GC - Deon Sanders, Slave Deals & Good Ol Fashioned Gangsterism Mixdown 1

In this EP we discuss Deon's expectations at Colorado. How Diddy had Biggie under a slave deal and the economics of gangster rap.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:00):
But all right, job.

Speaker 2 (00:03):
All across the USC Compton, Watts Bay to LA. Come
on to California day from out in the valley, we
represent that Keller County. So if you're keeping it real
on your side of your town, you tune into Gainst
the Chronicles Coronic Goals.

Speaker 1 (00:21):
We gonna tell you how are we goals?

Speaker 3 (00:24):
If I lie, my notes will grow like Pinocchio. We're
gonna tell you the truth and nothing but the truth.

Speaker 1 (00:28):
Gangs the Chronic Goals. This is not your average shows.

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

Speaker 4 (00:40):
Hello, Welcome to the gangst the Chronicles podcast, the production
of iHeartRadio 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 a start

(01:00):
rating the comment. We like to welcome every one to
another episode of Against the Chronicles podcast.

Speaker 1 (01:05):
That I am big steal shit.

Speaker 4 (01:07):
Yeah that was my eight invitation right this Since he
was late, he was laid on stuff and journalists exporting
there Sor and Baker once again sitting in with us.

Speaker 5 (01:16):
Yes, yes, sure, thanks for having me.

Speaker 1 (01:18):
Yeah, for sure. So what's going on, fellas?

Speaker 3 (01:21):
Shiit? What's the what's cracking? Shit? That ain't good?

Speaker 6 (01:24):
We ain't doing nothing, you know what I'm saying, same
on Wednesday night, seeing what the HAP says?

Speaker 3 (01:29):
What's cracking? What's the word?

Speaker 4 (01:31):
I see you over there, man, getting you some good
R and R and man, some good relaxation. You know
a lot of people at be complimenting you on the
way you dress, and I tell them a lot of
times that them is your own personal brand. Where can
they go find that stuff at man and support it?

Speaker 6 (01:45):
Get in man, people sending me they shit, Man, I
try to support they shit.

Speaker 3 (01:50):
So you see shit.

Speaker 6 (01:52):
That I got on, Man, just go to the whatever
it say, Man, just go to their Instagram page.

Speaker 3 (01:57):
You know I need money. I try to.

Speaker 6 (02:01):
Support you know, independent or you know, businesses, whatever it
is man, black, you know, white, whatever it is.

Speaker 4 (02:10):
Man.

Speaker 6 (02:11):
You know you independent and you into the culture of
what you know we're trying to represent, you know.

Speaker 3 (02:16):
So that's what it do. Man.

Speaker 1 (02:20):
You know a lot of.

Speaker 4 (02:20):
People was asking about the Swiss that you had on
last week, man, and of course that was your own
personal brand.

Speaker 3 (02:27):
Own personal shit.

Speaker 6 (02:29):
You know, I dip and dab every now and then
I get ideas of shit, so I try to throw
shit out. You know, I might just be at the
crib thinking of some shit, so I'll hit the motherfuck up, like, hey,
let's press this up and see how you know. So
I prototype a lot of my shit, you know, I
wear it, give it to family members and shit like that.

(02:52):
See what the reaction from the public is before I
go into mass production and shit like that.

Speaker 1 (02:58):
Okay, what can they order this stuff? A?

Speaker 6 (03:01):
Uh shit, we got to sit up, man, Just go
to go to Official eight Clothed and go to my
it said if we got their Instagram page up, so
you can go to official eight Clothing that's the number
eight and then uh that have all the details, the
links and ship where you can start ordering product from you.

(03:21):
Feel me for sure, for sure, and we will have
a link tree up pretty soon.

Speaker 4 (03:26):
It include eight stuff eight personal private brand against the
Chronicle stuff as well. We got a new merger drop
about the drop pretty soon. Some fresh ass on against
the Chronicle clothes designed by m Cate, some of his
design by me. You know what I'm saying. But it's
it's some deal badd stuff. I'm proud of the way
everything came out.

Speaker 6 (03:44):
So I've seen some prototypes of the ship today. Yeah, yeah,
he sent me some ship. He was gonna bring the
ship up there. But you know, we didn't go to
the studio today, so I told him to hold it.

Speaker 3 (04:00):
Took next week.

Speaker 1 (04:01):
Yeah, for sure we'd be back up. We'd be back
on schedule next week.

Speaker 6 (04:04):
Man.

Speaker 1 (04:04):
You know your brothers didn't have to make that drive. Man.
But I'm gonna miss getting my popeyees tonight. But that's
all good though. Many you know, I want to dip
off into some sports a little bit.

Speaker 5 (04:16):
Man.

Speaker 4 (04:17):
A lot of people seem to think that Dion was
a failure over here at Colorado. And I told him,
I said, man, that man brought excitement back to the
town man that.

Speaker 5 (04:24):
They ain't seen before. I agree, you know, me.

Speaker 1 (04:29):
Having a sign.

Speaker 4 (04:30):
You know, they played at sc and being a member
of the PAC twelve conference. Colorado was always a good
program historically.

Speaker 1 (04:37):
You remember when they had Eric b.

Speaker 4 (04:39):
Enemy and all them over there, very Enemy, Darrien hanes
Hagen and all those guys.

Speaker 5 (04:44):
Man, they had Jimmy Smith from the Ravens too.

Speaker 4 (04:47):
Yeah, they had some dudes over there man, And I
told somebody, I said, man, Colorado just been kind of
waiting to get some excitement back to the program.

Speaker 1 (04:57):
Man.

Speaker 4 (04:57):
So I think he's gonna do well because he's the
always have a cool recruiting class.

Speaker 1 (05:01):
How many kids wouldn't want to play for Beon?

Speaker 6 (05:05):
I mean, I guess you know, if you uh.

Speaker 3 (05:09):
You want to take that router shit.

Speaker 6 (05:11):
You know, everybody a kid can say that they got
coached by a Hall of famer. You know, Dion wasn't
no punk either when he came to playing himself. You know,
a lot of people speculated that the coaching shit was
off for for publicity in Hollywood shit. You know, you
saw a lot of real not to say, no, I

(05:33):
don't want to let let me let me change that up.

Speaker 3 (05:36):
You saw a lot of.

Speaker 6 (05:39):
I don't know if you want to call them veteran coaches,
but you had a lot of let's say coaches so
to speak. Because you know, even though Dion's been in
the football, you know, he's had a couple of reality
shows and commercials and all of that, so people would
tend to say that a motherfucker's more Hollywood than and

(06:00):
you know, actual coaching and whatever whatever.

Speaker 1 (06:05):
But you know, no respect.

Speaker 3 (06:11):
I guess just.

Speaker 5 (06:14):
Is not just. And still don't you think that's just
because he's quote unquote outside the system and they don't
like that because he's as people.

Speaker 6 (06:22):
How can you call me outside the system when I
played and I'm a Hall of Famer with a gold jacket,
So how are you to say that I'm out of
the system of football because the accolades that have brought me, uh,
the accolades that have been brought to me by my
football career have put me on a different pattern than

(06:47):
a motherfucker who just you know, went to school, got
a degree, started off as an assistant, a ball boy,
equipment manager, worked his way up the latter, became a
head coach. Okay, I played you football, high school football,
college football, won some accolades, you know, Super Bowls, gold jacket,

(07:10):
Hall of Famer because your pattern was different than mine,
and that gives you more credibility as a coach than me.
And I would say that's some bullshit because I've been
coached by some of the greatest motherfucking men as far
as coaches are there is, you get me. I've made

(07:31):
it to a point in football status to where I'm
a Hall of Famer.

Speaker 3 (07:37):
You get me. You as a coach, You as a coach.

Speaker 6 (07:41):
Who probably played a little high school ball and whatever whatever,
You'll never reach those accolades that I did. So of course,
motherfucker's gonna have me, you know, promoting products and so
to speak. And that's the road I take. But I
did coach some high school football, know, giving a chance.

(08:02):
I was letting to college and coach some college football.
But I guess because, like you said, the path that
was taken, you know, from being Dion. You know, we
all know Dion and his playing days and his must
be the money rapping days and shit like that. He
was always a flamboyant cat, you get me.

Speaker 5 (08:25):
And plus they probably don't like that he did have
success at the HB.

Speaker 6 (08:29):
Either, and that that I mean, it just tends to rub.
It's gonna rub.

Speaker 3 (08:35):
I don't know.

Speaker 6 (08:36):
I don't want to call it jealousy either, but let's
face it, you know, motherfucker getting a little more publicity,
motherfucker getting a little more eyes on him, you know,
bringing more eyes to the program as far as that's concerned.
And some coaches might feel but hurt behind that. You know,
I don't work my way up the hard word ladder.

(08:58):
And I didn't have to go to Hollywood, and I
didn't have to, you know, to beat this indeed that
you know, I came from the hard bricks and ship
and booty woton. So a lot of coaches looked at
him as as as what we say about rappers. Now,
he was an industry plant. You feel me, That's what

(09:18):
some coaches might feel about Dion.

Speaker 3 (09:20):
He was an industry. He was a he was an industry.
He was a fucking plant. You get me.

Speaker 4 (09:26):
Well, I'm sure, man, you have a number of coaches
who are jealous because, like you said, a lot of
people the path to usually become the Division one coaches
like this, You usually have a guy that plays college football.
He made you know, he may he may take a
run at the pros or whatever.

Speaker 1 (09:44):
He may Yeah, I'm gonna hear me out, Hey I didn't.

Speaker 4 (09:49):
He may come back to g then he may usually
get a job at some little, you know, small university
of whatever, maybe come back to coaching at jays level
for a few years and get his first you know
position job. You know, they have to work their way up.
So I'm pretty sure there are a lot of people
that are jealous, But there is a hint of racism
in this, right because for sure, because you have a

(10:13):
number of guys that come from out of nowhere, they
get a high powered offensive coordinator job, but they usually
get lucky they first year, Right, they go somewhere and
they have a kid that performs well. So now they
got their new hot coach in the country, so to speak,
and they wind up getting the job that they're not
prepared for. I would say, don't hate the game, because
I think Dion is doing an excellent service for those kids,

(10:35):
and we need more coaches like him, more coaches that
can relate to the kids, more coaches that understand where these.

Speaker 1 (10:40):
Kids come from. Because see Dion.

Speaker 4 (10:44):
As a coach, he's out there setting the high expectation
of bar they have to have certain grades. He's just
not going by the regular curriculum. He's making people shoot
for the stars, so to speak.

Speaker 1 (10:57):
You know what I mean.

Speaker 4 (10:58):
He's expecting nothing but the best from these kids. I
would have left my son play for him, for sure,
Deon Sanders, because I know I spoke. I had a
pleasure of speaking of Dion a few times. He not
only recruited Chris when he was at the You know,
he recruited Chris, but he also called Chris in high
school a couple of times, which I thought was a
really big deal, told them a little stuff he could do

(11:20):
to help his game, told them what he liked the body,
told them what he needed to work on, somebody that
he can still reach out to to this day. Dion
does a whole bunch of stuff for kids, kids that
don't necessarily play for him, right, And I think we
need more coaches like that, because I think that's one
of the problems in college footballers. You see, you got
this old guard like you got the Nick Sabans of

(11:41):
the world. He doesn't like the nl live stuff. Me.
I don't think the nl LIE is necessarily a perfect system,
because I think it does take it's a distraction for
certain kids. If you don't have like, hey, I know
how you are as a father, You a great father.
You keep your son grounded. I keep my son ground
But if you got a kid at home that all

(12:02):
of a sudden is put in a position where he's
taking care of he's not ahead of the household, a
lot of kids can't handle that. You got some of
these kids making more than some of the coaches on
staff some of these lower Division I schools. Like you know,
you may have a guy that's the man at the
San Jose State that's making a buck twenty five years
a player in the a lot he may have in
a lot of stuff going on. Hell, his defensive coordinator

(12:25):
might be making seventy five thousand dollars a year. You
feel what I'm saying now, that's not the case of
the secrets. All those dudes out there making millions of
dollars to coach college football, you know, but I think
if they not grounded, man, that could become a recipe
for disaster. You got a lot of kids up there
that's losing their minds right now because it's all about

(12:46):
the bag. Like I get parents that called me all
the time and asked them how they should base their decision.

Speaker 1 (12:51):
And I know a lot of people don't like hearing this.

Speaker 4 (12:54):
I tell people, always pick a school that you do
want to go to that's gonna be good for you
later on once you're football careers, go be over with
go somewhere where you go get a quality education, and
go be able to go do something for yourself. Because
contrary to popular belief, when you get a college degree.

Speaker 1 (13:10):
That's not gonna be a recipe just for you to
go get a job.

Speaker 4 (13:13):
You're supposed to go there and actually make a quaintance
to some meet people and network and increase your network.
Because most of the opportunities that my son is getting
outside of football actually come from people that he made
friends with at the university. That wasn't necessarily you know, friends.
That's why I told them, when you go to school,
don't just hang around with the football team.

Speaker 5 (13:34):
Yeah, it's all about relationships, you.

Speaker 4 (13:36):
Know, go make some relationships. That's what I told Aid
to tell nephew. Man, make sure you go out there
and make friends with some of them dudes. Man, that's
gonna be chemists that you know that that are gonna
be stock people. I had a homeboy. Man, shout out
to my boy.

Speaker 1 (13:49):
Man.

Speaker 4 (13:52):
He wouldn't he would never, my boy, Shane Hackney out
of Houston, Texas, Man, he would never take a football
scholarship because you know, during that time, you wouldn't allowed
to make no money outside of it. You know, if
you had a scholarship, you weren't really allowed to make
no money. He was making so much money he got
into insurance and investments.

Speaker 1 (14:09):
Early on.

Speaker 4 (14:10):
I remember he came to us begging us to invest
in the stock called Google. This was back in ninety three.
He was saying, Man, you know y'all should put y'all.
I said, man, what kind of scam you got going on?
At giving you three hundred dollars of my money to go?
And he was like, I'm telling you, man, you put
this in, it's gonna pay diffidends. And now you know,
Shane is on his second marriage Brandon, probably his second

(14:31):
mansion right about now. But he's doing real well for himself.
But that's the exception, that's not the rule. Not seeing
the football players are necessarily bad students, but you got
a lot of kids in those universities that were going
to do some powerful stuff in this world.

Speaker 5 (14:48):
Yeah, it's all about your connections man, inside or outside
of the game, Oh for sure, man, And.

Speaker 4 (14:55):
I think definitely man from the not gonna get too
much into the because I'm not a conspiracy theorist, but
just know that there's a lot of racism and sports
man from the n C double a level man own
up to the pros man. It's a lot of racism
we haven't really seen a black owner.

Speaker 1 (15:14):
Yet.

Speaker 4 (15:15):
You know, you got people to own pieces of the team,
very small minority states and teams. But we haven't seen
no black owners yet. Ray Lewis thought he was gonna
get in this shit that ship down.

Speaker 5 (15:25):
I thought, Bob Johnson on the Bobcats.

Speaker 1 (15:30):
Man, we don't have no black owners.

Speaker 5 (15:32):
Lead.

Speaker 4 (15:32):
Man. You might have people that may own a small
percentage or something, but not enoughing call those shots.

Speaker 5 (15:39):
I thought Bob Johnson owned the Charlotte Bobcat.

Speaker 1 (15:44):
Well, have to research that and you can.

Speaker 4 (15:46):
And I staying corrected if I'm wrong, man, But I
don't believe we have a black owner.

Speaker 1 (15:50):
I'm talking about a black majority owner.

Speaker 3 (15:53):
Yeah, I wouldn't. I wouldn't.

Speaker 6 (15:55):
Yeah, I don't want to speak on that wouldn't either,
showing I don't have no idea. Uh, you know the
Charlotte Bobcats when they first came into existence. But you
know that's a I don't know if that's you know, ship,
that's just that's just history, man, you feel me.

Speaker 4 (16:17):
Yeah, And I ain't gonna say everybody is racist because
everybody owns a pro football team ain't racist. You know,
you got a lot of people like I know, the.

Speaker 1 (16:25):
Owner of New England. What's his name, Bob Craft, right,
that owner.

Speaker 4 (16:30):
I heard he's notorious for helping black people out, you
know what I mean.

Speaker 1 (16:34):
You know, I'm talking about a lot of the rappers.

Speaker 3 (16:36):
Man.

Speaker 4 (16:37):
He really like, he really goes out of his way
to help people. You know, Yeah, he really goes out
of the way to help people.

Speaker 6 (16:44):
Man.

Speaker 4 (16:46):
I just know, man, it's not perfect. Man, it's gotten
a lot better because I remember at the time they
said we could, we would never have a black quarterback
in the NFL.

Speaker 1 (16:54):
And I'll look at it, man, black quarterbacks are flourishing. Man.

Speaker 4 (16:57):
You had Patrick Mahomes, who's the MV League MVP. That
just wasn't happening thirty years ago, you know, right, You
remember at one time those quarterbacks that can run the man,
they were switching the receiver. I wonder how many Hall
of Fame quarterbacks we would have if they didn't moved
the brothers to receiver in all these other positions, defensive.

Speaker 1 (17:16):
Back, be a whole lot we probably have. We probably
have a whole lot of them. Man.

Speaker 4 (17:23):
You know, I was thinking, man, that we fifty years
deep in the hip hop. Man, what do you think
the most significant change in the business has been. Man,
you just coming from the journalistic side. So what is
the biggest change you've seen.

Speaker 6 (17:43):
I think it's I've seen artists get a gang of
more money nowadays than.

Speaker 3 (17:48):
They used to.

Speaker 6 (17:51):
It's easily to you know, have your financial status. As
a lot of artists from my time, I'm struggled with
you know. You know, we didn't have streaming or downloading
or whatever, man, so a lot of us really got

(18:13):
raped for a gang of financial finances back then. I'll say,
the significant changes the way a motherfucker can eat today
as far as hip hop is concerned. And I know
a lot of people questioning the downloading and the streaming.
I'm myself for one artist who really questions how motherfuckers

(18:41):
can make more money off of the motherfucker who's actually
making the product, you know, the songs, the beats, the music,
the lyrics, whatever.

Speaker 3 (18:52):
It's just amazing to me how.

Speaker 6 (18:57):
Outside entities can make more money than motherfuckers who are
actually putting together They they you know, they product. So
that's just one thing that puzzles me, and it always has.

Speaker 4 (19:10):
You know, well, I would say, you know, I think
at one time, man, I think if you would have
said and you know, we didn't have the education back
then that we you know, we didn't have the information
back then that we have now. Right if you would
have said, at one point when you were a heart
of your career, you know what, man fucked somebody, I'm

(19:30):
gonna go do a situation where select Or hit some Memphis,
Tennessee and just sell my own records. We probably be
on gangst chronicles right now because you'll be living at
the top of a hill somewhere living all the money
you made back then, because you know, you sell two
three million records back then, you'd have made twenty two
million dollars sirculation.

Speaker 5 (19:51):
I think that's the difference still is that as rap
has evolved, it's not only different revenue streams and different
ways to make money, but there's different layers to it
that didn't exist or that weren't available per se. So
like you can make a song and now you can
license it on radio, you can license it, you can

(20:13):
do so many different things that back in nineteen ninety,
nineteen eighty five, nineteen ninety five that were not available.

Speaker 6 (20:23):
They wouldn't let you do a motherfucking thing, man, just
straight up exactly, you could You could barely. You could
barely get to peer on another motherfucker's record. You get
me without the record label going hell now, or we
want a piece of nigga, We want a half a
million or some crazy shit.

Speaker 3 (20:43):
And you see twenty you see twenty grand of the shit.

Speaker 6 (20:46):
But they asking the motherfucking company for a half a
billion dollars for you to guest appear on a on
a nigga record and a nigga you grew up with, Like,
I know this nigga you see on me.

Speaker 3 (20:58):
I went to school with this nigga.

Speaker 6 (21:00):
Get on this.

Speaker 3 (21:00):
Round now, you can't you? It's just so crazy.

Speaker 6 (21:04):
How the times have you fall off when it comes
to making music and hip hop nowadays?

Speaker 5 (21:10):
And the h point two they would try to say, oh,
this is bad for your career. We don't want you
to be overexposed. Remember that.

Speaker 3 (21:20):
Yeah, some crazy shit.

Speaker 4 (21:22):
Well you want to hear you want to hear something
real crazy man, you know me and Jeane Deal is
real cool man. And he was with Biggie the night
that Biggie you know, got murdered, right and he told
me man that him and Biggie was back there. He
had just got his contract man from Atlantic you know,
for his group, you know, to put out Junior Mafia

(21:43):
and all of them. And he was real upset because
Buffy told him he can only appear on three records.

Speaker 1 (21:51):
Think about that dog. Now this is his group.

Speaker 4 (21:53):
He don't put this time and effort in there, writing
the raps, doing all this. Oh, by the way, you
can only appear on three records.

Speaker 5 (22:02):
That's so crazy, that's that's crazy.

Speaker 6 (22:05):
Yeah, because I guess motherfuckers felt like back then, like
we don't want those projects because we don't own them.
We don't want those projects to blow up more than
your project because now you get me, we don't benefit
from that. You get we let you go rap on

(22:26):
six seven eight, all the records. We don't benefit from
that because all those proceeds are going to that record label.

Speaker 3 (22:34):
It ain't coming to us.

Speaker 4 (22:37):
But you don't think that would have been just righteous business? Okay,
I got this artist who is pretty much made my
label right, he's made me a legitimate label. Wouldn't you
say the biggie was the man over a bad boy?
Of course, you know he was the man. He was
the cream of the crap. If that's my and that's
just me, if that's my number one artist year. I

(22:57):
would probably have over rides in places to where, yeah,
we're gonna make a little bit of money off of
this too, But man, I want to keep this doing
with happy because eventually he's going to get out of
that contract. One thing people I think need to get
out the mindset of thinking that they gound have artists
for perpetuity. I think every artist man is going to
eventually go out. I think the business is designed that

(23:19):
way to where eventually, as you get older, you want
to start reaping more of the rewards. You can't stay
over here, even if a mother fully decide to give
you a sixty forty deal, you may decide what, man,
shit I need about seventy eighty percent of my shit.

Speaker 1 (23:32):
Man ain't gonna telling how long this train go keep riding.

Speaker 3 (23:34):
You know.

Speaker 4 (23:35):
I would want to keep him happy and keep a
good relationship with him, so I would have let him
be on as many records as he wanted to be on.

Speaker 6 (23:41):
I mean, at one given point in time, you gotta
feel that a motherfucker gonna want to go be his
own boss. You know, at one point in time, especially
if they watching a nigga just like themselves, you get me.
Are you just you the nigga who couldn't rap or

(24:02):
do no beats? You just a nigga who had the pocket?

Speaker 3 (24:06):
You get me?

Speaker 6 (24:07):
So, you know, in a desperation time in my life
where I don't feel like I'm going anywhere, I'm trying.
You know, nobody knows about me as an artist. You
know I'm struggling, starving, doing whatever. I'll sign a little
contract to you and motherfuckers. I think people sometimes forget

(24:29):
like you know, I'm in the same situation. You get me,
because without the talent, there's nothing really I can do
with you know what I'm saying. I could be a
record label or a production company or whatever, and I
could start off with. But you know it's gonna be
that one time where you're gonna have to feel like

(24:53):
a motherfucker should get his just due. You get me,
at one point time, I should, you know, because it
just works like that. You fair with a motherfucker, then
you ain't gonna havever have no business problems.

Speaker 3 (25:08):
Just think about it.

Speaker 6 (25:08):
If you unfair with a motherfucker, you can have a
nigga signed to ten albums. You get me, But one day,
eventually that contract is gonna run out. And if you
not and if you're not fair, and I'm not gonna
even necessarily put it on that you could be fair
as a motherfucker, it's still gonna come a time where

(25:29):
motherfucker don't want to go. I'm finna go start my
own shit. You get me, and you just got to
cheer a nigga on. But most of the times that
don't work.

Speaker 3 (25:40):
You get me.

Speaker 6 (25:41):
Most of the time you don't get you're gonna get.
You're gonna get hate and restriction and and you know,
and that's where the problems usually come from, because.

Speaker 1 (25:51):
Niggas don't want to learn.

Speaker 3 (25:54):
They just don't want to let you go.

Speaker 1 (25:56):
But there's some sorry song, but that's some power shitt though.

Speaker 5 (26:03):
Well that's what I wanted to know. For eight in particular.
I guess, after Priority, when you started putting out a
lot of independent stuff and doing collaborative albums and all
these different things, what did you see business wise the
change that that freedom gave you.

Speaker 3 (26:21):
I was able to control my own shit.

Speaker 6 (26:25):
That's why I just kept going independent and doing independent
projects and collaboration albums and releasing my own shit, because
I had the freedom of doing what I wanted to
do when I wanted to do it and I controlled
my own money, you give me, I didn't have to

(26:48):
go through this motherfucking and oh can I do this?

Speaker 3 (26:51):
Can I do that?

Speaker 6 (26:53):
Or I want to do a project with so and
so and know and then, like I said, most of
the time, when you sign.

Speaker 3 (27:01):
Deals, you get fucked. You know what I'm saying.

Speaker 6 (27:05):
So after seeing so many major label disappointments, I just said,
fuck it. If I'm a disappointed guy, I might as
well do it on my own. Then that way I
know what I can do. You feel me, I know
the limitations of my own sec of my own self,
or I know you know, I'm not finna go press

(27:28):
up fucking a million records. You get me, I'm gonna
go press up five thousand records, ten thousand records, twenty
thousand records. Knowing that a nigga ain't finna hit me like,
oh you got returns and all this other, all the
motherfucking mumbo jumbo that a label could put you through.

Speaker 3 (27:46):
I just got sick of that shit.

Speaker 6 (27:48):
And I said, if a motherfucker, if a motherfucker trying
to see me fail, then fuck that shit. I need
to take control of my own motherfucking destiny. You feel me,
so to speak, in that way, I won't have no
more stress about Hey, I know I only sold forty
thousand records because that's all I pressed up. You get me,

(28:09):
there is no more or I know that if a nigga,
if I'm gonna get paid fucking forty thousand, thirty thousand,
a nigga ain't finna try to swindle me out of
half of it to only give me a quarter of it.
That you know, I'm dealing directly with motherfuckers, And it
was just a blessing, that's all.

Speaker 1 (28:29):
Well, you know, the funniest thing I ever heard.

Speaker 4 (28:32):
And I'm and I might have mentioned this before, but
if I had, or it might have been off air.
I knew a guy who was an executive man and
a well known label, like they were well known, especially
in the early two thousands, remember when everybody started getting deals,
like all the gangster rappers around the country starting getting
all these groups getting deals. Right, these people were over

(28:54):
there signing people of deals to where they knew they
wouldn't gonna never put the album up of what they was.
If I'm a manager and I knew that people had
to flood with them. I would go to them with
the artists. They'll say, Okay, we gonna give them a deal.
We gonna give them a quarter million dollars. But out
that quarter million, we go keep half of it and
they get the other. Alf.

Speaker 1 (29:14):
You know, the artist is happy because he got a deal.

Speaker 4 (29:16):
He busted his ass to put a record out that
ain't gonna never come out because they just chopping up money.
And they did a number of these deals until they
eventually came and shut down the division. Because what happened
is when they go to their meetings or whatever, well,
what's the status of this project or it's just not
coming together by that time. Man, they don't already spent
all the money yet. Man, they did this. Man, they
must have ran up maybe thirteen to fifteen twenty million dollars. Dog,

(29:40):
all them dudes living in big ass house. Now, dog wow, I'm.

Speaker 5 (29:43):
Bere Just money that'll do it.

Speaker 4 (29:49):
But just think about that dynamic man, thinking about all
the people. And I'm pretty sure someone you heard about
those same type of situations too, to where hey, man,
if you deal with this one guy, he gets you
a deal, but she would to come up off.

Speaker 1 (30:02):
Some of that money.

Speaker 5 (30:04):
I heard that many times, but I didn't. I didn't
hear though that the albums would just be shlved. I
heard it was you can get a deal if you
got all the criteria, but you do got a chip,
dude off. But it was never like, but it's never
gonna come out.

Speaker 1 (30:20):
I never heard that.

Speaker 4 (30:22):
Well, a few of these guys did come out with records,
but they didn't have no push behind him because it
wasn't no.

Speaker 7 (30:26):
Money, right, because they spent it all. They took you
by the damn album come out and don't be no
money man. They doing stuff like they doing promo. You
remember how the cards was real big.

Speaker 4 (30:38):
You know, if you come and do the pos, you
know the pos and a record store, they come in
and stay with you, you know, stay for you.

Speaker 1 (30:44):
Up.

Speaker 4 (30:45):
They had dudes with two sides on the poster, man,
one artist be on one side and another artist be
on the other side.

Speaker 1 (30:50):
Man, if I was an artist, that would piss me
the fuck off man.

Speaker 6 (30:55):
Well, a lot of that happen to a lot of artists.
And I don't know if niggas were naive to it,
but shit me, being a veteran to ship by the end,
you knew what it was, you know what I'm saying,
Like you said, a lot of those were snatching grab deals.

Speaker 3 (31:15):
You get me.

Speaker 6 (31:18):
You get a budget set up, you know, you might
can pull about sixty seventy thousand off the budget where
the rest of it goes who knows? Like you said,
they get the piecing up and you turn the record
in and looking forward back in and they say, hey,
money all gone.

Speaker 3 (31:38):
So a lot of niggas was doing that, you feel me.

Speaker 6 (31:41):
But back then, if you had a platinum or double
platinum record, you could easily get that cracking. You know,
it wasn't nothing back then for labels who felt like
you know, because let's face it, hip hop wasn't supposed
to be, you know, as lucrative or popular as it was.

(32:01):
So when you got these cats coming out selling millions
and two millions and three million records, it's easy for
the label to go, yeah, give him five million dollars
so he can go put all his boys out and
you know, so they can do this and do that.
And some of the times that money got ate up

(32:23):
by you know, the nigga who you know was the
was the man at the time at the label.

Speaker 4 (32:30):
You get me.

Speaker 6 (32:31):
You know, those hip hop labels love giving out money
to niggas who they felt like was carrying their labels.
You get me, and hip hop was doing that for
a lot of motherfuckers. So if he was one of
those niggas at the time where you got a record
and they dropped in you got a platinum record. Shit,

(32:51):
you can walk into the motherfucking A and R or
the motherfucking whoever and be like, nigga, I want a
label deal. Nigga, I need five I got like six
artists and whatever. They'll be like, hey, here you go,
and shit, you know a lot of those times, you know,
a lot of niggas was in business man, you know,

(33:14):
because let's face it, you know, I'm just an artist myself,
so to go into that that executive role, you know
that sometimes that was just the name on the back
of a record you feel me executive produced by because,
like you said, a lot of those times, those artists

(33:35):
didn't get the same promotion or love that the motherfucker
who got them the deal is getting you're getting.

Speaker 4 (33:47):
Well, let me tell you too, what happened man back
in the day. And I saw this as a retailer
because I happened to have I happened to be one
of the earlier stores to get sound skinned in my
store because I remember when that first came up. I
had a record store in Paramodt called Flavored for Your
Ear Records right now. I remember when they first came out.
I was excited about it. They came out and hook

(34:07):
this stuff up. I was like, man, we actually be
reporting and stuff because before, when I first started becoming
a reporting store, we would have to call in, you know,
we could fact the sheet in. You know at the
end of the week, right.

Speaker 5 (34:19):
You're talking about Paramount out here still yeah, Paramount out here, yep, Okay,
you didn't know that, man, Like.

Speaker 1 (34:25):
Yeah, I.

Speaker 4 (34:28):
Had a record store, man. Actually, that's how I met
big A. Man at big A had Underworld Records in Compton.

Speaker 1 (34:34):
Off, yep, you remember that.

Speaker 5 (34:37):
That's the first time I ever went to Confident was
to go to that store with him.

Speaker 1 (34:41):
Yeah. Yeah, he had Underworld Records in Compton.

Speaker 4 (34:43):
We had like a little coalition because the Calvin Anderson
and Cletus and all of them. Cleta's actually owned the
one Stop Music Merchandisers and Lamar Park. They had.

Speaker 1 (34:54):
They were a powerful change of stores. You know.

Speaker 4 (34:56):
They had the VIP Records in Compton. They had a
bunch of record stores, right, so they had a lot
of buying power. Man. They would get records like they
was getting records for the same price that Warehouse Music
was getting.

Speaker 1 (35:07):
For, you know what I mean, because they had so
many people.

Speaker 4 (35:09):
So me and Big A got together, you know, enterprise
as Big A man, we gonna run us a thing.
Next thing, you know, he was coming over putting light
boards on my store and he's like, Yo, you can
get five hundred dollars a month from this, you know.
So we started making money. And that's how I got
the sound scan stuff. Man. I remember, I would get
like boxes of CDs in the main one. I would

(35:29):
get all the no limit stuff. Dude, I would get
like boxes of that shit.

Speaker 1 (35:34):
Man.

Speaker 4 (35:34):
I would come come to the store and have like
like two three thousand pieces of waiting out back, and
some of them had them little holes dream in them,
you know, to say they promous. I was selling all
the motherfuckers five dollars a pop, and I just thought
about it. All of them motherfuckers steal scanned. I was

(35:54):
reporting every last one of that shit. Next thing, you know,
you see Master Peagle like this, he become fucking one
the biggest artists in the fucking country. Yeah, and I'm
not gonna go in too much detail, man, but we
had a lot of other opportunities to do stuff to
where people would come by and say, hey, Man, can you,
you know, hook some stuff up. I'm gonna tell you

(36:16):
some of these guys really sold records though. Some of
these dues really sold records. But I saw people actually
start supporting Master to people without even hearing his music,
dog because they heard about him.

Speaker 1 (36:31):
Let me hear that.

Speaker 5 (36:33):
It was a real movement though, man, because people a
movement like a motherfucker. He put out so many records,
he had so many artists. I remember the first time
I saw him. I was in Dayton, Ohio. I went
to a show and saw him there. Man, it was crazy.
I couldn't believe a that there was that many people
at the show since they're not from they Ohio. But

(36:53):
they knew a lot of the records too. I was shocked.

Speaker 4 (36:56):
Yeh was definitely his marketing. See you know what I'm
a tell you what really took off. What really took
off for him, man, was when he started putting out
those little compilations yeah, down South West Boys, down South
Hustles and all that stuff.

Speaker 1 (37:13):
And he just said he had a movement going.

Speaker 5 (37:16):
I think too that.

Speaker 3 (37:19):
I looked on one of those compilations.

Speaker 5 (37:22):
I think was the first level.

Speaker 3 (37:24):
I got a plaque for one of those for that compilation.

Speaker 6 (37:27):
I forgot what it was, West Coast Bad Boys, I
think number two. Yeah, yeah, well, I know he wanted
to fuck with you. Yeah, I mean he was. He
was good people's I mean, you know, but uh, you know.

Speaker 4 (37:45):
He was.

Speaker 6 (37:46):
He was about his business if you want to you know,
if anything, you get me.

Speaker 3 (37:51):
And he was that's what that's what you gotta be.

Speaker 6 (37:55):
As far as you know, people think hip hop is
just some fad type of shit, but you know, there's
been there's been a few niggas who really been about
their business when it comes to this motherfucker shit as
far as running successful labels and knowing how to promote

(38:15):
and entertain and uh, you know, taking that road to
where you know it gets you to that status of
becoming a top notch executive or whatever.

Speaker 3 (38:27):
So you know, hip I wasn't to be played with.
You know, it wouldn't.

Speaker 4 (38:33):
And I saw it firsthand by me getting to work
all fastest, just from like being a rapper on the
retail That's how I learned about me have an actual
retail store. So it wasn't the weather option for me, man,
than to put my own stuff out, you know. Just
when I learned it, and dealing with the different distributors,
like the alliances, of learning what a one stop was,

(38:55):
I actually developed a really good system throughout the country
of being able to release records man, even overseas, like
to a lot of young artists out there. If you
want to, if you're really serious about selling your music,
it's still going on today. Fuck going down to the
Southwest with what's the shit they got down there south
by Southwest? Fuck going all that shit. Put you a

(39:18):
few dollars together and go out the Middle MISS held
in con France every year every year in January. I'm
going down there this year and eight. When I tell you,
you go over there, man, it's every distributor that's in
the world that's out there. I went out there and
did like six different licensing deals. I did one for
the United Kingdom, I did one for Germany. I did

(39:39):
one that was for Amsterdam and one Amsterdam. I was
making like twenty dollars a record, twenty US dollars a record.
I didn't sell number three hundred CDs out there, but
I was making twenty dollars a record though I showed
glass to Malone because I still got the statements. Year
I was showing glass to Malone statements. I said, this
is how much I used to make off my stuff.

(39:59):
He's one out the middle of Miss January because he's saying, bro,
if that changed your life like that, it did. I
was selling all of the dog Pound. I could talk
about it now because it's so long ago. We were
selling big able to drop off three or four thousand
dog Pound CDs to my house man, different CDs man.
You know they was getting their money too though. All

(40:19):
these c's and even some of the major artists. Hey man, still,
I need you to get this out. We had a
plug man that we were selling CDs to Japan. We
was getting cood. I would ship out to Japan, I
would ship out to Germany, all these places, cod Andy.
If I knew your ass back then, we'd have made
a bag. Because after came to you and said, hey,

(40:39):
go get as many promote promo CDs as you can,
we go sell off of thet motherfucker's over there and
cod out with Sony.

Speaker 6 (40:47):
Wasn't playing that shit, Sony be like, I mean you
taking oh here, we'll give you thirty that shit.

Speaker 3 (40:53):
They wasn't going for that. Oh no, they wasn't going
with that.

Speaker 6 (40:56):
Come up there and get Stay five on the CDs now.

Speaker 3 (41:00):
Today, like niggas you crazy?

Speaker 1 (41:02):
You know the DJA We went to the studio.

Speaker 4 (41:05):
We went to the studio to say it, man, go
tell Slip to make you eight beats to ten beats.
We just needed enough to call it out eight beats, man,
go in there and make a project. We'd have put
took a picture of that motherfucker out and took it.
That sent it down to the pen of pick some motherfucker.

Speaker 6 (41:21):
This nigga talking about he talking about going to Japan
and this fucking soady.

Speaker 3 (41:26):
Nigga right there. The niggas would have.

Speaker 6 (41:28):
Been waked or you trying to sell product over that
nigga signed to Sony?

Speaker 3 (41:34):
Is you crazy?

Speaker 1 (41:35):
Man?

Speaker 4 (41:38):
But man, when I tell you, dog, that was my
first mistake in business. We got paid CEO d right
and I never will forget man. We had just shipped off.
It was almost it was probably December twelfth, we had
shipped out the girl that hit me and said, hey,
I need eight hundred of these, five hundred of these
and a thousand of these. So we shipped the shit off, right.

(42:02):
She tells me that because you know their time of
a year over there, right, that all the banks were closed.
You know they running shipping a little different schedule, right.
But she was good, she had always paid us.

Speaker 3 (42:13):
I know this story. You want to tell that.

Speaker 1 (42:15):
Story story, but I ain't gonna tell who it.

Speaker 4 (42:18):
Is, Okay, So man, I send the email off, just
trying to do good business because we beginning paid Ceod
the whole time. These motherfuckers is looking at me like,
still you sure you know what I mean? That's a
big ship.

Speaker 1 (42:33):
I'm like, bro.

Speaker 4 (42:34):
I send the email off, and she see them on there,
one of the dudes on there, one of the artists
respond back like, bi, schwhere the fuck the money at? Man?

Speaker 1 (42:45):
When I tell you and you know over an angel,
they real calm.

Speaker 4 (42:48):
She just responded back and said, I apologize, I will
pay with my own credit card.

Speaker 1 (42:54):
She paid us dog. She never responded. No more of
our emails again though, so just.

Speaker 4 (42:59):
That they fucked up plug And when I tell you
that we had probably made about four hundred thousand dollars
off that plug. Dog, and I say, y'all tripping off
this little bit of money. I was so fucking mad.
I didn't talk to dude for a whole year.

Speaker 1 (43:13):
Wow.

Speaker 4 (43:15):
I was so fucked. Where the fuck was you at
back man? I needed to be doing business with a
mob man and motherfucker like.

Speaker 1 (43:20):
You, Beckon.

Speaker 6 (43:21):
I wasn't my miner back then. I'd have been the
same way where fucked my money at nigga. I'd have
been all on that bitch head too. Bitch sitting my
mother fucking bread Christmas time. God damn it. Understand me.
Niggas around here starving and shit while y'all there eating
shrimp full youngs this shit real quick, send me my

(43:44):
bread man with the starget.

Speaker 1 (43:46):
You know what's so cold about that, though?

Speaker 4 (43:48):
Man, We just got a wire from them for about
like eighteen recks about a week before, like about a
week and a half.

Speaker 1 (43:55):
Money was coming in like that. You wouldn't have been tripping,
dog because it was so much money.

Speaker 4 (44:00):
Amaze John Man.

Speaker 6 (44:03):
Man, some nigga's just like when they know it's there. Man,
I wanted you give me that's just like, that's just
like right now, man, we know it's there, right, Nigga,
I want this shit right now.

Speaker 3 (44:15):
Yeah, it's right there.

Speaker 1 (44:18):
These companies that make the motherfucker what's so cold?

Speaker 6 (44:21):
Dog?

Speaker 4 (44:22):
You know what I saw the publishing company I was
working for a dude. Dog, it was this group man
over England. Dude was about to lose his house. He
got divorced, right and his wife took his ass to
the cleaners. He had a publishing check coming for about
like it wasn't a whole bunch of money, but it

(44:42):
was for like forty thousand, right, like forty forty five
thousand dollars.

Speaker 1 (44:46):
He was gonna get that. What was his check?

Speaker 4 (44:48):
Dude needed like fifteen thousand to save his house and
he was.

Speaker 1 (44:51):
Gonna get paid like two or three weeks later. It
was like two or three weeks. Did you know they
wouldn't give him the money?

Speaker 4 (44:57):
Man? Wow, They just said no, you get paid at
this time. And I saw this same and I started
looking at them different back things. I thought these motherfuckers
was my friends. I realized at that point, with all
this dude, this plain that he done made, these motherfuckers,
they won't do him a silad.

Speaker 1 (45:15):
See, I'd have did that shit. Hey, you'd have been good.
He'd have been good for that. You know what I mean.

Speaker 4 (45:20):
I got your one year right here, but because your
contract says you get paid at this time.

Speaker 1 (45:25):
And you know what's so cold? I saw this brawl.

Speaker 4 (45:28):
She went and bought a house, and she bought a
house in Hollywood Hills, and I remember she had the
people coming over there. She was remodeling her kitchen, the
marble that she already had in her kitchen.

Speaker 1 (45:39):
I saw the dude that was do it. He refused
to do the job.

Speaker 4 (45:43):
He said, this marble is like he said, this is
something like eight hundred dollars a foot of some shit
like that. He said, she wants to break it. And
I saw her grab a hammer. Yes, I want you
to break it, and she started hitting that motherfucker like this.
She had that much wain. That's when I realized, I said,
the part of the game where the money iss in

(46:03):
the music publishing, Dog music publishing. But I saw her
do that. Man and that cat, by the way, wound
up committing suicide. Dog to do the lost this house, Yeah, dude,
the Lost's house committed suicide.

Speaker 5 (46:16):
Bro.

Speaker 4 (46:17):
Wow, I've seen some shipping the music business man, and
really it made me decide during that time that I
wanted to be a certain kind of businessman.

Speaker 1 (46:29):
I don't now. I don't get me wrong.

Speaker 4 (46:31):
I'm gonna make money, I ain't gonna take no losses.
But I'm not gonna be a piece of shit businessman
to where if I owe you a nickel, I'm gonna
give you a nickel. I'm not gonna be trying to
be slicking and do all this and that. I've always
believed you supposed to pay your motherfucker what they what
they get, But now I do know that there are
several artists with the mentality that that just don't understand business.

(46:52):
You may pay them, but it's some artists that just
don't understand. Like whenever I hear artists say that they
got over, I say, yeah, you probably did. Everybody gets
fucked over. A record deal in itself is very criminal
anytime the company is allowed to make this much but
they recoup up the little bit of thing like this,

(47:13):
You know what I mean. It's like, Okay, we made
two million dollars, but you haven't recouped enough of your
twenty cent to pay your debt back, but I'm gonna
go buy a boat. I'm gonna put my kids through college.
That's just the way the contract is structured. Because for
every person, for every MC eight they got in the
building and companies most warned it's gonna be bankable and incredible,

(47:34):
you're paying for maybe twelve other artists that at flopped
up in that motherfucker eight.

Speaker 5 (47:41):
And that's the thing though, I think people don't understand that.
On the one hand, it is shady, shaky, bad, but
on the other hand, they got to cover all those
other losses, and there's a lot of them. Most of
them are losses.

Speaker 1 (47:55):
It's hard to make it as a successful artist. I've
seen that. Oh yeah, for sure, it's hard. But that's
what I'm saying.

Speaker 4 (48:03):
Even if you got a radio play and this ain't
at disc because Shave shis is actually my man Shaved,
She do save.

Speaker 1 (48:12):
Shaved.

Speaker 4 (48:15):
Yeah, Shane was getting about three thousand spins a week.
Dog that album came out. Dog, they gave me that deal. Man,
my boy sold like one hundred and fifty records. Dog,
that record was playing everywhere.

Speaker 1 (48:28):
That was what happened.

Speaker 3 (48:30):
What happened.

Speaker 1 (48:31):
Didn't nobody want to buy that ship Dog, That's what happened.

Speaker 3 (48:36):
Yeah, yeah, he had the nice song with Nate. Was
he what was he signed to?

Speaker 1 (48:42):
I think he m c A. I think mc A Records.

Speaker 4 (48:45):
They had to Miss had a deal over there, Dog,
and that was a jam and ass record Dog.

Speaker 1 (48:52):
Beat by Timberland.

Speaker 5 (48:54):
Dog.

Speaker 4 (48:55):
I think that record man proudly and we would have
to have Miss on the show one day if he
had come out.

Speaker 1 (49:00):
MS actually a real good dude. That's a sad part
about it.

Speaker 4 (49:03):
I think that signaled the end of his radio career
kind of because he put so much time and effort
into that project Dog, and then he got he convinced,
you know, all the mother people up there, Jimmy Steele
and all of them to get behind it. He kind
of gave up his seat at the radio station to
do that, because if he'd stayed up there and you know,
did all that, it it looked like it was some

(49:24):
kind of it looked like it was some.

Speaker 1 (49:26):
Kind of game going on, you know what I mean.

Speaker 4 (49:28):
So he kind of gave that up, man, But that
kind of signaled the end of his career because I
that scared me.

Speaker 1 (49:33):
I said, this dude with all that radio player and
they ate that song wasn't what.

Speaker 3 (49:38):
So it was okay for you know.

Speaker 6 (49:43):
From the you know, the the side that was coming from.

Speaker 3 (49:51):
It was a nice party jam.

Speaker 1 (49:53):
Yeah, it was a cool record. Dog, It was a
cool record.

Speaker 4 (49:56):
It wasn't not like because you know, I was always
a confidence, most wanting scarface type of dude nas and
all them. You know, I was more into the hardcore
edgy and stuff. But I thought that was a good
record though.

Speaker 6 (50:08):
So both of y'all, you know, being you know, connoisseurs
of hip hop and especially knowing the ins and outs
of so called gangster rap, what you say that gangster
rap today is more of gang banging rap than gangster

(50:34):
rap of yesterday.

Speaker 4 (50:37):
I would say so definitely, yeah, because they talk about
stuff that y'all could. You got to think about it. Eight,
If you would have been on your records prag knew
this and talk about who you was beefing with, man
you had every show you went through, shut up they
shot that shit up, you'd have probably been in prison
right now for shooting somebody or possitively even worse from
the alternative. You know, you just say that type of stuff.

(50:58):
You couldn't do that type of stuff. Because I remember
even me hanging out with black because you know, I
ran with Black Tone and High Seat and all of
them real tough.

Speaker 1 (51:06):
Back then. I was riding with RBX one night and Long.

Speaker 4 (51:11):
Beach and he was like, Cuz, listen, he said, my bad, dog,
I forgot you a beat.

Speaker 1 (51:15):
Dog.

Speaker 4 (51:15):
I said, Bro, I don't bang. He said, for real,
you didn't. I thought you was a blood. I said, Bro,
I am not no blood. Bro. These are just my homeboys.
I just do shit with them. They I'm not no blood, don't.
But it was that thick back then to where just
by affiliation, you know how much shit I got into
it with with niggas man thinking that I was from

(51:36):
the other side dog or I was from here, especially
when I would go back to Long Beach the Chicken
with the homies. Oh man, we seeing you just don't
switched up, nigga. You you know what's this? And I'm like, Bro,
I am not no game, Bro, I'm not so for sure.
It's damn it's for damn sure. More more gangs to

(51:57):
the day. Man.

Speaker 5 (51:59):
Look at all the u because even with the Bloods
and Crypts album, which was so blatant, look at all
the albums and singles and stuff now and the songs
they're just everybody's dropping, Like still was saying, they're dropping
specific sets, neighborhoods, streets, beefs, none, that one going on

(52:21):
near to the magnitude. I mean, look, Carti has one
of the biggest songs, She's a blood dope shall now
blood on a commercial single that had never nobody had
a song like that, nobody ever?

Speaker 3 (52:40):
And why do you think that is accepted now?

Speaker 6 (52:43):
Because of Uh? Our records are put out with no restrictions,
no as far as labels are concerned, because even if
you are signed to a label, you can pretty much

(53:03):
you know, I'm from this block, ducky killed so and
so from from that block.

Speaker 3 (53:11):
Uh, we don't give a fuck.

Speaker 6 (53:12):
We represent like you said, bloods, we represent crips. Uh
so coming from that era of where you know, we
got labeled gangster rap. Why isn't it so much restriction
of those artists like we got? Is it because uh

(53:39):
the financial gain that company make?

Speaker 4 (53:42):
What is its commercialized right now? I think game baning
is to the point now eight to where it's almost
like a cultural aspect of the It's a cultural aspect
of the himpop right now.

Speaker 5 (53:55):
I think it's been it's been so commercialized that the
the quote unquote, even though it's obviously super still super dangerous.
I think to the outside person, they're like, oh, justin
Timberlake and see walking in the video with Snoop Dogg.
It must be cool to do it.

Speaker 1 (54:10):
It must That's what I'm saying. And you just said
the main Cooper.

Speaker 4 (54:14):
I think Snoop came out and Snoop was so mainstream
with his cripping dog it took away the uncomfortable aspect
of people, I think, and I think it's just a
part of the culture now. Like you know, even going
back to Shade Sheist, I believe the reason Shade Shist
didn't say on the records was because he wasn't from nowhere.

Speaker 5 (54:36):
Wasn't the Australia song huh, I think Australia song.

Speaker 4 (54:43):
No, he wasn't from Australia. He was from out here.
But he was just a regular dude man. I think
if he'd have been from Drag New or Rolling twenty
Crip or or anything, it wasn't no point of reference.
And I think on the West Coast, if you can
come out as a rapper out here, I think you
definitely have to at least have some kind of a
alligation with somebody.

Speaker 3 (55:01):
It's because out here.

Speaker 6 (55:06):
We've had successful nine gang banging rappers.

Speaker 3 (55:12):
You get the.

Speaker 5 (55:15):
Still who far Side for instance.

Speaker 4 (55:20):
Well, you know far Side, that's a whole that's like
going to the hip hop side of things.

Speaker 1 (55:25):
You know, that's what we're there. There have been ras cast.

Speaker 4 (55:29):
Them making the type of music, making the type of
music like when you start the moment you start talking
about and see even though Shade was he wasn't talking
about necessarily no rock rock ship.

Speaker 5 (55:44):
I think at Laurene and all of them, you.

Speaker 3 (55:48):
Know, do you think you're do you think you.

Speaker 6 (55:52):
Get you think you get a uh a better shot
at becoming a successful artist from the West Coast if
you are representing a neighborhood.

Speaker 1 (56:11):
Yeah, I believe so.

Speaker 6 (56:14):
Now he's as far as just I mean, because that's
you know, even Kendrick represented you know, a neighborhood.

Speaker 3 (56:22):
You feel me.

Speaker 4 (56:24):
Perfect example, even though he really wouldn't gain banged out
like that, you still had a point of reference for
him to where people be like, okay from there, you
know what I mean exactly, because.

Speaker 6 (56:35):
I mean, you knew he affiliated with the Bloods. I
mean you knew that. I mean everybody you know, I
think like like uh like glasses and them said to.

Speaker 3 (56:46):
A certain point.

Speaker 6 (56:50):
As far as the outside world concerned, they probably were like,
oh he did.

Speaker 3 (56:55):
He was a film you know.

Speaker 6 (56:57):
But to niggas like us, we already knew he was associate,
you know, where he grew up from, who he hung around,
where his neighborhood was. So that was no you know,
big secret. But I'm just saying, do you think it
helps your success as far as any artist from because nowadays,

(57:20):
let's face it, shit and it's representation of gang shit everywhere.

Speaker 3 (57:25):
Do you feel that do you feel that as.

Speaker 6 (57:28):
A journalist and as a hip hop kind of seword,
do you think that helps with your career as an
artist if you're representing poverty and drive by killings and
oppression and all of that.

Speaker 1 (57:45):
I think so, because.

Speaker 6 (57:47):
That's far as the motherfucker who just comes out talking about,
you know, hey, let's party, get drunk, spend money whatever, whatever.

Speaker 4 (57:56):
You know.

Speaker 5 (57:57):
I think there's two things with that eight. One, they
got to have good music because you could be rapping up.
I mean, look at Dayla Soul. They had potholes in
my lawn launched their career before me myself and I so.
I mean, you could rap about whatever, but I think
when the time comes then people want to know about

(58:17):
who is this.

Speaker 1 (58:18):
Dude, who are these people?

Speaker 8 (58:20):
And then that's where talking about your background, that's where
the legend is born of Oh he's a real dude,
for real dude because he's from so and so, and
that's that's where I think the music's got.

Speaker 5 (58:34):
The music is far and away the most important thing.
But I think when especially from really any major city Chicago, LA,
even New York, now, of course they want to know
that street stuff.

Speaker 4 (58:49):
Oh yeah, for sure. It becomes a part of your
It becomes a part of your dust. He ain't so
to speak, because you think about when Game first came out.
Even if Game got shot one time in the ankle.

Speaker 1 (59:04):
It just made his story sound that much exciting.

Speaker 4 (59:07):
He got shot while he was in there selling crack
and he this big blood from over there. That just
brought an air of mystery to him. Man, the air
of excitement to where it's like, okay, this big blood
dude trade back of the month. He down with fifty cent,
who was the most powerful brand and hip hop at
the time, he was just set up, man, Like the
whole setup was.

Speaker 1 (59:27):
If he'd have been a dude from just Belflower.

Speaker 4 (59:29):
Some damn where, it wouldn't have been nowhere nearest Captain
Vaka right, Nobody wouldn't nobody had called him to that shit, And.

Speaker 5 (59:36):
Think about it to that very point. Still, this has
been going on since eighty seven with boys in the hood,
of all that, all that progression of Compton, since eighty seven,
of building up Compton, building up Compton to where, oh game,
he's from that lineage. He can point to everybody that's
from Compton. The fans, Oh man, I love this dude

(59:59):
from Compton. It all matters. It all matters, that what
I'm saying.

Speaker 4 (01:00:03):
That's why I think you would never have a rapper
from Compton that's not affiliated with no Game blow up.

Speaker 1 (01:00:14):
Like the Far Side.

Speaker 4 (01:00:14):
I think they was accepted because they were from somewhere else,
like ras Cast from Carson and all them dudes could
very well be from somewhere like I don't know, you know,
raz the Homyshoder Rasin.

Speaker 1 (01:00:25):
But I don't think Rads is no game banger. You see,
I'm gonna tell you the difference.

Speaker 4 (01:00:30):
Look at exhibit for example, even though exhibit don't claim
no game, look at exhibit when he was doing a
ship with ras Cast and all them dudes margs, no
career at best, had dope records, The foundation was dope
as hell. All that stuff was dope. What you see
is what you get. Incredible. But when he linked up
with Dray and started talking about low lows and start
crip walking, motherfucker blew up?

Speaker 1 (01:00:54):
Am I right? Someone in my line?

Speaker 5 (01:00:56):
No? I mean, he definitely sold way more records, but
I think too. The main factor is he went from
affiliation of alcoholics and King T to affiliation with Dray
and Snoop and being on there gangster shoot. He was
doing that before, not to the magnitude per se, but
he was definitely not talking soft by any means. He

(01:01:19):
was a hardcore artist all the time.

Speaker 6 (01:01:22):
Yeah, I'm thank some of some forty days and nights
and ship.

Speaker 3 (01:01:29):
Yeah, I didn't. I don't know if I.

Speaker 6 (01:01:31):
Necessarily looked at exhibit as.

Speaker 5 (01:01:39):
Hmmm.

Speaker 6 (01:01:41):
I don't know if I necessary. I don't know if
I necessarily ever took him for the alcoholics.

Speaker 3 (01:01:50):
You get me from what you're from.

Speaker 6 (01:01:56):
What you see is what you get now, I thought
he was an La nicker, you get me.

Speaker 3 (01:02:03):
I never was like, where is nigga from?

Speaker 6 (01:02:09):
Because usually that usually comes out when you uh uh
fucking with La rappers or Compton rappers.

Speaker 3 (01:02:19):
Thus I found out he.

Speaker 6 (01:02:20):
Was from somewhere else, not a not a from California
so to speak. But I don't know the mannerisms of
of who he was was all day West Coast, even
before even even before the even before the Dre and

(01:02:44):
Snoop dang. I just thought that getting with Dre basically
planted him as an official West Coast artist because of
I don't want to necessarily say like because Snoop and
Dre and them was on gangster shit, because like you said,

(01:03:08):
I did not know he wasn't from La, so I
just automatically assumed he was from somewhere you know, from
you know, and that sometimes it works out like that too,
you know, especially if you from one side or one
section and you didn't venture out too much to different
niggas neighborhoods.

Speaker 3 (01:03:28):
You did me so well.

Speaker 5 (01:03:29):
Let me also say this still one of the other
early dudes, even though he's from Compton that blew up
as king t he wasn't gang banging like that.

Speaker 1 (01:03:41):
Yeah, King T was huge man.

Speaker 4 (01:03:43):
But King T, even though he wasn't a gang banger,
he talked gangster shit like his early shiit like whenever
you come to Butter bring Gun. He was talking about
a street relatable shit. So in this Laura course them
w he still was talking about gangster ship.

Speaker 6 (01:03:59):
King T affiliated with a lot of neighborhoods in Compton
and he knew a lot of gang bang niggas and
you know, from those walks of life.

Speaker 3 (01:04:09):
So again, Uh, that was a pure comptent nigga to me.
You feel me?

Speaker 4 (01:04:17):
You could you know he wasn't from company. I just
found out he wasn't from Compton maybe like two years ago.

Speaker 1 (01:04:24):
He was from the Valley. I always thought. I always
thought Tether was from Compton.

Speaker 6 (01:04:30):
Like I said, his representation, his representation to me has
always been official Compton. I don't give a fuck.

Speaker 4 (01:04:42):
You know.

Speaker 6 (01:04:45):
He was always one of those niggas who represented the town.
Like I said, he was one of the first niggas
I listened to coming up when I first got into
hip hop. Uh, being a gang banging and ship, he
was the epitted me of a Campting nigga. To me, suits,

(01:05:11):
you know, no widers and ship. Uh his affiliation with
Spade you feel me? Uh, Spade's affiliation with Toddy T.
I mean yeah, like that was the appitted me of
compt and gangster ship to me.

Speaker 1 (01:05:30):
Yeah, he was. And I always saw Tela is against
the repper.

Speaker 4 (01:05:33):
I never thought of Tila as nothing else, and I
knew he was a spinner, like when he put the
alcoholics on and all of them see King T. He
never get the credit that King T started a lot
of people's careers. Man, Oh definitely, he jump started ganging
people's careers. Man. Tela was that dude man, and I
really wish his situation with Drake would have worked out
a little bit better. But Tela was shot the DJ Bobcat.

(01:05:55):
He looked up with Drake. He he wound up getting
hooked up with Ray through said Bobcat. Because when Drave
was first starting after Man, he asked Bobcat who he
should go get, and he said, man, you should fuck
with King T.

Speaker 1 (01:06:08):
He went and found King T.

Speaker 4 (01:06:10):
King T was somewhere drinking forties and Bob literally scooped
him up and took him to preak true story. We
gotta get you one to hear Bob we I'm gonna
tell all the stories though I can't keep holding him in.

Speaker 5 (01:06:22):
Yeah, but uh, king T, he did represent it and
wrapped about it a lot. I mean, I've interviewed him
and talked to him about that on Unique Access. But
he also had so much other stuff that he did
that wasn't that, And most of his music wasn't that,
even though some of it was. He had a lot

(01:06:43):
of super political stuff that wasn't gang bang related. But
he also trying to take.

Speaker 1 (01:06:48):
The gangst the edge away from Tea. Everybody thought King T.

Speaker 4 (01:06:51):
Was against the rapp, not me. You the only one
I thought he was. I thought he spicks. Now he
wasn't one dimension.

Speaker 1 (01:06:59):
Though, That's what I'm saying.

Speaker 4 (01:07:01):
That was the Brothers like one dimensional every song.

Speaker 1 (01:07:05):
He wasn't about shooting bang No.

Speaker 3 (01:07:08):
That's one thing about Teyla.

Speaker 6 (01:07:13):
His representation wasn't always about the music. To me, Uh,
I just thought he was a gangster nigga from Compton, because,
like I said, he hung with the gangster niggas. He
knew a lot of niggas from the streets in the neighborhoods,
the low riding car, the crips. Uh you know, he

(01:07:38):
he was just associated with that foundation. You know, like
I said, when you when you're building through Compton, you
better bring a gun and all that type. All the
earlier works that he did with Spade and all of them.
I knew that he wasn't always uh or didn't speak

(01:08:02):
on neighborhood. Ship a lot of records, Uh. For instance,
YE had a lot yeah bass play at your own
rough ferens.

Speaker 7 (01:08:14):
Uh.

Speaker 6 (01:08:14):
Some of them still flirt the coolest, uh.

Speaker 3 (01:08:22):
I mean ship.

Speaker 6 (01:08:23):
He had a lot of records with with unknown in them.
That wasn't about you know, he was just rapping, you
get me. But he was to us he was a
gangster nigga because you know he had that he was.
He was in the streets. You know what I'm saying.
It was about Compton. He spoke on Compton and gang

(01:08:44):
bang situations.

Speaker 3 (01:08:45):
And you know.

Speaker 4 (01:08:50):
I would say, man, your ship ate y'all ship music
to drive by with y'all sitting in the thing, y'all
got the gets in the bank.

Speaker 1 (01:08:59):
I think that and qt's album covers two of the.

Speaker 4 (01:09:02):
Hardest album covers in hip hop, Heating the Suit with
the Games.

Speaker 3 (01:09:08):
I thought that was the hardest album cover ever just.

Speaker 4 (01:09:13):
Yeah with.

Speaker 6 (01:09:16):
Pool kneeling down and they got the Caddy on the
Dayton's nigga, and my nigga got the great khaki suit
on and he dragging the twelve gauge nigga.

Speaker 3 (01:09:25):
That was like, that was the epitome of hood ship
right there.

Speaker 1 (01:09:29):
Niggas you thought, like, damn.

Speaker 6 (01:09:31):
Man, gangster ship, right you immediately thought, oh, there's some
gangster ship nigga, the Cadillac Dayton's twelve gauge in the
khaki suit and then the homie kneeling down nigga with
the stars on or something like, oh yeah, these niggas
is from the hood somewhere.

Speaker 4 (01:09:47):
Think about that time period, though, how many niggas did
you know that really failed through the.

Speaker 1 (01:09:52):
Hood like that.

Speaker 6 (01:09:54):
I mean, I was every day attire, we know, ship,
but either five ones or khaki suits, that's it. Fucking
T shirts and fucking Nike Cortez. You you know, you
try to represent your your your hood with your hat.
If you couldn't, it was a Raiders hat or Keeens

(01:10:15):
hat nigga, and and that was it. And just from that,
niggas knew you was from a game period. Whatever whatever color,
whatever you seeing with that, you know you might have
on some blue Cortez or some some some some some
tan khakis with a red belt. You know, you you you,

(01:10:37):
you slid your color in there. But that was the
everyday dresser tire man. I don't give a funny. I
owned every color pair of khakis. So, nigga, I'm telling
you that was That was the every day attire. And
even when your mom tried to get you to wear
some different, nigga, you went, please you you.

Speaker 4 (01:11:00):
Brought up you talk about MC and against rappers. Right
before we get up out of it, I gotta tell
this story. Jayo Felony is an EMC dog. Everybody know
Jao is cripping all day at Cripple, But that motherfucker
can wrap his ass off. I'm gonna tell you a story.
We was at Underworld Records in Compton. Big A used

(01:11:21):
to have this thing like the little block party.

Speaker 1 (01:11:23):
Jail was perform.

Speaker 4 (01:11:26):
Yeah, Jail was there. Did you see him start lighting
motherfuckers up in the middle of the concert.

Speaker 5 (01:11:33):
I might not have seen that part.

Speaker 1 (01:11:35):
No, he up there rapping.

Speaker 4 (01:11:37):
Ain't doing this song, you know how niggas it be
MC's and all these talking shit. Jo looked out there
and said, oh, y'all motherfucker's rappers, bring y'all ass up
there eight one motherfucker up, two motherfuckers up, three motherfuckers,
four motherfuckers. I saw Jayo Felony served about five to
eight niggas. And when I tell you, dog that these

(01:11:57):
wouldn't booble ass MC's, they had some shit. He was
letting go first and shit, and I was like, okay, okay,
Jail was freestyle. He told this one motherfucker, bust a
nut on your curly top. And he was freestyling talk
about the motherfucker's curly top. And he pulled a zipper
down and did he like, I bust a nut on
your curly top. I was like, oh my god, this
nigga is ridiculous. So it's plenty of rappers, dog, gainst

(01:12:19):
the rappers that can spit, Ain can spit, so you.

Speaker 6 (01:12:24):
Just have to. It was some of us who, even
though we was neighborhood affiliated, there was still artists out
here who made you want to prove your worthiness of
being an MC and grabbing a mic. You get me.
And they didn't have nothing to do with gangs and shit.

Speaker 3 (01:12:46):
You know.

Speaker 6 (01:12:47):
Niggas like Cube niggas like Rock Kim, niggas like Big
Daddy Kane, you know, niggas like KRS One.

Speaker 1 (01:12:56):
You know.

Speaker 6 (01:12:59):
It was niggas, you know, a scar face. You know
it was niggas who grabbed the microphone that you was like,
oh my god, these niggas is like, what is it?

Speaker 3 (01:13:13):
Because you, as an artist, nigga, you be sitting uphing
like how the fuck that nigga come up with that ship?

Speaker 1 (01:13:22):
Wouldn't think of you know who nigga think.

Speaker 3 (01:13:25):
Of that ship?

Speaker 6 (01:13:25):
Because that I'd be sitting up like nigga, I would
have never thought of that ship.

Speaker 5 (01:13:30):
He let me ask you this because I remember the
first time I heard going back to Cali. First of all,
the concept threw me off, but then he wasn't rhyming
and he was kind of whispering about Cali. Do you
remember what speaking of that? What was your first time
when you heard that or remember hearing that early on?

Speaker 6 (01:13:51):
Honestly, I didn't like it, Okay, not because I loved
LEL cool J. I just thought it was too different
from me, you getting me. I was I was a
I was a motherfucking rock the bells fucking I need
a beat. Ll cool J.

Speaker 3 (01:14:10):
You getting me.

Speaker 5 (01:14:14):
I I was.

Speaker 3 (01:14:16):
I was a mama said knock you out ll cool J.

Speaker 6 (01:14:19):
I was never the I need love LLL cool J,
you get me. So I didn't as a as a
as a motherfucker who bought hip hop records too.

Speaker 3 (01:14:35):
I was like, man, what is this because you know
that's that I don't know.

Speaker 6 (01:14:40):
I guess that trends, that's that. That's that beginning of
the transition of hip hop. You know, like you could do,
you could do all kinds of ship when it comes
to hip hop, you know what I'm saying. I was
just like, I just expected it to be something, you know.
Going back to Cali, I was like, but you know something,

(01:15:02):
they keep it real the more I listen to it.
And then I saw the video and then I always
liked to depart at the end when my nigga skirted
off in the court vet and ship, I said, Man,
this motherfucker hard here.

Speaker 3 (01:15:15):
Man, it's nig he was on some different shit.

Speaker 6 (01:15:18):
Man.

Speaker 4 (01:15:18):
That's what I'm gonna tell you what I did. I'm
gonna tell you I like the hard l and I'm
gonna tell you the story. Dog Bob, he go another one.
If you don't come out and start telling these stories.
I'm gonna steal my guts from all of them. The
world need to hear them. So Bob gets a call
from his attorney one day, right talk about Michael Jackson
want to work with l L.

Speaker 1 (01:15:38):
He wants you to do the beat. So Bob get excited.

Speaker 4 (01:15:42):
He pull all his disk uff and he go over this,
you know, bail up there where Mike is at right,
and he said, he going there. Michael sitting at the board.
He said, el L coming there and he started, you know,
doing his ship and start doing it when them simmonth
and living in and he said that. Mike said, Todd,
I want something a little bit more impressive, you know,

(01:16:03):
like I won't like how you did a mom said,
knock you out. So he started doing a thinle thunb
at the time, and so Mike just let him finish,
and Bob said, man, I can read people. Once he
started doing other shit in the studio, he knew he
lost his thing. So Bob kind of just hung out,
he said, a couple of hours later, Heavy d walked
up and that motherfucker went in there, jam.

Speaker 1 (01:16:24):
Jam he comes to man and Mike was a little
fucker dance from and everything else. He wanted some hard, rough,
gangster shit, So I think anything with it first.

Speaker 4 (01:16:35):
Of all, man, and see, I think the West Coast
and gangster rap go together like hen and glove. And
that's why the West blew up so hard because hip
hop is all about aggression.

Speaker 1 (01:16:47):
Hip hop is all about aggression.

Speaker 4 (01:16:49):
Even though you know you got the dudes that's like,
you got dope records like the Young Seas and all
that stuff done, don't nobody liked no soft marshmallow ass
shit dog.

Speaker 6 (01:17:03):
It's a given It's a given taste, you know, I said.
Hip hop nowadays, you know it's a different pattern. You
got everybody doing whatever they feel like, you know they
want to do. As far as hip hop concern, got
a lot of different sounds.

Speaker 1 (01:17:21):
And what you think about Drake, I don't know.

Speaker 6 (01:17:27):
I don't have to.

Speaker 3 (01:17:28):
I don't have an opinion of Drake.

Speaker 4 (01:17:32):
I think hes motherfucker that can rep I think he definitely.
I don't think people give him a lot enough credit.
I think at this point he's a pop artist for real.
But I noticed that he still goes out and gets
down with the twenty one Savages.

Speaker 3 (01:17:45):
And.

Speaker 6 (01:17:48):
Like I said, I don't have too much. I don't
have an opinion on Drake. You know, he's he's an artist,
he's a you know, he's one of those you get me.
I call him one of those because, uh, you fall
into a different category when when when you can be

(01:18:13):
in the position that he's in as far as music
is concerned. You know, he's a he's a gifted music
or artist. You know, I don't think. I don't think
you can put a motherfucking hip hop tag on somebody
who you know, you know falls into that category.

Speaker 4 (01:18:37):
Hisself, didn't he someone I think he said that he's
not really a hip hop artist no more.

Speaker 6 (01:18:41):
He think.

Speaker 3 (01:18:44):
I heard that a lot of people.

Speaker 6 (01:18:46):
I don't know if a lot of people got his
approach to music because of you know who we came
in the game with, with Lil Wayne and them and
Nicki Minaj and all of them, and he was a
part of the crew.

Speaker 3 (01:19:02):
But uh, you know, he's always been a different motherfucker.
You get me.

Speaker 6 (01:19:09):
And you can see that if you you know, watch
the little program.

Speaker 3 (01:19:13):
He used to act on.

Speaker 6 (01:19:15):
You know, he was he was a different motherfucker, you
get me, and you know he he was able to
get into this music game and he had a couple
of you know, nice good songs that you know, attracted
the youth.

Speaker 3 (01:19:33):
You get me.

Speaker 6 (01:19:34):
Uh, the younger generation really fell in love with him,
and and he took that route where he could he
could cater to a lot of the female audience, of
of of of music. And you know, when you when

(01:19:56):
you get that, man, you you out of here. You
know a lot of some of us, you know, some
of us just too hardcore for a motherfucker. You get me,
you know, but some some when it comes to entertainment,
you get. You get those motherfuckers. You get me, You
get those Kendricks, you get those Drakes, you get those

(01:20:20):
uh little Oozzi's, you get me. You get those people
who just they jumped to they jumped the planet Pluto.
They are not they are not of Earth anymore. You
get me. And so I don't like to put them
in the category of you know, I don't know regular

(01:20:42):
hip hop, you feel me, I don't.

Speaker 3 (01:20:46):
I don't put them.

Speaker 6 (01:20:47):
In a in a rock him category, Big Daddy Kane,
Ice Cube, Uh.

Speaker 4 (01:20:53):
Scar real quick, bro, since you got to work with
a man on Kendricks album, Man, because I know that
you taking a while to put this one out man,
and Kendrick is a rapping motherfucker. Shout out at the homeboy, KO,
I don't knew that motherfucker since he was fifteen. He's
an incredible artist. Man, do you think it's gonna be even?

(01:21:15):
He got a task ahead of him, man, trying to
come up with another album. Man, this motherfucker don't want
Politzer Prizes and Grammy's and shit. Though, can you imagine
the pressure? If any knowing doubt, he probably somewhere just
chill him right now. How do you think he goes?
I bet you he come up with some hardcore shit
the next album. So I bet you come up with
some shit that's gonna be crazy.

Speaker 6 (01:21:36):
He gonna have some songs on there that niggas can't
even relate to, because, like I said, when you jumped
to when you jumped to Planet Venus and Pluto and shit,
and you kind of put yourself on a different plateau.
A lot of a lot of niggas don't understand the

(01:21:57):
musical concept, if feel me, And I think a lot
of niggas who felt that Kendrick belonged to the streets
or the hoods kind of took them on a different direction.
And so you got a lot of You got a
lot of niggas who fell off the Kendrick train because

(01:22:23):
they felt that he went to a different you know,
you know, music or musical I kind of knew that
from the front when I worked with him. You know,
it's just niggas who are different. Man, you give me,
It's just motherfuckers who are different. And people don't understand that,

(01:22:45):
especially if you kind of simple nigga. You know, I'm
a hood nigga. I grew up with that nigga. We
went to school together. It wasn't even you know, And
when you reach a certain status and a plateau, some
niggas kind of not understand, especially when you're saying you
from coming you hit me.

Speaker 4 (01:23:04):
He is he always got some eggs to a man.
I really enjoyed this episode. It's always good just to
sit up a conversation with your brothers.

Speaker 1 (01:23:12):
Man.

Speaker 3 (01:23:13):
Yeah, man, I about you know, chill out, you know
how I do.

Speaker 6 (01:23:16):
Holidays is coming, so everybody be safe out there, and
I just want to.

Speaker 4 (01:23:23):
I'm thinking about doing a Christmas, very Christmas thing and
actually bringing some food in and then sit around. I'll
probably ask short of somebody to come by a tell
too short to come by something. Man, we actually drinking
some cognact somewhere, dude, out of a restaurant somewhere.

Speaker 1 (01:23:36):
What y'all think about that?

Speaker 5 (01:23:38):
That'd be dope.

Speaker 3 (01:23:39):
Yeah, that's pretty cool.

Speaker 4 (01:23:42):
Especially as when we somewhere just recording, just chilling, man,
just eating an ate. You get the crack and your jokes,
because the fans seemed of love when you be tearing me.

Speaker 1 (01:23:50):
You see, I ain't got my bag hanging up. Now
you made me take my bag down.

Speaker 6 (01:23:55):
Fans, man, you got you gotta keep on me though
into a little you know, let the lighter side down, man,
because you know they be thinking the nigga just be
ready to pull gats and ready to be you know,
just hood on the nigga all the time. But you
know we some normal niggas, man, We can sit up
and crack jokes and ship. A lot of people seem
to be uh really really happy with that little air

(01:24:18):
and with my little singing debut.

Speaker 4 (01:24:21):
Man.

Speaker 6 (01:24:21):
You know what I'm saying, Man, you know what I'm saying.
Don't fuck around, man, Real hood niggas know what we
do it here. Don't play around.

Speaker 1 (01:24:31):
You want to get an a be singing next out.

Speaker 6 (01:24:37):
Yeah, doing me some recreations and some classics and ship.

Speaker 3 (01:24:41):
Don't trip there you go, don't trip.

Speaker 1 (01:24:45):
Sure, And on that note, y'all make sure y'all gonna
visit eight site.

Speaker 4 (01:24:48):
Man.

Speaker 1 (01:24:49):
We're getting against the Chronicles.

Speaker 4 (01:24:51):
Dot Com rebuilt right now, just for them clothes and stuff. Man,
y'all make sure y'all checked out so and on unique access,
so on who you have on it this week.

Speaker 1 (01:25:00):
Man, I got a.

Speaker 5 (01:25:02):
Playbon sloan, I got staying the guitar, man, I got
battle Cat coming up, I got Caviar, I got a
lot of people.

Speaker 4 (01:25:11):
Something be going up, getting motherfuckers I can't get.

Speaker 6 (01:25:14):
I'm gonna say, all the motherfucking niggas out there and
females too, we don't want to take lose sight of, uh,
the problems and the poverty and the real niggas that's
in the neighborhoods.

Speaker 3 (01:25:33):
Shout out to all the niggas out there in the hoods. Still.

Speaker 6 (01:25:38):
You know it's Christmas time coming up, so you know
how they can get stay safe politic with your homies, man,
try to find a safer way out of shit. We
know niggas beef and niggas got problems, but try to
find some positive in these neighborhoods and these communities.

Speaker 5 (01:26:01):
Men.

Speaker 6 (01:26:03):
I'm how y'all start hitting me up too, so we can,
you know, figure out, you know, just give shout out
to niggas who doing positive shit in their neighborhoods as
far as gogster shit is, you know, because we are
the gangst the chronicles, man, and we don't want to
forget about the real gangster the niggas and the real

(01:26:25):
niggas that's trying to do something positive out there in
their neighborhoods. Of course, of course, we know niggas are
still warring because like I said, I come from that faction,
So of course we know niggas beefing and the hoods
gone war and shit gone whatever. But we need to
start trying to recognize the positivity in these communities, in

(01:26:46):
these neighborhoods, because there's a lot of homies and homegirls
out there that's trying to do good and bring positive
notes to they neighborhoods. So on that note, man, y'all
just stay the fuck up and we're gonna see y'all
next week.

Speaker 4 (01:27:01):
Before you go. I know one thing I wanted to
do top of the year man. I wanted to get together,
man and get the kids some book bags. You know,
kids had the book bags drives where they get book
bags at to.

Speaker 6 (01:27:14):
Want to go to go to a couple of you know,
one of the schools or something hook up with.

Speaker 1 (01:27:20):
Looking up the actual school man and making sure schools.

Speaker 6 (01:27:23):
You know, you got paramount out there. I'm Compton. We
got some ship you know, we know some of these
what you say, I went to Jordan. I went to
the meanest I went. You know, I went to Walton
Junior High School. So we just need to you know,

(01:27:43):
we know a couple of uh political people and a
couple of neighborhood oh geez. So we need to, uh,
you know, start giving back to the neighborhoods uh as
much as we can. You know, we we normal motherfuckers,
you get me. But uh, just to stay positive, man,

(01:28:03):
and try to keep shit you know in these in
these you know, you know how it happens when these
holidays come in. Niggas get on they click clacks and
they jackson and whatever they can do to make money.

Speaker 3 (01:28:16):
So watch your backs out there. You always said you're none,
you know.

Speaker 4 (01:28:21):
Sylvia Nun Yeah, she had hit me up man. So
we're gonna talk about some things off again.

Speaker 6 (01:28:28):
Sure we don't get it cracking, but y'all know what
it is against the Chronicles for sure.

Speaker 1 (01:28:32):
Jill got here. Well.

Speaker 4 (01:28:34):
That concludes another episode of the Gainst the Chronicles podcast.
Be sure to download the iHeart app and subscribe to
The Gangst Chronicles podcast. For Apple users, find a purple
Michael on the front of your screen, subscribe to the show,
leave a comment and rating. Executive producers for The Gangst
Chronicles podcast Norman Stell, Aaron M c a Tyler. Our
visual media director is Brian Whatt, and audio editors tell

(01:28:54):
It Hayes. The Gainst Chronicles is a production of iHeartMedia
Network and The Black Effect Podcast Network. For more podcast
from iHeart Radio, visit the iHeart Radio app Apple Podcasts
wherever you listen to your podcasts.