Don't Gimme No Bammer Podcast w/,Black C

Episode Transcript
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Speaker 1 (00:00):
Gangst the Chronic Goals. This is not your average show.
You're now tuned in to the rail spell streets.

Speaker 2 (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 your front screen,
subscribed Against the Chronicles and leave a five star rating
and comment. We're shaking pork chops a begging it's your boy,
Big Steal with another episode Against the Chronicles along with

(00:37):
my co hosts Jip my partner, what's cracking? What you ate?

Speaker 1 (00:43):
Ship? Everything all good? You know what I'm saying?

Speaker 2 (00:47):
You know, yeah that that that flu adds you down?
Amnue to go, didn't it a little bit?

Speaker 1 (00:52):
And ship?

Speaker 3 (00:53):
But you know, really, I just you know, take the
time to try to focus on you know, the new year,
what's been going on. You know, new president, new rules,
new laws, you know, same nigga, same bullshit.

Speaker 1 (01:06):
So you know what it is, Yeah, for sure.

Speaker 2 (01:09):
Man. With that being said, we were talking earlier today man,
and we still did. Our focus for twenty and twenty
five is having more legendary figures from the coast on
you know, right, those unheroed you know, underground legends man,
the underground heroes Man, the dude that you know don't
have our trunk rattling, you know, from the nineties on

(01:30):
up to the two thousands. Man. And you know, I
think this is as good as start as any we
got on the black Steed from RBL Poskin the Building Night,
Black Sea. What's happening with you?

Speaker 1 (01:41):
Man? What's up with y'all? Man?

Speaker 2 (01:43):
Man shoot Man? Good looking on coming through Man. You
definitely man, one of those unsung ghetto heroes. Man.

Speaker 4 (01:51):
Man, appreciate that. Appreciate that. Man appreciate it. So that's
another legends man. You know, Yes, indeed, yes, indeed we appreciate.
Try to stay focused and grounded man. You know, uh,
not to say that you know niggas Nigga's heritage and

(02:11):
foundation ain't important, but you know, sometimes you know, when
you play the position that some of us artists play,
you know, as far as uh being compared to you know,
positions on the hip.

Speaker 1 (02:24):
Hop map, Uh.

Speaker 3 (02:27):
Sometimes we play a back seat. So trying to focus
on a lot of those artists who don't you know,
really get you know, invited or you know, invitations or
brought to the table on certain ship.

Speaker 2 (02:41):
It's real, dope, yes, real, that's real. I was looking
at I was reading the book right and I was
talking to you earlier. I did not realize San Francisco
head was up there banging like you was.

Speaker 1 (02:57):
Except I don't call it.

Speaker 2 (03:00):
Ain't like la y'all call the turf wars.

Speaker 1 (03:02):
Yeah, yeah, it was. It was more of a turf thing.
You know.

Speaker 4 (03:05):
We represent projects. A lot of people didn't know, like
San Francisco. They looked at it like a tourist town.
But we got Hella projects up up in there, you know,
from phil Mo to Sunnydale in fild Mo is Hella
projects in Hunter's Point where I'm from, Hella projects. I
mean real concrete jungles, you know, like semen slabs, like
a bunch of them. So you will get it twisted

(03:27):
and think it's just like Pier thirty nine and like
the gay area. You know they EBT community over in
Castro and then you know, but it's a darker side
over there. And I was I was knee deep in
it over there, you know what I mean. On Harbor Road,
my projects that I was born and raised in.

Speaker 2 (03:43):
Yeah, and it was one of the most dumb I
guess it was one of the most relatious periods up
there in San Francisco, Like that period from the when
was it from eighty eight on up to the nineties.

Speaker 4 (03:54):
I'd say eighty seven, around eighty six, late eighty six eighties,
really eighty seven into ninety one. When I called the
truce was around like around ninety two. So from eighty
seven to ninety two, it was it was hectic around there.

Speaker 2 (04:09):
Yeah, so you was what would you say, man, was
the was the root of all that all that funking
that was going down.

Speaker 4 (04:17):
It kind of all started, uh really kind of like
over a female and it kind of escalated when you know,
certain movies like Colors kind of gassed everybody up, put
batteries in everybody back around there, you know. But it
really kind of just like house parties, the party at
the Meridian, what I could really remember.

Speaker 1 (04:34):
We're kind of uh.

Speaker 4 (04:36):
One of my focus, Ronnie Royn, who was from Hunter's Point,
was from my area. He's from a different project, but
he was a known figure over there, and he got
into it with some dudes from Field Mo from like
like I was telling you earlier, with JT, the bigger
figure and wrapping Foete all them saying Quinn all limits
from that area, and uh, they got into it behind
the female.

Speaker 1 (04:57):
They tried to take his car at this party.

Speaker 4 (05:00):
And from there, you know, it started with like fights,
you know, just really just punching and fighting and all that,
you know, having little little squabbles or whatever. And they
went from there to you know, mofucker, pull out a pistol.
Once you get hit once, once a person gets shot.
It was the back and forth. And I said all
stemmed from really everybody started getting guns when the crack hit.

Speaker 1 (05:20):
We all started selling.

Speaker 4 (05:21):
And when they would have just you know, dolphins coming through,
you know, you getting dop feed rentals, you you you
buying the pistols and all that, and all of a
sudden it went from fighting.

Speaker 3 (05:30):
To sound like the same type of.

Speaker 1 (05:34):
Ship saying you know, it was the same story really everywhere.

Speaker 3 (05:36):
And it was, uh, you know, it was an era
where we came up on guns. You know, the riots
or whatever. Niggas was breaking in the gun stores, surplus stores,
you know, So thus the hood got the fluctuation of
weapons and ammunition. And you know, I think that era
was real critical for everybody in the beginning hoods been

(05:59):
around and ship, you know. But you know, there's like
a point in time, just like a point in history
where it's a significant event, certain situations and ship and
that did it for a lot of us, you know,
around that Colors era, you know, the Rodney King ship.

(06:20):
It was always but you know, not to misguide motherfuckers. Uh,
it's always been a fluctuation of inner city problems within
those sections with niggas, and you know it was it
was just that where niggas was trying to grow up
in the neighborhoods and protect the sections. But still just

(06:43):
eventually that's what it turned into. You know, we wasn't
turn turned nigga switch blades, turning the motherfucking deuce deuces
and shot them. You know, we gotta we got our
hand on the motherfucking said the war guns and ship.
You know, some niggas thought they was Billy the kid

(07:06):
like niggas. It's old the cracking.

Speaker 4 (07:08):
Real talk, you said, switch blades and then that's what
my old g's that's what they was doing that.

Speaker 1 (07:13):
The the worst was like a.

Speaker 3 (07:15):
Nightca niggas went for Niggas went for motherfucking fingers, fingers
snapping and whipping out, change and backs, and niggas got
changed and bats a nigga want one nigga pulled out
to switch blade niggas like oh ship. One of the
confrontations with niggas was like, okay, niggas switch blades and fish.

(07:35):
Some nigga pulled off the dou stows. It was like,
oh sh real talk. That's when you knew, nigga that
the the motherfucking territory is is finna be known and
ship because you don't motherfucking wanting to beat niggas asses
to want to blast on niggas.

Speaker 1 (07:54):
The one that's serious.

Speaker 4 (07:56):
Yeah, real talk, real talk, like we didn't have like
it just it just kind of automatically turned into something
like a gang. Because you know, when you're growing up
like in the projects, you got all your homies, you playing,
you know, you're going to the boys club with We
had like our flag football league, basketball league. We was
playing all the little h twelve and ups and thirteen

(08:17):
in us we grew up with, and we were just in
there and just the dudes we'd be squabbling with and
pretty soon you just kind of become that, you know,
we all of a sudden, Harborough become hr D.

Speaker 1 (08:26):
Now we representing hr D, you know, slash right.

Speaker 4 (08:30):
So it just just became that. We never really said
we was a gang. It was just we just hung
with each other and it just be out of a sudden,
just became that, you know what I mean.

Speaker 2 (08:38):
So well, you know what, it's the same thing. And
the late to I think people got it like kind
of misconstrued a little bit thinking because they think about
the colors. The first thing they think about us the colors, right,
what really is just about the neighborhood. It's the same
thing as yours, you know. You know when he was
doing what he was doing, it was all about his neighborhood.
You know what I'm saying. It sounded like it's the

(09:00):
same thing. One of the things that tripped me out, man,
is that when you had got shot man a little
bit further man, you got your whole head blew off NT.

Speaker 1 (09:09):
Yeah.

Speaker 4 (09:09):
Yeah, if I was a little bit closer when they
did the drive by the dudes from Sunnydale, you know,
and that day we had jumped them on Third Street.
Third Street is like a crenchya out here, where everybody
decided in their cars. You know, showing off, going up
and down the street with they slap, doing ay things,
showing off with some dudes from another side, some other projects,
Swampy Desert, Sunnydal They came through and they about like

(09:33):
three four cars.

Speaker 1 (09:34):
We jumped them that day and you.

Speaker 4 (09:36):
Know, everybody get the congregate and go back up to
the projects talking about what they did. I did this,
I did that, and yeah, they kind of slipping and
you know, I was strapped up. Everything had a hoodie on.
We out there talking. We got dudes on rooftops and everything.
And we had some ussos up at the top. Because
our projects that we grew with a lot of oosos,
Like we didn't have a lot of Latinos. They grew

(09:56):
up kind of like in the Mission district, like on
twenty fourth or that. They really hanging out with us
until later on like currently now once the music pop
we started, you know kind of like intermingling or whatever
with the Latinos. But for the most part, it was
a lot of some morns in our projects. We grew
up with them like heavy out here in the city.
So they was watching and top and all that he

(10:16):
had like folk cars snuck around the corna on us,
and I looked right into it when I heard the screech,
and I turned around and I got hit by a
half of building away. You know, they uh twelve gauges
and started shooting. My whole face got hit. I got
shot like kind of I said, like probably maybe about
fifty feet away, fifty to sixty feet away, but with

(10:37):
some buck shots.

Speaker 1 (10:38):
You know what I mean. He had no slugs in
it and nothing like that.

Speaker 4 (10:40):
It was just some buck shots and I still got
them in my all in my head and my face.

Speaker 1 (10:44):
Today to this day. Wow, you know what I mean.
But yeah, it was a.

Speaker 4 (10:48):
Few people got shot out there, but I was pretty
much the first one. As soon as I got hit,
I instantly went blind, you know, my whole side. And
they brushed me to the hospital and had to remove
my eye and the whole nine because it was like
my retina was bad. And the doctor was just like, yeah,
we gotta get it all up out of that leg.
Gonna contaminate you know, his his retina and it's gonna
add the other one's gonna go blind.

Speaker 2 (11:09):
So they had to remove it instantly. So yeah, you know,
it's crazy. It's the same thing down here. He can
test to this. It's always a girl. That's the root
of all the bs, ain't it. Yeah, I don't know what.
Always a female bro. Always the female at the root
of some bullshit dog like I'm talking about from the
beginning of the time when you talk about like even

(11:31):
back in the biblical days, it was always behind a
female dog man always.

Speaker 1 (11:39):
You know, I wouldn't say that.

Speaker 3 (11:43):
All. You know, all beef stem from female interaction, uh some,
but you know a lot of it comes from just
just downright, you know, just jealousy. Sometimes business, you know,

(12:04):
trying to go into business, whether that is the street
game you know, or whether it's uh real ship. Sometimes
business and money uh can allow motherfucking beefs. And then
when you're dealing with money on the street thing or
even jealousy, jealousy to show reputation is a lot to

(12:28):
some niggas. You know, sometimes if your reputation is more
than what a nigga might seek to be in the
same you know section as you claim the same set
or whatever. You know, you would hope that it don't
lead to that. But sometimes jealousy, man, can can have

(12:48):
you know, the neighborhood in a different outlook. Yeah, just
the longstanding a different motherfucking uh, just a long standing
beef sometimes is what really brought the motherfucking drama to
the situation. Not to say that some females don't play

(13:09):
a part, because you know, some females have you know,
uh kids, fathers from different sets and shit like that. No,
you know how you know, you know our women, you know, uh,
you know back in you know, back when we used
to roam the hood. You know, it was you know,
get what you're gonna get, and get like whatever, and

(13:30):
you know, whatever nigga that was going, you know, step
up to the plate, whether he was from the enemy
hood or whether he was a nigga that was from
your own hood.

Speaker 1 (13:39):
You feel me.

Speaker 3 (13:40):
So you know that you deal with that ship in
any situation right now, as far as not even just
the hood is concerned.

Speaker 1 (13:50):
Yeah, that's how my.

Speaker 4 (13:50):
Hood, that's from my neighborhood, My projects fell apart. You know,
when mississ C got killed, you know, you know, and
first it was Hunter's point against fieldmore sunny there.

Speaker 1 (13:59):
Once truths came, then it started being inner turf beefs.

Speaker 4 (14:02):
You know, it's like the jealousy we now we got
that rap thing, you know, I was already considered a
reptiboy or whatever you want to call it up here
in my neighborhood in Missis c was new. He had
only had been up there three years, and his reputation
shot up because of the rat. So he shot past
a lot of dudes. Females come through. They coming through
looking for you know, me and mister C. They looking

(14:23):
for RBS. So a lot of dudes was getting jealous
because he didn't really have to quote unquote put in
no work over there, you know what I mean. He
got came through through the rap thing through one of
our homies who was dating his and his status just elevated,
and it just was jealousy, you know what I mean.

Speaker 1 (14:39):
And it cost inner.

Speaker 4 (14:41):
Turf beef and one thing with another word. You know,
he ended up getting killed. You know, say the dudes
who was on our first aloho, you know what.

Speaker 3 (14:50):
I'm saying, Just because you grew up with TT around
the corner and y'all flirted and all that nigga TT want,
the TT want the name and the nigga with the
bas nigga. You feel me, you get me, nigga. Yeah,
we all from the hood and everything is all good.
She the bad bitch, but she still nowhere to choose
and ship and like you said some time, that jealousy

(15:12):
is too overwhelming for a motherfucker to accept.

Speaker 1 (15:16):
Real talk.

Speaker 2 (15:17):
Yeah really, And you know one of the things is, man,
y'all came up during a period where it wasn't a
whole bunch of rappers. It wasn't like it today, man,
So y'all was really like pioneers in the city. And
y'all was a really big deal man, because y'allways signed
in a minute.

Speaker 1 (15:32):
Right yeah, we uh well, we was out the trunk
for a minute.

Speaker 4 (15:36):
Was a short minute. Then we ended up doing a
deal with in a minute. First they distributed our stuff
through the music people. That that was like they company,
they one stop sort of, you know, they just did
a distribution and then we we sawd like maybe six
thousand units to them, and that's when they ended up
signing us to.

Speaker 1 (15:55):
Like a little three year deal.

Speaker 4 (15:56):
And I was just really trying to hit the block,
So we signed a little shitty deal for three three albums.
He paid us bought out cash me out for what
he owed me for the five thousand units, and he
ended up giving us like ten thousand. We signed for
like ten thousand. I was trying to do, is hit
the block and go grab some dub. I didn't even
I didn't even care about that deal. I was just like, shit,
it's more of that where that came from. So, yeah,

(16:17):
we signed with in a minute, and that later on
we transitioned over the Big Beat Atlantic.

Speaker 1 (16:22):
You know what I mean?

Speaker 2 (16:23):
Look, y'all must have sold some significant records though to
get picked up by Big Beat Atlantic, because back then
they wouldn't you know, I ain't.

Speaker 1 (16:32):
Say, Oh, Craig count and gonna snatch a nigga up
came to see. That's personally. Yeah, before he even went
to Atlantic and got that deal, I had a Big Bat.
I had a production deal with Big Beat.

Speaker 4 (16:47):
Okay, yeah, this before he even went to Atlantic Records,
he was still running Big Beat. We gave Mike Caring
the job up over there, like really kind of running
it and smart.

Speaker 3 (16:58):
He was when I started fucking with and he was
he was Atlantic. He was. Yeah, he had transitioned to
the big seat over at Atlantic. Yeah, he wasn't there,
but no more than about like maybe four five months
after he signed us, and we was over there dealing
with him for a minute he was excited, and then

(17:19):
all of a sudden he was just like, man, I'm
gonna put you on good hands. This is why he
introduced this to Mike cann and I already knew it
was ugly from there because Mike Camra was more East
Coast he didn't really hear about West Coast rap like that.
And I just felt his energy when I was hanging
out with him for about a month and I was
just like, man, he ain't giving me the same energy
as Craig can.

Speaker 4 (17:37):
Craig knew exactly why he scientists. He knew I was
doing all the beats, all the music and everything. That's
why you stay. After we lost mississt was like, bro,
I know you the one doing all the music. Pull
hit Man in to kind of like, you know, feel
the gap for Miss c and you know you just
keep doing a production and let's just keep this going.
We're gonna just re you know, reconstruct the deal and
adjusted a little bit because we lost Mississi's I'm still

(17:59):
taking the risk, he said, but let's do it. As
soon as we did it, he was coming within like
four five months. He was like, man, they pulled me
in the Atlantic, but I'm still oversee it. I'm like,
you know, I'm president over there or whatever. And sure
enough they end up cutting it. Man, they end up, Uh,
Mike Cairn ended up kind of. I don't know, it
just didn't work. We start bumping heads. It just wouldn't

(18:21):
work out. He was trying to send us over the
East Coast Producers and the whole nine, and we're just.

Speaker 1 (18:26):
Like, bro, this thing, what we want? This thing?

Speaker 4 (18:27):
What we this sing? What we do? You know, I produce?
And he was like, now we're gonna spend this budget
over here. He trying to get me to, you know,
to work my budget. I'm like, man, I'm trying to
keep this money in the house.

Speaker 2 (18:38):
With Mike heern he always with everybody he deal with.
He can't never just be the label. He got to
pull you in and try to make you spend your
budget with some producers. I guarantee you the producers get
to work with with some chances signed to him.

Speaker 3 (18:52):
That's probably because you know, I can get a kickback
from that or some kind of way. I got a
back door for production deal. If I got a backdoor
production deal, then I can guarantee work for niggas that
I'm going out you know under my production umbrother you

(19:14):
know exactly that's basically some mouthpiece ship. You know, I
can't turn on a drum machine or make a beat,
but I know a lot of cats that's under the
radar who produce. And you know, I can tell a nigga,
I can get you five hundred for a beat, and
in the end, nigga, I can really get five thousand.

Speaker 1 (19:34):
Exactly that.

Speaker 3 (19:38):
When niggas, you know, when niggas want to come in
and take control over your motherfucking production budget, you know,
especially if you are known to be the producer yourself
saying it was the same shiit, same situation, Yeah, same situation, Uh.

Speaker 1 (19:57):
To get us to that big table and like, yeah,
this is what we're gonna do. Hold on, man, he
signed treacherous time.

Speaker 3 (20:04):
You know, West Coast artists and and y'all probably was
going through the same motherfucking uh you know, uh tornado
that everybody got caught up in. But you know, this
was the transition of when motherfuckers was trying to push
away from the table of the direction of West Coast
artists because of what drama they felt, uh, the West

(20:28):
Coast was bringing to hip hop, you know, as far
as with Tupac's death and and that was going on
as far as you know, at one point in time,
we all was beefing with somebody.

Speaker 1 (20:43):
And I.

Speaker 3 (20:45):
Don't relate that to the music business. It's just unfortunate
our professions. It carried over into our professions. You get me,
you know, you know, like you do that bad thing,
you do that bad thing in your life and then
you go somewhere and you change and you pay your

(21:07):
dues and you reform, but then it's still motherfuckers who
want to keep that over yo. You get me, nigga,
you still get it. And that's what happened what a
lot of us as youngsters, you know, coming from the
block and the projects, because that was our introduction to

(21:30):
just life. You get me wasn't like nowadays. And not
to say that there wasn't choices back then were limited
as far as the programs and activities like you know,

(21:50):
my my my thirteen year old son could go to
the center and join the basketball team, and he can
go to the training camps and he can go to
you know, or there's different kind of outlets for kids
that where you can influence. Back then, growing up in
the seventies and eighties, my influence was the game shit

(22:15):
you right. You know I did not I did not
quest to be a motherfucking uh man. I'm gonna be
a school teacher. I'm a nigga exactly. Schools teachers were
still riding the bus and struggling and still trying to
put food on it. As far as the nigga who

(22:35):
was my age down the street saying grade he got
the newest motherfucking el Camino or fucking blazer in every
bitch in high school is on his dick, and and
I'm that's who I longed to be.

Speaker 1 (22:52):
You get me. So that was the neighborhood you got
down the block.

Speaker 3 (22:59):
You didn't get that out no book or going to
no no training or joining no football program or whatever.
You got that from the block. So our opportunity, which
presented when hip hop came along, that was our football,

(23:21):
that was our baseball, our after.

Speaker 1 (23:23):
School or nigga go to school. I'm shit.

Speaker 3 (23:26):
And then now it's so easy for me because now
I ain't got to take no motherfucking physics testa, no algebra.
All I gotta do is write some shit about what's
going on on my motherfucking block and how my fucking.

Speaker 1 (23:43):
Great is that?

Speaker 3 (23:44):
But that trend but as we're still growing into our
our adulthood. Me as an adolescent nigga eighteen nineteen, nigga,
don't give a fuck. I was signing Sony Music and
still going to the neighborhood every day.

Speaker 4 (23:58):
Exactly, I couldn't get that check, the goin to go
buy a bird or too.

Speaker 3 (24:05):
So because of because of that life that I had
led before rap came along. And now I'm this rapper
and I got me some videos and and I done
been on MTV and had a couple of shows. I'm
supposed to be looked at as you know, you're an
artist entertainer now. But to me and the niggas, I

(24:29):
went to school with them, niggas going that niggas steal
from the set and still enemies and whatever whatever. So
the labels, you know, that carried over with us as
fucking artists. So thus far, that's when the labels got
scared because our previous lifestyle was flooding over into the

(24:52):
so called entertainment world. Now you get me niggas coming
up here and motherfucking sets and hoods and that nigga
had a gun on him, and I heard that Nigga
had a warrant and the niggas was fighting in the
lobby and.

Speaker 1 (25:07):
Shit, like, what the fuck is going on? So it's
scared niggas.

Speaker 3 (25:11):
So y'all got caught up in that Atlantic ship, like, oh,
I don't want to touch that ship no more.

Speaker 1 (25:17):
Yeah, what it was?

Speaker 2 (25:19):
I want.

Speaker 3 (25:21):
Them they start doing It's just like they did me.
They started going, oh, we want to bring in producers.
They wanted to change the style and your right. They
no longer wanted you to speak on being from the projects.
Now they want you to talk about having this lavish
lifestyle and popping bottles and everything's a party. So let's

(25:43):
bring in these East Coast producers and let's try to
wook it. They did the same thing to me, and
I had backed out the deal.

Speaker 2 (25:55):
Who was they trying to link you up with? Blake
se Who were they trying to link you all up with?

Speaker 1 (26:00):
He said it was unknown.

Speaker 4 (26:01):
I think they were just some producers that Mike Caaren
kind of knew because he was saying, like this producers
produced for like he was bringing up son as some
of the dudes in Wu tang Uh he produced, He
produced for Red Man in Them, and he did some
stuff for Keith Murty. It was just like producers who
I never heard of him, Like, none of them, you

(26:21):
know what I mean, they don't even sound like it
wasn't our sound he was. I mean, I had a
bunch of because back then it was a lot. They
was giving us a lot of cassette tapes. I mean,
I still got that get you get you a producer,
get your producer role. They see your beat tape, little produced.

Speaker 3 (26:38):
It was all like I said, it was all a
little underground up and coming producers. Who was bringing New
York uh glitsy sound.

Speaker 1 (26:48):
Ye yeah yeah, the job.

Speaker 3 (26:51):
Rule, the Timberland uh all all those was that's what
because that's what they hit me with.

Speaker 1 (26:57):
They hit me with a gang of ship like that.

Speaker 3 (26:59):
And it I had beat, I had lt huttingsoning in beats,
I had all kinds of niggas sitting they every time
I had get a beat, they would not accept it.
To the fact that I had how to the fact
that I was like, I'm gonna sue, Yeah, that's got it.
I threatened to sue. And so they settled out of

(27:19):
court with me, and that was the end of mind.
I had a nine album production deal with Big Beat
Atlantic Man, they ran it up on me.

Speaker 4 (27:26):
I had, I had uh had a five album deal,
three mandatory and two optionals.

Speaker 1 (27:32):
We only did one album and then.

Speaker 4 (27:34):
Mike Canry just couldn't After I dropped that if one
Eye album, I had eight on every like, I went
out and start getting features people who are really wanted
him Richie rich you know I do t Q and them.
I ended up getting a mystical. I got a lot
of people, which usually on our hours we just it
be us like we don't really trip on features like that.
We're just like, man, our fans want to hear us,
We're gonna hear they was they talked justus and they're like, man,

(27:55):
who do you like? And I was like, you know,
I like a man, I like Cube, I like, you know,
I'm naming everybody who I kind of like, you know,
I got influenced by. And they was like, okay, we're
gonna try to reach out. And I had to put
mentioned Scarface was supposed to be on there. Short was
supposed to be on there. We ended up getting with
a couple of people and the singles just wasn't they
was They tried to do this ship to where he

(28:16):
was trying to do remixes and like, let's just go on,
and he put us pulled our masterpiece stuff, and I
was like, let's listen with master p doing like to
make him say and like come with something with a
nice little swing of linger.

Speaker 1 (28:28):
It's like, Bro, that ain't what we known folks. I'm like, man,
Mike cam or.

Speaker 4 (28:33):
Mike uh as far as what said create, Cadam has
signed us for what we've known for doing.

Speaker 1 (28:38):
Man, I said, you know this ain't me.

Speaker 4 (28:41):
And we just bumped here through that whole process, through
the promo process, and by the time we started on
the next album, he was like, man, look before I
hadn't opened up the budget. I need y'all to give
me a single. And I was like, I don't even
work like that. I work on an album. Then I
pulled a single from it. I said, let's just start
open up the budget. Let me start on. He's like, nah,
I'm notin't even gonna open it up. I want you
to give me a single first, and he said, what

(29:01):
you think of it? Take you to produce a single?
I said, you know, man, we'll just shoot me around
ten thousand. He shot us ten thousand. I did two songs.
He shot them down. I was like, now I put it.
I tried to do one with a little R and
B feel on it and on. I said, let me
do one a little bit more radio friendly. He didn't
like that. I said, all right, let me give him
something a little more grind me. He didn't like that.
So I ended up going to my lawyer like, man, look,

(29:23):
this is not even gonna work. He don't want to
open up the budget. He said it was two mandatories.
I mean three mandatories. Well, you know, if they don't
want to put out this next album, they got to
kick you down, like three seventy five three seventy five
thousand to buy you out, and then we can just
cut the deal.

Speaker 1 (29:37):
You know, they can just let you go.

Speaker 4 (29:39):
They ended up shoffing me, And what they did was
they stretched it on for like a year or two
and tried to shelf me. But I'm like, man, I'm
from the Bay. When we went into this independent shit,
I went pressed. I started doing shit, you know, independent,
throwing stuff out, you know, the back dough on them.

Speaker 1 (29:52):
And I didn't care about it. I said, man, they
sued me. They sued me whatever.

Speaker 4 (29:55):
I was using an RBL name, and I put out
like three other albums while I was trying to go
through the shit with U with my lawyer. They ran
that lawyer bill up to like one hundred and seventy
five thousand on me man.

Speaker 1 (30:05):
So he was like, bro, it ain't even work by
the time you get this money.

Speaker 4 (30:08):
If we even get it, you know you're gonna owe
me so much that he said, Man, You'm always just
going to just do what you're doing with City Hard Records.
You know, you don't put out a couple of albums
with them. Walter had paid me like he gave me.
He was giving me like fifty thousand album Then Bayside
opened up, and that's when I was just off to
the racist Bayside opened up a Budzet's giving me like
one hundred thousand albums. So it was off to the

(30:29):
races with them, and I just I never even really
even talked to my kidd.

Speaker 2 (30:33):
You was making more money as an independent and what
you wanted to do versus dealing with them clowns, and
you know, one of the things that want to go
back to your group. Man. The RBL policy. You are
the last surviving member, Yes, sir, how did you handle
let time period mentally? Because that's a whole lot.

Speaker 4 (30:52):
Bro Man, it was a you know, we I lost
mis c man that you know. It just that shit
crushed me out. You know, I really was damn there
wasn't even trying. And if Craig wouldn't even come and
talk to me, I probably wouldn't even got back in there.

Speaker 1 (31:06):
You know.

Speaker 4 (31:06):
I had my brother and all them kind of at me,
like Bruther, you got to keep the torch lit, you know,
all I was thinking, I was just on some evil shit.
I just wanted to go tear the hood up because
these dudes I grew up with for like, you know,
I've been knowing them since knee high, you know, the
dudes that betrayed me. I grew up with them in
the projects. I knew them like over twenty years, and
I missed the c He was new up there. I
only had new him since ninety one and then he

(31:29):
died at night, so it's about like four years I
had new him, so you know, four to maybe five years.

Speaker 1 (31:34):
So it was just it was just a betrayal, man,
the way they kind of like snaked.

Speaker 4 (31:38):
Me, and all I wanted to do, man, was just
tear that neighborhood up.

Speaker 1 (31:42):
You know, when my brother and all them.

Speaker 4 (31:43):
They were just like, brother, you got way too much
to lose, like this is still an opportunity to get out.
Craig came out and talked to me, and that just
kind of woke me up, you know what I mean.

Speaker 1 (31:53):
And it just wasn't the same.

Speaker 4 (31:55):
I ended up not even producing too much even I
think I maybe did three songs on that album, and
I ended up going to Get with Rick Rock, and
Rick Rock was kind of like the savior, you know,
to get because Mike, like I said, Mike cam was
sending me all over the place. I got with Mike
Mosley like Mosley got me with uh with Rick Rock,
and Rick Rock kind of walked that album up for me, you.

Speaker 1 (32:15):
Know what I mean.

Speaker 4 (32:16):
And it was like his start, you know, we was
like his start.

Speaker 1 (32:19):
You know, I love what he doing right now.

Speaker 4 (32:21):
But he kicked it off for us and gave us
some hits on that album to where Rick Rock, yeah,
shut out Rick Rock though, but yeah, man, it was hard.

Speaker 1 (32:31):
Though.

Speaker 4 (32:31):
It was that whole year, that that whole ninety six,
It was ugly for us, you know what I mean.
It was a lot of people, you know, at the
MISSISSIPI died. Man, it was like probably like twenty people
that died after that. You know, it was just a
lot of shit going on, just back and forth, houses
getting ready, you know, fans coming to Miuse with my
brother and all of them getting swooped up by the Feds,
and you know, I mean just everything.

Speaker 1 (32:52):
Man.

Speaker 4 (32:52):
We was going through a lot, man, trying to make
that transition. And I was in the process of buying
my house. Was I put out the hit Man album
in ninety five, like right before Misiss C died, I
dropped Hitman album and we sold that out.

Speaker 1 (33:04):
We sold like about two hundred and twenty thousand after
the Trunk with that one.

Speaker 4 (33:07):
You know, I was going getting cod ten dollars of
CD from City Hall, eating off.

Speaker 1 (33:12):
Of that, and I ended up buying my house.

Speaker 4 (33:14):
And right before I got my keys, they ended up
killing Misiss looking that transition, you know what I mean,
in Antioch, so getting up out the hood.

Speaker 1 (33:22):
So it was just a lot going on at that time.

Speaker 4 (33:24):
So the whole ninety six we kind of like lay
low trying to figure things out.

Speaker 1 (33:29):
Mid ninety seven. You know, that's when we ended up
dropping the IFO an Eye album, you.

Speaker 2 (33:33):
Know, and master P was up there during that time
period he was doing he.

Speaker 1 (33:38):
Was he had left about yeah, he had.

Speaker 4 (33:41):
He was all up there, like from ninety ninety one
through like maybe ninety four. Master he end up he
ended up going to the South by THEND, he ended
up going down there and start killing him in the
South because by the.

Speaker 2 (33:56):
Time, it surprised you when you saw what he did.

Speaker 4 (33:58):
Yeah, because nobody really cared for P up here. There
was just like he was kind of like taking people's styles.
He was trying to sound like Spice One, and he
was trying to sound like ce Bow. He was taking
people songs and kind of like they was looking at
him sort of almost like a weird al yank a
Vica rap.

Speaker 1 (34:12):
Like out here he was like flipping dudes hooks like
he took the lot, you know.

Speaker 4 (34:17):
But I had love for Pete because he you know,
even when he tried to sign us too, and then
once he went in and got his money, he was like, man,
forget Atlantic, you.

Speaker 1 (34:25):
Know, you need to come rock with us, and you know,
come down here and deal with me.

Speaker 4 (34:28):
Black and I was just like I just couldn't do it,
And plus I just kind of wanted that experience we're
dealing with like you know, big beat Atlantic, because we
had relativity at US, we had depth jam at US priority,
but none of them was offering with uh with Craig
Calluman was offering us.

Speaker 1 (34:42):
So you know, we ended up going with them.

Speaker 4 (34:45):
But yeah, it was a it was a it was
a master people was like doing this thing.

Speaker 1 (34:50):
He was a big We all was surprised.

Speaker 4 (34:52):
Nobody expecting him to leave and blow up like that
because nobody really cared for him like that out here.
Nobody and everybody admitted it was like, damn, we didn't
expect master P. Like they looked at the Master P
as a garbage rapper out here. They didn't really fuck
with him like that.

Speaker 2 (35:06):
But he was a limless hustle though.

Speaker 4 (35:09):
That's what I said. He was a business man when
he came to the to get us. You know, he
broke us off here black he go five thousand, you know,
he came and got us for the second one. Uh,
Mississ didn't really want to get on it. He didn't
really like you know, he just was like, man, garbage.
I don't even want to be on this compilation man,
And uh, he ended up getting us on trying to
make a dollar out of fifteen cent and uh, like

(35:30):
I said, he broke us off like five thousand for that.

Speaker 1 (35:32):
Then he came back the second time.

Speaker 4 (35:34):
I did a song with Laviti and them on the
second one, and he gave us like seven thousand for that,
you know what I mean.

Speaker 1 (35:40):
And he let me release it as a singer.

Speaker 4 (35:42):
The song actually did good in Canada and everywhere we
would release it as a single over there. Master P
helped me with that. He gave me clearance and everything,
like he was cool man. You know, I ain't really
got no complaints about Pete. You know he handed his ben.
He was like, you can't do them, but pe respect.
You know what I'm saying, you can't do them, but
respect this hussle man. When what he did it? What
was the record that made everybody go crazy? I already

(36:03):
know what it is, But what was the record that
Don't give no Bama weed Bama weed?

Speaker 1 (36:10):
Nigga? Man? That was the one that put us on
the map.

Speaker 4 (36:13):
Even when we had the demo because it was first
called Don't give Me No Bamba Joint, we don't smoke
that ship and Hunter's point.

Speaker 1 (36:18):
This was before mster C was on it. It was
pretty much I was working on a solo.

Speaker 4 (36:21):
Album and I had don't give Me No bamor joint
and uh, one of my boys who was from Filmo
who stayed in our projects, Uh, he was just like
my boy Lioney Green used.

Speaker 1 (36:31):
To strug with this strutting crew called Demons of the Mind.

Speaker 4 (36:34):
He was like, bro, you need to switch it up
and bring the whole city, get the whole city involved.
And he was like, right now, you're just gonna kind
of like segregate yourself and you're gonna you don't want
to just be kind of like just only having Hunter's
points playing the song.

Speaker 1 (36:47):
And I'm glad I ended up listening to him and
I ended up switching it.

Speaker 4 (36:51):
No Bamba Weed, we don't smoke it in the sf
C and THEGA, the whole city got behind it.

Speaker 1 (36:55):
That motherfucker took off like wildfire, like wildfire.

Speaker 4 (36:58):
And later on a lesson to learned, you know what,
the old Sugar Hill Gang beat that took off. You know,
that was kind of like our second hit, you know,
but uh yeah, Bamaweed hands down, hands down. Yeah, it
was our number one hit to put us on the map.

Speaker 2 (37:15):
That's crazy, man. So you got all this going on
during this time, Piod, You still need deep in the streets.

Speaker 1 (37:22):
Oh yeah, for surely. Yeah.

Speaker 4 (37:23):
I was going to get them checks and going back
straight back to the block and my brother the money
we going. We was going down there doing the break
me downs. We was down there. We was doing our thing,
you know what I mean. I wasn't even I wasn't
even taking music serious until I went on my first
couple of shows. Once I start seeing the world was
bigger than the neighborhood, I start going to Detroit, Detroit started,
we got getting booked at Pontiac Land, sing like Michigan,

(37:46):
like like fucked with It's heavy, And then we started
going to Kansas City, and then all of a sudden,
Seattle and Portland, and now all of the sudden we
start going down to Phoenix and all that. Then I
started it was like I was being I was gone
a lot, and them checks was coming in. We started
going from three thousand to show four thousand, seven thousand,
We start.

Speaker 1 (38:04):
Eating off that.

Speaker 4 (38:05):
We was like from ninety two all the way to
ninety four, Like we weren't even thinking about a new
album because we was running around for like two years
off that album, really eating off of it, you know.
And then once we start going in to work on
that second album in ninety four, that's when we we
really zeroed in on working on Ruthless by Law, you

(38:26):
know none. And even then some shit happened. We got
called for some rape shit. Some young dudes is in
my studio, brought some little girls up in there side
of mids and you know, did all types of shit
to them, and they was using me and my brother name.
So we sat down for like eight months in the
county and se that kind of caused problem in my
neighborhood because the girls was like fourteen year old, fourteen

(38:48):
years old. The youngsters they was young too, but they
used our name and we was you know, eighteen nineteen
years old. So yeah, me and my brother we had
like sixty five council rape kid. Now side of me, yep,
side of me.

Speaker 1 (39:01):
You never asked.

Speaker 2 (39:02):
The girls didn't do it, you know what. It wasn't
a rate kit back then. I don't think.

Speaker 1 (39:07):
And see us.

Speaker 4 (39:08):
You know, my brother found him, you know, shot out
my brother, Toto man. He went out there, and uh
we lucked up man, By the grace of guys. She
ended up in a group home in Oakland. You know
this was like maybe, like, like I said, seven eight
months in she ended up at a group home in Oakland,
and it's just so happened to be one of my
friends from the neighborhood mom's house. And he was like, bro,

(39:29):
you know the girl that said that she was talking
to my mom and said that that RBO had raped
her and this and that, and yeah, she had my
mama house. She's in there for foster She there for
temporary like foster care or whatever until she could find
the placement.

Speaker 1 (39:41):
I'm like what You're like, Yeah, she was in there.

Speaker 4 (39:43):
So I was like, man, then let's total to let
my brother come out there, man and holler at her
and let her know, you know, we ain't the ones
that did it and this and that, so he wouldn't
seen her, and she agreed to come see it them
and she came up there. She walked in the business room,
was like, now y'all, wasn't there, wasn't y'all And we
actually beggared, like, man, could you come to court? We
go to court tuesday. Can you come in talked to
her lord. She was like, yeah, hell, y'all come, it
wasn't y'all. She's like, it was some other dudes, some

(40:04):
younger dudes. She was like, you black Si. I'm like, man,
I'm black Sea. It's my brother Dre right here. Like
they She was like, nah, I wasn't young. And they
let us out they could use y'all names, said there
was y'all, you know, because it was all in the
name and it was my young homies. But they was
trying to trick, you know, they had I was written
from uh this Dolphine. I was wrinting the room out
where I kept my studio at so the youngster that

(40:27):
stayed there, his homies. They was coming in showing it
because I got all the posters on the wall and
all that, you know, a lot of rap memorabilia. So
they had brain girls up in there because we was
popping at the time, so a lot of females was
coming up to the neighborhood to try to come look forwards,
meet us or whatever, you know, because back then when
you came out with a cassette, you was like you
was a celebrity because it was like then it wasn't
as easy as it was now.

Speaker 1 (40:48):
So people was coming up, riding through, they try to
come see us.

Speaker 4 (40:52):
So yeah, they manipulated the girls into come seeing the
studio and they start turning off the lights and doing
all types of ship to him, and yeah, we got up,
got caught up.

Speaker 2 (41:02):
You see how crazy it is, how easy it was
eight to just get caught up. They didn't even know
how these niggas looked. And if they didn't bring the
line up or nothing. They even put the girl in
the lineup to say.

Speaker 3 (41:12):
These dudes that did it, they ain't give a fun
as long as it was niggas. Man, fuck it, she
was a miner, you know what I mean. I don't
care about none of that. Ain't no need of investigating.
That's them. That's it.

Speaker 1 (41:27):
Nigga ship.

Speaker 2 (41:29):
Y'all the city. Uh, y'all didn't see the city? You said,
Oh no, we didn't suit knock with.

Speaker 4 (41:36):
What they did was they just dropped it to where
they had still had three years of foule. So they
did some weird ship to where because one of the
dudes that was that was one of our co defendants.
He was there, you know, So when they dropped it
on us. They had to drop it on him, you
know what I mean. But I always had that ace
in the hole. I always told him because me and
him was like we was on the seventh floor together,
and I was like, Nigga, you already know, bro, before

(41:57):
this ship go too far. Nigga, you gonna have to
You're gonna tell on yourself. You're gonna let us. You're
gonna let the motherfuckers know that. I wasn't there and
he was in that scared of you, all right, bro,
you know I'll tell him. You know, he had his
mom and all them like, nah, you better keep your
mouth shut. You don't say shit. But I was in there, like, Nigga,
You're gonna let them motherfuckers know, Nigga that it was yeah,
you damn right.

Speaker 1 (42:15):
Because he was the only older dude that was with him.

Speaker 4 (42:17):
It was another rapper's name was Sugar Beer, who was
under in the neighborhood and.

Speaker 1 (42:21):
He was of age.

Speaker 4 (42:22):
He was like eighteen, and all the other ones it
was his brother and all them, they was all youngsters.
They was all like fifteen, sixteen years old, you know, seventeen.

Speaker 1 (42:31):
Who I was part of it? So who all gang
raped a little too chicks.

Speaker 4 (42:34):
So but uh yeah, nah, man, if we went in there,
if that she would have never landed at my brother
at my uh at my partner's house, man at his
mom house in Oakland.

Speaker 1 (42:43):
Yeah, we probably still be gone.

Speaker 4 (42:44):
That second album probably would have never seen a lot
of day for sure.

Speaker 2 (42:47):
Working mysterious waves, bro.

Speaker 1 (42:49):
Yeah, that's separated the block and we got out. Man.
We whipped them nigga's asses that man.

Speaker 4 (42:55):
Motherfuckers told their ass up and that kind of split
the block up, and from there it just became a
little bit of the hell of shit started happening up.

Speaker 1 (43:05):
You know.

Speaker 2 (43:10):
I want to talk to you about your pops real quick, man,
because one of the stories I really liked with the
dynamic that your moms and your pop said, because your
moms understood the importance of keeping you know, even though
she wasn't messing with y'all pops no more, she understood
the importance that y'all have y'all father around y'all, And
it seemed like for the most part that worked out

(43:31):
for y'all.

Speaker 4 (43:32):
Yeah, because he was a real disciplinarian, like he come
through and kick her ass with this. Even though they
went together. She called, hey, you know, I need school
closer than I need this for them. He coming through.
You know when the little wire sorry little Ninjas came
out and I wanted one hella back. He always came through,
gave us money, took care of us always.

Speaker 1 (43:51):
Even it was cool with my mom's boyfriend.

Speaker 4 (43:53):
They come through, play dominoes, all the shit, and then
she got a problem. I'm in there fucking up. Like
when I first started selling dope. He called him up.
He coming through and put it down on us. You
know he was coming to Yeah, he made show. You know,
he was a real player. It's like seventeen of us,
you know what I mean. Like even though he had
a bunch of kids, he made sure we all knew

(44:15):
each other. Like used to be like, come on, come
get in the car and to take you out here,
gonna visit y'all sisters, because I don't want y'all up
here in these projects fucking on your siblings and shit.
So he made show We knew all our brothers and sisters,
from the oldest.

Speaker 1 (44:27):
Down to the youngest. We all was close, tight knit.

Speaker 4 (44:31):
And there was seventeen of us, and it was like
fire baby mamas, and we always close. We all knew
each other. You know, it's real tight. Posps was a
real player, real player. Everybody thought he was a pimp
because he was El Dorado, Diamond in the back, some
roof topped, the whole nine.

Speaker 1 (44:48):
You know.

Speaker 4 (44:48):
He dressed like a pimp, you know, all the little
snake skin shoes and you know, all the little suits
and everything.

Speaker 1 (44:55):
But he was more like a player. You know.

Speaker 4 (44:56):
He sold quarter te's and eight balls and shit. He
was making more like the dealing. The gambler. He kept
a bag of bits in the Cadillac, you know what
I mean. So he was more of a gambler. And
uh uh he sold like volumes and ship back then,
that's when volumes and ship you know was out. Motherfucker
was uppers and downers and all that shit. So yeah,

(45:17):
that's what he did, man.

Speaker 2 (45:18):
Yeah, now you coming from San Francisco, man, how big
of an influence was the pimp game to you?

Speaker 1 (45:24):
Very big?

Speaker 4 (45:24):
That's what was outside out there, Like I said, you know,
in La you go outside, it was game bangs and
out it was just mainly pimps and hustlers.

Speaker 1 (45:31):
You know.

Speaker 4 (45:31):
They was either selling hair un and coke you know,
and pills, you know, like I said, volumes or whatever
little quelus or whatever it may be. And then they
was it was pimps.

Speaker 2 (45:41):
That was it.

Speaker 1 (45:42):
You know, a bunch of pimps around there.

Speaker 2 (45:44):
You know, this seemed like with the rap game up there,
all the rapers. San Francisco got his own little rap scene.
Y'all got a pretty big community, man.

Speaker 1 (45:53):
Yeah, real big. You know, especially like all of us.

Speaker 4 (45:57):
It's really like that macing and you know, like everybody
here more got that that that swag, that more of
that macing and that slick talking, you know what I mean.
That's why it's more like everybody like it's more city slickers.
That's kind of like where that thing comes that term
comes from. You know, everybody like slick with the tongue.
They you know, they'd be really popping it out here.

Speaker 1 (46:14):
You know. I really was involved in a lot of that.

Speaker 4 (46:17):
You know, even though my brothers and a lot of
my my older brothers and a lot of them was
around at and all that, but I was mainly my
family was more drug dealers than they was pimps. A
lot of the pimps, majority of them was from phil Mo,
you know that that side.

Speaker 1 (46:32):
We're folk A JT.

Speaker 4 (46:33):
And a lot of them from They was predominantly you know,
pimps and.

Speaker 1 (46:37):
And stuff over on that side.

Speaker 2 (46:42):
That PM games started getting. They started charging them boys
like they were charging the d boys. Yeah, they was
was they was man, you get some time, man, you
get some real time. And when they threw that human
trafficking like enhancement up there, dog, it was really a rap.

Speaker 1 (46:57):
That's what did it than human trafficking man and washed
it up. You know what I mean?

Speaker 2 (47:03):
One of them If you a nigga, you get caught
one of them little white girls, man, they stretch, they
gonna give you all day real talk. It's like a
white girl, you're gonna get the charges tripled and double yep,
yuh real talk white girls. So so y'all had, y'all had?
Fort Forte was the one that really blew the city
open first.

Speaker 1 (47:24):
The one that was like he like, are what too
short is to Oakland?

Speaker 4 (47:28):
You know what I mean? Was the was the main dog.
You consider him like that gy father. Yeah, definitely mean
he was like, oh coo short men to Oakland. That's
what foe ta meant to us? Because I was with
you know, he was he stayed in my projects. His
his Mama stayed over there and Foth had the best
of both words because even when we was funking with
Philo was able to bounce back and forth because back

(47:51):
when they had the Solar system, when he was doing
he was with the dude Nate rock Box. They had
a song called Hubbles Out like Folks. That's when Folk
got known. He used to the rock all the little
house parties. And when he landed that little track that
Don't Fight the filing with too Short.

Speaker 1 (48:04):
It just shot him up. Everybody fell in love.

Speaker 4 (48:06):
We already was in love with him, but that just
it just made him just like a superstar.

Speaker 1 (48:11):
And uh, man, that's like my brother from another mother. Man,
I like, that's my boy.

Speaker 4 (48:16):
Like he used to be at my house all the
time when he was going through his drug addiction.

Speaker 1 (48:20):
He came to mind.

Speaker 4 (48:20):
My mom always fed Hi when he used to be
through my projects. And even when he went to jail
and got out. I'm the one kind of like nurtured
that whole relationship with him, with Gary and Guy and
they brother Frankie J who on Rag Top Records. I'm
the one told them to get him, Like, man, y'all
need to get Folk, pull him get him in there, man,
get him in the studio. Our album was was mixing
and mastering on the way to come out, about to

(48:42):
blow up, and our knew Foe.

Speaker 1 (48:44):
Was gonna come to me about the music.

Speaker 4 (48:46):
You know, I was kind of already dabbling with a
few tracks, trying to put some stuff together for him,
and I put in a fly here and fly when
he got his brother, older brother, Frankie J who ended
up snatching Foe up.

Speaker 1 (48:56):
He snatched him up and took him in.

Speaker 4 (48:58):
I said, man, as soon as he get out, but
you know heard it getting out in a day or two,
y'all need to grab him up before even hit the
streets and start sucking up again. And that's what they did.
And uh, man, you know he didn't look back ever since.
He stayed off the dope. And and to this day,
that's my guy. Just did some stuff for his documentary
a couple of weeks ago, so you know, he going
through a little health thing right now.

Speaker 1 (49:20):
But man, that's my brother from another Yeah.

Speaker 2 (49:22):
That's what I was going to say. That that's why
me and they got to grab him on here, man,
because the one thing about it, man, we got to
appreciate our legends from the coast. Man, It's like it
ain't just La, but our legends from the Bay l A,
whether they up in Seattle or whatever like that, we
got the whole down man, the reason a reason not.

Speaker 1 (49:40):
To you know, that's true, that's real, man, But that's
my guy man. I really yeah.

Speaker 4 (49:47):
He Like back then it was really like just foute
and then you had cool nothing then with I m
p uh ill Manosi. You had a dude that he
William C who was from phil Mo, who had a
song called Keeper Bitch Broke that that that he was
like one of the one of the dudes, and that
was pretty much really like the top dudes in Frisco.

(50:09):
It wasn't nobody else until we kind of like dropped
and we was coming up off of the cusp of
listening to you know, I was like I was heavily
influenced by you know, dub Ce and the Mass Circle
of course.

Speaker 1 (50:19):
Uh CMW eight and them.

Speaker 4 (50:21):
I got videos a week imitating them, imitating w C
in the Fast Circle. Like I got a bunch of
footage because I was one of the first dudes in
the projects that owned the camera. When the video eights
came out and I'm out here in my bronco you know,
wrapping all that stuff. And it went from there to
four one five coming out Richie riching him in Oakland.
That's kind of where I got my styff from. Like

(50:41):
n w A, s CMW and four one five in them,
you know what I mean. And that's kind of like
what RBO was, you know what I mean.

Speaker 2 (50:49):
So yep, yeah, so so so l A had a
real big influence on the back then.

Speaker 4 (50:57):
Oh yeah, heavy, yeah, heavy, especially with us in our projects.
They had a heavy, heavy influence. You know, that's all
we was playing. You know, we was happy because back
before that we was bunching a bunk. We was bumping
a bunch of like Big Daddy Kanes and who else
was playing a bunch of East Coast It was a
lot of East Coast stuff that.

Speaker 2 (51:17):
Was everybody was. It wasn't nothing else.

Speaker 4 (51:19):
Yeah, steady beads before I let go, Like we was
playing a bunch of that, you know, mc Shoty and
a lot of stuff like you know what I mean.
But then n w A was like a brother of
fresh Air. It was like you know, of course then
it was like the ghetto boys, n w A. All
that was like what was getting played in the city
all day every day, and plus everything and banks and

(51:41):
them start dealing with mc pooling, them start coming out
with fucking with dank, you have spice and them start hitting, uh,
Like I said, the four one five, and then Richie,
Richie and them started hit coming out and we just
was playing all that iced tea. Of course, we was
playing ice everything, ice tea, all the six and them
and all that. So it was you know, we were
we was heavy the West Coast and anything from the

(52:01):
West King that's all it was being bumped in our
projects barely was bumping the East Coast after that.

Speaker 2 (52:08):
Yeah, that's crazy because every region started getting their own rappers,
like l A had their own ones like the one
dudes that don't never get props. Like I remember when
I first came to California, tidy t. You heard a
battering ram on the radio every day. You heard like
not cocaine, just living heads, Spade them get ready to rock?

Speaker 1 (52:28):
What was that?

Speaker 2 (52:29):
What you go do when you get out the jail?
Them going to get it.

Speaker 3 (52:33):
Ball counter Posse record, you know cool King Tea, a
lot of King tea and yeah, yeah, the Act Food
record Uh, that was like my that was like my
foundation for when the first ship got cracking. We we

(52:53):
we had a lot of East Coast ship to listen to,
so we didn't have no representation of who we truly were. Yeah,
Le's coach Niggas you feel Me. Niggas symbolized us really
down in La Comps and whatever nigga symbolizes us from
the Colors movie You feel Me. We really wasn't significant

(53:18):
as far as the rap scene. And then, like you said,
easy and time, Todd came along with the Battle round
and kind of opened the door for motherfuckers to go,
you know something, maybe we could try something else. You know.
Even though you know, Niggas had their mixtapes out the

(53:39):
trunk in the neighborhood and Todd had the battle around,
we still had the presence of a lot of electronic
you know music and a lot of influence, influence all that, Yeah,

(54:00):
like that, all that other Like me and the homie
Rich was talking about it today, like we had a
lot of that it's time and radioactive your music, you know,
it was all that Egyptian lever type. Yeah, when the
beat goes on and ship like that. You know, that

(54:21):
was All World Team broke through and made it to
where niggas felt like, you know something, I ain't got
a rap like them on the East Coast or do that.
I could talk about what happened in the projects last night,
you know, I could talk about.

Speaker 1 (54:41):
Me trying to go hook up with a bitch or
some ship.

Speaker 3 (54:45):
About me and the homies was on our way to
the spot and got jacked by the police and ship
so made us feel like, Okay, well we can do that.

Speaker 1 (54:55):
Ship. You feel me, so open up.

Speaker 2 (54:59):
You and they. He has work before.

Speaker 4 (55:01):
Yeah, he was on the ninety seven album. Yeah, yeah,
on the n one I album. Yeah, that was a
must I had. I was trying to get him. Gotta
get mine.

Speaker 1 (55:12):
Yeah, I gotta get my man. Yeah yeah, I was
on there.

Speaker 2 (55:18):
I think Teyla was on Man.

Speaker 1 (55:19):
Tela YEAHQ on the hook. Uh yeah man, that motherfucker. Man,
that motherfucker was dope as hell. Man.

Speaker 4 (55:28):
That was a dream come true because him, like I
said him cube and uh and uh fucking scarface.

Speaker 2 (55:35):
Man.

Speaker 3 (55:35):
Then was like man, I was like, I fucked with
the younger niggas up in the bay around that time.
My niggas was ship all. I was up there fucking
with spice all the time. Yeah, that was my nigga.
So I was up there for a pool, man. I
just with a lot of niggas up there, Yeah yeah,
and made it easy work. Nigga went on no Hollywood

(55:57):
ship and none of that ship. Nigga ship out a Sap.
That's what I loved about it.

Speaker 4 (56:02):
I was like, man, because you you hate to run
into motherfucker who you look up to, you respect it
and they be acting like a bitch and just be.

Speaker 1 (56:08):
Acting funny, and you'd be like, damn, man, this nigga.
I thought this nigga was like this, and like you
know what, man, Man, he made that ship happen. Man,
A sap too.

Speaker 2 (56:17):
Ain't always been. He'd always been real down to earth,
even when we even before we start doing this podcast,
I would see I remember my song Bailing through the
Lake with marg is real regular. He was just up
there right foot like is bailing exactly.

Speaker 3 (56:34):
Man. It's had the perception if you didn't alienate yourself
and you just you know, nigga, nigga ship, I'm just
thinking ship. Yeah, yeah, listen to a regular motherfucker man,
and that whatever you did, Nigga, I did the same
motherfucking game. You feel me step always took.

Speaker 1 (56:58):
I felt like a man. I don't know, like, I
don't know. I guess I could have.

Speaker 3 (57:05):
You know, I could have been a nigga that went
out and said, fuck it, I'm gonna pay five niggas
to be security, and then you know, I'm gonna do
some shit like go to the foot locker and take
five security guards. Maybe I think if you cause that
presence for yourself, then you asking for what you expect

(57:26):
to expect. If I'm a nigga pulling up parking in
a parking spot by myself getting out, and I'm not
bringing attention to myself because I'm I'm basically finna do
like the other thousand cars that's up here right here,
go to foot locker, probably buy me a pair of shoes,

(57:47):
and then get back in my car and going by
my business. That doesn't that that to me, that doesn't
warrant attention, Like Okay, yeah, I got a video out
and I got a platinum record out, and I'm like,
I'm not gonna pull up you know what I'm saying
right here in in my in my three hundred thousand

(58:15):
dollars car jumping out with my two hundred thousand dollars
chain on, and and now it's like people are like, well,
who the fuck is that? You know, so market and
I'm looking for a parking space. Motherfucker's gonna be like, well,
who the fuck is that? Then I get out, Then
there's five niggas around my car, and then now we

(58:35):
all I'm bringing attention has to be like, let me
just run in here by myself real quick, grab this
ship and get the fuck out. Attention that I was
never a seeker of attention, And you know, that's hard
to That's hard to be when you're in the position of,
you know, even how we are now you get me,

(58:56):
we hit. We still have some sort of celebrity and
success to our our lifestyle. But you know, like today
when I go to the gas stage there, I'm trying
to be normal, you know, that grocery store. You know,
I try to be normal. Is there some people who
are gonna recognize and be like, hey, that's but I

(59:17):
still like, hey, how you doing, and then go about
my business.

Speaker 1 (59:21):
It's normal.

Speaker 3 (59:22):
Uh So, I don't I think if you're you know,
if you're not a seeker of attention, you can you
can somewhat try to live a normal lifestyle.

Speaker 1 (59:34):
Yeah, I don't want, you know. And then there's another
thing too.

Speaker 3 (59:39):
You can't be an arrogant asshole to where you know
everybody on the block or in the building wants to
put hands on you.

Speaker 1 (59:49):
Now you have to stay protected and put yourself in
that sitution.

Speaker 2 (59:52):
You know what The biggest thing is though, Bro, you
gotta always be aware where you at right either be
a where your surroundings. And it's like I tell people, man,
in reality, you should be able to wear whatever you
want to around anybody, but that just seems the case.
You can't go dangling steaks around pit bulls and not
expect to get done.

Speaker 3 (01:00:13):
You know what I'm saying as to saying that I
ain't got five or six niggas jumping out, but that
ain't saying I ain't got a motherfucking you know, forty
five under my motherfucker's seat, or or play somewhere in
my exact I'm I'm not a seeker of attention, but
then I'm not a motherfucking naive motherfucker to the situations

(01:00:37):
niggas to go through in your position, You feel me
just because I got to advance myself on the mind
state of I'm a normal nigga. I still know what
the other motherfucking nigga who's the greedy hate for mine stated,
nigga might be thinking, So you know, there's not five

(01:00:59):
six security niggas hanging around. Don't mean it ain't a
full fifth fully loaded sitting somewhere too, exactly.

Speaker 1 (01:01:06):
Yeah, you got your surroundings at all times.

Speaker 2 (01:01:12):
Yeah, always, So you and Forte's relationship, right, You mentioned
that Foe had so fourth had a drug problem before,
not to getting his business like that, but he had
that before his career even launched.

Speaker 1 (01:01:29):
Yeah, yeah, yeah, before it even launched.

Speaker 4 (01:01:31):
Yeah, he was you know, he used to be rapping
and kind of like in and out of the penitentiary,
you know, doing this thing. He went through his struggles
and whatnot, and uh he bounced back once he got
with Frankie J and he would never know looking.

Speaker 1 (01:01:43):
Back, he never touched drugs again, went through it. That's
what I said. Folk got a story.

Speaker 4 (01:01:47):
I was telling him, like, bro, you want to dock
and said you need to do a book because fol
Fall been around, He's been through some ship as far
as just just just just life. You know what I mean,
not necessarily gang banging and the drugs flanging, but just
being being being around in the early eighties, just out
there when motherfuckers is all going to them parties at

(01:02:09):
the Solar System, when the Hunters, when Frisco was all
one just getting just mentioning, mingling with the Oakland cats
over there, dealing with Short and all them, and just
his drug problem in and out the penitentiary and they're like,
folk really got a little story man.

Speaker 2 (01:02:22):
And I told him, like, bro, you need to he
got it. I can't wait to talk to him. I
definitely can't wait to sit down with him. And not
to keep you know, bringing them up, but I think that,
like I admire spots like seeing friends and Compton and
stuff like that, because at the time when y'all came out,
y'all was sitting the president kind it wasn't nobody before.

Speaker 1 (01:02:42):
Y'all, not at all.

Speaker 4 (01:02:44):
Nobody at all, not nobody was that we act Like
I said, we didn't really look up to nobody except
the dudes in Oakland.

Speaker 1 (01:02:51):
Oakland was like the Mecca Bear area.

Speaker 4 (01:02:53):
You know, everybody know that Oaklands like and Banks and
all them like they they had the scene going on
besides La.

Speaker 1 (01:02:59):
It was La first.

Speaker 4 (01:03:01):
That was like the mecca when it just came to
cut La. Whatever was popping in La, that's what we're playing.
That's what we owned. Then once Oakland start really thriving
after two Short because we watched Short come up.

Speaker 1 (01:03:11):
Short was coming through six seven months.

Speaker 4 (01:03:13):
Stang, I'm seeing him come dealing with my dudes at
Booboo with them who was dealing with James Beasley, you
know who just got out some years ago. You know,
he just dropped his book too. You know, James moving uh,
you know, moving, moving them things, doing his thing, and
he messed with a lot of the dudes, little d
and them from Oakland and that kind of like let
Short come over there, and Short was protected. You didn't

(01:03:34):
have to worry about nothing. Everybody loved Short. He came
through selling his little cassettes five dollars a cassette. You know,
we watched him doing all the freaky tails air and
all that. You know, I'm a young nigga out there
seeing Short come through, Passenger see coming through, hanging out
with boobooing them in the astral vans and all that.
Like I watched all that, witnessed it out the trunk
and coming to every project too. Shortening was coming through,

(01:03:57):
and yeah, it was just one of those things were
just like damn, you know. It wasn't nobody else but
Shortened and all of a sudden and Banks just created
was creating a culture pretty much when he started dealing
with him Se Pool, Spice and all them dangerous dame
and a lot of them dudes was coming out.

Speaker 1 (01:04:13):
It started happening. You know.

Speaker 2 (01:04:15):
So where's Poof? Where's Pootman from Poof? From San Francisco?

Speaker 1 (01:04:19):
Now from East Oakland, from Oakland, from Oakland, Yeah, he's
straight up Oakland.

Speaker 2 (01:04:26):
If I can get all the I think I knew
all the San Francisco rappers. Let me see if I
get it right, rb L Posse wrapping four tem The
bigger figure.

Speaker 1 (01:04:39):
MH.

Speaker 2 (01:04:41):
I want to say is Messy mar from San Francisco.
From San Francisco, u E the m C. Yeah it's
somebody else. I'm forgetting them.

Speaker 1 (01:04:55):
From the lake View area, miss.

Speaker 2 (01:04:57):
You know what, I always thought cool enough for some reason,
what's Oregon? I don't know why he from me?

Speaker 1 (01:05:02):
From lake View? You know they uh lake viewers with
sales Ki.

Speaker 4 (01:05:07):
They had a few rappers over there nobody that blew
up his biggest uh like I m p cooglaner Cooglan.
I had his solo thing that's cooler. And then he
was part of the im ill manor Posse his crew.
They dropped around eighty nine ninety. They dropped when I
was in I was in Long Cabin Ranch.

Speaker 2 (01:05:26):
You know, let me see because that's my thing.

Speaker 1 (01:05:29):
That except that I'm rolling in scanless and that came
out of eighty nine. That was they were slapping. He
was doing his thing.

Speaker 4 (01:05:37):
Yeah, came out around eighty nine, eighty nine and ninety.
That's when he made his debut. Eighty nine.

Speaker 2 (01:05:43):
Yeah, eighteen eighty nine eighty that was a year after
you just that was a year after you just dropped.

Speaker 4 (01:05:48):
Yeah, I dropped, Yeah, Yeah, I was bumping eight ship
was it before I went to the ranch we was
playing I made that video. I think it was before
it was like eighty eight is eighty eight eighty nine
is then we got out.

Speaker 1 (01:06:04):
Once I got out, that's when I started dabbling with
the music. Late eighty nine going into the ninety that's
when we started.

Speaker 4 (01:06:10):
We got in the game and we were just mainly
doing what too Short that was doing, selling in our projects,
and we decided to dude named CTG played us the
Greatest stole one of my beats, and he put it
out on actual cassette. And once he did that, I
was just I got to go to the studio because
I'd probably been just selling cassettes in the neighborhood cause
were just getting a lot of money just selling.

Speaker 1 (01:06:29):
And find out the cassettes around there with it.

Speaker 2 (01:06:31):
It was like I heard they was getting paid up
there back in the day. Man, somebody told me they
was up there was making real money.

Speaker 1 (01:06:37):
Oh yeah, yeah, because we was killing him. People were
coming through all day. Man.

Speaker 4 (01:06:41):
There was a dude named Axing Jack who kind of
put us on. He was from Sunnydale. He kind of
put us on to a lot of the new stuff,
like with EP EPM D and all of them came
out with You're a Customer all that. He was one
of the first ones playing all that, you know with
uh it Takes two with mc shy d and all like.
He did that kind of put us on to whatever

(01:07:01):
was hitting in the East Coast, whatever was hitting down
in southern California.

Speaker 1 (01:07:05):
He was the first.

Speaker 4 (01:07:06):
He was uh and he's still around right now, still
doing DJ, but Action Jack was the guy. He one
that he knew all the hits and educated us and
put us on to it. Even when four and five
came out with the groupy ass Bitch using that motherfucking
Commodore's brick house beat, it was like he came to mixtape.

Speaker 1 (01:07:25):
He was doing this thing. So yeah, that was our
little introduction to a line.

Speaker 2 (01:07:30):
The niggas got some cold tables. Man busted bits down.
A boy a female don't get no love on the
West Coast. I was telling you know what I was
telling at home, Yes, said, I think that's why the
West ain't never really had no big, huge female rapper.
You know, we frids, but you know we ain't never

(01:07:51):
had nobody that blew up on a level like a
like a Nicki Mina Sha or or Cardi Bat. You
feel what I'm saying.

Speaker 1 (01:07:57):
At all at all? I think we yo yo back
in the days or something whose.

Speaker 2 (01:08:02):
Gi yo yo. But she was it because you gotta
think about this. Back in the day, it was a
bitch is a bitch. Bitches ain't ship for holes and
tricks all y'all ship all y'all, biggest man have broad
ain't got a.

Speaker 1 (01:08:15):
Chance out there, you got a chance. But we was
so crazy.

Speaker 4 (01:08:18):
We was actually bumping like mc light in the hood though,
all that little fucking chi and Georgie Porgy, whatever that
ship was, We was actually playing that ship though. Back
in the days in the hood, she got some play out.
She was about probably the only one they probably got
some play in in the neighborhood from the dudes. Nobody
else got no play and no ride, no female until

(01:08:38):
it later on, once you got with like Sea Bowl
and then Marvelous, and then they was more thugging it.

Speaker 1 (01:08:44):
Once they start thugging it, then the motherfuckers start playing.

Speaker 2 (01:08:47):
Was harder than the motherfucker Marvilus was some ship. I
ain't heard her name in a long time.

Speaker 1 (01:08:53):
For niggas even want to play that ship. Niggas ain't
rolling around playing no female. You know what I mean.

Speaker 2 (01:08:58):
You gotta be hard. I think, Yeah, you gotta be
on some ship.

Speaker 4 (01:09:02):
Man.

Speaker 2 (01:09:03):
We appreciate this man sitting down with his dog. We
gotta definitely do this in person. This ain't gonna be
here last time here either, man, because we got a
lot more to talk about. It's like I be enough
time that I will be going by so fucking fast Man, Sir, sir, Yeah,
what I'm saying, Man, So what you got going on now? Bro?

Speaker 4 (01:09:23):
Man just shows you know, like I said, I gotta EP.
I'm Finnah drop with this DJ DJ Idea up here.
He'll be doing a lot of mob sound music. When
I got this othernother EP. I'm Finnah dropping probably around
like May with this dude DJ DJ Folly Foley.

Speaker 1 (01:09:41):
You do a lot of my nephew, my boy Larry June.
You know, he blowing up out here.

Speaker 4 (01:09:46):
So Larry June Producers, I got something going on with
him because Larry kind of like the one that kind
of got me back in the game because I ain't
gonnallow semi retired just doing like cannabis collaboration deals and
just doing licensing deals and just kind of eating out
of that and I wasn't off the rap ship. And
then Larry kind of like he started blowing the fuck up.
You know, that's my one of my best friend son,

(01:10:07):
you know what I mean. So he brought me, got
me in the studio to do a song with him,
and then all the little younger generations start going back
doing research and start seeing like, oh, like man, Larry
sounds similar to y'all on your first album, and he
kind of flipped the style with a little bit of
Mac Dre and his own little twists, and man, he
like that dude right now, you know what I mean.
So he brought me back in the game. I start

(01:10:28):
putting out stuffs and numbers, start streaming doing good. He
started getting me on a couple of his tours. So
now I've been back at it now. It's like, man,
I got big with that bug. So yeah, we've got
shows coming up. We're gonna be down there in Anaheim
next next month May and then Pop. We just came
back from the AI doing two shows, so well, yeah,
we've been moving, man, were moving and growing.

Speaker 2 (01:10:49):
I saw y'all the what was the show that you
were did in LA eight number one for the Best, Yeah, yeah,
for the for the Mexican on me.

Speaker 1 (01:11:00):
Oh yeah yeah yeah yeah.

Speaker 3 (01:11:01):
My homie uh yeah, man, Bobby d No, no, no,
my homie, uh Spooky from mob G. He'd be putting
on them shows.

Speaker 2 (01:11:14):
Yeah, y'all was in that show. I saw you at
the Thing black and I was trying to holler at you.
But you know how to be with the concerts, something
like he was trying to get in. I had to
go up there and I came back and you was gone.

Speaker 4 (01:11:26):
You're talking about the Night of the Black Skin or
something like that. Yeah, yeah, yeah, yeah they yeah, yeah, man,
they be having it popping.

Speaker 1 (01:11:39):
My boy.

Speaker 3 (01:11:40):
That's my boy Spooky from mob G that's his little
ship right be cracking.

Speaker 2 (01:11:47):
When I was walking over to you, he was at
the door. They was They was trying not to let
a d and I was like, y'all tripping, y'all, this
man gotta show up at tonight.

Speaker 1 (01:11:55):
Yeah, that thing was. It was lit up and there.

Speaker 4 (01:11:57):
I like those type of shows better than them big
old old arenas and all that.

Speaker 1 (01:12:01):
Like them like that right there.

Speaker 3 (01:12:03):
Nice, that's a better intimate setting for niggas, like yeah,
uh you know, it be majority of.

Speaker 1 (01:12:13):
True fans and fans exactly and the spectators. You feel.

Speaker 2 (01:12:18):
That was a nice little crowd. What was it about
a thousand people there, Yeah, something like that. Yeah, it
was crowded.

Speaker 1 (01:12:26):
Over that, a little over a thousand.

Speaker 2 (01:12:29):
Yeah, it was a lot of people, that motherfuckers. I
remember when I had to go out there to gets
you and I had to walk upstairs to see you,
old boy, and I had to I had to some people.
It's packed in here.

Speaker 1 (01:12:39):
Yeah.

Speaker 4 (01:12:39):
Yeah, and man, him and DJ Drew too. DJ Drew
be doing a lot of intimate, like nice setting shows
like that too. He got us over there Orange County.
I forgot it's called the I forgot that theater name
out there in Orange County. But he another one that's
good to link up with too.

Speaker 1 (01:12:55):
Man.

Speaker 4 (01:12:56):
I love dealing with them, man, because they handled business
right and they got that promo down.

Speaker 1 (01:13:00):
They get they get them heads up in there. I
love it.

Speaker 2 (01:13:02):
I love it you working man. Hey, we're gonna talk
about some stuff off here. Man, were about to let
y'all go now. Much love for tuning in with us,
and we gon holler back at y'all next week.

Speaker 1 (01:13:13):
Sure, man, salute man. Appreciate y'all having for show anytime. Bro, Yes,
sir well.

Speaker 2 (01:13:20):
That concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
The Gangster Chronicles podcast For Apple users, find a purple
mica on the front of your screen, subscribe to the show,
leave a comment and rating. Executive producers for The Gangster
Chronicles podcasts of Norman Stelled, Aaron M.

Speaker 1 (01:13:36):
C A.

Speaker 2 (01:13:36):
Tyler. Our visual media director is Brian Whatt, and the
audio editors tell It Hayes. The Gangster Chronicles is a
production of iHeart Media 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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