Do Old N*GG*S Need To Stop Rapping?

Tonight we sat down with rap critique Dejon Paul and discussed OG's that feel like they still got it on the microphone. Do you think the homies should put the mic down at a certain age?

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Episode Transcript

Speaker 1 (00:00):
Cast the Chronic Goals. This is not your average shows.

Speaker 2 (00:04):
You're now tuned into the rail.

Speaker 3 (00:17):
Welcome to the Gangst the Chronicles podcast, the production of
iHeart Radio and Black Effect Podcast Network. Make sure you
download the iHeart app and subscribe to Against the Chronicles.
For my Apple users, hit the Purple Michael on your
front screen. Subscribed to Against the Chronicles, leave of five
star rating and comment. All right, it's another episode of
the Gainst the Chronicles podcast. It's your boy big steal. Yeah, Hey,

(00:39):
you know what we got one. I've been telling you
eight for a minute. Man, I've been wanting to get
this catin the show for a minute.

Speaker 4 (00:44):
Man.

Speaker 3 (00:45):
He does this thing called the l a report card
that really don't shook the whole West coast up. A
lot of people mad at you. I guess y'all know
what I'm talking about. The John Paul, what's happening to dog?

Speaker 2 (00:54):
What's the deal? Jenner Man, how y'all doing?

Speaker 1 (00:57):
Man?

Speaker 2 (00:59):
Yes you're sir, Thank y'all for having me.

Speaker 1 (01:01):
Oh for sure, Man, for sure, I'm gonna jump right
into that.

Speaker 3 (01:05):
Man.

Speaker 1 (01:06):
You had a lot of people shook up with the
LA report card stuff. Man.

Speaker 2 (01:10):
Yeah, man, it's been crazy. It's been a crazy ride
for the past what three years, It's been crazy for years.

Speaker 3 (01:17):
Now, you don't had a lot of cats upset, man,
A lot of cats not really tripping off of but
I see more people. Everybody don't necessarily get mad about it. Man,
what's the biggest Like, what's the worst reaction?

Speaker 1 (01:28):
You don't have to it.

Speaker 2 (01:30):
I mean when I put out the first one in
twenty twenty two, man, I was getting death threats. I
was getting people sending me pictures of my house. I
was it was. It was bad when I put out
the first one. I feel like now it's not as bad.
Like now this year it was a couple of dis
records like Low Vader dropped the disc record, rap your
Names all, Simon way crazy on Haigi Live. But it's

(01:50):
not as bad as the first year. The first year
was like it was scary. It wasn't until I got
the Mustard Co sign that people kind of chilled out
and hurt me out.

Speaker 3 (02:00):
Yeah, you had you know what, man cats and they
aren't man. People take they are pretty serious. That's true.

Speaker 1 (02:06):
If people take their art.

Speaker 3 (02:07):
Real series and you got some cats, I think once
you give them a professional level or really period. When
you decide to put out an album, you got to
take all forms of criticism of good stuff and the
bad that come with because everybody ain't gonna love your music.

Speaker 2 (02:21):
Now, that's a fact. I think people just aren't used
to hip hop culture out here in LA especially nowadays,
because back in the day, y'all have Source magazine, doubley
Cell magazine reviewing albums. So you know, to me, what's
the difference.

Speaker 3 (02:35):
Hey, you can well, hey, you've always got really good
Source Mike's scores. You never had no low score. Do
you think people was more accepting the people getting critical
of their music back in the day.

Speaker 4 (02:47):
I mean, you got to be able to accept criticism
and evor form of profession if it's open to the
public getting it. Football players get criticism if they don't play.
The basketball player to get criticized if they don't make shots,
but so forth and so on. So if you're gonna
get into the entertainment field of music and making records

(03:09):
and especially hip hop, of course you're gonna have critics
and people who criticize your music. And people feel it
ain't up to part that's just their opinion.

Speaker 1 (03:19):
You could take it for what it is. Or what
have you.

Speaker 4 (03:23):
I've never gotten personal with motherfuckers who want to review
or rate or criticize. It's their opinion, and I guess
you're allowed to have one.

Speaker 1 (03:33):
You know what I'm saying?

Speaker 3 (03:35):
Yeah, well, you always had good scores on your stuff.
I don't never recall the stories giving you just no
booboo scores. You always had threes and fours, you know
what I mean, the least I think you might. I
almost want to say that music to Drive By might
have been four and a half or something like that.
We come strap half for mic, that was we come

(03:57):
strapped in, all right, man? I remember one of them
having the real high score.

Speaker 1 (04:00):
Older.

Speaker 2 (04:02):
Could I ask you a if you had, god, let's
say you had got two mics or two and a
half mics, would you have been hunting down a journalist
that wrote that review or would you have not.

Speaker 4 (04:11):
Tripp I know, because that's a journal that's his opinion.
You might have him give you two and a half mics,
and then you might have another magazine where they say
your shit is bond. So everybody has a difference of
opinions of what they feel if they like it or not.
When you make music, just a hit or miss. You

(04:34):
know what I'm saying, you working in the studio.

Speaker 1 (04:36):
I don't know. Dudes take shit personal. I guess because
I'm of.

Speaker 4 (04:41):
I might be the wording of how a critic is
reviewing they shit if a nigga might take the wording
of that too personal, because you got to understand a
lot of niggas aren't too intelligent and aren't really acceptable
to words.

Speaker 1 (04:58):
And shit, so be right.

Speaker 4 (05:01):
So you have to understand when you're writing this reviewing
me as an if I was a critic, I'm gonna
be careful in the choice words if I feel that
this might not be my cup of tea.

Speaker 1 (05:17):
And I'm a word to the factor where I'm not
gonna try.

Speaker 4 (05:20):
To offend Homeboy or whoever's putting out the music, but
i want to make my point that I'm not feeling
it or I don't like this, so I'm gonna rate it.

Speaker 1 (05:31):
Out of five.

Speaker 4 (05:33):
I might rate this motherfucker two. It's got nothing personal
to do with you as a person or who you are.
You get me, and I'm gonna make that statement clear
to death. This has nothing to do with who you
are as a person, So don't say because I gave
you a two on a project that you might think
is a t in yourself, and then the homies might

(05:54):
tell you what's a tin? And then another nigga down
the streets might tell you it's a tin. In my opinion,
it's a two so and and then you got to
understand a lot of this is coming from a journalistic
a journalist input. These are writers and he's a dude
to who pride themselves on being able to review shit.

(06:19):
Some of them might be wrong in an opinion, some
of them by everybody, because some people might feel, hell,
yeah it two and a half.

Speaker 1 (06:27):
You get me.

Speaker 4 (06:28):
So it just all I just feel when you're dealing
with and you know what you're dealing with, when you're
dealing with certain artists and you're dealing with shit. So
you just have to learn how the word shit and
not to the point where a nigga want to be
knocking order your door, or you are trying to have
dinner with your family and a nigga might want to
step to you because he saw what he feels is

(06:51):
a is a disrespectful review.

Speaker 1 (06:54):
You get me.

Speaker 2 (06:56):
Absolutely. I think as journalists, as music critics were to
be constructive, so we don't need to be saying using
words like trash and offensive words like that. No, specifically
say what you don't like about it. I didn't like
the production, I didn't like the mix x y Z.
But when you use words like trash or weak x

(07:16):
y Z, those are like offensive words. It's inflammatory.

Speaker 4 (07:19):
Yeah, perfect example, Draymond Green just called Dak Trescott traktis.

Speaker 1 (07:25):
There's a lot of the confusion over that you're getting.

Speaker 4 (07:29):
There's a lot of feelings that take place behind that
because you can say, my man ain't playing good right now,
or in playoff times, you're not stepping up to the
plate delivering that that that run batted in, or he
not delivering that home run. But just to say, oh well,

(07:51):
my nigga get up to the plate. He weak as fuck.
You get me, That's that's kind of personal. You feel
me absolutely, And that's where might get misconscrewed because that
sounded like something personal of me. You calling me trash, hallboy. Yeah,
you ain't saying that I'm not able, I'm not playing

(08:11):
good or in certain situations I can't deliver.

Speaker 1 (08:14):
You get me.

Speaker 4 (08:16):
You calling me straight up trash, So to me, that's personal.

Speaker 1 (08:20):
That sounds personal. It's also people like that.

Speaker 3 (08:22):
When you start like really judging stuff and not being objective.
You know, you're subjective about something, that's when it kind
of gets personal. You're telling somebody they shit is trash,
that shit is garbage or whatever. Right, that's personal. But
when you objective about something, you kind of state in fact.
That's what I did. Like about the LA report card.
You broke down why each person got the grade they
got it. It could have been they had cool lyrics,

(08:44):
but they swagged wasn't right, or they look wasn't right.
You kind of wrote it all the way across, and me,
being a former A and R, I judge people on
that all the time. I might have had a dude
that had the fest music every but it's looked wasn't right, Like,
because you got to.

Speaker 1 (08:57):
Think about Okay, we go sign this, do it all.
We gonna feel the us right. Yeah. Yeah.

Speaker 2 (09:02):
The music video category and the branding category is just
as important as Cayden's flow lyricism. All the categories are
equally important.

Speaker 3 (09:09):
I grid because like I told you before we got on,
I think when it comes to stars in LA, I
think like when I think about the young Cats always
said that I thought Jeeperico was like a record away
from being like a big star.

Speaker 1 (09:22):
You feel what I'm saying.

Speaker 3 (09:22):
I think he got some though records, but I think
he needed that Warner Records Steel to be like, you
know what that record is? That that's that record right
to put on that level. Everybody got to have a
defining record. Like when you go back to back of
the day, when you talked about Cube, he had to
define an album. I think the first album he put
out when he broke up with n W was that
America's most warned. Yeah, that that defined him, That defined

(09:46):
him as an artist to the point he's still kind
of getting defined today because of that. Like, I don't
think Cube is necessarily putting out bad music right now.
I think it's just a lot different than the music
than it was back. You feel what I'm saying.

Speaker 2 (10:01):
I will challenge you on that Scarface single, but we
could talk about that when you're ready.

Speaker 3 (10:04):
Oh yeah, for sure, But we definitely gonna touch on that.
We definitely gonna touch on that. But I do think
that it's so many things that makes up artists. I
think that's what made like you're thinking about it, like
eight is going on his thirtieth summer year of making
money being a professional rapper. Right, There's very few people
that make it make it that length. And I can

(10:25):
almost I ain't gonna see I'm right all the time,
but I can kind of tell when a new cat come,
if he gonna be around for a while, if he
was gonna kind of you know what he kind of
hitting on.

Speaker 1 (10:34):
He kind of on hit right now, but he may
fade out a year or two.

Speaker 3 (10:37):
I think when you in the fads, and when you
in the fads and certain gimmicks and shit like that,
it usually go that way. But I think when you
true to your craft, you stand to have a longer career.

Speaker 2 (10:47):
You feel me that comes with artists development, though, and
that's something that just missing. And that's one of the
reasons why I did the La rapperport card. Obviously, coolm
o d Had did the original rapperport card back in
what eighty seven, He did a with Ego Tripping magazine
back in the nineties. A few publications did it in
the two thousands, but I was looking back at La
rap this publication. My mixtapes put out a post it

(11:09):
said California ranks livest place when it comes to new
hip hop artists, and I was like, I gotta do
something about this. We don't have artists development. Our artists
are only focused on being popular. They're not focused on
their skill set, lyricism, cadence, flow, they don't care about that.
So that's why I put out that list. And it's
just my version of holding accountable, holding artists accountable.

Speaker 3 (11:30):
I agree with that me being a A and R dude.
I kind of started something recently with the Homeboy Fiend
from my used to be on No Limit Records right
from New Orleans. We started a label called Fans Club,
And I'm not going to say it's like a big
not a We don't have plans on putting out a
million artists, but we want to do do want to
develop artists right because it's a lot of people out

(11:52):
here right now. The reason why you have so many
hit one hit fronter is because you get a kid
that go in his bedroom, he makes a record, ain't
no producer in there with him, and he kind of
makes this one record and to blow up and he
don't even know why that one record blew up. Like
it was so many things like with the one kid
that just had the one big record out of here,
Soak City. Yeah, the Solk City record.

Speaker 2 (12:14):
They're a No Baby.

Speaker 3 (12:15):
He made that on his phone. Yeah yeah, pre wont
old baby. He wasn't there, made that record on his own.
It wasn't nobody in there with him, and he made
a great record. Right, It's harder to make those type
of records as artists.

Speaker 1 (12:24):
Right.

Speaker 3 (12:25):
He made a hit record, but he didn't have nothing
else to follow up with it, right, so he becomes
kind of like just a footnote writing and coature. Right,
he made this really coach for a relevant song. But
now he's not around because the people that he had
around him. I'm sorry, I don't care who get mad.
They didn't know what the fuck they was doing.

Speaker 2 (12:41):
I think he had a to challenge that. I think
he had a cool follow up with the Rocky ol
Hips record with Old Jeezy and Blue Buzz Clan, but
I feel like he hasn't followed it up with a
dope project. So he had a big single, but he
didn't deliver a dope project after.

Speaker 1 (12:55):
That's but that's what I'm saying.

Speaker 3 (12:56):
Though it wasn't a project, like it was kind of like, Okay,
you threw a bomb, but what was next to follow
that up. You feel what I'm saying, because he had
another cool record. You have to follow up works of art.
You got to follow up a piece of art with
a work of art. You feel what I'm saying. That
part he's come with this album that was like, okay, man,
this is gonna be the album that defines the generation
kind of white white chee. He hit a little bit

(13:18):
with two of them vote it. But when he did
hit this record of my Niggas record and he ever
followed it up with My Crazy Life, Now he got
a cultureal moment. You feel what I'm saying, the classic
So where when you look back at that time period,
whether you like him or not, you got to say,
you know what, man, that time period he defined that
time period right there, like like when this man we

(13:38):
on the show with when he came out with his records.
He you know, when you think back to the nineties,
you got to think about MC eight. I don't care
wok you are. You feel what I'm saying. You got
to think about that because he kind of gets me.
He was an integral part of the culture. You feel
what I'm saying. Music is all about culture, right and
I think when you get away from that, that's when
you lose, right, And I think that's why we're having

(14:00):
so many one hit wonders right now. Like, and this
ain't to pick on three one. Oh baby, I don't
know that gear. I don't know him, right, but I
do think that he could he could still have a
very viable career if he had someone around him that
was pretty much guiding him. And I think that it
is to a certain extent. And I'm gonna tell you
because I agree with a lot of stuff you said, right,

(14:20):
I do think that it's if you in that line
of work, right, it is your job kind of to
develop the young cats, right, to develop the people who's
next up in this culture.

Speaker 1 (14:30):
Right.

Speaker 3 (14:30):
But I do think that if you're not doing that,
that's cool too, because you're not. You don't like, don't
know rapper, Oh nobody nothing at the end of the day, right,
Like eight has had his career, but he's never had
a regular label. It ain't his responsibility necessarily to go
out and raise every the future generation against the rep
you feel me.

Speaker 2 (14:50):
No, it's not his responsibility, but it will be dope
if og West Coast Rappers did have their own labels
and was generating new artists the way Gucci Man Yo
Gotty bird Man. They keep a new artist coming out.
It's not their responsibility, but if they were to take
it upon themselves and do that, it'll be dope.

Speaker 1 (15:10):
Well, a lot of a lot of that comes with
independency nowadays, you get me.

Speaker 4 (15:21):
A lot of West Coast artists tried no they had
labels to Wault Street. Nowache Snoop had Doggy Style, Mac
did wal Pool bang In. There were numerous production deals
for artists. But that's how I got on. That's our

(15:42):
Lich Mob, That's how the dog pound whatever. East Siders
niggas had labels, But the problem was I don't think
that the direction who shing artist was really at hand

(16:03):
in those days. Now you have so much self sustainable
shit by being able to use the Internet, social media
and push artists along. As far as that is concerned,
a lot of West Coast artists.

Speaker 1 (16:23):
Want to be their own day and so to speak.
You get me.

Speaker 4 (16:27):
It's hard for a young nigga to want to sign
to someone when he already has the idea of the
knowledge of skit. I could put my own shit out here.
Why am I gonna sign to a Cube or Sloop
or an eight or so. And so when I've turned
around to do my own shit, and then you have

(16:48):
to understand the income of today and yesterday, you're getting me.
Look at the self innerating income that a lot of
these yogatties and Gucci Man's and so and sos produced.

(17:09):
They're making way more bread than we were able to
make through record labels. It with the ability to push
their own shit back. Then stonies and universals wouldn't giving
up million dollar deals for a nigga's bread and artists
you get me.

Speaker 1 (17:27):
It was just the fact of that.

Speaker 4 (17:29):
So today you have a lot of motherfuckers who feel
like I can go out and getting my own before
I go sign to a nigga. I'm gonna go get
my own. I don't know what the difference is living
in a Tennessee or Georgia or Florida or whatever, but here,
the idea of nigga signing to another nigga's life, nigga

(17:53):
fucked that and that's where you get that from. And
so a lot of young niggas here feel like I'll
need to sign, motherfucker because I can go out and
do my own and probably do twice as better.

Speaker 2 (18:07):
Yeah, I mean that's a great retort to it. I
still feel like if artists were to if legendary West
Coast artists were to break new artists on the West Coast,
we would see more momentum for the West Coast. But
I understand that this position you saying that, well, shit,
they can go out and do it themselves. The independent
mindset is popular, and I just feel like that might

(18:29):
come from people watching like a Nipsey Hustle interview or
something like, oh, I want to be independent. I want
to own my own masters. But at the end of
the day, if Snoop Dogg has death Row Records or
Cube has a label, and they're able to give you
a deal and take you to a major label for distro,
or even just keep you independent through them for a
couple of projects, well I don't think too many artists
will turn that down if they had the opportunity. I

(18:51):
don't think a Jason Cash and Airplane James Epic must
die atm Danny. I don't think those artists are turning
down Snoop a death Ro deal this moment, or a
deal from CBE at this very moment.

Speaker 4 (19:03):
Well, for you, that is I can't. The problem with
that is how sustainable is that gonna be? Where I
can't turn around and produce you to be the level
of a little baby for these new artists that are
coming up that are making millions of dollars. Thus, you
have conflict in the labels, and we've dealt with that before. Also,

(19:26):
you get me, you have to watch and understand what
you're dealing with when you're talking about a young new artist.
When the motherfucker turned down doing the song with Snoop
or whatever, Probably not with Q, probably not if the
deal was right. But then the whole point of that is,
if I'm just here to walk you into a label,

(19:48):
then you know you have to understand what that in helles.

Speaker 1 (19:51):
And what that it takes.

Speaker 4 (19:52):
Like I said again, the attitude of a lot of
young niggas over here is fuck that I do this myself.

Speaker 1 (19:58):
That's where the shit lies. It's not thought the nigga
won't fuck with a nigga.

Speaker 4 (20:03):
The problem is a lot of young niggas go, I
don't want to fuck with an older nigga. I want
to my own shit. You get, and that's what I
because they, like I said, there's a lot of young
niggas out here who's getting it their own, and they
fell with the people like in with the with the
places like when higher and in the in the places

(20:25):
you can put out your own projects. A lot of
niggas go that route unless the nigga's coming in and
he just got it sold up.

Speaker 1 (20:33):
You get me.

Speaker 4 (20:35):
For instance, my nigga Top Dog in there, you're getting it.
He was able to get artists and sign artists and
create and bring out because he put for money into
that ship. A lot of these older cats they not
making the bread that some of these younger new labels
are making. So you gotta understand the position that you
might be in. I might not be able to get you,

(20:56):
that we might not be able to pull up and
rose royces and do all this shit. So it all
depends on how dedicated a young nigga might fit about
his career and not just trying to put out a
record for today. You get me, that's also another day.
And then it just comes down to bottom line, respect,
You give me. Niggas gotta respect each other if they

(21:18):
gonna work with each other. And that's just hitting the nutshell.
And in a sense, a lot of young niggas feel
like there was a movement. A lot of niggas didn't
want to fuck with older or a West Coast artists
because they felt like West Coast artists will probably steal
on the block. You give me, that's my example of it.

(21:40):
You get me, you got if you got new niggas,
they're coming up on the block. You og, you're getting that.
That's even for yourself. You were og. You started the
rat report. That's your shit. Whatever, you do your thing, Okay,
you've been hustling, whatever.

Speaker 1 (21:56):
Whatever.

Speaker 4 (21:57):
It's a young nigga around the corner that just moved
into your bi Okay, he's telling all the people that's
coming to see you, don't go see that nigga no more,
come see me, Come sit at my show, come do
my shit.

Speaker 1 (22:10):
Now.

Speaker 4 (22:11):
You ain't stopping niggas that's coming to see him. You
ain't outside with a picket stye telling niggas, Hey, fuck
that young nigga. You telling the nigga nigga, we can
get the car, We get it. Your people coming to
see you, My people coming to see me. But that
nigga wants to tell people that's coming to see you
don't see him anymore. Fuck that old nigga you're getting,

(22:35):
you're gonna fill with disrespect because you're trying to You're
still trying to eat.

Speaker 1 (22:40):
You get me. Your doors are still opening.

Speaker 4 (22:43):
Your people who love your shit and your commentary and
your show, they love your shit. They ride or die
for you. You're getting. But it's a nigga who just
moved in your building who feel like, I want to
take your fans and I want to take the people
that listen into you every day because why because he
owed news. That's why I'm the new nigga coming up.

(23:06):
So you have to respect each other. If you want
to work with eachuck, you give me absolutely.

Speaker 2 (23:12):
But we've seen that practice and hip hop, even among
MC's on a even from a female perspective, little kim
Nicki Minajs. We've seen new generations come in disrespect they
OG's x y Z. But the wise thing to do,
in my opinion, if I was in that hypothetical situation,
you just mission. As soon as I see potential in
that young journalist that's critiquing West Coast music, I'm supposed

(23:34):
to go snatch him up and put him on my podcast.
I supposed to bring him in the.

Speaker 4 (23:39):
Phone all of your podcasts. I got my own podcast,
and I want the motherfuckers who come in and see
you to stop seeing you and come to my I
don't want to work with you. You play news. I
don't want to work with you. I want niggas to
come to mind. Shit only you need you right, You're

(24:02):
all you not gonna walk through my door and be like, hey,
young brother, I think you should come over here and
work with me.

Speaker 1 (24:08):
I don't want to work with you on me. Want
your founds are don't you?

Speaker 4 (24:14):
Everybody who listen to you listen to that nigga, no more,
I'm listening.

Speaker 2 (24:21):
The chess move would be to then find another young person,
bring him under your unbrother and have him rival that
said person. That would be the chess move.

Speaker 1 (24:30):
Come. Your chess move is to start controversy.

Speaker 2 (24:34):
So you go fuck oh man, come, this is about
the source of double like sound one for years.

Speaker 4 (24:40):
He'll pop up yesterday, Well, we knew how to battle
and rap and do that shit without pulling out a pistol.

Speaker 1 (24:46):
A nigga come kicking your door today.

Speaker 4 (24:49):
When you got a nigga right across the hall, Oh,
then niggas across all a young nigga gonna come and
stick you up on me.

Speaker 1 (24:55):
They ain't playing that ship today.

Speaker 4 (24:57):
Rap rifle nigga, you right across the ha off from me,
I'm gonna come kicking your fucking door.

Speaker 1 (25:04):
That's the mentality of the end today.

Speaker 4 (25:06):
It's not like, Oh, they're thising me and he brings
in a nigga to rival me. Okay, let me get
on the microphone and rival back. No, the mentality of
young nigga today is something gonna knock.

Speaker 1 (25:19):
On this door and go homeie?

Speaker 2 (25:21):
What switching it back to a music perspective. If I'm
a og West Coast MC and it's young MC's this
and me, I'm not finna sit here and go back
and forth with your own wax. Theoretically, what I'm gonna
do is I'm gonna go sign a young artist and
I'm gonna let him he I'm gonna let the little

(25:42):
homie handle my beat. That would just be the strategic
thing that's gona get you a break. You socked the nigga.
Now I'm coming after you. And here you think you
feeling get a.

Speaker 1 (25:52):
Pat a pass.

Speaker 4 (25:55):
You went out and sign this nigga specifically to start
rivaling me. So now you and your whole establishment is
gonna get down, come on homeyess La, This young niggas,
this ain't kept rack shit. This is how the ship
works today. It don't walk how l L and CuMo

(26:16):
D did it. This don't work how it don't work
like that today. The young niggas today gonna come up
to your building and they gonna knock on your door
and say where you can.

Speaker 1 (26:27):
That rival You signed that sony, get down to that.

Speaker 2 (26:33):
Niggas gonn listen.

Speaker 1 (26:35):
And this goes in. This goes in podcasting. This goes
at anything.

Speaker 4 (26:42):
You can get a rival podcaster to come to get
on the mic and get the talk and ship against
the other nigga across the hall. He a young nigga,
They gonna come knocking on your door, biggause niggas, niggas.

Speaker 2 (26:57):
Who is that full of These days don't work like
that in LA podcast And I'm the only LA podcaster
to fight this year.

Speaker 3 (27:04):
All these other niggas just be talking. But I feel
I find you scrap through by the way. But this
is what I wanted to say. Eighth made a point
about the south right the dynamic on the West coast.
Dejon is so different to where if ad even did.
If me and eight next month went out and I said, eight,
I got us a distribution deal with Sony. They gonna
allow you to put out five projects a year. You

(27:25):
know what would happened the first time eight did sign somebody,
he's gonna have to go through so much pullsh especially
if he's from another neighborhood, right, because what's gonna happen
the first time they meet.

Speaker 1 (27:36):
It's gonna be two other casts to come over with.

Speaker 3 (27:38):
Oh, the'se my homeboys right here, it's Pop Homie, Big Dulo,
he's my manager. Ain't gonna have to deal with Big Doulo.
Don't know what the fuck he doing in the business. Yeah,
and the whole bu shit. So now, hey, think when
you think about all the labels like towe atter label,
right eight, what's his relationship with all artists that was
on there? All them niggas mad at him for something?
Now if they didn't sell records, Oh, it's cues for Jesus.

(28:00):
Summari Q was fult same thing with Scoop. Everybody was
on Snoop's labels, mad as Snoop boss some ship. Now
it's very hard right now, man, to establish that in
the South, I will say, they gotta look, it's a
lot different, man, because you don't have all the other
dynamics at play.

Speaker 2 (28:17):
Are you by other dynamics? Are you saying like gang
politics or where is specific over here?

Speaker 3 (28:21):
The game politics and just the mentality of a lot
of cats out of here? Man, it's just different. Like
they said, they were rather challenged you that work with you.
It's like, I'm gonna tell you a prime example, and
I ain't gonna say the artist's name. I could convince
one of the homies to start a label. Right, well
known dude, I bought an artist up that had a

(28:42):
had some shit going on. Right, we had already had
this place set up with the with the major label
that we was with. Right, we said, we got this
one kid, we want to do something. What we need
to punction it? We need we just need a half
a million dollars. Right, They was with it. The dude
come to the meeting. Before he even get to meet
the dude, he ought there we talking. He like, I'm like, yeah,
we canna get you all a record, won't do He's like,

(29:03):
I want to do no song with that old wash stuff.
Nigga and he don't know this man af about to
give him a half a million dollars. Whole shit just
got fucked up before we even got to go on
the door. Eight before it even got started. He calling
somebody washed up and he hasn't even begin to step
on the porch. Shit man, These LA rappers. I'll be
the first to say, maybe I should have leed with

(29:24):
this disclaimer. I'm not saying it'll be easy to work
with signed LA rappers. I know more than anybody that
dealing with New LA rappers, young LA rappers is probably
the most stressful thing on the planet. Their disposition, their psychology,
their mindset is bullshit.

Speaker 2 (29:41):
They're late to everything, they don't keep they words scandaloss, lazy, entitled,
have a negative disposition and outlook on work XYZ. I
can go on and on. I have a million and
one horse stories. You gotta think. I do a magazine
cover every year ten a New LA Rappers called the
LA Freshman Cover. It's a be my six year doing it.
I deal with these rappers on a regular basis. It's

(30:03):
extremely difficult. It stresses me out. I'm bored underneath this hat.
You get what I'm saying, Like I'm stressed the fuck
out working with these new LA rappers. Nonetheless, somebody still,
unless we want West Coast hip hop to die, somebody
still has to take these new LA rappers under their wings,
teach them how to write songs, teach them how to
form good records. Where's the artist development that we asked

(30:26):
them to have, Like, somebody has to develop them. That's
all I'm saying. If the ogs could sit down with
these artists, teach them how to write a dope record,
teach them how to do a rollout, teach them how
to sequence a project X y Z, I feel like
it'll really benefit them. That's all I'm saying.

Speaker 4 (30:41):
Despite the stress, I'm always I think that's good advice.
I mean for someone who's willing to take it and listen.
First of all, like he said, this is a different
time in my days. Somebody like Iced Tea or somebody
like niggas who schooled me. I got fucked for my publishing,

(31:06):
but I dealt with a nigga who had an independent label,
you know what so forth. But a lot of that
came from being signed to a major. If a nigga
like Toddy T or Easy Edie, what have would has
wanted to sign me and tell me, we need to

(31:30):
do this. You need to write song. You need to
be able to make a Niggers hit for the radio.

Speaker 1 (31:36):
You need to.

Speaker 4 (31:37):
I would have been willing to take that advice. And
that advice was given to you get me when you
signed to Epic or if you was in the studio
work a nigga would tell me, Okay, we need to.
I wasn't necessarily because already had stories and songs in
my head. I knew how to construct a song by

(31:59):
listen than to the dudes before me and give me
you write six, you write three sixteens.

Speaker 1 (32:06):
Or back then it was four. You're getting right.

Speaker 4 (32:09):
Back then you had to do four sixteens and then
you had a break in the hood, and then you
had to have a me in the song. And it
was aimed to try to get a song on the radio,
because that's how shit was. And then we went on
promo tour and we went to all the different record
stores and we met the fans and we would sign

(32:30):
black and white photos, and then we did promo runs
to where we would go to each major city and
hook up with the lay Bullet and they would take
us to radio and do it. So definitely you had
artists development and niggas in the studio tronic construct.

Speaker 1 (32:47):
The whole problem was we were will it.

Speaker 4 (32:51):
You're getting and not to say all artists, but today
art you're getting me. Hopefully some of these new artists
who are developing themselves and sitting in their kitchens or
their garages or wherever they recording themselves, they would want
to take direction from a nigga who has had a

(33:13):
thirty in year career and not to say, oh, nigga,
you ain't got no platinum chains, or you ain't you
ain't riding on no G four's or in no Bentley
coops and shit like that. But it's still sustainable to
the fact of look, I'm still I'm still a ramp
at thirty years as an artist. You get me, you

(33:36):
got catalog. Fuck the Platinum Jays. Xy I said, you
got catalog. So basically, like I said, it would be
wooling and definitely you be out there looking for somebody
who was willing to take that knowledge and know how
to create instead of niggas who just want to get
in the booth and spit a couple of lines about
the ops and where.

Speaker 1 (33:57):
We're from and.

Speaker 4 (33:59):
Make a little catchy little record at the time, and
then next thing, you know, two years later, you stuck
in the mix because at the end of the day,
people want to hear developed. You feel me, definitely. You
get if I hear a young hot nigga and he
just spitting all over the place and be fire, and
I'm like, oh, yeah, this nigga.

Speaker 1 (34:20):
Could be hot.

Speaker 4 (34:21):
But you gotta be willing to take the advice, and
you got to be willing to take the criticism as well,
because your memory.

Speaker 1 (34:26):
You can't tell a lot of.

Speaker 4 (34:28):
Niggas today that that shit does sound good without them
getting offended.

Speaker 1 (34:32):
You feel me, I'm gonna tell you now, design ain't
you to tell you? He have? I had conversations with
you about you starting a label.

Speaker 4 (34:41):
Yeah, I don't like I said, I wouldn't mind because one,
first of all, I'm not a nigga looking to capitalize.

Speaker 1 (34:54):
Awf of shit, You feel me.

Speaker 4 (34:56):
If a nigga hot, be hot, if a nigga sell,
If if I sell ten thousand records and he sell
ten million, I'm not on the path to interfere with
that you're getting. I know, I know what it is
to be an executive, the nigga behind the scenes. I
never wanted fame in the first place, So that's a

(35:17):
lot of that has a lot to do with it.

Speaker 1 (35:20):
You get me.

Speaker 4 (35:21):
You have to be willing to be a real executive
when you're taking on the role, the role as a
late you have to be willing to go in your
own and infest your all. You can't be taking the
mother for the nigga give you one hundred thousand, you
want to stick sixty in your pocket and think you're
gonna get shit done with forty.

Speaker 1 (35:38):
That's where a lot of shit fucks up today.

Speaker 4 (35:40):
You get me. Niggas don't know how to invest themselves
into the projects. You get me, or a nigga don't
give me two hundred and fifty thousand. I done played
a couple of stones on this nigga. Or I don't
vouch for a nigga because a nigga gonna take my word, nigga.
I got a nigga down the street and they encamped
in or wherever nigga hot heat.

Speaker 1 (36:02):
The next so and so, nigg gonna give me the brill.

Speaker 4 (36:04):
I'm gonna play one two songs and they gonna be like, oh, yeah,
let's get it. But then you gotta be executive enough
to go, Okay, they gave me two fifty, I need
to invest this two fifty and not take two hundred thousand,
stick it in my pocket, go buy me a new
width in a chain, and then tell this young nigga
you though HeiG five grand and thinking he gonna be happy.

(36:27):
And then when the project ain't shit because there ain't
no money invested. Now you got issues niggas out to
learn that be But it was a lot of cant
sleeve that weren't up being executive, and you gotta look
at it like that. That's what it is, and that's
that's what I think. That's what happens with a lot
of successes of those labels you mentioned in the beginning.

(36:49):
You get me, boots me and willing to take a
million dollars you feel me, You get me, I'm willing
to invest that in the artist. Oh got me, I'm
willing to invest you get me money into a glow
Riller or whatever, because the return is gonna be greater

(37:09):
me as an executive. It's gonna it's gonna be greater
than a motherfucker feeling like ooh, I gonna get a
million dollars and stick at least half in my pocket.
You feel me. You have to be a true executive
when you're dealing with artists, and you have to. That's
that's why I say it's a lot of differences between LA,

(37:31):
but LA work in mysterious ways.

Speaker 1 (37:34):
Man.

Speaker 2 (37:35):
It's the mentality. It's desert the mentality.

Speaker 4 (37:37):
Well, nigga's all the time, man, Nigga LA work in
a different motherfucking place.

Speaker 1 (37:43):
Man.

Speaker 2 (37:44):
I know this is your show, but let me ask you,
what was your experience being signed to who begging? Because
you've been signed to an artist before.

Speaker 4 (37:56):
My thing, Like I say with this, when you're signed
to another artist or another everybody, mentality is different, you
feel me. We have had examples of niggas who have

(38:18):
been artists themselves and had successful runs.

Speaker 1 (38:21):
At being executives and labels. You're getting Master P was
an artist.

Speaker 4 (38:26):
Himself, highly highly lucrative, and highly successful as being an
executive for No Limits Records, Baby for Cats Money, jay
Z for Rockefella, You get me Drewood aftermath when it

(38:49):
came to EM and M in fifty and.

Speaker 1 (38:53):
But some sometimes.

Speaker 4 (38:55):
You, I would say, sometimes the executive position is just
the name on the door for some niggas. You feel me,
because if I'm a nigga putting out records and you

(39:15):
putting out records, and you're putting out the same records
I'm putting out, it might be a confusion of how
much promotion or how much I want you to succeed.
You get me, Okay, it's always competition. I will give
a fuck, but sometimes you have to have that mind

(39:37):
state of Okay, this competition, but at the end of
the day, I'm still the executive.

Speaker 1 (39:42):
You feel me.

Speaker 4 (39:43):
And so if I can put out hs record and
it's selling million copies, and I can pull out my
record and it's selling million copies, I'm only looking this
double successful you're getting. But sometimes situations to where my

(40:03):
record gonna come out and it's gonna sell a million
copies because they got the machine behind it, right, you know.
It's the it's got the niggas going the radio, it's
got the motherfucker's hitting up the record stores and street teams.

Speaker 1 (40:20):
And all of that.

Speaker 4 (40:21):
As far as when it comes to an artist that
I'm developing or on my label.

Speaker 1 (40:28):
I might not go pay for all that shit.

Speaker 4 (40:30):
At the end of the day you feel me, I
might not go pay niggas to go run the radio.

Speaker 1 (40:37):
I might not pay niggas to go do this.

Speaker 4 (40:40):
I'm not looking at it as the fact of if
I do that, I could have double the success. And
so sometimes that's where it falls. That's where it falls.
You have to be truly invested as being an executive.
And like I said, when you signed to another r
this who has a label, you would think that a

(41:03):
mentality is to push.

Speaker 1 (41:06):
You just as hard as you're being pushed, right, you.

Speaker 2 (41:10):
Would think that. But like you said, that competitiveness, I
think it works best when there's a CEO or president
or another executive there to run the day to day.
I think Ben, it makes like a Dame Dash with Rockefeller,
Like Okay, jay Z. You could focus on being a
rapper in the face of the company, but I'm here
to run the day to day of the roster.

Speaker 4 (41:31):
Say yeah, I mean if you're going to have a
successful label, I feel like you know, maybe even if
you are an artist. But having that executive mind state
is where it takes place. Having that corporate mind state,
you want to see the company succeeds as it's not

(41:54):
so much as the individual inside the corporation you're getting me,
I'm I'm flying on lear jets and I'm hying and
Bentley coops. But you know, my niggas got cameras and
my niggas got chargers and shit like that. So I'm

(42:15):
hopping off a helicopters and shit like that with platinum
chains and my niggas got little ropes and shit and
whatever whatever. So it all depends on where your mind
state is, on how successful you want to see your artists. Me,
at the end of the day, if I said, if
I had a label and a nigga invested two three

(42:38):
million dollars in my label, you be careful on how
many people you sign, and then you want to develop
a motherfucker. So I look at like that three four
million got to go into the lake when it's got
to go into developing artists, because at the end of
the day, shit, if I can turn that and I
can get these motherfuckers to sell a million two million,

(43:00):
that's just gonna.

Speaker 1 (43:01):
Make it great for us around here.

Speaker 4 (43:04):
Not so much as if I take that advance money
and stick it in my pocket. And because these motherfuckers
have no knowledge of how the record business go or
advances or upfront money or whatever. I'm gonna tell him, Hey,
I got fifty grand for you to do this record,
and all and all the nigga done walked away with
a quarter of a million. So gotta be smart enough,

(43:25):
and you got to know who you're dealing with. As
far as whoever you signed.

Speaker 3 (43:29):
To, Facts Facts, I agree with that they made a
valid point. A lot of people don't understand the economics
of actually putting out an artist. You're going to get
the money from a label because it is to put
out a record. And I heard you mentioned Top Dog
Entertainment earlier. There hasn't been too many tds on the

(43:51):
West coast, right. Td was an anomaly. I was there
in the beginning with them, and you just had a
bunch of people that were homebreing.

Speaker 1 (43:58):
You had to do.

Speaker 3 (43:59):
Top didn't have no interest in being entertainer. He didn't
have no interest in being a rapper, producer or nothing else.
He was just sol your CEO, and that's what he did.
He smashed. He was very he was relentless man. He
was gonna get it regardless of what he had to do.

Speaker 1 (44:12):
Right.

Speaker 3 (44:12):
So, when you got a force like that and you
got the one thing he did a lot of those
kids to do is go back there and actually rap
and make music, right and to fill up they crab.
He had that fact that for him, but he also
had a lot of structure behind that. And it's very
hard man to get four or five people in the
same place. You can't get two people in the same
place in la right. The following instruction he had, he

(44:34):
had kline, he had school Boy Q had Ja brought
it back and so he had four different cash back
and you see what it on balloon to bubb it
into right. Just it ain't it ain't been no hell
a long time. But it took them. It took a
lot of work, you know what I'm Sayingcause people were
sleeping on them at first. So I do think that
what you're saying is right in one sense. Right, you

(44:56):
just have to have the moon and the stars, got
a kind of all the line for that to come together, right.
Like he said, I think eight would make a good executive.
I know for sure he could do the right things
with the budget. I know for sure he's not gonna
be out there trying to push the artists out the way,
So he could be a photo ops.

Speaker 1 (45:13):
Hell, I think you play.

Speaker 4 (45:15):
If I was in the position of talk and I
had three or four young niggas who I knew could
spit and they were hungry to progress, and I could
show them the ropes, not necessarily change their styles or
what he wrote about, to show them how to construct,

(45:37):
show them. With the music business.

Speaker 1 (45:39):
Back in the days and our niggas had to.

Speaker 4 (45:42):
Promote and go on the road and do all that.
You got the Internet now, social media, so all of
that cut out. I would definitely invest in motherfuckers, have
them come into this, But it's all about in willing
how much they would want to be invested and come
into the studio and develop and not like just Okay, tomorrow,

(46:04):
let's put out a wreck. You get me, you know
what I'm saying. Eight you eight man, you've been put
my shit out tomorrow or woof, you won't. But like
you said, it's the difference between rapping on the mic
and just rying and then creating music and songs that's
gonna be able to play and you're gonna be able
to have a catalog that a motherfucker can look up
thirty years from now and go, Damn, that shit's still

(46:26):
playing you feel Me.

Speaker 1 (46:28):
So it's a two ways. It's a two way street.

Speaker 4 (46:32):
You just got to be able to work with a
motherfucker who's willing to work with you, I believe. But
there's a lot of hongry young artists out here who's
on to come up who just take the knowledge of
that you feel me. Even if you want to fuck
with yourself and develop yourself, learn how to start creating
music that's gonna be able to withstand the test of

(46:55):
time and you can look up fifteen years from now
and the niggas wanting to play your music because it
meant something you feel me, and that's whatever form of
whatever you want to call it, if it's from the
streets or it's pop, or it's whatever, whatever you want
to do. Man, you just got to be able to
know how to create and develop yourself into an aspect

(47:18):
of where motherfuckers is gonna want to spend their money
and they gonna want more.

Speaker 1 (47:22):
Of your shit.

Speaker 2 (47:25):
Absolutely so. Yet definitely I feel like from this conversation,
I'm learned we got to meet in the middle. The
New La rappers gotta be willing to meet in the
middle with the ol G They got to be willing
to accept the criticism except the help accept the signings,
and then the ol g rappers got to extend that
same olibresh. I'm assuming we just got to meet in

(47:45):
the middle of works because your respect go both ways.

Speaker 4 (47:48):
It took a lot to get here and for them
to be able to do what they do today.

Speaker 1 (47:54):
It took a lot that we had to.

Speaker 4 (47:56):
Go through for a lot of young artists to be
able to say what they want to say, rep how
they want to rep and create what they want to create.
You got to remember fifty years ago they what getting
on us to have this shit. This is our own lane.
So being able to accept criticism and help and respecting

(48:24):
where the music started from and where it's came from.
You know, y'all got your own style and y'all got
your own way of getting down in the way of expressing.
But you know it was set forth for us. We
had to fight for y'all to be able to do that.
People hear that talk and whatever and the ogs and whatever.

(48:44):
But it was a lot because there was a point
to where you can hear your music Indi and everywhere
that but at one point they didn't even want to
hear your shit, you get it. I won't give a
fuck how much money they started made. There were motherfuckers
out to stop this sh you're getting. Literally, there were
motherfuckers out who were powers that be, who were sitting

(49:06):
up in positions where they were suiting ties you get me,
and took folks and political motherfuckers you get.

Speaker 1 (49:15):
Me, wanted to tucker you give me. They wanted to
stop this ship.

Speaker 4 (49:20):
And we took the motherfucking lups, and we took the
disrespect and the bannings and the not being able to
hear your shit, and police fucking shit and shutting your
shows down and all that type of shit. We went
through all that. Look what easy in them had to

(49:42):
do when they had the Pojese. They were going to
jail and getting chased out of arenas and told like,
you can't perform this, and you can't say fuck, you
can't do this, you can't gyrate on stage and do
all that think of with two live crew had to
go through for motherfuckers able to be have the bitches
half nked in videos now and flossing and bikinis and

(50:06):
doing all kind of weird and crazy shit. You would
do whatever the fuck you want to now. And that's
because we took the motherfucking we got the brick stone
at us, so niggas can be able to do whatever
the fuck they want to do today, you know what
I'm saying. So that's where I think a lot of
respect lies and for and so if a nigga want

(50:26):
to if an older nigga want to do a rap
song where he wanted to create shit, I just tell
older niggas, man, you just got to be able to compete.

Speaker 1 (50:33):
You're getting because you are in a young man's game.

Speaker 4 (50:37):
And even though you still got a fan base, and
they are still people forty and forty five and fifty
who still listening to music, and they still might want
to pick up an eight CD or ice cube or whatever,
but you gotta have some good shit. You can't just
put out anything because you got a name and a
fan base. And that's my that's my number one point

(51:00):
when it comes to niggas from my generation who still
want to dab in this in this game, you have
to be able to create something that's official, just put
out in the garbage. And that's just point blunt.

Speaker 2 (51:15):
At any stage. Now, Hey, I saw you on I'm
trying to remember the podcast is with Court. It's a
larr I saw that. It's a viral clip going around.
How you even reposted it. Basically the quote is you're saying,
like the early age, the early stage of LA rap,
West Coast hip hop, in your opinion, was either trash
or you said something to that effect, the techno music,

(51:36):
that electro music, the dance music before in that way,
before Ice Tea, before Tiddy t you were saying LA
rappers tragedy. Do you feel I feel like it's going
back to that. I feel like it's kind of like
a three sixty a full circle moment. We've gone back
to where it's like TikTok dance. Everything's clown dance of music.
But like that where we started.

Speaker 1 (51:57):
You can get some.

Speaker 2 (51:59):
Said that plan.

Speaker 4 (52:00):
Like me as a young nigga coming up who would
take summer vacation trips back to down South, and I
had older cousins who they got music from the East
Coast before we did, so to go down to those
places and they hear those early rappers coming out of

(52:24):
New York and then to come home and turn on
the radio and we had none of that. You get me,
It might have been a few who were trying to
get to a level of sustaining West Coast hip hop.
But to me, it was all dance, techno tronic. It

(52:48):
was all it was. It wasn't what we are today
or what developed from Easy E and Toddy t and that,
And so I felt like the music didn't give us
justice on the West Coast. Before niggas like Ice Tea
or niggas like Shit, we were banging school E.

Speaker 1 (53:11):
D you feel me?

Speaker 4 (53:12):
Because that was gangster shit to us, because that's you
had gangster niggas way before hip hop and rap music,
and so our go to was that in Parliament and
Marvin Gaye and shit like that, because we had no
I don't think we had a decent representation of us

(53:33):
in the neighborhoods until early Toddy Tea, Mixed masters A,
Mixed Master Ken, and then with the development of Easy
and NWA, we got out of that Bobby Jimmy and
the critters and we got out of the Wrecking Crew
era nothing. And I don't like the this niggas because
they be thinking, are dissing and I'm just giving my

(53:55):
opinion of what I heard.

Speaker 1 (53:57):
That's what I heard coming out of dude.

Speaker 3 (54:00):
It was a lot of white music like I've got
the ultimate respect man for for.

Speaker 1 (54:06):
What's my boys? Yes we're here, the dream Team, the
dream team and all.

Speaker 4 (54:09):
The evening the street out of I banged the ship
out of Egypt, you get, I banged the ship out
of Egypt, Egypt, and my beat goals boom And what
is a DJ if he can't scratch? That started to
me was waking up our element of West Coast music,

(54:32):
because it wasn't.

Speaker 1 (54:36):
Last said Wrecking Crew had turned off the lights that
you knowing they were.

Speaker 4 (54:41):
I don't know, Lonzo had that direction you feel Me,
which was nothing was wrong with it, But it wasn't
nw A you feel Me.

Speaker 1 (54:51):
It wasn't Toddy t. It wasn't mixed Master Spade.

Speaker 4 (54:56):
And as a young nigga thirteen fourteen, growing up, introduction
in the streets and gang banging and niggas selling dope
and seeing police and getting all this motherfucking information, the
music didn't match what was going on in the neighborhoods. Now,
not to say niggas wasn't going to the clubs and

(55:17):
partying and doing their thing, but I was fourteen years old.
I wasn't going to no more fucking clubs. I was
on the streets, so the street music didn't reflect until
we started here in Schooley DPSK. We heard six in
the Morning, we heard Toddy Ta and Nick Spasist fade

(55:38):
underground tapes and so the development of our music started,
and so it kind of pushed out, remember, free music started.
It pushed out that that that form of what was
before that you give me, which to me was a
lot of dance technotronic fas upbeat.

Speaker 1 (55:59):
Let's just pau play.

Speaker 3 (56:00):
Didn't have a good la LA before gangs rap, before
those groups that Adas mintioned and came around. Right, you
gotta remember something, the whole dance sound LA was very
dance stripping, right, A lot of awkward net sets, a
lot of just take no music. A lot of people
don't even know the sounds that they call Miami Base
originated in Los Angeles, California. That was a guy from Riverside, California.

(56:23):
They did Mister Mix, Hobbs, the two live crews. Whole
sound came from the West Coast. I did not know
that mister Mix is from Riverside, California. He's from Riverside, California.
He took that sound two Live crew to actually release
the record through Macola first right with him aw some
Vee and them guys. They were in the military at
the time. When Mix came home from Mister Mix came

(56:45):
home from the from being in service, right his mom
kept telling him, Hey, this man from Miami keep calling y'all.
He wants y'all to come down and perform the record
that got big, and it got big in Miami. They
didn't even know it when he went down there. He
brought that sound with them. You remember that Egyptian muff
and all that other stuff that was all that's all
West Coast stuff. Bro to eight A Waits and all
that stuff, so pretty much the sound that wound up

(57:07):
being the foundation for what the South the kine comes
from the West Coast. South from the West Coast.

Speaker 2 (57:11):
I think my relationship to it would be one of
the closest I would have is So when I was
in middle school, the Jerking era was popping off, and
to me, obviously it's not the most respectable form of
West Coast music. The lyricism isn't there. We didn't get
any classic bodies of work from it. But the Jerking era,
which is dance music bullshit dance music. Some would say

(57:34):
he got mainstream attition back to the West Coast. At
the time, we didn't have it. So it seems like
there's this weird current theme where dance music, techno music
like electro music, fast placed music kind of gets the
party jumping and then following so we get a reassertce
of real MC's. It seems like it just keep going to.

Speaker 3 (57:52):
See So what the thing is the one thing you
can't do though, Dejon, all that stuff has this place
in the branch hip, right, you gotta have to meet.
The West Coast need more rappers like a Will Smith.
You feel what I'm saying, Everything gonna have to be
a gangster rapper. I think that's why you have so
many guys out here that that's really not from a gang.
A and R told me one time, man, and in

(58:13):
order to get signed to be from California, you had
to become you had to come from a gang. Because
I remember when I remember when Gentry said that did
you have you have to be from a gang? That's
not necessarily true. It's a whole bunch of cats, like
it's not from nowhere.

Speaker 1 (58:26):
Now. They may live in the neighborhood. But that don't
mean ain't necessarily gang banger.

Speaker 4 (58:30):
And we found out we found a lot of nists
who have developed from the West Coast who didn't necessarily.

Speaker 1 (58:39):
Take that route of John Kennedy. A lots.

Speaker 4 (58:46):
If you want to go back to my days, we
had the young end, the seats, we had the digital undergrounds,
we had their souls of mischief from the West Coast.
We had a lot of artists Man KD who was
from Lynch, who was signed the queue. You had a
lot of artists who didn't take or represent the street

(59:11):
route far Si everybody false exactly the alcoholics.

Speaker 1 (59:18):
You give me everybody of their lane.

Speaker 4 (59:21):
I believe if you make significant good music, then it
really doesn't matter as long as you can make and
sustain good music. If you can make songs that people
can relate to and whatever the genre of it is,
you're gonna have fans and you're gonna have music that
motherfucker that you can sustain. Now, if you're just trying

(59:43):
to get in a booth and create a song to
diss the ops, or you're just trying to make some
catchy like you said to go TikTok, or a lot
of people want to take that rap now because becoming
famous is the name of the game now. So if
I can create some shit on TikTok and have everybody

(01:00:04):
sing along to it and make a day and step
to it, that's how That's how we're discovering artists today.
But like I said, everything goes around for a circle.
It always has when it comes to hip hop, or
it always has when it comes to cultures and trends.
You might see something your parents wore thirty years ago,

(01:00:29):
they selling that shit in a vintage store. Today you
get me and motherfucker's going in there and buying the shit.
It just takes time for it to come around and
for people to start coming up age and feeling like
they want to hear something different than what's been going on.

Speaker 1 (01:00:48):
And that's usually what happens.

Speaker 4 (01:00:50):
You get an artist to come back, you get somebody
to come out the woodwork where you get somebody new
that comes with a different sounds that people like I
want to do that now you get me. So whether
it be an old sound or new sound, hip hop
has always found a way of recreating itself and then

(01:01:12):
going back to its roots.

Speaker 2 (01:01:15):
Speaking of things going in cycles are you familiar with
Draco or the Rulers music eight.

Speaker 1 (01:01:20):
Yeah, have you?

Speaker 2 (01:01:22):
Because I've heard similarities between the flow your flow in
his flow, especially when I listen to late night hype,
and when I hear late night hype, I'd be like,
this is like, this reminds me of Draco in a bit,
or vice versa. Do you hear any similarities in your flow?

Speaker 4 (01:01:41):
I've heard it a little bit. I've always said that
it's always good to be able to influence whatever whatever
d might be, even if people may think that a
little influence has been given, it's always respect to me,

(01:02:06):
and especially when it's the new generation. I had a
distinctive flow and tried to create something different than what
all the other dudes were doing in my time. He
was another one. My son liked Jim a lot, so
like you could see some similarities in the music. Standing

(01:02:27):
on your own, creating your own shit and not give
what the fuck about what people thought about it, but
you was just gonna go on.

Speaker 2 (01:02:34):
You feel me, y'all were very similar in that way.
I feel like the same way you didn't have that bright, sunny,
super super defunk, warm house party feel like a Warren
g Or Quick it's the same way that Draco didn't
have that red cup ratchet feel of a yg or

(01:02:55):
Joe Moses or a problem Like he stood out in
his generation and you stood out in your generation. So
I see the similarities.

Speaker 3 (01:03:02):
I think dude was on his way man, probably to
become one of the biggest artists on the West Coast. Man.

Speaker 1 (01:03:07):
I think it's.

Speaker 3 (01:03:09):
Tragical happen to him because I I go back with
my son's listening to I got young sons, right, and
the way when Chris was putting me up on me.
Chris used to try to get me to sign everybody eight. Dad,
you need to go find him and sign him. I said,
Chris ain't just that easy, right, But I definitely thought
that he was one of them dudes. Man, that was
like I want to say, he was different, man, he

(01:03:32):
was unique. He had his own he had his own
thing going. And it's just tragedy, That's what I mean. Man.
That's why I tell a lot of young cats, Man,
it's in LA that's doing stuff right now. Move go
down to Atlanta somewhere, Go down to Texas somewhere. Get
out the city, you know what I mean, Because it's
just tragic.

Speaker 1 (01:03:48):
Out there.

Speaker 3 (01:03:48):
Man, it's a lot of bullshit. I think you got
to brove even something simple as moving out to the ie. Man,
sometimes you got to get away from this shit thog.

Speaker 2 (01:03:57):
That's true, being out the way of the benefit.

Speaker 3 (01:04:00):
You just got to get out the wait man, before
we go. I gotta address this now, what's going on?

Speaker 1 (01:04:04):
You know?

Speaker 3 (01:04:05):
I had to comment. I'll follow you on Instagram and men,
you have dialogue cross there.

Speaker 2 (01:04:09):
Yeah.

Speaker 3 (01:04:10):
You recently dropped his album, his new album, Yeah, and
you had a lot of stuff to say about it. Man,
you had a lot of comment. That's one thing I
do respect about you. You say what you say and
you stand on it right. Yeah, why was you going
so hard on the homely Cube man?

Speaker 1 (01:04:27):
Man?

Speaker 2 (01:04:27):
First off, Cube is probably the greatest LA rapper of
all time. Let me start off there. Obviously a household name,
pop culture icon and a hip hop icon of Like
when he dropped up the single Accurate Age with Scarface
with the music video, I just felt it was laughable.
The bars, the flow iss it just sounded like they

(01:04:48):
recorded on a karaoke machine. I was just like, Man,
I imagine if he took these resources, the money for
this video, the studio time and put it into a
new La rapper, it would go further. I just felt
like it would be more strategic and beneficial for the
West Coast if Q was breaking a new artist instead
of dropping an accurate age. Did you like really hear

(01:05:10):
the single like this told me to act my age?
Never tell me to act my age. That's when I
let his ask out the cage. Never tell me to
act my age, Like, I'm like, get that Curtis bullshit
out of here, Q, you could do way better than that.
I just wasn't feeling that as a single. And yeah,
I just felt like it's a waste of time. That
record's not going anywhere, is what I'm saying. Respectfully.

Speaker 4 (01:05:33):
Mmm, I'm not mad at your opinion, bro, Like I said,
we don't be. I mean, everybody's entitled to their opinion.
I am, for one. I'm not one of those dudes
who I call them yes me and niggas who would

(01:05:57):
sit up in the studio hear somebody some shit and
then knowing I'm like that's not the best, but I'm
still go on co sign it. It'd be like, oh,
that's sufficient. I'm not one of them dudes. Did I
like the single personally no, and like you said, maybe,

(01:06:24):
and I tried to take it in the form of
maybe that was direct the direction of the song, for
it to be comical and for it to be laughable
because of the concept of the song.

Speaker 1 (01:06:45):
So that's where I took it.

Speaker 4 (01:06:47):
He wanted motherfuckers to be like, oh, listen, this's some
funny shit, just some Friday shit.

Speaker 1 (01:06:53):
This some funny shit. You get me. And then the point,
I don't know you.

Speaker 4 (01:06:58):
Like I said, it was something that I probably wouldn't
have chosen for a single, but I'm not cu. And
Atq's point, you can do what the fuck he want
to do because he's one of those artists, you feel me,
because he has a significant fan base that are going

(01:07:19):
to support what he does. You as a as a
as a as a journalist and somebody who can openly
criticize and voice your opinion about whatever, and you have
the right to do that. And so it would be

(01:07:40):
it would be dumb to think that everyone is going
to like, what a motherfucker do you feel me? Would
be crazy for us to sit up here and think
that everybody across the board is gonna like the SNG
you feel me? That's just it and another and it

(01:08:00):
has nothing to do with Q or who did the
video or who produced the song, has nothing to do
with that personally, But to some people it might not
be to their liking.

Speaker 1 (01:08:13):
And then.

Speaker 4 (01:08:15):
Coming from a place where you like you said, Cube
is one of the best, hands down West Coast raptor period,
fuck coast period, you get me, He's one of the
best to ever do this shit from me from west east,
down south, wherever you want to go, Canada, I don't
give a fuck. So coming from that and knowing the

(01:08:39):
track record of Q, you might have been disappointed.

Speaker 3 (01:08:44):
If you're accused and you got to think about it.
He's fighting his You know this the dude man that
made Black Korea. You feel what I'm saying this, the
dude that he has made some of the most iconic
street records of all time. But I will tell you this,
I was talking to Homie really d right. He said
he just came back from hum Cube show Cube still

(01:09:06):
packing out Arenas Cuby to her. Yep, if Cube went
and did the Stable Center, he could sell that motherfucker out.
I have no doubt in my mind. Right, But they
said that Cube man that brought out a blimp. You
know how the part of something we said even saw
the lights of the good Year blimp and the rear
eyes Cub's a fimp and the song falls and they
said plinp went over to the arena and everybody wasn't crazy. Now,

(01:09:30):
it probably cost him thirty thousand dollars to put that
BLMP up in the sky like that, you know what
I mean. I don't know what the man got paid
for the show, but Cube is not out there doing
shows because he needs the money. I think that man
really just loved hip hop man, and this is Cube
don't have to put out on records. Don't worry, I
don't think. I don't believe so. I don't know the
man's pockets. I don't know his financial status, but I

(01:09:51):
think Cub is doing this shit at this point because
he loved it. And to be honest with you, man,
I want to see all the OG's continue to put
out records. I wanted to put out good music now.
I don't want to hear too much white shit, but
I do want to continue hearing my childhood heroes. Because
I'm gonna tell you, I thought I'm me and A
had a conversation the other night. I'm a pick too
Short a fan. I'm gonna use to me too short

(01:10:12):
of the greatest rap of all time. Nobody has had
a career like him. Nobody has had it. You got
to think about this. Mann't been doing this since eighty two,
some shit like that, Man eighty five or some shit
like that on a professional level. Man that has been
and still a household name. You can ask any twenty
year old walking the streets in LA if they know
who too Short he is. Nigga probably say yeah, But

(01:10:36):
I think I do think man. As far as cats
coming off of it, Bretnan, you're sending you pictures of
your house and stuff. Man, I think people need to
get over themselves.

Speaker 4 (01:10:45):
Man.

Speaker 3 (01:10:45):
I think as long as you when you decide to
put our music, man, you gotta be open to criticism.

Speaker 2 (01:10:51):
Absolutely, And like I said, I feel like a woman
up to it. It just took some time, but that
woman up to the criticisms. And hopefully not hopefully it's
artists like Big Sad nineteen hundred that told me that
my critiques and the grades I gave him helped him
step up his game. Jason cash end Up linked with
Mustard off of a port Card. There's been plenty of
artists that have stepped their game up off the port Card.

(01:11:13):
Ralphie the plug started being more consistent xyz so. But
it's been artists that that took it took key to
what I was saying. It's still artists like a zold
Sim or a little Vady that's upset dropping a disrecord
here or there. But you know it's all hip hop.
I don't take it personal at all.

Speaker 1 (01:11:29):
Man. Do you have a podcast? Yeah?

Speaker 2 (01:11:32):
I have two podcasts, have a dan Lay podcast now Wrapp,
a port Card podcast, Rapp port Card just Grave music
on live screen. A day in La I shit with
the Homies and the Homegirl and we talked La rap.

Speaker 3 (01:11:43):
Man, y'all make sure man, y'all support the homy Man.
We go drop a link man in the comment section. Man,
so y'all can go, not in the comment section, but
to show the scription section.

Speaker 1 (01:11:51):
So y'all can go check.

Speaker 3 (01:11:52):
The homy out Man on that note, Man, we out
of yacht.

Speaker 1 (01:11:55):
Shit like peace. Well.

Speaker 3 (01:11:58):
That concludes another episode of the Gainstnicle's podcast. Be sure
to download the iHeart app and subscribe to the Gangster
Chronicles podcast. But 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 Gangster Chronicles
podcasts of Norman Steel Aaron m c a Tyler. Our
visual media director is Brian Whatt, and our audio editors
tell It Hayes. The Gangster Chronicles is a production of

(01:12:20):
iHeartMedia Network and the Black Effect Podcast Network. For more
podcasts from iHeart Radio, visit the iHeart Radio app Apple
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