July 5, 2022 • 46 mins
In this exclusive interview we spoke with legendary rapper DOC. We had the chance to discuss his new work w/ Snoop and Dr. Dre. We also re-visit his work with the late Eazy E and NWA. We also get the DOC's response to Ice Cube's classic "No Vaseline".
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Speaker 1 (00:00):
Welcome to the gangst the Chronicles podcast, the production off
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 mic on your
front screen, subscribe to Against the Chronicles. Leave a five
star rating the comment Okay, gee, this guess that we
have on today means so much to us. I'm not
even gonna do the normal intro show Man one of
(00:21):
my favorite rappers, if not my favorite rapper of all time.
The doc Hey yeah, we got one of the greatest
of all time on here, the doc What's happening with you?
Speaker 2 (00:29):
Bro?
Speaker 3 (00:30):
Man, I'm blessed to be stressed, can float up, you know,
ide on the West West, working with my guys I
on some new material and really just blessed to be here.
Speaker 2 (00:43):
Shit makes me my just hearing you say that.
Speaker 4 (00:47):
You know, thirty years ago the Chronic came out, So
to have y'all back together working on music, man, And
when the first Chronic came out, I was eleven years old,
and I'll never forget what it felt like, you know
what I mean.
Speaker 2 (01:03):
So to hear to see pictures.
Speaker 4 (01:05):
Of y'all in the studio creating hip hop, not abandoning
the space, you know what I mean? Because I realized
as you get older, you start to you know, typically
people are abandoning the space.
Speaker 2 (01:17):
And it's not fair.
Speaker 4 (01:18):
Because these white kids, they grew up to Aerosmith and
they get Aerosmith they whole life. So why should I
not get Doc Dre and Snoop my whole life?
Speaker 2 (01:27):
I feel like, with all due respect, it's old to me.
Speaker 3 (01:31):
You know, absolutely, it's a pocket that you know, some
motherfuckers are comfortable in that pocket, and you gotta gotta
ferry them too, you know what I mean? Like those
are those are the people you came to the party with.
You gotta gotta think about them. But from being back
(01:53):
into lab with the dog and Dre, it really feel
it really feel like like if it wouldn't have been
an interruption in the programming, it feels like this would
have been Snoop's next step. That's what it sounded like.
You I mean, dude is elevating and it's I you know,
(02:15):
I don't want to get out off and do it
because you know, I dread. But the shit is really good.
Speaker 4 (02:22):
No question, we already know it's brilliant. It just warms
my heart, man, And I don't want to focus on
that right the new material because the new material is
going to be the exploration itself.
Speaker 2 (02:35):
And I can't wait to see where y'all at.
Speaker 4 (02:38):
But just journeying back to the times that you guys
united for small ideas, right, whether it's Boss is life,
you know what I mean, or that's that and certain ideas.
Speaker 2 (02:50):
You knew always what it could have.
Speaker 4 (02:52):
Been, And you said something that that kind of made
me think, like what would have happened if there were
no interruptions at that time of the greatest renaissance in
all of arts? You know what I'm saying, Right around
the time of the Chronic and Doggie Staff, if there
was no interruptions. But I feel the same way of
the interruption of you know, after no one does it better,
(03:14):
no one, you know what I mean. It's it's way
too much power, you know what I mean? Like the
things you guys were creating were I've literally been on
record explaining to a somebody that has a bachelor's in art,
why that is the greatest renaissance of all art that era,
(03:37):
you know what I mean?
Speaker 5 (03:38):
Because but it goes with the Golden era. Yeah.
Speaker 4 (03:42):
Yeah, and like y'all records are as popular as the
Mona Lisa. That's really important, and it don't seem and
me and you have conversations and texts and ideas, and
sometimes when I listen to you or Drake talk, when
I talk to y'all separately, I don't think y'all see
it that way. Like this shit is the Mona Lisa
(04:04):
to the world now, like how it was to them
then that was they like this is the Mona Lisa
today And look at Snoop like like.
Speaker 2 (04:13):
Yo, it's the super Bowl.
Speaker 4 (04:15):
Like y'all took a culture of guys right who was abandoned,
and you know, the.
Speaker 2 (04:20):
World turned it back on and you culturally.
Speaker 4 (04:22):
Created a soundtrack to where people had insight, to where
people could help or harm. Yeah, So that type of
artistic renaissance would never get the true credit. I mean
you can see now at this point, you know, the
White House is entering it into you know, whatever they
little haul, they little their way.
Speaker 2 (04:40):
Behind, you know, they always behind. So they entered it
into you know, the records or whatever they call it.
But it's hilarious to see.
Speaker 4 (04:47):
Such a renaissance, you know, and it took so long
for people to accept it at the highest level. But
now when you you know again, like I say, four
or five months ago, y'all at the Super Bowl.
Speaker 5 (04:59):
Yeah, bro, Uh, it came a long way, you know
what I mean. But it's still.
Speaker 3 (05:05):
It's still a guarded space, you know what I mean. Like, uh,
the gatekeepers are really high up, and it's really difficult
to kick open doors, you know what I mean, these days.
Speaker 5 (05:21):
But you got to keep.
Speaker 3 (05:22):
Pushing the line, you know what I mean, because I mean,
if it ain't for us, who the fuck is it fun?
Speaker 5 (05:28):
You know?
Speaker 3 (05:30):
But being able to get back in a situation where
I can really put some energy into people that I love,
it's always a beautiful thing because I've always felt like
when when they win, it's really the same as me winning,
you know what I mean. So as most as I
can get through it, I'm cool with that.
Speaker 1 (05:51):
Yeah. And you know, Doc, I want to take it
back to something you just said, and I think it's
important that this is ours. That's why it's important that
you guys get together, whether it be every other decade,
once a decade or whatever, to do what y'all do,
because it's almost like giving the reminder to the culture, like,
don't get it twisted. We still here and can smash
(06:11):
all the time we want to. And I want to
get back to the beginning because without the past, you
don't have a future, right. I want to go back,
and I've never heard this done before. One thing we'd
like to do is have conversations versus doing interviews, because interviews,
to me, is current. I means you both think that way.
We have to have a conversation with you. When did
you first meet DREH.
Speaker 3 (06:32):
I met dre and Dallas. He knew this dude named
doctor Royer and Dr Rob was helping those guys, you know,
blow blow their music up and whether it was world
class but the crew or the real early and WA stuff,
(06:56):
and it was the real early NWA stuff, namely boy
in a hood that brought brought those guys to Dallas,
and Uh and me and Drag just kind of hit
it off, you know, and he said he's gonna produce
some records for that guy that he knew, and he
(07:17):
ended up producing a few records for him, and we just,
you know, struck up a friendship and it seemed like
I seemed to seem like we just clicked you know,
and he was like, man, if he was on West Coast,
we'd be rich. And I was like, shit, okay, let's go.
Speaker 5 (07:34):
You know. That sounds good to me, you know, and
the rest is.
Speaker 4 (07:39):
Just so better question, better question, beg, bro, what was
the hip hop scene like in Dallas? Dallas is one
of those places, you know, since I've been in the industry,
I've been able to go there enough times, you know,
shout out to all my good people, to no cliffs,
you know what I mean, straight up old nine. But
there's always been this burgeoning scene. To me, even right now,
(08:04):
they've always moved their own way. That's one of the
few places to me culturally that has never been tapped.
Speaker 2 (08:11):
You know. You see a lot of people wearing.
Speaker 4 (08:13):
Shags, you see a lot of their style, the fashion
get down, you know, you see that answer.
Speaker 2 (08:18):
You see some parts of it.
Speaker 4 (08:19):
But Dallas as a whole, the culture has never been
really given a proper shot.
Speaker 2 (08:26):
You know what I'm saying. What was the hip hop
scene like in Dallas at that time?
Speaker 3 (08:33):
It was a lot like it is now. No, Mom,
Dallas just they haven't figured out that you can't make
it by yourself, like like you.
Speaker 5 (08:45):
Have to have a.
Speaker 3 (08:47):
You have to have a community, you have to have
a movement, movement in order for things to move. There's
not gonna be just one guy that carries nothing on
one group that I said that pop say, I'm doing
this for the city. You can't by yourself. It is
we gotta do it for the city. You can't do it.
Speaker 5 (09:08):
If I couldn't do it, it can't be done to
shame shame man knowing the phrase.
Speaker 3 (09:14):
But the cool party is they've always been in a
really good spot because that was Forth Texas full of
really great musician and really supremely talented artists.
Speaker 5 (09:30):
The Mouther Thumpers are there. They just have figured out
out of.
Speaker 2 (09:35):
I listen to so much underground Dallas music right.
Speaker 4 (09:38):
Now, and you're right, Like I think about being a
child and then now as I you know, but then
I get the blessing to be able to call you
called Drake. Karl Schloop asked questions. But I'm thinking about
it like you're right. When I think about what happened
for La it wasn't just nu Way.
Speaker 2 (09:56):
It's ice Tea to some degree.
Speaker 4 (09:57):
So you have the things happening in sitting right with
Spade and Tea and all of the the rappers, rap
disco companies. You know, you have the things happening, but
then you have compass most warning, unknown Ice, tea unknown, NWA.
Speaker 2 (10:12):
You'll see. So you're right, it was a lot of
different things. So I get exactly what you're saying when
you say that.
Speaker 3 (10:16):
So it was it was a moment a time with
the movement. Shows that I remember it was w A
Ice were doing shows together way back when it wasn't
on West coast per se, on the national level. All
(10:38):
these guys was together pushing the.
Speaker 5 (10:40):
Same way and this is the home.
Speaker 3 (10:42):
Of Gang Bang and it was blood niggas. Ain't cuse
niggas off pushing the same line ty to get the
movement started, you know, I mean they they're not ready
to do that in Dallas, shil they so they call
the ass end of the Bang the band, so they
don't understand the killing party. They don't understand the building.
(11:08):
You get some money and you don't want to dubage that,
damn no, like you're not. Nobody's been on man like that.
Speaker 5 (11:16):
The money that would be coming in to serve you
ain't gonna come because scared of them.
Speaker 4 (11:21):
M h who if you have to pick one Dallas record, right,
And it's funny because I wouldn't want to talk about
Dallas record.
Speaker 2 (11:31):
You have to pick what's your favorite Dallas record? From
a Dallas hip hop artist? Me?
Speaker 4 (11:41):
Yeah you yeah, okay, okay, still give me a give
me outside of outside of outside of uh oh gee,
what's your favorite Dallas record?
Speaker 5 (11:57):
Like as uh.
Speaker 3 (11:58):
There was a group when I first got you him.
They was called uh Genocide right wow, a guy named
six two and a guy named El Dog and that
an album called Waste of a Color.
Speaker 5 (12:13):
And they was these was black gorillas, you know what
I mean.
Speaker 3 (12:16):
But and they was banging and then trapping or whatever
you want to call it. But they had they still
had the black fist, like you got, like that pick
on your head. They still had that in their heart,
you know what I mean. And so even though the
music was dirty, they had that underlying theme that pulled
(12:37):
pulled motherfuckers together and really outside of you know, it's
a lot of them down there. Brou a guy named
Big Ally's son is name like Kim And that's a
really cool young dude from uh from from funky Town
(12:57):
that's dope as fuck. There's a a trio guy's names, a.
Speaker 5 (13:03):
Lot of them down there.
Speaker 4 (13:04):
Man Old Dallas as Old Dallaga. Old Dallas Ass Nigga
by Tom Tom is my favorite non doc Dallas record.
And it's crazy to me, right because it makes me
feel like a Dallas nigga. Like when you find records,
it's like I could imagine how people feel when they
(13:26):
first heard Straight out of Counten. That's the vibes I
get when I hear Old Dallas Ass Nigga by Tom Tung.
And it's crazy because you think of Aero Spence, right,
He's having all his success as a boxer, you know,
and you know the Mavericks, you know, the success and
that culture of Dallas is so glow like it's so natural.
Speaker 2 (13:45):
You see it. Rappers from all around the country, rock
shats like you see the effect.
Speaker 4 (13:50):
So I'm just hoping that eventually they figure it out,
you know what I'm saying.
Speaker 3 (13:57):
That book, But were southern city too, you know, like, uh,
Dallas when it is progressive, there's a lot of other
places in the country, so you know, it's still locks
on some of the doors down there. Then they haven't
gotten into hip hop on a commercial level yet, you know.
(14:17):
But when I'm releasing this documentary, I'm hoping I'll be
able to open a few of those.
Speaker 5 (14:25):
Kind of doors and.
Speaker 3 (14:27):
Let folks in Dallas seated that there's money in hip
hop and it's a way that we can go back
in and maybe think some of the problems we have
in the community ourselves use the hip hop as a tool.
Speaker 1 (14:43):
H Yeah, you know, I want to go back. You
keep trying to take it to the now. I want
to go back some more because I want to know
how you was feeling, man, you know you with n
w A. Now y'all took off, right, and I just
came out here to California, so that my arrival kind
of coincided with what you're releasing, right, because I came
(15:04):
out here in eighty seven, late eighty seven, right, and
y'allly just started a bubbling. I actually remember easy In
them selling them tapes and see these up at the
albums up at the conference waping me.
Speaker 5 (15:14):
Yeah.
Speaker 1 (15:14):
There wasn't no CDs back then. Yeah, it was cossetts
and albums, yeah, real vinyl, Right, So I remember that,
you know, I remember the moments. How did you feel, man,
when all the stuff started happening? When when after police,
when the government just really started attacking gangs.
Speaker 2 (15:30):
The record that scared you.
Speaker 3 (15:31):
In it, not really, you know, because uh, you know,
I didn't know. We didn't know what they hell, we
don't know. We were just making records, man, Like we
didn't know that they could come put us in jail.
And no shit, man, I wasn't tripping on none of
that shit.
Speaker 5 (15:50):
I was.
Speaker 3 (15:50):
I was really just working my ass off trying to
get to my turn, you.
Speaker 5 (15:53):
Know what I mean. Like I'd ran through a wall
with the motherfuckers just to get to my turn.
Speaker 1 (15:58):
You know, I feel you, man. And this leads up
to my next question. Your first album, which, for the
sake of argument, could be one of the best albums
in the history of hip hop. Yeah, could be one
of the I just want to know. Do you remember, man,
when you guys recorded the grand Finale, was y'all in
(16:19):
the same room?
Speaker 5 (16:21):
Yeah, yeah, that was.
Speaker 3 (16:24):
Everybody was there that day, and everybody was in the
studio that day. That was the last song.
Speaker 5 (16:30):
It was right before it was.
Speaker 3 (16:31):
Sent to do this turn out of confer tour, and
everybody was there and Arabian Prince, everybody was in there
that day and.
Speaker 5 (16:44):
We just killed it, you.
Speaker 1 (16:45):
Know, was y'all all writing y'all verses together, Like I
just picture it was Cube in one corner writing his
verse because you were in another corner writing your verse.
Speaker 5 (16:53):
Yeah.
Speaker 3 (16:54):
I wrote up my verse and easiest verse and laid down,
but n lady Is. Then I laid mine and Q
came late that day, lady Is, and I laid Erikson.
(17:15):
When I lady Is, I wouldn't roll mine over.
Speaker 1 (17:20):
For.
Speaker 2 (17:23):
That's what I was gonna ask.
Speaker 1 (17:25):
Anybody write some verses over because you and Cube at
that time. See people, I think, see these younger generation.
They killed no ice Cube as Craig for Friday, you know,
you know, and all that other stuff. I remember ice
Cube the Bitch Killer. That's ice Cube by no you
know what I'm saying. That's ice Cube oy no Vinnix
ice Cube. When y'all got in there. You remember how
(17:47):
we used to watch the Karate movies when he was
little and you had Bruce Lee versus on like when
Bruce Lee forward Kareem ab duke jabbar everybody. That's what
it was with you and Q. It was like seeing
the Ring and Bruce Lee fight and it was like,
oh man, you kicked you know, you kick Cube in
the chest. He got back up to kick you in
the chest, and it was just like, man, you do
(18:08):
those was definitely it was a rewind moment in hip hop.
Speaker 3 (18:11):
Yeah man, we was having a glass with that ship.
We were definitely fighting, you know what.
Speaker 5 (18:16):
I man?
Speaker 3 (18:16):
Uh, but that's how to get better. It was it
was respect. It wasn't ego, you know what I mean.
I knew I couldn't. I couldn't compete with Cube, Like
what was I just ain't got that that level of
a bar you know what I mean to do dangsty
ship like that, it's not gonna come out. So I
(18:38):
I gotta go out of my way to make my
shit extra clever or funny or use some sort of
caters that they that they not with just the stylized mind,
so I can compete with that dude.
Speaker 2 (18:52):
But that's greatness though, because the way you came in broke.
Speaker 1 (18:55):
With the swing and singing the brand new songs to
the rhythm to talk, and it was just like I
was like, yeah, my.
Speaker 2 (19:02):
God, what inspired y'all to do that? Posse cut? Was
posse cuts a thing at that time?
Speaker 5 (19:09):
No, I think.
Speaker 3 (19:12):
That's just because we was all together making a record.
Now we had did I Want of Discretion is Advised
on Day record, which is basically the same thing. And
then before that one, it was the Symphony, those those
kind of records for the cruise Jump On and everybody
(19:33):
do that thing was already I was already.
Speaker 5 (19:36):
Out there in space. So uh. But what we did mine,
I was just happy to lose at the last record.
Speaker 2 (19:43):
That's amazing. That's an amazing story.
Speaker 1 (19:47):
And it was the perfect album in many ways, man,
because I remember driving from Los Angeles listening to Mexico
and we had that album on repeat. It was like
literally like you know how to TAKEE you to just
turn over back? Then it was just on repeat, man,
and it was probably Gee, I think it's the greatest
album of all time.
Speaker 5 (20:06):
E hip.
Speaker 3 (20:07):
I got a simular story, bro, yeah, he said, uh,
he said.
Speaker 5 (20:16):
Uh.
Speaker 3 (20:18):
He was leaving Arizona, going to the East Coast to
get away from something and all he had was no
one could do better on a walkman on a bus
he said, he listened to that tape, oh bus ride there,
and he knew every freaking word every month from a
(20:38):
syllable of that record. And I respect that, man. I
appreciate that because I mean, I was trying to give
everything I had in that moment in time.
Speaker 4 (20:48):
Here's a question, what if you had to give credit
to two MC's that was the biggest inspiration of DC style, right,
because I think your style is really hard, Like I
can't compare it to anybody's and that's honest. Like I
can hear where my stuff comes from, but I can't
hear where yours come from. What would the two mcs
(21:10):
be that you would feel worre that you feel like
you took that style and made yours.
Speaker 3 (21:17):
It's really four of them run Slick Red Krs one
to Rock Kim, all of those guys. I used a
little bit of each one of those guys, to be honest.
Speaker 2 (21:35):
So the rhythm is just that Southern route.
Speaker 4 (21:38):
Some of it is, yeah, because the way you would
stylize the rhythms, like you never could hear like I
would hear Rock Kim yeah your stuff, and I couldn't
like the way you would slide on the record, Like
how I hear all my young parties be like, yeah.
Speaker 2 (21:52):
I'm sliding, and I'm like, yeah, this is sliding yeah
with me.
Speaker 4 (21:56):
So you're like the first hip hop artist that was
sliding on music like that. Everybody else was focused on
the words or they flow, margin and margin, but yours
became like almost like it was a snake.
Speaker 2 (22:09):
Like he could just do these weird kind of ins
and outs.
Speaker 4 (22:12):
And that that that album is not used enough by mcs.
Speaker 1 (22:18):
Right now, it is Joe, it is g I'm gonna
tell you, the Midwest almost made a whole new sub
genre just off of DC style. DC is the precursor
to Bone Thugs, Harmony style. He's the precursor to Twister.
He's the precursor to a whole bunch of guys, and
the guys the Midwest really gravitated to it. And I
know that because I'm a Midwest dude. Until you heard DC,
(22:41):
like you said, he wasn't going to march to march.
He was almost stuttering stepping like he was, you know,
chopping his feet. I said, man, he was really doing
you know, he had to display of verbal gymnastics going
on to where at that time it was unfairly wasn't
nobody else rapping like that?
Speaker 3 (22:55):
That was stud of stepping. That's what that's what that's
what I turned it back in those days. But it's
really just an expansion of some technique that I heard
a guy named just Ice Hues. I just expanded it
(23:15):
and switched the cadence around during it, like he did
a thank card. He had a thank call. Was the
name of that fucking record? I forget what the name
of the brother it is? He said, look at the littles,
just what I do whenever I get excited. And so
I just kept that going as long as I could
(23:37):
do it. And you couldn't do it the same way.
Otherwise you wouldn't have the room to breathe. So it
forced you to dance with it, you know what I mean.
And then then it kind of created it created itself,
you know.
Speaker 1 (23:51):
Yeah, And you know what I noticed. G All the
greatest rappers would tell you that they're not the greatest,
like I said them here. When I interviewed Starface, one
of my faceapers, right, he gave q the same admiration
that you gave him.
Speaker 2 (24:03):
He said.
Speaker 1 (24:04):
When I said, Brad, you're the baddest mother for everyone
to come to that gags stuff, he said, no, he
got mad at me. No, don't say that, q O
Shak Jackson. He's the greatest, and you just gave it
up to him. So I guess Q gotta be in
some regards between him and Snoop as the greatest gangster
rappers ever of all time.
Speaker 3 (24:21):
No, but no question you're talking about he's talking about
two different categories.
Speaker 2 (24:27):
And yeah, yeah, thank you is the concrete is the
black and with attitude.
Speaker 3 (24:36):
Yeah it's Snoop is. Yeah, it's what they call it. Well,
well World War the mac though and pick up all
his bowels.
Speaker 5 (24:48):
That's that's Snoop. That's that's Snoop.
Speaker 2 (24:51):
But yeah, that's two different.
Speaker 4 (24:56):
It is and and and and that's what people don't
understand about this culture, like it's been relegated to just
violence versus the type of people I saw my whole life.
Speaker 2 (25:09):
You know what I mean where it was.
Speaker 4 (25:10):
It just represented people that was gonna earn a life
and create a life better for themselves at all costs.
And I hate it's been relegated to just ignorance and
doing dope. It's just it's way more than that. And
so I and I was blessed to grow up under
the stuff y'all was doing, and I got to see
all of it in the streets through the music. You know,
(25:31):
it wasn't just one type of gangster. It wasn't just
some ignorant person just saying something. It was like, you
could have Cube with that fist and that attitude, and
I could have Dot with that pizazz, and I could
have Eric, and I could have Snoop and you know,
you could see that it can be so many different things.
Speaker 3 (25:50):
Yeah, it's not it's never just not nothing mean, it's
right now. Wow, it's a purpose for it, you know
what I mean. So that's the difference between what these
(26:12):
niggas is doing now and what he was doing then.
There was that was a purpose, kid. He was trying
to show you a better.
Speaker 5 (26:19):
Way, not the way.
Speaker 4 (26:24):
Is there a moment? When was the moment, if there
is one, When was the moment that you knew like,
all right, this is going to be crazy?
Speaker 2 (26:35):
How how far is that alone? And the journey from
meeting Dre.
Speaker 4 (26:41):
And Dallas too even Doggy Style, Where where in between
that time did you know like, oh, yeah, this is
gonna be bigger than anything that's ever happened before.
Speaker 2 (26:52):
That's the question.
Speaker 3 (26:54):
Yeah, it's got being pretty fast, you know, like once
you did once we did the We Want Easy record,
it took about two weeks, man, and then then that
shit was everywhere, and you just knew did we go?
You know that it was the first video to a
(27:14):
shot and uh, the world fell in love with that song.
And it was really young after that. As far as
myself personally, when I did Doctor the Doctor, well really
all those records, man, because it was.
Speaker 5 (27:39):
It was twelve songs.
Speaker 3 (27:41):
I think on that album only did thirteen records, dre
and I only did.
Speaker 5 (27:50):
We've only done thirteen records together. That's it, you know
what I.
Speaker 2 (27:53):
Mean, really think about.
Speaker 3 (27:54):
It, oh man and whatever up on that record. And
so but I did Let the Base Go and WorldWind
Pyramid six months before I even got to California. Before
I moved back to California, I did those two records
(28:18):
as demos and easies mother's garage and didn't come back
to those to even touch him to put on the
record until almost a year later. You know what, man,
So I kind of knew I was good and me
and Trey together was really good. So when I did
(28:38):
In the Doctor in the studio, bro.
Speaker 5 (28:40):
That shit was so loud, it.
Speaker 2 (28:43):
Was so noisy.
Speaker 3 (28:45):
I could just feel like, man, man, I'm ta or
I knew I did that, brother, because because face was
the pain in and when that motherfucker went forth and
this boys on top of that shit, you had to
move the.
Speaker 5 (29:00):
Fuck out the way and let me do what I'm doing.
Speaker 1 (29:03):
Real you know, you just mentioned Easy Man, and I
swear Easy don't get enough credit for what he's done
for hip hop. You know what I'm saying. I don't
think Eric Right get the justice. You know, he's done
a lot of great stuff for a lot of people,
just for hip hop in general. Man and Right, how
was it dealing with Eric Man? Because everybody got to
(29:24):
know the new Easy They got a bunch of different stories.
They say, one of the funniest people he ever met,
man whoever met? And they said that Easy would do
stuff just to freak you out. What was the craziest
thing you ever saw? Easy Dodog.
Speaker 5 (29:41):
Veric's a good dude. Man ever was a good guy.
Speaker 2 (29:47):
He was.
Speaker 3 (29:49):
No nonsense. Somebody's business, you know what I'm saying, Yeah,
his business and was black, I mean scarlet like it is.
Speaker 5 (30:03):
This dude was blessed enough to pull.
Speaker 3 (30:09):
Three or four some of the best that the West
would produced and put them cats in the same room
together to make a record.
Speaker 5 (30:19):
And that's a blessing. Nobody's been able to do nothing
like that since. And he is blessed enough to have.
Speaker 3 (30:27):
For Drada be in his corner like that, because drags
the cornerstone to all of this shit like it exists
without that dude.
Speaker 5 (30:36):
It all goes through his blessing, you know what I mean?
Speaker 3 (30:40):
We got blessed because he got a gift, and so
easy was blessed enough to have that guy on his
team and have a Cube on his team, and they
have Doc on his team, and I ran on his
team like you can't lose like that. I mean, you
got that, you got everything.
Speaker 4 (31:03):
Now, fast forwarded to the documentary the doc right. I
remember when y'all was working on it. I came to
a snoop studio. Y'all was shooting ideas if there was
something that was tough to revisit when y'all was working
on the Dock documentary, what was the toughest thing to
revisit about that whole journey?
Speaker 2 (31:25):
Your whole journey period so far?
Speaker 5 (31:28):
Man, Look, none of that shit was tough to let
go of. I was. I was thinking God to be
able to let go of that goddamn pain.
Speaker 3 (31:37):
I didn't want that no more. I'm tired of stuff
from behind that shit. I'm ready to let that shit go.
And really that's what that's what the documentary is showing
you seeing the old laughin in the hell in front
of the whole world and as dope as fuck, you
know what I mean. And I still got battles to
(31:58):
fight with in this industry because I'm a maverick, you
know what I mean. I don't belong to nobody, and
so I'm not getting nobody, motherfucking ass to do nothing.
I'm gonna let Yod drive this car, you know, and
wherever he's driving that, I'm going because all the reason
they putting me back into life is because it's something
(32:20):
he wanted me to do, and so I'm doing that
for all the other shit.
Speaker 1 (32:26):
I feel you, man, Together the.
Speaker 4 (32:28):
Whole journey of this documentary, it actually ended up becoming
healing for you.
Speaker 2 (32:32):
That's the that's the reality of it.
Speaker 5 (32:34):
Yeah, yeah, man, I'm.
Speaker 2 (32:36):
Excited to see it.
Speaker 4 (32:37):
Man, I didn't see I got offered to see parts
as y'all was working on. Like now, I need to
see it all together. It's like hearing, like hearing a song,
you can never really get it like I needed to hear.
No one does it better, and it's it's weird because
I was on Still about this and I emailed Dre
about this, like we don't do a great enough job,
(32:59):
you know, especially doctor Dredge brilliant and production of celebrating
all of these artistic contributions. This documentary. I'm sure you
know it's gonna be stellar. People gonna lose their mind.
But I think it's time to start having those conversations
about those albums. No one, No one does it better
(33:20):
than a doggy style of chronic. These are the documentaries
we're not doing a great job of presenting. Like when
we get mad at all, I tell Snoop. I remember
talking with Snoop and telling me like, y'all so mad
that we don't know nothing, but y'all don't tell us nothing.
Like if I didn't have Olivia Rest in Peace.
Speaker 2 (33:39):
My mom, I wouldn't know who doc is. And she
gave me the She's like, YO, listen to this, this, dude?
Speaker 5 (33:45):
Is it?
Speaker 4 (33:46):
So if I'm not passing on y'all experiences, you know,
I have to pass on y'all.
Speaker 2 (33:51):
Experiences to all my young homes.
Speaker 4 (33:53):
Like whether it be Kendricks, I'm telling him stuff about
y'all that he didn't know, you know.
Speaker 2 (33:58):
So I think we have to do a lot better.
Speaker 4 (34:00):
So that's why I'm really glad you got you sat
down and found face to do this documentary because people
need to know what you what you've been through, and
what actually they can do it. If you see what
somebody can do, that's the easiest way to aspire.
Speaker 2 (34:15):
They can see it. You know what I'm saying.
Speaker 3 (34:18):
Boy, I tell you, I tell them like this. It's
it's I'm thankful and grateful for it, no question about it.
Speaker 5 (34:24):
But it's a g O D thing. It's not a
BOC thing.
Speaker 3 (34:27):
And and my mission is different from these other guys.
Speaker 1 (34:38):
He wouldn't back out, he had come back on probably
got a phone called in.
Speaker 3 (34:43):
Yeah yeah, sorry about that. So my mix is different
from these guys, bro, like I might face uh a
hearder way in because it's God's shit, you know, man,
the world is still in the world, you know what
(35:03):
I mean. And the gay keepers a house in the air.
But I'm a believer of my nigga. Jild said, you're
gonna give it to him. So I've not already made
the artist and it hasn't found a home yet, right,
but every single person that is seen as them losing you, right,
(35:30):
lose their fucking mind over.
Speaker 5 (35:31):
What they do.
Speaker 3 (35:32):
Why I was in I was in dry break up
and had a two hundred movies. Motherfucker wrote in mind
in the ten a two hundred families.
Speaker 4 (35:43):
My first shot at you is that really surprising those doctor?
Speaker 2 (35:47):
That should be a surprise that when do when do you?
When do you realize? It's easy? It's so and it's
fair because you were so.
Speaker 4 (36:02):
I feel like the way about Magic Johnson, Well you
knew what it was when you saw, but you didn't
see the whole progression of it, right, So again, your
storytelling ability was never limited to what you could write
and recite through the microphone.
Speaker 2 (36:17):
It's also what you could tell people.
Speaker 4 (36:20):
The three conversations I've had with you on just record
writing has been just instrumental, Like it's important. So I
really want you to keep pursuing this space of film,
you know what I mean, and the.
Speaker 2 (36:33):
Doc documentary No One does It Better, like these are.
Speaker 4 (36:37):
Important things for people to know your journey and also
for you to keep artistically contributing. You know what I'm saying, like,
because you're just as important as I mean, I don't
got to tell you, because you know you're just as
important to every project. All of these projects without them
kind of they lose something that's really artistically brilliant.
Speaker 1 (36:56):
Yeah, and one thing that I want to land on
something you just see. And this is the one thing
that takes me pisses me off about the industry period.
Somebody in one of these buildings should have been winning
just cut this man in check and said, hey, we
want you to run our whole rap department. It just
makes too much sense, right, It's just too much like right,
(37:16):
you know what I'm saying to where our artists man,
And that's what pisses me off. It's like we almost
havetion date from the time we come into the game.
They put the expiration date onless. They say, Okay, at
this time he's over with and they stopped dealing with it.
When that's not the case because he's still as Brilliant's
probably more brilliant now. You're probably more brilliant now than
(37:36):
you were when you're in your twenties or something.
Speaker 3 (37:38):
Right, not more understanding, bro, lot more understanding. I realized
I got I got less days in in front of
me than I do behind. But Lepis Kid is what
I'm on right now, right, and so what can I
do that when I live, when I'm gone, I just
want to they'll say he did that. And it's not
(38:01):
about rap music. It's tomorrow black music. And I use
that term loosely because what I really mean is unification
of my people right to help these young boys in
the hood understand that killing each other. I ain't the
lit like. I want you to get that money. I
(38:23):
want you to have it by any means necessary. But
I want you to at least at least if you
pointing to that at your brother, put that gun down
now you hold onto it because you might need it,
you know, with all that killing each other, that's some
bullshit and we gotta deal with that shit by any means.
(38:43):
And I mean that shit like and so that's that's
what my art at and I got kild behind me.
So I'm gonna take this documentary and this message and
if I got to go sell twenty million tickets walking
all over the world to make my twenty million out.
Speaker 5 (38:59):
Of Loto like that, oh no, take this message to
the hood and make it do with a do no.
Speaker 1 (39:07):
Did you have expected release date for the documentary.
Speaker 5 (39:12):
Don't have a home yet. You know I got you know,
you go to huh are you serious? Yeah? Yeah, you
go to drive that the to uh you know, to.
Speaker 3 (39:24):
Premier the film, and then they they all get together
in rooms and figure out, you know, it's gonna beat
up domestic partner and streaming.
Speaker 5 (39:35):
It's gonna be the theatrical part in the world.
Speaker 3 (39:38):
And so some folks woun come to to the table,
would offer a theatrical worldwide, which is not a bad deal,
and some folks come with with domestic theatrical and so, uh,
you know, it's going slow. Maybe they welcome it because
(40:01):
they think I'm gonna get.
Speaker 5 (40:03):
But I'm not. The movie. Ain't mind anywhere it's done
or whatever you need want.
Speaker 3 (40:11):
Yeah, and I don't give a damn word where it
come from, because I know sanity.
Speaker 5 (40:17):
You know what I mean exactly.
Speaker 2 (40:19):
I'm so excited about that doctor. Are you aware of statement? Yeah? Yeah,
I already know.
Speaker 4 (40:26):
I already know the people that was working on they
was people that was working on it was fired up.
So I knew it was gonna respect when they called
me because I had an hour long conversation with somebody
specifically about you. So when they started to work and
they couldn't wait to call me and tell me. So
it's it's important, man that I'm so glad that you
(40:50):
are consistently pursuing.
Speaker 2 (40:53):
Uh uh, giving us content.
Speaker 4 (40:57):
You know what I mean, not being limited by whatever's
happening pass and understanding. There's so many more ways, man,
it's so many more ways and your message and we
talked about that probably over the phone, about where you
at with the violence, you know what I mean.
Speaker 2 (41:10):
So you have a lot of work, so many ways
to do it now.
Speaker 4 (41:14):
It's a real ul what you're doing.
Speaker 1 (41:19):
Exactly right, exactly So before we go to r C,
because I appreciate you, you know, taking time out your
schedule to sit down with us, I want to ask
you one more question. It's just me for a fan standpoint.
Where was you at when you first heard no vasselin.
Speaker 3 (41:39):
I was up there's an actress, her name is uh
Jinny King, my father, and then I was over there
with with her and some friends that heard and they
must have just hit the floor. They loved every minute
of that ship, in that moment of time, In that
(42:01):
moment in time, I was so happy that qube let
me breathe you know what I mean.
Speaker 4 (42:05):
Because he cleaned the house, the chickens came home, the
ruse with that one man.
Speaker 1 (42:14):
I don't know, Doc, I think if he hadn't put
you in there, I think you would have had something.
Speaker 3 (42:20):
Nah that would have been like that would have been
too much like pushing down.
Speaker 5 (42:24):
A handicap kid.
Speaker 2 (42:25):
Man. You can't do mad.
Speaker 5 (42:27):
It wasn't like that man had been a bully. You
can't beat up doc man. He can't fight back. But
he knew that that he knew that anything I was
doing over there, I was doing because that was my job.
You know, I.
Speaker 3 (42:45):
Loved Cube. I always have always respected him. It's always
been him. Like when you see the documentary. One thing
about this documentary, bro Q dresnw.
Speaker 5 (43:00):
By do him all.
Speaker 3 (43:03):
These people, it's how they talk like like how they
look talking like you have never seen Dre. You ain't
never seen Dre like this, bro You ain't just you've
never seen doctor Dre act.
Speaker 5 (43:17):
Like this on camera.
Speaker 3 (43:19):
It just you don't see a billionaire. You just see
a nigga that love his brother, you know what I mean.
You don't same thing with Snoop and you you don't
see these icons. You just see niggas love they nigga.
You know what I mean that it ain't a back
then they like, Man, look you know what I mean,
And by do there's a couple of scenes in there
(43:41):
that if I do have that'll make you your bump
stand up on your arm. The way she talked to her,
that the man I showed you every example of black
love that exists on this planet in that hour and
a half between mother and father, brother and sister, friends.
Speaker 5 (44:02):
Lovers, colt parents, man and wife.
Speaker 3 (44:05):
I give you everything on a popular level, and I
don't say nothing negative about none of them niggas. I
give up all of my dirt door, every funky ship
stained in my draws out here because I really don't
give them buck.
Speaker 5 (44:21):
You know what I mean, Like I had to walk
that math.
Speaker 3 (44:24):
But you know what, I'm still here and I'm still
standing strong and I'm still not selling out, and the
woods can't be in me and the niggas can't break.
So you know the thing left, God, get God the
glove and go get the money for.
Speaker 1 (44:39):
Sure, and it's gonna happen for you, man, and anything
we can do over here, man the digital soapbox to
help you with that, Man, we got you.
Speaker 5 (44:46):
I appreciate you.
Speaker 4 (44:48):
We're gonna sit down, I'm gonna get on your line,
and we're.
Speaker 2 (44:52):
Gonna have a real hip hop conversation.
Speaker 4 (44:54):
See this right here was more about Doc, but the
things I know you know about him from your perspective
would be a much more intriguing conversation. So I look
forward to always Politically, you wanted to be one of
the greatest on one fucking album, one.
Speaker 5 (45:12):
Out up and focused one love on for real.
Speaker 1 (45:16):
Sure, man, we appreciate you, man. And when I say
we appreciate you, I don't mean likely we really appreciate.
Speaker 2 (45:21):
You in in the interview, but like the real you know.
Speaker 1 (45:26):
Really appreciate you, bro. Because your album took me through
a lot of times. I feel like I became a
grown man listening to you out and that's me being real.
That was my soundtrack. God bless were out of here.
Well that concludes another episode of Against the Chronicles podcast.
(45:47):
Be sure to download I Heard That and subscribe to
Against the Chronicles podcast for Apple users. Find that purple
mic on the front screen of your phone. Subscribe to
the show leaf for comment and a rating. Executive producers
for The gangst The Chronicles of Norms, st James McDonald
and Aaron m c a. Taylor. Our visual media director
is Brian White. Shows audio editor is Taylor Hayes. The
(46:08):
Gangster Chronicles here's the production of The Black Effect Podcast
Network and iHeartMedia. Any questions and comments hit us up
The Gangster Chronicles podcast at gmail dot com. Peace be
safe out there.
Welcome to the gangst the Chronicles podcast, the production off
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 mic on your
front screen, subscribe to Against the Chronicles. Leave a five
star rating the comment Okay, gee, this guess that we
have on today means so much to us. I'm not
even gonna do the normal intro show Man one of
(00:21):
my favorite rappers, if not my favorite rapper of all time.
The doc Hey yeah, we got one of the greatest
of all time on here, the doc What's happening with you?
Speaker 2 (00:29):
Bro?
Speaker 3 (00:30):
Man, I'm blessed to be stressed, can float up, you know,
ide on the West West, working with my guys I
on some new material and really just blessed to be here.
Speaker 2 (00:43):
Shit makes me my just hearing you say that.
Speaker 4 (00:47):
You know, thirty years ago the Chronic came out, So
to have y'all back together working on music, man, And
when the first Chronic came out, I was eleven years old,
and I'll never forget what it felt like, you know
what I mean.
Speaker 2 (01:03):
So to hear to see pictures.
Speaker 4 (01:05):
Of y'all in the studio creating hip hop, not abandoning
the space, you know what I mean? Because I realized
as you get older, you start to you know, typically
people are abandoning the space.
Speaker 2 (01:17):
And it's not fair.
Speaker 4 (01:18):
Because these white kids, they grew up to Aerosmith and
they get Aerosmith they whole life. So why should I
not get Doc Dre and Snoop my whole life?
Speaker 2 (01:27):
I feel like, with all due respect, it's old to me.
Speaker 3 (01:31):
You know, absolutely, it's a pocket that you know, some
motherfuckers are comfortable in that pocket, and you gotta gotta
ferry them too, you know what I mean? Like those
are those are the people you came to the party with.
You gotta gotta think about them. But from being back
(01:53):
into lab with the dog and Dre, it really feel
it really feel like like if it wouldn't have been
an interruption in the programming, it feels like this would
have been Snoop's next step. That's what it sounded like.
You I mean, dude is elevating and it's I you know,
(02:15):
I don't want to get out off and do it
because you know, I dread. But the shit is really good.
Speaker 4 (02:22):
No question, we already know it's brilliant. It just warms
my heart, man, And I don't want to focus on
that right the new material because the new material is
going to be the exploration itself.
Speaker 2 (02:35):
And I can't wait to see where y'all at.
Speaker 4 (02:38):
But just journeying back to the times that you guys
united for small ideas, right, whether it's Boss is life,
you know what I mean, or that's that and certain ideas.
Speaker 2 (02:50):
You knew always what it could have.
Speaker 4 (02:52):
Been, And you said something that that kind of made
me think, like what would have happened if there were
no interruptions at that time of the greatest renaissance in
all of arts? You know what I'm saying, Right around
the time of the Chronic and Doggie Staff, if there
was no interruptions. But I feel the same way of
the interruption of you know, after no one does it better,
(03:14):
no one, you know what I mean. It's it's way
too much power, you know what I mean? Like the
things you guys were creating were I've literally been on
record explaining to a somebody that has a bachelor's in art,
why that is the greatest renaissance of all art that era,
(03:37):
you know what I mean?
Speaker 5 (03:38):
Because but it goes with the Golden era. Yeah.
Speaker 4 (03:42):
Yeah, and like y'all records are as popular as the
Mona Lisa. That's really important, and it don't seem and
me and you have conversations and texts and ideas, and
sometimes when I listen to you or Drake talk, when
I talk to y'all separately, I don't think y'all see
it that way. Like this shit is the Mona Lisa
(04:04):
to the world now, like how it was to them
then that was they like this is the Mona Lisa
today And look at Snoop like like.
Speaker 2 (04:13):
Yo, it's the super Bowl.
Speaker 4 (04:15):
Like y'all took a culture of guys right who was abandoned,
and you know, the.
Speaker 2 (04:20):
World turned it back on and you culturally.
Speaker 4 (04:22):
Created a soundtrack to where people had insight, to where
people could help or harm. Yeah, So that type of
artistic renaissance would never get the true credit. I mean
you can see now at this point, you know, the
White House is entering it into you know, whatever they
little haul, they little their way.
Speaker 2 (04:40):
Behind, you know, they always behind. So they entered it
into you know, the records or whatever they call it.
But it's hilarious to see.
Speaker 4 (04:47):
Such a renaissance, you know, and it took so long
for people to accept it at the highest level. But
now when you you know again, like I say, four
or five months ago, y'all at the Super Bowl.
Speaker 5 (04:59):
Yeah, bro, Uh, it came a long way, you know
what I mean. But it's still.
Speaker 3 (05:05):
It's still a guarded space, you know what I mean. Like, uh,
the gatekeepers are really high up, and it's really difficult
to kick open doors, you know what I mean, these days.
Speaker 5 (05:21):
But you got to keep.
Speaker 3 (05:22):
Pushing the line, you know what I mean, because I mean,
if it ain't for us, who the fuck is it fun?
Speaker 5 (05:28):
You know?
Speaker 3 (05:30):
But being able to get back in a situation where
I can really put some energy into people that I love,
it's always a beautiful thing because I've always felt like
when when they win, it's really the same as me winning,
you know what I mean. So as most as I
can get through it, I'm cool with that.
Speaker 1 (05:51):
Yeah. And you know, Doc, I want to take it
back to something you just said, and I think it's
important that this is ours. That's why it's important that
you guys get together, whether it be every other decade,
once a decade or whatever, to do what y'all do,
because it's almost like giving the reminder to the culture, like,
don't get it twisted. We still here and can smash
(06:11):
all the time we want to. And I want to
get back to the beginning because without the past, you
don't have a future, right. I want to go back,
and I've never heard this done before. One thing we'd
like to do is have conversations versus doing interviews, because interviews,
to me, is current. I means you both think that way.
We have to have a conversation with you. When did
you first meet DREH.
Speaker 3 (06:32):
I met dre and Dallas. He knew this dude named
doctor Royer and Dr Rob was helping those guys, you know,
blow blow their music up and whether it was world
class but the crew or the real early and WA stuff,
(06:56):
and it was the real early NWA stuff, namely boy
in a hood that brought brought those guys to Dallas,
and Uh and me and Drag just kind of hit
it off, you know, and he said he's gonna produce
some records for that guy that he knew, and he
(07:17):
ended up producing a few records for him, and we just,
you know, struck up a friendship and it seemed like
I seemed to seem like we just clicked you know,
and he was like, man, if he was on West Coast,
we'd be rich. And I was like, shit, okay, let's go.
Speaker 5 (07:34):
You know. That sounds good to me, you know, and
the rest is.
Speaker 4 (07:39):
Just so better question, better question, beg, bro, what was
the hip hop scene like in Dallas? Dallas is one
of those places, you know, since I've been in the industry,
I've been able to go there enough times, you know,
shout out to all my good people, to no cliffs,
you know what I mean, straight up old nine. But
there's always been this burgeoning scene. To me, even right now,
(08:04):
they've always moved their own way. That's one of the
few places to me culturally that has never been tapped.
Speaker 2 (08:11):
You know. You see a lot of people wearing.
Speaker 4 (08:13):
Shags, you see a lot of their style, the fashion
get down, you know, you see that answer.
Speaker 2 (08:18):
You see some parts of it.
Speaker 4 (08:19):
But Dallas as a whole, the culture has never been
really given a proper shot.
Speaker 2 (08:26):
You know what I'm saying. What was the hip hop
scene like in Dallas at that time?
Speaker 3 (08:33):
It was a lot like it is now. No, Mom,
Dallas just they haven't figured out that you can't make
it by yourself, like like you.
Speaker 5 (08:45):
Have to have a.
Speaker 3 (08:47):
You have to have a community, you have to have
a movement, movement in order for things to move. There's
not gonna be just one guy that carries nothing on
one group that I said that pop say, I'm doing
this for the city. You can't by yourself. It is
we gotta do it for the city. You can't do it.
Speaker 5 (09:08):
If I couldn't do it, it can't be done to
shame shame man knowing the phrase.
Speaker 3 (09:14):
But the cool party is they've always been in a
really good spot because that was Forth Texas full of
really great musician and really supremely talented artists.
Speaker 5 (09:30):
The Mouther Thumpers are there. They just have figured out
out of.
Speaker 2 (09:35):
I listen to so much underground Dallas music right.
Speaker 4 (09:38):
Now, and you're right, Like I think about being a
child and then now as I you know, but then
I get the blessing to be able to call you
called Drake. Karl Schloop asked questions. But I'm thinking about
it like you're right. When I think about what happened
for La it wasn't just nu Way.
Speaker 2 (09:56):
It's ice Tea to some degree.
Speaker 4 (09:57):
So you have the things happening in sitting right with
Spade and Tea and all of the the rappers, rap
disco companies. You know, you have the things happening, but
then you have compass most warning, unknown Ice, tea unknown, NWA.
Speaker 2 (10:12):
You'll see. So you're right, it was a lot of
different things. So I get exactly what you're saying when
you say that.
Speaker 3 (10:16):
So it was it was a moment a time with
the movement. Shows that I remember it was w A
Ice were doing shows together way back when it wasn't
on West coast per se, on the national level. All
(10:38):
these guys was together pushing the.
Speaker 5 (10:40):
Same way and this is the home.
Speaker 3 (10:42):
Of Gang Bang and it was blood niggas. Ain't cuse
niggas off pushing the same line ty to get the
movement started, you know, I mean they they're not ready
to do that in Dallas, shil they so they call
the ass end of the Bang the band, so they
don't understand the killing party. They don't understand the building.
(11:08):
You get some money and you don't want to dubage that,
damn no, like you're not. Nobody's been on man like that.
Speaker 5 (11:16):
The money that would be coming in to serve you
ain't gonna come because scared of them.
Speaker 4 (11:21):
M h who if you have to pick one Dallas record, right,
And it's funny because I wouldn't want to talk about
Dallas record.
Speaker 2 (11:31):
You have to pick what's your favorite Dallas record? From
a Dallas hip hop artist? Me?
Speaker 4 (11:41):
Yeah you yeah, okay, okay, still give me a give
me outside of outside of outside of uh oh gee,
what's your favorite Dallas record?
Speaker 5 (11:57):
Like as uh.
Speaker 3 (11:58):
There was a group when I first got you him.
They was called uh Genocide right wow, a guy named
six two and a guy named El Dog and that
an album called Waste of a Color.
Speaker 5 (12:13):
And they was these was black gorillas, you know what
I mean.
Speaker 3 (12:16):
But and they was banging and then trapping or whatever
you want to call it. But they had they still
had the black fist, like you got, like that pick
on your head. They still had that in their heart,
you know what I mean. And so even though the
music was dirty, they had that underlying theme that pulled
(12:37):
pulled motherfuckers together and really outside of you know, it's
a lot of them down there. Brou a guy named
Big Ally's son is name like Kim And that's a
really cool young dude from uh from from funky Town
(12:57):
that's dope as fuck. There's a a trio guy's names, a.
Speaker 5 (13:03):
Lot of them down there.
Speaker 4 (13:04):
Man Old Dallas as Old Dallaga. Old Dallas Ass Nigga
by Tom Tom is my favorite non doc Dallas record.
And it's crazy to me, right because it makes me
feel like a Dallas nigga. Like when you find records,
it's like I could imagine how people feel when they
(13:26):
first heard Straight out of Counten. That's the vibes I
get when I hear Old Dallas Ass Nigga by Tom Tung.
And it's crazy because you think of Aero Spence, right,
He's having all his success as a boxer, you know,
and you know the Mavericks, you know, the success and
that culture of Dallas is so glow like it's so natural.
Speaker 2 (13:45):
You see it. Rappers from all around the country, rock
shats like you see the effect.
Speaker 4 (13:50):
So I'm just hoping that eventually they figure it out,
you know what I'm saying.
Speaker 3 (13:57):
That book, But were southern city too, you know, like, uh,
Dallas when it is progressive, there's a lot of other
places in the country, so you know, it's still locks
on some of the doors down there. Then they haven't
gotten into hip hop on a commercial level yet, you know.
(14:17):
But when I'm releasing this documentary, I'm hoping I'll be
able to open a few of those.
Speaker 5 (14:25):
Kind of doors and.
Speaker 3 (14:27):
Let folks in Dallas seated that there's money in hip
hop and it's a way that we can go back
in and maybe think some of the problems we have
in the community ourselves use the hip hop as a tool.
Speaker 1 (14:43):
H Yeah, you know, I want to go back. You
keep trying to take it to the now. I want
to go back some more because I want to know
how you was feeling, man, you know you with n
w A. Now y'all took off, right, and I just
came out here to California, so that my arrival kind
of coincided with what you're releasing, right, because I came
(15:04):
out here in eighty seven, late eighty seven, right, and
y'allly just started a bubbling. I actually remember easy In
them selling them tapes and see these up at the
albums up at the conference waping me.
Speaker 5 (15:14):
Yeah.
Speaker 1 (15:14):
There wasn't no CDs back then. Yeah, it was cossetts
and albums, yeah, real vinyl, Right, So I remember that,
you know, I remember the moments. How did you feel, man,
when all the stuff started happening? When when after police,
when the government just really started attacking gangs.
Speaker 2 (15:30):
The record that scared you.
Speaker 3 (15:31):
In it, not really, you know, because uh, you know,
I didn't know. We didn't know what they hell, we
don't know. We were just making records, man, Like we
didn't know that they could come put us in jail.
And no shit, man, I wasn't tripping on none of
that shit.
Speaker 5 (15:50):
I was.
Speaker 3 (15:50):
I was really just working my ass off trying to
get to my turn, you.
Speaker 5 (15:53):
Know what I mean. Like I'd ran through a wall
with the motherfuckers just to get to my turn.
Speaker 1 (15:58):
You know, I feel you, man. And this leads up
to my next question. Your first album, which, for the
sake of argument, could be one of the best albums
in the history of hip hop. Yeah, could be one
of the I just want to know. Do you remember, man,
when you guys recorded the grand Finale, was y'all in
(16:19):
the same room?
Speaker 5 (16:21):
Yeah, yeah, that was.
Speaker 3 (16:24):
Everybody was there that day, and everybody was in the
studio that day. That was the last song.
Speaker 5 (16:30):
It was right before it was.
Speaker 3 (16:31):
Sent to do this turn out of confer tour, and
everybody was there and Arabian Prince, everybody was in there
that day and.
Speaker 5 (16:44):
We just killed it, you.
Speaker 1 (16:45):
Know, was y'all all writing y'all verses together, Like I
just picture it was Cube in one corner writing his
verse because you were in another corner writing your verse.
Speaker 5 (16:53):
Yeah.
Speaker 3 (16:54):
I wrote up my verse and easiest verse and laid down,
but n lady Is. Then I laid mine and Q
came late that day, lady Is, and I laid Erikson.
(17:15):
When I lady Is, I wouldn't roll mine over.
Speaker 1 (17:20):
For.
Speaker 2 (17:23):
That's what I was gonna ask.
Speaker 1 (17:25):
Anybody write some verses over because you and Cube at
that time. See people, I think, see these younger generation.
They killed no ice Cube as Craig for Friday, you know,
you know, and all that other stuff. I remember ice
Cube the Bitch Killer. That's ice Cube by no you
know what I'm saying. That's ice Cube oy no Vinnix
ice Cube. When y'all got in there. You remember how
(17:47):
we used to watch the Karate movies when he was
little and you had Bruce Lee versus on like when
Bruce Lee forward Kareem ab duke jabbar everybody. That's what
it was with you and Q. It was like seeing
the Ring and Bruce Lee fight and it was like,
oh man, you kicked you know, you kick Cube in
the chest. He got back up to kick you in
the chest, and it was just like, man, you do
(18:08):
those was definitely it was a rewind moment in hip hop.
Speaker 3 (18:11):
Yeah man, we was having a glass with that ship.
We were definitely fighting, you know what.
Speaker 5 (18:16):
I man?
Speaker 3 (18:16):
Uh, but that's how to get better. It was it
was respect. It wasn't ego, you know what I mean.
I knew I couldn't. I couldn't compete with Cube, Like
what was I just ain't got that that level of
a bar you know what I mean to do dangsty
ship like that, it's not gonna come out. So I
(18:38):
I gotta go out of my way to make my
shit extra clever or funny or use some sort of
caters that they that they not with just the stylized mind,
so I can compete with that dude.
Speaker 2 (18:52):
But that's greatness though, because the way you came in broke.
Speaker 1 (18:55):
With the swing and singing the brand new songs to
the rhythm to talk, and it was just like I
was like, yeah, my.
Speaker 2 (19:02):
God, what inspired y'all to do that? Posse cut? Was
posse cuts a thing at that time?
Speaker 5 (19:09):
No, I think.
Speaker 3 (19:12):
That's just because we was all together making a record.
Now we had did I Want of Discretion is Advised
on Day record, which is basically the same thing. And
then before that one, it was the Symphony, those those
kind of records for the cruise Jump On and everybody
(19:33):
do that thing was already I was already.
Speaker 5 (19:36):
Out there in space. So uh. But what we did mine,
I was just happy to lose at the last record.
Speaker 2 (19:43):
That's amazing. That's an amazing story.
Speaker 1 (19:47):
And it was the perfect album in many ways, man,
because I remember driving from Los Angeles listening to Mexico
and we had that album on repeat. It was like
literally like you know how to TAKEE you to just
turn over back? Then it was just on repeat, man,
and it was probably Gee, I think it's the greatest
album of all time.
Speaker 5 (20:06):
E hip.
Speaker 3 (20:07):
I got a simular story, bro, yeah, he said, uh,
he said.
Speaker 5 (20:16):
Uh.
Speaker 3 (20:18):
He was leaving Arizona, going to the East Coast to
get away from something and all he had was no
one could do better on a walkman on a bus
he said, he listened to that tape, oh bus ride there,
and he knew every freaking word every month from a
(20:38):
syllable of that record. And I respect that, man. I
appreciate that because I mean, I was trying to give
everything I had in that moment in time.
Speaker 4 (20:48):
Here's a question, what if you had to give credit
to two MC's that was the biggest inspiration of DC style, right,
because I think your style is really hard, Like I
can't compare it to anybody's and that's honest. Like I
can hear where my stuff comes from, but I can't
hear where yours come from. What would the two mcs
(21:10):
be that you would feel worre that you feel like
you took that style and made yours.
Speaker 3 (21:17):
It's really four of them run Slick Red Krs one
to Rock Kim, all of those guys. I used a
little bit of each one of those guys, to be honest.
Speaker 2 (21:35):
So the rhythm is just that Southern route.
Speaker 4 (21:38):
Some of it is, yeah, because the way you would
stylize the rhythms, like you never could hear like I
would hear Rock Kim yeah your stuff, and I couldn't
like the way you would slide on the record, Like
how I hear all my young parties be like, yeah.
Speaker 2 (21:52):
I'm sliding, and I'm like, yeah, this is sliding yeah
with me.
Speaker 4 (21:56):
So you're like the first hip hop artist that was
sliding on music like that. Everybody else was focused on
the words or they flow, margin and margin, but yours
became like almost like it was a snake.
Speaker 2 (22:09):
Like he could just do these weird kind of ins
and outs.
Speaker 4 (22:12):
And that that that album is not used enough by mcs.
Speaker 1 (22:18):
Right now, it is Joe, it is g I'm gonna
tell you, the Midwest almost made a whole new sub
genre just off of DC style. DC is the precursor
to Bone Thugs, Harmony style. He's the precursor to Twister.
He's the precursor to a whole bunch of guys, and
the guys the Midwest really gravitated to it. And I
know that because I'm a Midwest dude. Until you heard DC,
(22:41):
like you said, he wasn't going to march to march.
He was almost stuttering stepping like he was, you know,
chopping his feet. I said, man, he was really doing
you know, he had to display of verbal gymnastics going
on to where at that time it was unfairly wasn't
nobody else rapping like that?
Speaker 3 (22:55):
That was stud of stepping. That's what that's what that's
what I turned it back in those days. But it's
really just an expansion of some technique that I heard
a guy named just Ice Hues. I just expanded it
(23:15):
and switched the cadence around during it, like he did
a thank card. He had a thank call. Was the
name of that fucking record? I forget what the name
of the brother it is? He said, look at the littles,
just what I do whenever I get excited. And so
I just kept that going as long as I could
(23:37):
do it. And you couldn't do it the same way.
Otherwise you wouldn't have the room to breathe. So it
forced you to dance with it, you know what I mean.
And then then it kind of created it created itself,
you know.
Speaker 1 (23:51):
Yeah, And you know what I noticed. G All the
greatest rappers would tell you that they're not the greatest,
like I said them here. When I interviewed Starface, one
of my faceapers, right, he gave q the same admiration
that you gave him.
Speaker 2 (24:03):
He said.
Speaker 1 (24:04):
When I said, Brad, you're the baddest mother for everyone
to come to that gags stuff, he said, no, he
got mad at me. No, don't say that, q O
Shak Jackson. He's the greatest, and you just gave it
up to him. So I guess Q gotta be in
some regards between him and Snoop as the greatest gangster
rappers ever of all time.
Speaker 3 (24:21):
No, but no question you're talking about he's talking about
two different categories.
Speaker 2 (24:27):
And yeah, yeah, thank you is the concrete is the
black and with attitude.
Speaker 3 (24:36):
Yeah it's Snoop is. Yeah, it's what they call it. Well,
well World War the mac though and pick up all
his bowels.
Speaker 5 (24:48):
That's that's Snoop. That's that's Snoop.
Speaker 2 (24:51):
But yeah, that's two different.
Speaker 4 (24:56):
It is and and and and that's what people don't
understand about this culture, like it's been relegated to just
violence versus the type of people I saw my whole life.
Speaker 2 (25:09):
You know what I mean where it was.
Speaker 4 (25:10):
It just represented people that was gonna earn a life
and create a life better for themselves at all costs.
And I hate it's been relegated to just ignorance and
doing dope. It's just it's way more than that. And
so I and I was blessed to grow up under
the stuff y'all was doing, and I got to see
all of it in the streets through the music. You know,
(25:31):
it wasn't just one type of gangster. It wasn't just
some ignorant person just saying something. It was like, you
could have Cube with that fist and that attitude, and
I could have Dot with that pizazz, and I could
have Eric, and I could have Snoop and you know,
you could see that it can be so many different things.
Speaker 3 (25:50):
Yeah, it's not it's never just not nothing mean, it's
right now. Wow, it's a purpose for it, you know
what I mean. So that's the difference between what these
(26:12):
niggas is doing now and what he was doing then.
There was that was a purpose, kid. He was trying
to show you a better.
Speaker 5 (26:19):
Way, not the way.
Speaker 4 (26:24):
Is there a moment? When was the moment, if there
is one, When was the moment that you knew like,
all right, this is going to be crazy?
Speaker 2 (26:35):
How how far is that alone? And the journey from
meeting Dre.
Speaker 4 (26:41):
And Dallas too even Doggy Style, Where where in between
that time did you know like, oh, yeah, this is
gonna be bigger than anything that's ever happened before.
Speaker 2 (26:52):
That's the question.
Speaker 3 (26:54):
Yeah, it's got being pretty fast, you know, like once
you did once we did the We Want Easy record,
it took about two weeks, man, and then then that
shit was everywhere, and you just knew did we go?
You know that it was the first video to a
(27:14):
shot and uh, the world fell in love with that song.
And it was really young after that. As far as
myself personally, when I did Doctor the Doctor, well really
all those records, man, because it was.
Speaker 5 (27:39):
It was twelve songs.
Speaker 3 (27:41):
I think on that album only did thirteen records, dre
and I only did.
Speaker 5 (27:50):
We've only done thirteen records together. That's it, you know
what I.
Speaker 2 (27:53):
Mean, really think about.
Speaker 3 (27:54):
It, oh man and whatever up on that record. And
so but I did Let the Base Go and WorldWind
Pyramid six months before I even got to California. Before
I moved back to California, I did those two records
(28:18):
as demos and easies mother's garage and didn't come back
to those to even touch him to put on the
record until almost a year later. You know what, man,
So I kind of knew I was good and me
and Trey together was really good. So when I did
(28:38):
In the Doctor in the studio, bro.
Speaker 5 (28:40):
That shit was so loud, it.
Speaker 2 (28:43):
Was so noisy.
Speaker 3 (28:45):
I could just feel like, man, man, I'm ta or
I knew I did that, brother, because because face was
the pain in and when that motherfucker went forth and
this boys on top of that shit, you had to
move the.
Speaker 5 (29:00):
Fuck out the way and let me do what I'm doing.
Speaker 1 (29:03):
Real you know, you just mentioned Easy Man, and I
swear Easy don't get enough credit for what he's done
for hip hop. You know what I'm saying. I don't
think Eric Right get the justice. You know, he's done
a lot of great stuff for a lot of people,
just for hip hop in general. Man and Right, how
was it dealing with Eric Man? Because everybody got to
(29:24):
know the new Easy They got a bunch of different stories.
They say, one of the funniest people he ever met,
man whoever met? And they said that Easy would do
stuff just to freak you out. What was the craziest
thing you ever saw? Easy Dodog.
Speaker 5 (29:41):
Veric's a good dude. Man ever was a good guy.
Speaker 2 (29:47):
He was.
Speaker 3 (29:49):
No nonsense. Somebody's business, you know what I'm saying, Yeah,
his business and was black, I mean scarlet like it is.
Speaker 5 (30:03):
This dude was blessed enough to pull.
Speaker 3 (30:09):
Three or four some of the best that the West
would produced and put them cats in the same room
together to make a record.
Speaker 5 (30:19):
And that's a blessing. Nobody's been able to do nothing
like that since. And he is blessed enough to have.
Speaker 3 (30:27):
For Drada be in his corner like that, because drags
the cornerstone to all of this shit like it exists
without that dude.
Speaker 5 (30:36):
It all goes through his blessing, you know what I mean?
Speaker 3 (30:40):
We got blessed because he got a gift, and so
easy was blessed enough to have that guy on his
team and have a Cube on his team, and they
have Doc on his team, and I ran on his
team like you can't lose like that. I mean, you
got that, you got everything.
Speaker 4 (31:03):
Now, fast forwarded to the documentary the doc right. I
remember when y'all was working on it. I came to
a snoop studio. Y'all was shooting ideas if there was
something that was tough to revisit when y'all was working
on the Dock documentary, what was the toughest thing to
revisit about that whole journey?
Speaker 2 (31:25):
Your whole journey period so far?
Speaker 5 (31:28):
Man, Look, none of that shit was tough to let
go of. I was. I was thinking God to be
able to let go of that goddamn pain.
Speaker 3 (31:37):
I didn't want that no more. I'm tired of stuff
from behind that shit. I'm ready to let that shit go.
And really that's what that's what the documentary is showing
you seeing the old laughin in the hell in front
of the whole world and as dope as fuck, you
know what I mean. And I still got battles to
(31:58):
fight with in this industry because I'm a maverick, you
know what I mean. I don't belong to nobody, and
so I'm not getting nobody, motherfucking ass to do nothing.
I'm gonna let Yod drive this car, you know, and
wherever he's driving that, I'm going because all the reason
they putting me back into life is because it's something
(32:20):
he wanted me to do, and so I'm doing that
for all the other shit.
Speaker 1 (32:26):
I feel you, man, Together the.
Speaker 4 (32:28):
Whole journey of this documentary, it actually ended up becoming
healing for you.
Speaker 2 (32:32):
That's the that's the reality of it.
Speaker 5 (32:34):
Yeah, yeah, man, I'm.
Speaker 2 (32:36):
Excited to see it.
Speaker 4 (32:37):
Man, I didn't see I got offered to see parts
as y'all was working on. Like now, I need to
see it all together. It's like hearing, like hearing a song,
you can never really get it like I needed to hear.
No one does it better, and it's it's weird because
I was on Still about this and I emailed Dre
about this, like we don't do a great enough job,
(32:59):
you know, especially doctor Dredge brilliant and production of celebrating
all of these artistic contributions. This documentary. I'm sure you
know it's gonna be stellar. People gonna lose their mind.
But I think it's time to start having those conversations
about those albums. No one, No one does it better
(33:20):
than a doggy style of chronic. These are the documentaries
we're not doing a great job of presenting. Like when
we get mad at all, I tell Snoop. I remember
talking with Snoop and telling me like, y'all so mad
that we don't know nothing, but y'all don't tell us nothing.
Like if I didn't have Olivia Rest in Peace.
Speaker 2 (33:39):
My mom, I wouldn't know who doc is. And she
gave me the She's like, YO, listen to this, this, dude?
Speaker 5 (33:45):
Is it?
Speaker 4 (33:46):
So if I'm not passing on y'all experiences, you know,
I have to pass on y'all.
Speaker 2 (33:51):
Experiences to all my young homes.
Speaker 4 (33:53):
Like whether it be Kendricks, I'm telling him stuff about
y'all that he didn't know, you know.
Speaker 2 (33:58):
So I think we have to do a lot better.
Speaker 4 (34:00):
So that's why I'm really glad you got you sat
down and found face to do this documentary because people
need to know what you what you've been through, and
what actually they can do it. If you see what
somebody can do, that's the easiest way to aspire.
Speaker 2 (34:15):
They can see it. You know what I'm saying.
Speaker 3 (34:18):
Boy, I tell you, I tell them like this. It's
it's I'm thankful and grateful for it, no question about it.
Speaker 5 (34:24):
But it's a g O D thing. It's not a
BOC thing.
Speaker 3 (34:27):
And and my mission is different from these other guys.
Speaker 1 (34:38):
He wouldn't back out, he had come back on probably
got a phone called in.
Speaker 3 (34:43):
Yeah yeah, sorry about that. So my mix is different
from these guys, bro, like I might face uh a
hearder way in because it's God's shit, you know, man,
the world is still in the world, you know what
(35:03):
I mean. And the gay keepers a house in the air.
But I'm a believer of my nigga. Jild said, you're
gonna give it to him. So I've not already made
the artist and it hasn't found a home yet, right,
but every single person that is seen as them losing you, right,
(35:30):
lose their fucking mind over.
Speaker 5 (35:31):
What they do.
Speaker 3 (35:32):
Why I was in I was in dry break up
and had a two hundred movies. Motherfucker wrote in mind
in the ten a two hundred families.
Speaker 4 (35:43):
My first shot at you is that really surprising those doctor?
Speaker 2 (35:47):
That should be a surprise that when do when do you?
When do you realize? It's easy? It's so and it's
fair because you were so.
Speaker 4 (36:02):
I feel like the way about Magic Johnson, Well you
knew what it was when you saw, but you didn't
see the whole progression of it, right, So again, your
storytelling ability was never limited to what you could write
and recite through the microphone.
Speaker 2 (36:17):
It's also what you could tell people.
Speaker 4 (36:20):
The three conversations I've had with you on just record
writing has been just instrumental, Like it's important. So I
really want you to keep pursuing this space of film,
you know what I mean, and the.
Speaker 2 (36:33):
Doc documentary No One does It Better, like these are.
Speaker 4 (36:37):
Important things for people to know your journey and also
for you to keep artistically contributing. You know what I'm saying, like,
because you're just as important as I mean, I don't
got to tell you, because you know you're just as
important to every project. All of these projects without them
kind of they lose something that's really artistically brilliant.
Speaker 1 (36:56):
Yeah, and one thing that I want to land on
something you just see. And this is the one thing
that takes me pisses me off about the industry period.
Somebody in one of these buildings should have been winning
just cut this man in check and said, hey, we
want you to run our whole rap department. It just
makes too much sense, right, It's just too much like right,
(37:16):
you know what I'm saying to where our artists man,
And that's what pisses me off. It's like we almost
havetion date from the time we come into the game.
They put the expiration date onless. They say, Okay, at
this time he's over with and they stopped dealing with it.
When that's not the case because he's still as Brilliant's
probably more brilliant now. You're probably more brilliant now than
(37:36):
you were when you're in your twenties or something.
Speaker 3 (37:38):
Right, not more understanding, bro, lot more understanding. I realized
I got I got less days in in front of
me than I do behind. But Lepis Kid is what
I'm on right now, right, and so what can I
do that when I live, when I'm gone, I just
want to they'll say he did that. And it's not
(38:01):
about rap music. It's tomorrow black music. And I use
that term loosely because what I really mean is unification
of my people right to help these young boys in
the hood understand that killing each other. I ain't the
lit like. I want you to get that money. I
(38:23):
want you to have it by any means necessary. But
I want you to at least at least if you
pointing to that at your brother, put that gun down
now you hold onto it because you might need it,
you know, with all that killing each other, that's some
bullshit and we gotta deal with that shit by any means.
(38:43):
And I mean that shit like and so that's that's
what my art at and I got kild behind me.
So I'm gonna take this documentary and this message and
if I got to go sell twenty million tickets walking
all over the world to make my twenty million out.
Speaker 5 (38:59):
Of Loto like that, oh no, take this message to
the hood and make it do with a do no.
Speaker 1 (39:07):
Did you have expected release date for the documentary.
Speaker 5 (39:12):
Don't have a home yet. You know I got you know,
you go to huh are you serious? Yeah? Yeah, you
go to drive that the to uh you know, to.
Speaker 3 (39:24):
Premier the film, and then they they all get together
in rooms and figure out, you know, it's gonna beat
up domestic partner and streaming.
Speaker 5 (39:35):
It's gonna be the theatrical part in the world.
Speaker 3 (39:38):
And so some folks woun come to to the table,
would offer a theatrical worldwide, which is not a bad deal,
and some folks come with with domestic theatrical and so, uh,
you know, it's going slow. Maybe they welcome it because
(40:01):
they think I'm gonna get.
Speaker 5 (40:03):
But I'm not. The movie. Ain't mind anywhere it's done
or whatever you need want.
Speaker 3 (40:11):
Yeah, and I don't give a damn word where it
come from, because I know sanity.
Speaker 5 (40:17):
You know what I mean exactly.
Speaker 2 (40:19):
I'm so excited about that doctor. Are you aware of statement? Yeah? Yeah,
I already know.
Speaker 4 (40:26):
I already know the people that was working on they
was people that was working on it was fired up.
So I knew it was gonna respect when they called
me because I had an hour long conversation with somebody
specifically about you. So when they started to work and
they couldn't wait to call me and tell me. So
it's it's important, man that I'm so glad that you
(40:50):
are consistently pursuing.
Speaker 2 (40:53):
Uh uh, giving us content.
Speaker 4 (40:57):
You know what I mean, not being limited by whatever's
happening pass and understanding. There's so many more ways, man,
it's so many more ways and your message and we
talked about that probably over the phone, about where you
at with the violence, you know what I mean.
Speaker 2 (41:10):
So you have a lot of work, so many ways
to do it now.
Speaker 4 (41:14):
It's a real ul what you're doing.
Speaker 1 (41:19):
Exactly right, exactly So before we go to r C,
because I appreciate you, you know, taking time out your
schedule to sit down with us, I want to ask
you one more question. It's just me for a fan standpoint.
Where was you at when you first heard no vasselin.
Speaker 3 (41:39):
I was up there's an actress, her name is uh
Jinny King, my father, and then I was over there
with with her and some friends that heard and they
must have just hit the floor. They loved every minute
of that ship, in that moment of time, In that
(42:01):
moment in time, I was so happy that qube let
me breathe you know what I mean.
Speaker 4 (42:05):
Because he cleaned the house, the chickens came home, the
ruse with that one man.
Speaker 1 (42:14):
I don't know, Doc, I think if he hadn't put
you in there, I think you would have had something.
Speaker 3 (42:20):
Nah that would have been like that would have been
too much like pushing down.
Speaker 5 (42:24):
A handicap kid.
Speaker 2 (42:25):
Man. You can't do mad.
Speaker 5 (42:27):
It wasn't like that man had been a bully. You
can't beat up doc man. He can't fight back. But
he knew that that he knew that anything I was
doing over there, I was doing because that was my job.
You know, I.
Speaker 3 (42:45):
Loved Cube. I always have always respected him. It's always
been him. Like when you see the documentary. One thing
about this documentary, bro Q dresnw.
Speaker 5 (43:00):
By do him all.
Speaker 3 (43:03):
These people, it's how they talk like like how they
look talking like you have never seen Dre. You ain't
never seen Dre like this, bro You ain't just you've
never seen doctor Dre act.
Speaker 5 (43:17):
Like this on camera.
Speaker 3 (43:19):
It just you don't see a billionaire. You just see
a nigga that love his brother, you know what I mean.
You don't same thing with Snoop and you you don't
see these icons. You just see niggas love they nigga.
You know what I mean that it ain't a back
then they like, Man, look you know what I mean,
And by do there's a couple of scenes in there
(43:41):
that if I do have that'll make you your bump
stand up on your arm. The way she talked to her,
that the man I showed you every example of black
love that exists on this planet in that hour and
a half between mother and father, brother and sister, friends.
Speaker 5 (44:02):
Lovers, colt parents, man and wife.
Speaker 3 (44:05):
I give you everything on a popular level, and I
don't say nothing negative about none of them niggas. I
give up all of my dirt door, every funky ship
stained in my draws out here because I really don't
give them buck.
Speaker 5 (44:21):
You know what I mean, Like I had to walk
that math.
Speaker 3 (44:24):
But you know what, I'm still here and I'm still
standing strong and I'm still not selling out, and the
woods can't be in me and the niggas can't break.
So you know the thing left, God, get God the
glove and go get the money for.
Speaker 1 (44:39):
Sure, and it's gonna happen for you, man, and anything
we can do over here, man the digital soapbox to
help you with that, Man, we got you.
Speaker 5 (44:46):
I appreciate you.
Speaker 4 (44:48):
We're gonna sit down, I'm gonna get on your line,
and we're.
Speaker 2 (44:52):
Gonna have a real hip hop conversation.
Speaker 4 (44:54):
See this right here was more about Doc, but the
things I know you know about him from your perspective
would be a much more intriguing conversation. So I look
forward to always Politically, you wanted to be one of
the greatest on one fucking album, one.
Speaker 5 (45:12):
Out up and focused one love on for real.
Speaker 1 (45:16):
Sure, man, we appreciate you, man. And when I say
we appreciate you, I don't mean likely we really appreciate.
Speaker 2 (45:21):
You in in the interview, but like the real you know.
Speaker 1 (45:26):
Really appreciate you, bro. Because your album took me through
a lot of times. I feel like I became a
grown man listening to you out and that's me being real.
That was my soundtrack. God bless were out of here.
Well that concludes another episode of Against the Chronicles podcast.
(45:47):
Be sure to download I Heard That and subscribe to
Against the Chronicles podcast for Apple users. Find that purple
mic on the front screen of your phone. Subscribe to
the show leaf for comment and a rating. Executive producers
for The gangst The Chronicles of Norms, st James McDonald
and Aaron m c a. Taylor. Our visual media director
is Brian White. Shows audio editor is Taylor Hayes. The
(46:08):
Gangster Chronicles here's the production of The Black Effect Podcast
Network and iHeartMedia. Any questions and comments hit us up
The Gangster Chronicles podcast at gmail dot com. Peace be
safe out there.
Hosts And Creators
Norman Steele
MC Eiht
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