man.

Speaker 3 (01:42:42):
So if you can when it's the last time you
actually had a conversation.

Speaker 5 (01:42:46):
With Luke, last time I physically seen Luke, was that
it was a thing that we did with well, I
should say he did at BT for him getting an
award for being you know, a Southern hip hop pioneer
and this, that and the third.

Speaker 1 (01:43:05):
But we wasn't involved in the trophy. It was just him.
You know what I'm saying. They never You know. The
thing is, it's almost like, I guess if you're an outsider.

Speaker 5 (01:43:17):
And you don't really know the true story of how
the group actually functions, you would look at the situation
like it's heavy D and the boys. Ain't nobody here
right here right now named three of the boys cat
You know every D and you know these other three
cats exist, but you don't really know they names. You
don't really know, you know, if there was a particular

(01:43:39):
significance with them or not. So Tulac, who was kind
of viewed in that way. You know what I'm saying.
They think it's just him because he was so far
out front with handling, you know, the business aspect, and
he was the most outspoken.

Speaker 1 (01:43:54):
How of us.

Speaker 5 (01:43:55):
I wasn't really no talker at that time. You know,
be talking now. I mean, you can't stop me from
talking now. But back in them days, I wasn't really
doing though talking. I was just doing the music. And
you know, even when I met eight, I remember.

Speaker 1 (01:44:11):
I met him, so you got him. I don't even know.
I think it was for the come the most wanted
stuff that that I met a video show tour.

Speaker 4 (01:44:31):
You had you We was on promo tour and that
was one of our promo runs. We had to come
to your spot and do your little your show. So yeah,
that's the first time we met out in uh it
was up in the Bay Area somewhere whether yeah, yeah, yeah,
Gang of Trees around that mother it was yeah, but yeah,

(01:44:54):
that was we was making all runs and shipped back then.
We were still we were still pushing around for a minute, man,
and so yeah, it's it's it's definitely a blessing to
still be able to be around and tell these stories
of you know, some of these horror stories of hip hop.

Speaker 1 (01:45:14):
You know, you know, that's what I call it.

Speaker 4 (01:45:20):
I call it horror stories because we came through a
rough time in hip hop, you know, with the Exception
and then with us, you know, even though our music
was on different you know, uh you ship, we still
was getting We still was getting harassed and sweated and
not being able to do what we could do and
then to have that fall on you, you know, not

(01:45:43):
being able.

Speaker 1 (01:45:44):
To do shows and getting band and sticker not only
that we.

Speaker 4 (01:45:49):
Have to stress out and go through, but on top
of that, you got a motherfucking your camp who taking
all the bread and don't want to be equal to
it with everybody. So that's why I say stories of
hip hop, man, because we're still able to be around
here and tell uh you know what we had to
go through. And like I said again, I tell niggas

(01:46:10):
all the time. I wouldn't trade it for nothing though,
because it teaches you something that you knowledge. Now you
know you can invest in and tell motherfuckers. You know,
I tell nigga every day when they talk about getting
into music, I said, man, leadership alone, you give me
music is not for the thing at heart man, unless
you just got the wee, unless you just got the

(01:46:30):
will to do it yourself. And you know, regardless of
what everybody's saying, you can put some good people around
you that's not out to fuck you from the gate,
because like I said, we come from the era of
where niggas was fucking niggas straight up. It was a hustle.
It was a hustle game. You know, a lot a

(01:46:51):
lot of the vents before us or like you said,
the niggas who was knowledgeable about this shit. Didn't feel
like instilling us with the values. Uh, you know, we
had to learn the hard way getting fucked, getting corrupted,
getting getting bullshit, fucked up contracts and all that. And
we put out some of the best music around that.

Speaker 1 (01:47:12):
Time, you know.

Speaker 3 (01:47:13):
So, but it is, It just brought up something really important. Man,
I can't let you off here without asking about that
real quick. Y'all was actually going to jail back then,
Man for the music y'all made. They can't yo, y'all
got arristed in some shows, didn't y'all?

Speaker 1 (01:47:31):
Yeah? Yeah, you know.

Speaker 5 (01:47:32):
And this is the other thing about hip hop that's
probably different than some of the other genres. Depending on
what part of the country you and you could be
subject to way more foolishness. This stuff was happening to
us Florida. That's only it was the neighboring county. It's
almost like, okay, so La County, what's the neighboring county?

(01:47:52):
Orange County is a neighboring county? Uh, Riverside is Riverside? No,
that ain't a neighboring county. What's what's the past going to?
What is that current county?

Speaker 1 (01:48:04):
Or whatever? It would be like that, yeah, yeah, yeah, yeah.

Speaker 5 (01:48:08):
So let's just say you guys do a show on
Bakersfield and the current county sheriff got an issue with y'all,
and y'all shit is banned in current County, which fucking
fuck current County ain't nothing, but current County makes it
out to be a big old deal to where everybody
across the country think that your shit is banned everywhere,
and then you know, maybe Luke put an extra gasoline

(01:48:30):
on the situation to make it seem like, you know,
our ship was banned everywhere. It was just in the
neighboring county. And we actually when we got arrested, we
went to that neighboring county to do a show, and
we had a clean show to do and an explicit
show to do. Clean show we do first, no issues
the explicit show. It didn't look like it was gonna

(01:48:53):
be none with everything. All went with all a hitch
and when everybody was leaving, they caught him like a
mile or so away from from the venue and then
pulled them over and the rest of them. So it
didn't actually happen physically at the event, and it was
based off of the fact of the album, the Miso
Horny album. We if we didn't perform any of the
records that was on that album.

Speaker 1 (01:49:19):
So that's when people pay their money to come see
though on reality, right right right, right right, And it
was all kind of like, you know, you know, maybe
who knows.

Speaker 5 (01:49:28):
Maybe just like I said, you know, it was a
marketing guy from the standpoint of being able to beat
people to the punch.

Speaker 1 (01:49:37):
Who knows, Maybe you've already knew that. Well, you know
they're gonna.

Speaker 5 (01:49:40):
Restu Well shit, maybe maybe that. I mean, what can
they really get us for a fucking let's just do it?
You get so much publicity out of the ship, you know,
I didn't you know, him and Chinaman got a wrestled
because they were riding together. Me and Mark was in
some other cards. Mark had to end up turning this event.
They didn't arrest me because of what I'm not the rapper,

(01:50:04):
I'm the music guy. So when they sit up in
the courtroom, I'm watching the ship on TV at my house. Ye,
they the ones that don't dry. We ain't even that's
how you know, goofy. The situation was, you would think
the whole group would have got like you said, gaffle,
but it was just them saying the lyrics.

Speaker 3 (01:50:27):
M So, man, I appreciate you man coming on and
we got to do this again because it's so much
that was left out, that was left out, and we
can always were gonna have you come back on, Bro.
And one of the things I want you all to
remember out there, make sure y'all go subscribe to our
Patreon channel. Listened on Patreon against the Chronicles podcast because

(01:50:48):
we're gonna be able to have some conversations that are
even more off the chain, the ones the haf of
the day because right now we're going through a lot
of censorship. You know, I would say probably forty percent
of the videos we put on youtubeer often to monetize
it for what. I don't know, because it's not like
we got butt naked women and nothing on here. Man,

(01:51:10):
I don't know what it is, man, but they want
you to have everything clean cut. So censorship is still
very much alive. And well man, that's why y'all go
to that Patreon. Man, y'all gonna be able to catch
this raw and uncut at our best. I know, it's
a lot of stuff they eight want to do that
really ain't YouTube suitable. You know what I'm saying, not
that we really want to do nothing filthy, but go

(01:51:30):
check us out Man and Mix. Where can they find
you at Man? Where can the people go holler at you?

Speaker 1 (01:51:35):
At Man?

Speaker 5 (01:51:36):
Instagram? That's the only place I'd be at Mixed, Who,
Underscore Live, Underscore Crew. And then on top of that,
you know, I do the little things, you know, maybe
some YouTube stuff or whatever, but that's my main space
of me doing things is on Instagram.

Speaker 1 (01:51:57):
You know, headed out to Berlin to go do some shows.
You know.

Speaker 5 (01:52:02):
The one thing about the group now that both you know,
China Man that's gone and and Marquis is gone. I'm
still doing the stuff with the shows and all of that,
but you know, it's almost like I wouldn't say it's
like the Temptations, but it's definitely still the same vibe.
A lot of people wouldn't think that I would be
out there still doing the stuff, but it's you know,

(01:52:25):
it's a it's a tradition thing.

Speaker 1 (01:52:26):
It's like I look at the Two La Crew thing
as a franchise, you.

Speaker 5 (01:52:30):
Know, yeah, you know, Will Chamber it ain't playing for
the Lakers, No, board Shack ain't playing for the Lakers,
no board, but they still exist, you know what I mean.

Speaker 1 (01:52:38):
So it'll be new people that will be doing some things.

Speaker 5 (01:52:41):
And I got new records that I'm doing that's in
the same lane, same vein as that you know, I get.

Speaker 1 (01:52:46):
You know, different people that come in and do features
things of that nature.

Speaker 5 (01:52:50):
So Tula Crew is definitely still alive and well, definitely
still moving around doing stuff, probably being a city close
to you, you know, all through out this year we
got shows and all of that, and uh that's it, man,
Just like I say, Instagram Mix, Underscore Too, Underscore Live,
Underscore Crew and uh it's.

Speaker 3 (01:53:09):
Their Exchence man that you want Luke possibly get together
to do some stuff. Y'all are the less romaining members.

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

Speaker 5 (01:53:16):
Yeah, Well remember the movie Dumb and Dumber where they
say when he's with the girl and the girls say,
you know, not in a million years can you do things?

Speaker 1 (01:53:28):
And then what my man say, So that means I
still got a chance.

Speaker 5 (01:53:35):
You just don't know, I mean, you just never know
what's gonna happen. I don't you know, I don't say
you know how they say never say never?

Speaker 1 (01:53:43):
You know what I mean?

Speaker 5 (01:53:44):
But it just all depends, you know, It's just like
I say, you know, if an offer that you can't refuse,
you know, as a grown person, pass on, you know, because.

Speaker 1 (01:53:53):
Really we ain't that mad at each other. We ain't
that mad. Come on now, I mean we don't.

Speaker 5 (01:53:59):
We don't, you know, chewed up a lot of the
same turf and this and that, and by cats being
young and not really having an understanding of how to
hold your ground in particular ways. You know, it's a
shame on him moment. It'll never be a second shame
on your moment. So you just have you know, it's

(01:54:19):
all about if cats want to do that or not
do it, and it's cool either way. It's cool either way.
I'm not going to ever, you know, I'm not one
of them cats that feel like I got to shame
you to get, you know, my shine or anything like that.
We did a lot of stuff. I look at him
as an older brother from the standpoint of how we
did some things. But as you get older and you

(01:54:41):
see why some stuff was done. Okay, I get why
he did it, but maybe he didn't have to do that,
you know what I mean. So I don't have no
issue if I was to see him right now, it
wouldn't be like I would try to swing on him,
and he ain't never been like that with me either.

Speaker 1 (01:54:57):
You know, maybe he.

Speaker 5 (01:54:58):
Ain't got no reason to fe like that because he
already won. It's a situation. I don't see him in
that way. I've seen him from the standpoint of what
it is that we did. You know what, what's gonna happen,
What happens if we go to to the Hall of
Fame next year, it's gonna be a melee damn in Cleveland. No,

(01:55:19):
it's gonna be It's gonna be what it needs to be. Cordial,
you know, we accept our stuff.

Speaker 1 (01:55:25):
And you know, and that and that be that. Mmmm.
Maybe that's what mother could be wanting to have happened.

Speaker 3 (01:55:33):
I don't think, you know, I think people would like
to see you are reunited, man, But man, we appreciate
you coming on man, and we definitely got to have
you back on man. We definitely back on her brother
for sure.

Speaker 1 (01:55:48):
I'm gonna be in a minute, for sure, man, you know,
And there we go.

Speaker 3 (01:55:56):
We appreciate y'all for tuning them to day and we
gotta hear are well. That concludes another episode of The
Gainst the Chronicles podcast. Be sure to download the iHeart
app and subscribe to The Gangst Chronicles podcast For Apple users,
find a purple micae on the front of your screen,
subscribe to the show, leave a comment and rating. Executive
producers for The Gangst the Chronicles podcasts of Norman Steel,
Aaron M.

Speaker 1 (01:56:17):
C a. Tyler.

Speaker 3 (01:56:18):
Our visual media director is Brian Wyatt, and our audio
editors tell It Hayes. The Gainst the Chronicles is a
production of iHeartMedia Network and The Black Effect Podcast Network.
For more podcasts from iHeart Radio, visit the iHeart Radio
app Apple Podcasts wherever you're listening to your podcasts

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Norman Steele

MC Eiht

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