Tariq Nasheed Talk's New Doc Microphone Check & Cultural Appropriation

We sit down with accomplished Writer, Producer and Social commentary great Tariq Nasheed to discuss his new doc "Microphone Check", the true origins of Hip Hop, reparations and a host of ideas that could make things right for Black America. It’s the Gangster Chronicles, where Gangster Rap lives!
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Episode Transcript

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

Speaker 2 (00:03):
All across the USC Compton watch Bay to La, come
on to California y day from Owy the Valley.

Speaker 1 (00:11):
We represent that Keller County.

Speaker 2 (00:13):
So if you're keeping it real on your side of
your town, you tune into Gainst the Chronicles Chronic Goals.

Speaker 3 (00:21):
We gonna tell you how are we goals? If I
lie my nose will girl like Pinocchio. We're gonna tell
you the truth and nothing but the truth. 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 steels the streets.

Speaker 1 (00:40):
Hello, Welcome to the Gainst the Chronicles podcast, the production
of iHeart Radio and Black Effect podcast Network. Make sure
you download the iHeart app and subscribe to Against the
Chronicles For my Apple users, hit the Purple Michael your
front screen. Subscribed Against the Chronicles, leave a start rating

(01:00):
the comment like to welcome you to another episode of
the Gainst the Chronicles podcast. It's your boy, big steeal.
You know this is where gangster rap lives, right, yeah,
it's living. It's living, living froof right next to the wave.
Hell yeah, you know we're gonna do that.

Speaker 3 (01:17):
Over again.

Speaker 1 (01:18):
Thanks all, We like to welcome you to another episode
the Gainst the Chronicles podcast where Gangster Rap Lives is
your boy Big Steel along with and today we have
a man of many traits and he's good at all
the motherfuckers. You know how your expression skilled that many things,
but mastering now you actually master of every motherfucking thing
you do. Accomplished author director, yes, sir, social media mogul

(01:44):
and just all that good ship man. Yes, and I
fuck with you because you're from the Midwest. Yes, sir,
you know what I'm saying. Mister Tarka she what's that
in the family? Thank y'all for having me here. First
of all, it's usually man, Usually we don't get people
of your caliber. No, no offense, none or other guests.
We don't answer dope people on here. But you have

(02:05):
done a whole lot of dope shit in your life.

Speaker 3 (02:07):
Man.

Speaker 1 (02:07):
Man, I try, Man, I try. What took you on
the path that you want? Now? Man? What puts you
on that path?

Speaker 3 (02:14):
Man?

Speaker 1 (02:15):
Just wanting to bring the truth to things.

Speaker 3 (02:18):
Man.

Speaker 1 (02:18):
I started with relationship books. And the reason why I
started with relationship books, man, there were a lot of
books out at the time late nineties that would give
real janky relationship advice. You had books like Mena from Mars,
Women Are from Venus and all that stuff, and it
was a real corny advice that really didn't work. So
I said, let me do something. Let me put out

(02:39):
a book with some real game in it, that real
dude's spit, that real cats can appreciate. And I wrote
a book called The Art of mackin nineteen ninety nine,
came out in two thousand, became a huge best selling book,
and that took off my author career right there. And
then later on I started to morph into documentary films
because I saw there was a void. There was a
lot of movies out here that show with us black

(03:00):
folks in real negative lights. You have movies like The
Help and Precious and The blind Side, and all of
these movies showed us in very subservient positions. And I said,
now we have to have a balance. We have to
show the constructive side of black society. So I came
up with the Hidden Color Series as an experiment. I
didn't know if it was gonna do good or whatever,
because nothing like that had been done before. We put

(03:23):
that out, and that took off. So I like to
try to experiment with different things, man, and kind of
take risk and just stay true to what I'm putting
out there, man, And luckily a lot of it has
been successful. Yeah, you got a lot of different takes
as far as like on race in America. Yeah, yeah,
things have gotten better. And me originally being from the Midwest, right,

(03:43):
one thing I noticed is people tell you how they
feel out there. Yes. Indeed, you know, you run across
a white guy out there, he gonna call you a nigger.
You know, he's gonna say what he gotta say to you.
You know, in the Midwest, man, that's where most of
them militia groups are, the white supremacists militia groups, they're
all in Ohio. They're in Mission again, where I was born.
A lot of people think that stuff is in the South,

(04:03):
them militia groups where they're training for race wars and
all that. That's in the Midwest. In fact, many of
the race riots that we had were actually in the Midwest.
When you see footage of doctor King getting hit with
rocks and stones, that's in Illinois. You know, a lot
of folks don't know that. When you see folks getting
whooped on with sticks and people fighting back. That's out here.
They showed the watch Riot footage and people think that

(04:25):
it's the stuff going on down south, But that racism
was all over the country man, so people kind of
try to regulate it to the south. It was all
over the place. Oh no, it was all over the places.
Like I said earlier, they'd tell you how they feel
out there. They were I fought many a white boy
and they go squab with you. Yeah, yeah, they go
squabbing with can't you fade with you know? They go

(04:46):
running with you? Yeah, they're catching Whereas I know this
out here, I almost rather would have like a eel
was back in Ohio, Michigan, Kentucky and all them places
to where you know, where somebody stands which you are here,
Hey buddy, how was it going your friend? But I
remember one time I had an incident to where a
dude that butted out me by accident. We had just talked.

(05:08):
And this is when I was working for a publishing
company actually, and I was talking to a guy that
worked at Bug Music. He's no longer working there, but
I was talking to a guy that worked at Bug Music,
and he had said something like you black shit colored bitch,
and it was just like, Wow, who was he talking to?
You know, you hear somebody on the phone and I
was like this, So I was listening and it kind

(05:31):
of rolled off for me and then I hung up.
He called me back, Oh man, that was me and
my friend. We joked like that, and I was just
kind of like, whatever, coward, you know, going to say
what you gotta say. I'm glad I know how you feel.

Speaker 3 (05:42):
Now.

Speaker 1 (05:43):
Yeah, that liberal racism is real funny style and that's
the most insidious racism. So like in the Midwest, man
you mentioned earlier, many of those places are very conservative,
so they just let you know what it is. They
ain't gonna really play that game with you. And I
can almost respect that to a certain degree. Out here.
They'll sit there and act like your buddy, but they'll
skin and grin in your face while they're secretly calling
the cops on you. When we see a lot of

(06:04):
these caring videos where these white women harassing random black people,
many of those are in liberal, so called liberal cities,
where they tell you that the hippie liberal white folks
are better than the right wing republican white folks. They're
the same two wings on the same bird. We got
to understand that. So systematic racism is a very real thing,

(06:25):
and we got to understand that we as black people,
we got to be more codified with each other, and
that's how we protect ourselves from that. Hey, you being
a comptent, right when you were in comptent, it was
majority black, right, Yeah, black and Mexican. Black and Mexican,
so you didn't have too many encounters with racism.

Speaker 4 (06:46):
Niggas no other than police shit, you know, racial pro
I mean profiling. You know, it was a nigga and
khakis and a Raiders hat, you know, were automatically symbolized
as a gang banger. So you know, we got harassed

(07:08):
a lot by the police. Didn't matter what color they was.
A lot of them was black sometimes, you know mostly
you know, you had a few whites and you know,
Mexican cops patrolling, but it didn't matter what color they was.
We just got harassed for being young black niggas living
in the inner city because we were just looked at

(07:29):
as I mean, you know, it was gangbanging was going around.
Compton was full of gangs shit. So and then you know,
I guess for the fact that probably none of those
police patrolling grew up in Compton, so you know, always
thought that was I always thought that was important to

(07:55):
have police who grew up or you know, came from
those type of areas. Then they would better know how
to deal with niggas, you know what I'm saying, as
far as we were concerned. But a lot of them
motherfuckers didn't come from where we was from, so.

Speaker 3 (08:13):
They looked at they looked at.

Speaker 4 (08:16):
Gang banging and all that was just you know, it
was just it was just senseless to them, so we
got harassed for it.

Speaker 1 (08:24):
You know, I was looking at eight shoes. Eight shoes
reminded me of some of my buddies used to wear
the Nike Cortest shoes similar to what my boy has on,
and I would roll with him because I was always neutral.
But some of my guys they were in part of
different sets, and when they would wear the Nike Cortest shoes,
the cops would roll up and say, hey, that's gang paraphernalia,

(08:45):
and then him all.

Speaker 3 (08:45):
Of us up.

Speaker 1 (08:46):
So they were doing a little shit like that all
the time.

Speaker 4 (08:49):
I remember when they start trying to ban certain attire
and schools ye at one point, you know, I could
wear whatever the fuck I wanted to wear in school,
but I think by the time I got to junior
high school they had dress codes in school, and not

(09:14):
for the fact that if you went to a private
school and had to wear a uniform, like you couldn't
wear certain hats because those were you know, symbolized with
you know, every neighborhood had, you know, a baseball or
a football cap that represented their neighborhood, so they tried

(09:35):
to cut that out. They definitely tried to cut out
the white teas at school. You could not wear all
white tea the school, and you couldn't wear color shoe strings.
So yeah, they started trying to break us down as
far as you know, because they figured, I don't know what.

Speaker 3 (09:55):
They thought, you know, that would stop certain shit.

Speaker 1 (10:01):
This racist is hell though, because when you start talking
about dickies and a T shirt, that all kind of
started other people being poor, that's what, you know, people
being poorant you know, you get your daddy's work pants
and it was his shirt.

Speaker 4 (10:15):
It was affordable attire. I mean, like we wouldn't going
to the mall buying at the time. At the time,
you know, everything was guess you know, guess this, or
guess that my parents wasn't going to buy no motherfucking
hundred dollars jeans and an eighty dollars shirt. You get me,

(10:37):
My parents share when it was time to go school shopping,
they might hand your ass one hundred and fifty dollars
and se.

Speaker 3 (10:46):
You got damn right.

Speaker 4 (10:48):
So the first place, you know, once we got to
school ship, nigga, I'm gonna buy me about two pack
of all white T shirts. I'm gonna go buy me
a pair of cor tests, maybe repair khakis, nigga, And
then motherfucker's finna get reflipped.

Speaker 3 (11:04):
You feel me?

Speaker 1 (11:05):
And you know the fly thing is Man brothers from Compton,
South Central. They wore those clothes and made it so fly.
It became nationally recognized and emulated. Then the corporate structure
got onto it now, so now it's trendy all over
the world now.

Speaker 4 (11:21):
Because when I when we used to go on tour
and we used to go back down South or back
East or Midwest, motherfuckers used to be like, well, I
got them work uniforms on the ship because you know,
back where y'all was from, niggas wore them like for work,
I wear me niggas working in sanitation or at the

(11:43):
you know, the automotive place or whatever. They wore dickies.
You get the overalls, the khakis with the shirt. But
to us, that was that was motherfucking cheap wardrobe for
a motherfucker coming up and camped in because mostly everybody
was in poverty. Didn't get me, soa shit everybody. It

(12:06):
wasn't just you know, a section or or like this.
Get every gang in Compton, south Central, La, Long Beach.
I don't even fuck us. The Mexicans wherever you were from. Shit, nigga,
that was your attire. And you get a pair of
khakis back then probably football fucking twelve thirteen dollars.

Speaker 3 (12:27):
Shit.

Speaker 1 (12:28):
You know what's interesting, man, DC said when he left Dallas,
everybody was dressing like Houdini. When he went back to Dallas,
everybody stressing like easy.

Speaker 3 (12:39):
Yeah.

Speaker 1 (12:39):
So that showed the influence of it, man, that influence
of that La culture. They made something so simple, so
fly that everybody had to emulate it. And it was affordable.
And you know how, I notice when it became popular
the price of dickies. Yeah, didn't nobody get no money
didn't nobody have a sponsorship deal like you were. I

(13:00):
think that they the confidence most wanted a deal and said, hey,
you know what, we got a couple hundred bands for y'all,
for y'all promoting our.

Speaker 3 (13:06):
Product, and did hike the motherfuckers up.

Speaker 1 (13:09):
Yeah. I didn't think about that Dickey's yet. I never
seen nobody do an endorsement deal with it. They like
fuck that? Yeah?

Speaker 4 (13:15):
Yeah, why because look at it? They model was our
gear is for the hard work in nine to five man,
you get me? So that they was already they was
already had sponsorship.

Speaker 3 (13:28):
We don't need no sponsor.

Speaker 4 (13:29):
Every nigga that take his ass to work out a
factory or construction or whatever they finished, buy one of
our suits.

Speaker 1 (13:38):
Yeah. Now, let me ask you something, ad, When did
you and your guys get your first major record deal?
Well before y'all had to deal with was it Orpheus
Records to something?

Speaker 3 (13:48):
That was our first deal?

Speaker 1 (13:50):
Okay? Were you in an independent before then? Did you
do something with my Cola?

Speaker 3 (13:53):
No?

Speaker 4 (13:54):
I didn't fuck with my Cola, but the dude that
we fucked with, they all went through my Cola. I
fucked with Techno Hop right, Okay, Like I said, I
met Unknown through Lonzo because shout out to guy exactly Lonzo.

(14:15):
You know, everybody know Lonzo had a crew cut and
world class wrecking crew and all of that. So I
just happened to be fucking with some dudes who was
trying to get a singing deal with Lonzo, you know,
because Lonzo was that type and he was pushing that agenda,
so I tried to get I was me and me

(14:38):
and the homie Chill shout out my nigga chill. We
was just like tag alongs because you know, we was
in the neighborhood banging and ship and the music had
just started cracking and ship. So I was never good
at serving, you get me. So when when the rap

(15:00):
bug caught me, I figured, like, what ship? I can
write some songs about, you know, being from trag New
and what goes in Compton and the drive by shootings
and all of that shit. So we hooked up with lot.
We we just happened to tag along and Ann was
there and I had a demo tape that I played,

(15:25):
and so they liked the ship, and we actually, uh,
instead of fucking with Lonzo, we went with Unknown. Well,
no Lonzo basically turned the song Unknown because he couldn't
do shit with us at the time, Lonzo. You know,

(15:46):
he had a gang of ship going on and he
was primarily focused on the R and B stuff at
the time. Yes, he probably couldn't produce way and you
know after you know, like I said, my man had,
he had ship going on and at the time just
produced it in the Morning An had he had all
the king Ts singles. Oh yeah, he had the coolest.

(16:08):
He had motherfucking you better bring a gun pay back
to Mother.

Speaker 3 (16:14):
All that was. That was that was pool. But they
came out under.

Speaker 4 (16:19):
Techno who was the producer, and Unknown had the label,
so that came out, and then Iced Tea. Of course
Ice Tea had Dog in the Wax over there. He
had a record call you Don't Quit over there, and
then after those two they dropped six in the Morning,

(16:40):
So Unknon had a little more of the street element
as far as the records were going. He did a
lot of techno shit, but once easy and then broke
out in Cube and all of them they like, we
gotta get in there. So we went through Unknown via

(17:01):
a DJ Slip. Slip was the producer. He was producing
all the music that came up out of there.

Speaker 1 (17:07):
So did y'all producer, Did y'all put out a record
on Techno Hot before y'all got with the major.

Speaker 3 (17:12):
We put out a MAXI single.

Speaker 4 (17:16):
It had three songs on it, Wanted Yes, Yes, we
were compts most wanted then, and we put out a
record called this is Compton, Give it Up and I
give up Nothing that ye oh man, that had to.

Speaker 3 (17:31):
Be like eighty nine.

Speaker 1 (17:33):
I remember that record. The homie had that tape.

Speaker 3 (17:37):
Yeah, because we had a tape too. Now, the plan was.

Speaker 4 (17:41):
They were gonna stop fucking with Macola and they were
supposed to form West Coast Distributor some lonzown in Egypt
Lonzo Egypt, Unknown and I think l a dream team
dude snake. They were going to form their own and
stopped fucking with Ma Cola and I don't know what happened,

(18:05):
because we were supposed to be the first project to
come through there, and uh, we did that single, and
I think Unknown met this guy named Chuck Fastard and
Stewart and I forgot the other dude name. He ended

(18:28):
up working for Morgan Creek. But they heard the motherfucking
single and so Unknown negotiated because they was fucking with Orpheus,
this dude that Unknown met. So that's how we ended

(18:48):
up signing to Orpheus Capital because Unknown met a dude
who was fucking with Orpheus, who Orpheus had to deal
with Capital.

Speaker 3 (19:00):
So but at the.

Speaker 4 (19:01):
Time, nothing that they had put out was successful, so Capitol.

Speaker 3 (19:08):
Was on their last like legs with Orpheus.

Speaker 1 (19:12):
So then Orpheus put out Arabian Prince.

Speaker 4 (19:15):
Yeah, they put out a gang of bullshit. No disrespect
to you know, raybe in prints, but they was putting
out a gang of bullshit. You just just ship that
wasn't going. So we ended up coming through. But it's
like I said, it was at the time where Capitol

(19:38):
was like, we ain't really fucking with Orpheus no more.
So what happened was we put out It's a Compton
thing through Orpheus, the first album, ce Them Dub album,
and then.

Speaker 1 (19:55):
The whole album.

Speaker 4 (19:55):
Hell No, a lot of it was produced by dj
A No One produced a little bit. But Unknown was
really like the executive motherfucker. He you know, he was
the motherfucker who knew the game. We didn't know shit.

(20:15):
I didn't know shit. You get me. So that's how
my publishing got stolen. You know, he stole my publishing
and all of that. I was just a young nigga
eager to rap. You get me, I didn't know. I
was seventeen years old. I didn't know shit about contracts
and lawyers and.

Speaker 3 (20:32):
All of that.

Speaker 4 (20:33):
Nigga, all I wanted to do was be on the
cover of Fresh or right on Nigga riding that limo
with that doukie rope on and you know that made
me feel like I had accomplished something in music.

Speaker 1 (20:48):
Did you have any dealings with Jerry Heller at the time,
Hell no, I never went the.

Speaker 4 (20:55):
But see, all the niggas was was And I don't
want to call him crooked because I tell Steal this
all the time. If you don't know, you don't know.
And like my nigga still is probably a rare motherfucker
because he believe in being fair with niggas. But like

(21:15):
I tell him all the time, if a nigga gonna
fuck you, he gonna fuck you. If he can, he's
gonna fuck you.

Speaker 3 (21:21):
And at that time, all.

Speaker 4 (21:25):
These little independent labels that were running around the city,
if they got them are artists, they was gonna fuck
you even at Micola. You know, we've heard rumors about Micola,
how they would backdoor the records. Of course, you've been
hearing rumors about that for years, man, man please, So,
like I said, we signed the Orpheus and then that

(21:46):
deal fell through, and then the record, I guess it
sold about two hundred thousand copies. So Orpheus went over
to Sony and so we ended up getting a deal
through Orpheus. Through Sony, we moved like two hundred thousand

(22:09):
units on our very first record, and we had one video.
We had no radio play, no promotion, no nothing. We
did about two hundred and some thousand. So Orpheus basically
they got dropped by Capital and then EA my probably

(22:32):
wanted to sign us. So we did the New York
trip and went to go sit down with EMI and
Chrysalis and all that. But like I said, at the time,
they had no idea what to do with us, you
get me, They had no idea. So we came home,

(22:52):
we didn't have a deal, and then next thing you know,
we signed to Sony and Epic and I did two
records over there through Unknown and Orpheus, and then I
found out a nigga was stealing money.

Speaker 1 (23:07):
And you know, so at that time, this is like
ninety ninety one, right, this is around yeah, between ninety
one and ninety three, when Tim dog Get the Fuck
Compton record, did he put y'all in there? Did he
mention Okay, he.

Speaker 4 (23:25):
Didn't mention us, But we did a record on Music
to Drive By called fuck Tim called It was called
Who's Fucking Who?

Speaker 3 (23:36):
And it was aimed at Tell.

Speaker 4 (23:37):
We just felt we just felt disrespected because of all
the bad rap we were getting because of our style
of music.

Speaker 3 (23:52):
You get me and everybody knows, you know, as far
as the majority of hip hop, you know where it was,
you know, a high notoriety.

Speaker 1 (24:05):
You know, a lot of people felt disrespected because the
West Coast welcome a lot of hip hop records KD.
So everybody would come out here. We welcomed them with
open arms.

Speaker 3 (24:15):
Yeah.

Speaker 4 (24:15):
We we've we've put on the shows with the with
the run DMCs and the Houdini's and the l l
s and the Eric b and rock Kims, and even
to this day, outside artists get more love and respect
than I think hometown artists do.

Speaker 1 (24:35):
Did y'all perform at Skateland World on. Hell No, we couldn't.
We couldn't do that, not even World on Wills.

Speaker 4 (24:44):
Oh no, No, at that time, we were, at that time,
we are what what you would call like.

Speaker 3 (24:54):
We were stuck in the hood.

Speaker 4 (24:55):
I didn't venture outside of Conton like half of my
the beginning of my career rap career, I didn't leave Compton.

Speaker 3 (25:07):
I mean that's all I knew.

Speaker 4 (25:09):
I didn't, you know, as far as the game Banger
ship is concerned, we didn't travel outside the hood.

Speaker 1 (25:17):
You knew a lot about hip hop dog Oh yeah, man,
I was around all that stuff. I was with the
L A Posse and all those guys. Oh yeah, my boy.

Speaker 4 (25:25):
Slip he ran LA Sound Control, so they used to
provide all the sound systems for all the uh LA
Convention Center concerts. You know when they would bring run
DMC out here. My man Slipping them would provide the
sound systems, tables, all the big Serwin vegas and all

(25:47):
that shit.

Speaker 1 (25:48):
Did you ever go to the Uncle jm Army?

Speaker 4 (25:51):
I was young, but once I hooked up with Slip,
Slip was like I said, he ran LA Sound Control,
O Mob and then he was a local DJ at
a lot of those clubs back then water to Bush Paradise.

Speaker 3 (26:09):
You know, so are you cool with Unknown? Still? I
haven't talked to Unknown?

Speaker 1 (26:16):
Word?

Speaker 3 (26:16):
Yeah?

Speaker 1 (26:17):
How about how long?

Speaker 4 (26:20):
I haven't talked to Unknown since uh Sony decided to
kick him out of my deal because I was complaining
when I found out he stole publishing money.

Speaker 1 (26:32):
So you know, uh, I just saw him on some
ship he was on. He was on a covered up.

Speaker 3 (26:44):
Yeah him a lonzo school. My problem is this.

Speaker 4 (26:48):
And just like I say, if a nigga, if a
nigga can fuck you, he gonna fuck you.

Speaker 3 (26:53):
Now, I was a young dude.

Speaker 4 (26:56):
I knew nothing about the music business. I was just
coming into trying to find my identity.

Speaker 3 (27:06):
As far as.

Speaker 4 (27:09):
I'm gang bang, I'm claiming a neighborhood blob. I knew
nothing about the music business, but when it started, it
caught me like, you know, I'm finding myself not going
to the hood today because I'm sitting at home fucking
writing raps and shit. And so it caught my interest

(27:34):
because I looked at it like the fuck am I Finna?
Do you know you're trying to figure yourself out? Around
sixteen seventeen eighteen, what I'm Offinna?

Speaker 3 (27:44):
Do you get me.

Speaker 1 (27:47):
Were you guys and basically quick the first cruise to
claim sets, because I don't remember anybody claiming an actual set.
I knew people were part of sets. You guys openly
the set, and that was the first time I've seen that.

Speaker 4 (28:02):
I didn't when I first started rapping, I didn't openly
say I was from trag New Park because I was
from trag New before, you know, before I started rapping
and around Compton that people knew exactly I already knew.

(28:28):
I didn't feel the need to do that. Now people
knew we were crips, you know what I'm saying, because
of the references. But I never openly came out and
said trag New And probably until my fourth or fifth record,

(28:51):
we were already gang banging. That was, like I tell people,
that was before.

Speaker 3 (29:00):
Rap started.

Speaker 4 (29:01):
So partly, you know, the situation with that is, you know,
I was from trag New, he was from his neighborhood.
That was openly known before records even you know, it
started coming out.

Speaker 1 (29:16):
So let me ask you this, your movie that you got,
is it dropping at the end of this month? It's
dropping this week. Yeah, That's why I was gonna say
Microphone chellphone check. Yeah, you talk about the origins of
hip hop a lot over there. Do you touch on
the West Coast and no, We're gonna have to do
another film about the West Coast. That's why I'm tropping up.
Definitely be evolved. Absolutely, we would like to definitely because

(29:39):
Bob kat when you mentioned the La Bob Kett is
my god brother. Oh yeah, Bob is my god brother,
So I would definitely he definitely want to be a
part of that. You talk about something, That's what really
caught me. That's when I really start. I said, this
brother know what he's talking about. And I think I
commented on your Twitter page or ex or whatever it's called. Now, right,
I've been hearing the a lot of brothers, primarily from

(30:01):
the East Coast. No disrespect, none of them kids, right,
but they starting to rewrite history a little bit of
saying like hip hop is from the Caribbean. Now, that
may have been your inspiration, but that's not where it
comes from. That when you do a microphone check, did
you address a lot of that stuff? We dress all
of it, man, because you know, the fiftieth anniversary of

(30:23):
hip hop is here, so now that hip hop is
a positive thing. And it's corporate now, so there's a
lot of money coming into it. And plus they got
the b boying and break dancing in the Olympics now,
so now there's a lot of money in this. So
whenever something is looked at it's positive that we create,
we always have to get it taken away from us. Now,
they got to have a co creation origin. They got
to say we got it from Latinos and the Caribbeans,

(30:45):
and no disrespect to them, but hip hop and rap
none of that came from the Caribbean. There was a
myth that got started in the eighties that rap came
from Jamaican toasting. That's not true. And another myth they
tried to say, well cool hert is the creator hip hop.
He's not the creator, he's the godfather. Tell you who
the creator hip hop feels to be technical wition A

(31:08):
guy from North Carolina, Pig pig me Mark yeah, HIGI yeah.
That that record. He was actually rapping over a funk
break and a lot of rappers actually got their cadence
from that, and you know where from that, I'm gonna
tell you something. And him being from North Carolina, he
kind of made his bones in the Chiplan Circle in Harlem. Yeah,

(31:29):
and he was at the Apollo all the time. So
I'm pretty sure somebody went to the Apollo because he
was there like every week and he was winning that
motherfucker and he I'm pretty sure somebody went to the
Apollo and said, you know what, that's kind of tight,
same thing he was doing. If you've never heard from
the judge, Yeah, yeah, But we've been rapping on records
since the nineteen twenties. We've always done that, even without

(31:52):
when we weren't doing records, we would do something called hambone.
We were pad on our bodies and hambone Hambone. Have
you heard I'm Gonna Buy your mocking Bird? And know
mixed Master Spade he would wrap in the hambone cadence.
That's hamdbone, you know. So that's a part of our culture. Man,
we've been doing that stuff. Oh yeah, for sure. That's why,

(32:12):
because you know, shout out to my guy, mister Mix.
I learned a lot about hip hop being on the
road with you know, between Bobcat. The foundation of hip
hop first of all is the DJ DJ slip. You
feel what I'm saying, DJ Slip? That was his guy, right,
you know through all the albums, right, so they would

(32:33):
hit me these records. I remember mister Mix played me
a record one day and he was like, this is
the first hip hop record right here, and he had
to treat that motherfucker like gold had in like this
little pillowcase and bored it from the top. Bitch. Sheldon
played it for me, man, and I said, wow, when
is this when this record come from? And like you said,
I found out later on that they had been making
records since like the twenties. And this is the people

(32:56):
right now. I'm seeing the culture get pill for from us,
like I've heard then. I don't never dissed nobody on
this show. We ain't about that. But I'm hearing people
go out there and say things on major platforms like
CNN because they just invite people. They go what they
do with these major publications, these major media houses. They
go look at whoever got the highest amount of people

(33:17):
on their Instagram with a YouTube, and they say, oh,
he must be an authority. So they call them people
in there, and they're in there acting as representatives for
a culture that they don't know shit about. So they
get to telling all these lives and stuff and those
lives eventually become fact. And that's the problem. Man. We
got to start gatekeeping the culture because what happens is
we let people tell these lies. They tell a little

(33:38):
lie and they get away with that, and the lives
just get bigger and bigger. So now when we start
reclaiming our music genres, they treat us like guests in
the genre, like Beyonce. Beyonce has a country album and
a lot of the country fans are acting like she's
a guest in country, like she's disrespecting country by claiming it.
But we created country music. I was created by foundational

(33:59):
Black Americans. Thing with rock and roll, they treat us
like guessing rock and rolls our music. They do the
same thing with jazz. They try to make us guests
in jazz. Now that's our creation, and it's happening with
If we not careful, man, I was telling somebody the
other day, I said, if we not careful, hip hop
is go go the way of rock and rolls and

(34:19):
all those other genres because if you look up thirty
years from now, because I'm looking at them like white
kids right now, I'm by no means racist, but I'm
telling the truth. This is fact right here. I'm not lying.
If you look at it now, they seem to be
pushing my booty holeless pink and this and that and
I sucked dick last night. Yeah you feel what I'm saying.

(34:41):
It's like they're seeing some wild stuff on these records, man,
and the other stuff is not really getting no attention, right.
Ain't no balance now, man, They just have a one
sided stereotype. They don't have any balance no more. Like
going back to the eighties, cats rapped about gang banging,
but they would put a consequence to it. Yeah, you
guys would have a consequence. Yeah, we're banging, but this

(35:03):
is gonna happen if you bang.

Speaker 4 (35:04):
Yeah, I told you, you're gonna go to jail, or
you're gonna get killed, or you're homeie gonna get killed,
or they're gonna do a drive by on your house,
or the police is gonna do this or that the other.
So we always tried to make it, like you said,
a consequence, right, Like with six.

Speaker 1 (35:21):
In the morning, with ice Teeth, there was a consequence
all that stuff he was doing, ice Cube gangs, the gangster,
all that gangs and stuff he was doing. In the
end of the song Now I'm back in the County Blues,
you know. So there was always a consequence, so they
the artists knew to have a balance, like we're not
trying to tell you to do that. This is what
we did and this is the consequence of it. So

(35:41):
y'all don't do that. That's why they had we're all
in the same gang movement going on. They had self
destruction text saying, hey, don't rock with crack. Crack ain't cool.
That's why crack is looked down as negative today because
the rappers made it now, Oh for sure, even a
lot of people, especially for Mark generation. Yeah, if it
wasn't smoking weed or having a little bit hennessy, we
didn't mess with it because you was looked at as a.

Speaker 3 (36:02):
Fiend ry type of drug.

Speaker 1 (36:05):
Rappers rappers made that made that a negative thing. Even
the dudes who were serving, like, hey, yeah, I'm doing this,
I'm trying to get out. Don't you fuck with no
bullshit like this. This ain't it?

Speaker 3 (36:15):
Yeah for real?

Speaker 1 (36:15):
Now it was glorified and hercosets and ship. That's you know,
they make that ship sound cool now, Oh, they make
it sound real.

Speaker 3 (36:22):
Cool because of the generation.

Speaker 1 (36:25):
You know, it's because of the corporate structure. Man, the
record labels make them do that ship. They incentivized them.
They give them more money for that type of stuff,
whereas man back in the day man cats had somewhat
of a cold. Some people will say, hey, you niggas
would run up in record labels and smack motherfuckers up
back the dude. Yeah, they didn't really play like that
back then with these majors. They would tell them, Hey,

(36:46):
I'm not doing this bullshit. I ain't putting on no dress,
I ain't about to do a duet with Kenny g.
You know, you would tell them what I'm saying. You know,
we would stand up. Yeah, they would stand up.

Speaker 4 (36:57):
You can come in and kick your motherfucking dough in
with a couple of baseball bats. Nigga, I'm not playing like, no,
I'm not doing it. And that's why people asked me
why you never did this or why you never did
more movies, because it was like, do you want to
be Can you put on the nose and paint your
face and put on the clown wig and can you

(37:17):
just And I'm like, no, man, how did you get
the role for.

Speaker 1 (37:22):
A minister society ship?

Speaker 4 (37:30):
The movies were getting popular with us in them, you know,
as far as rappers, you know, well we had uh well,
first of all, we had colors, so that kind of
set the tone a little bit. And then you know,
we had fucking Juice with Pok. We had Boys in
the Hood with Cube, we had what Trespassed with Ice

(37:51):
Tea and Cube. We had South Central with Glenn Plummer
and shit. So it was the Huge Brothers.

Speaker 1 (37:59):
You get were you and those early reads with Tupac
when he was there? Yes, okay, how was that and
what happened? What went left?

Speaker 4 (38:08):
Honestly, honestly, the Huge Brothers, I don't think they really
they didn't really want him in the movie. Really, the
Hughes brothers had been fucking with Pac for a while.
They did like Boutwatch. They probably did about five six
videos on Tupacs, so they knew him. They worked with him,

(38:33):
and you know, my mayor, Pac was very strong willed
and so you as a probably video director or you know,
your patients probably wore a little thin after working with
the controversial brother for five or six times. So but

(38:59):
at the time, and you know, you got this movie,
you got you know, the hookup with this company and
Tupac's demand, Yeah, come on records, the controversy. You know,
fucking my nigga got juice, my nigga got poetic justice.

Speaker 3 (39:19):
Like we we we got fucked with him. So that was.

Speaker 4 (39:24):
Probably one of the you know, we'll give y'all this movie,
but y'all gotta put my nigga in the movie.

Speaker 3 (39:31):
And so.

Speaker 4 (39:34):
I don't work with you give me. That's probably the
mind state. But you gotta get in where you fit in, right,
So they put him in the movie, but the character
they gave him was not suitable for him, you get me,
And that was the problem.

Speaker 1 (39:55):
What didn't he like about because he was playing Scharif right, Yes,
they want to reef the conscious guy, but it's Tupac.

Speaker 4 (40:07):
So you got me and a motherfucking you got me
in an al Capone ass killer movie and shit, and
I'm the one standing on the outside going, you know,
I'm that preacher on the corner where you know, you
go through those movies and the Preacher is always on
the corner telling everybody.

Speaker 3 (40:28):
Why am I him? You get me? Why? And so
you want me to be that? Okay?

Speaker 4 (40:35):
So I need an explanation. So I need y'all to
show why eight is a killer. Old dog's a killer,
tyrants turning into killer. Everybody's from the hood hard, But
I'm over here the conscious one. Now it gotta be

(40:56):
because you know, to the guy, I need a backstore, right, yeah,
because in the movie they know there's not a backstory
to this guy.

Speaker 1 (41:05):
He's just there. Y'all don't need to be doing this.
And like I said, of course he's he's he's he's
with us because he's he's allowed, he's everywhere we are.
Why why is that nigga? Of course he's probably from
the hood, but they didn't explain it, and it fucked

(41:26):
with him. Every day we would come to table reads
and it would get to his time to read his part.

Speaker 4 (41:34):
He would not read because he was not comfortable with
the character. Like, man, show me killing a nigga, Show
you know, me going to jail and and then I
change and come out and whatever. But to just have
me this conscious nigga a months a room of gangbanging,

(41:57):
dope dylan killer niggas, like don't make no sense.

Speaker 1 (42:03):
The thing is, you know, as a writer, if he's
not the protagonist, you can always have somebody in the
movie where you don't know their best story. That would
have required them almost going in and rewriting the whole
damn script, right, And that's.

Speaker 3 (42:17):
What he wanted.

Speaker 4 (42:18):
He wanted a backstory, and they were like, we're not
doing that.

Speaker 3 (42:24):
So it caused the riff.

Speaker 4 (42:26):
And you know, you can, like you know, you as
a writer, director or whatever, you can only hold up
shit for so long, right, nigga, The money is changing
it right right. The executives is like, hey, what's going on?
How come we ain't starting to shoot? How come we
still doing fucking table reads and it's fucking two weeks

(42:46):
into this shit. We should be out filming. And that's
because they didn't know how to deal with the interruptions
every day. So after about a week or two, they
just decided, you know, and like I said, once the
bottom line comes and you tell the motherfucker man, we
losing like ten fifteen thousand a day because.

Speaker 3 (43:09):
We ain't shooting, well, they ain't gonna give a fuck
who's in it.

Speaker 1 (43:13):
Do you remember a lot of people was getting cast
in the same movies. I wonder because you know, the
dude that plays Sharif was a gang bangering boys in
the hood. He didn't want took the ball to the ball.

Speaker 4 (43:23):
I went to school with Vontae Yes, oh wow, Yeah,
we went to school together.

Speaker 1 (43:28):
I don't know that.

Speaker 3 (43:28):
I mean, I went to school with Vonte.

Speaker 1 (43:30):
Compton just got a lot of talent. Talent, a lot
of talented folks out there. You know, like some of
the best rappers in the world don't came from the
city of Compton. Compton not if I compared like Brooklyn.
When I explained the people always tell people like Compton
is kind of like the I wouldn't say Harlem is
kind of like the Bronx. Yeah, the West. Yeah, you

(43:52):
can see what I'm saying, the Bronx, you know, And
well I would say Wat's is the Bronx. Compton might
be more Brooklyn. Now, yeah, you feel what I'm saying.
There's a lot of wordsmiths to come out of Compton.
It's a lot of inspiration in the neighborhood. Well, you
had to hustle out there in Comptent, man, A lot
of hustlers out there, cats had to hit the streets.
So they took that same mentality to the rap game.

(44:13):
Oh definitely. You know, I want to ask you a question, man,
and it's really the older. I get this really because
I see a lot of stuff in the culture, Like
I said, like from these big, these used platforms, inviting
the wrong people up to the speak. There are so
many knowledgeable people of people such as itself, people such
as this man right here, as me, a lot of

(44:35):
other brothers out there doing their thing, and it seemed
like we're last to get called for stuff. Do you
think that's because we're threatening to a certain degree, because
a lot of the goofy stuff, man, that's somewhat profitable,
It was profitable. Now we're flooded with the goofy stuff now,
so people are kind of getting tired of it. So
now people want to see conversations like this now because

(44:58):
it's it's out of the norm. You want to get
a different take on something. You can only get so
much heatonism and ratchetness until you say, hey, let me
try something else. A motherfucker with their clothes on is
more interested than all of these naked motherfucker's working if
you see too much of it. So there has to
be balance to everything, exactly, like you know, Big Ups,

(45:22):
the sexy red Yeah, her music is entertained. I think
you know some of us catchy. But like you said,
there's no longer a balance, right because what's the one
sister's name she be busting to? What's her name begins
with R? Yeah? Yeah, I would like to see them

(45:42):
give rhapsody to kind of the same platform that Sexy
Red got because both of Mike. I'm not gonna say
sexy Rid is exactly necessary, but I get it. Well,
you gotta have a balance. We got a whole bunch
of sexy reds out of here exactly, Sexy Red, Glrilla,
Megan City Girls, all of them doing the same thing.

(46:02):
See back in the nineties, man, we had ratchetness too.
We had Little Kim Foxy Brown, but we had a balance.
We had Lauren Hill, we had Queen Latifa, we had
Yo Yo, we had MC lights. So there was a
balance to it, so that didn't overtake everything. Back in
the eighty eight, that was the peak of hip hop.
That was the golden era of hip hop. Nineteen eighty eight. Yeah,

(46:23):
that that year it was so diverse. Many of those
people can still go on tour now. They were that impactful.
It was so diverse. In eighty eight, you had Kidn't Play,
Heavy D, Public Enemy, EPMD, SAWD and Pepper, Rokim. It
was NWA all of these guys. So it was a
taste for everybody. Nobody was acting the same. In fact,

(46:43):
if you emulated another rapper, that would you look down upon. Yeah,
you biting dude, You sound like such and such. Even
EPMD they were criticized for sounding like rock YIM. They
were like, hey, y'all better change that style up a
little bit. So there was a code in hip hop.
Hip hop was still on this code where you're supposed
to be innovative and based on the originality Red Ryan,
you gotta be original. The corporate structure when they got

(47:06):
a part of it, you know, they want cookie cutter.
They want everybody sounding the same so they can send
it to radio. With me working inside the building. I'll
tell you what happened, man, once everything goes corporate. Instead
of them hiring people that are actually qualified for the job,
they're looking for guys that come from where they come from.
They don't want to sit in there and look at
one of us every day. They don't relate to us,

(47:27):
so they want to hire the kids out of which
I don't have no problem with. But he got to
be from the culture. They want to hire a kid
from Cornell All or Brown they make all of these
You know because I've been in these offices before and
seen guys responsible for some of the most important hip
hop artists of this generation. I'm like, this dude, don't
know what the fuck he doing? How's he A and
R for? This dude? He don't know, he don't like.

(47:48):
How am I gonna give him direction when I don't
know where he come from? It's a difference. If I'm
talking to eight, it's certain stuff. I know he's not
going to do off rip, So I'm not gonna present
him with a bunch of tracks that maybe you know
for real, got some bangers by the way, but I'm
not go I'm not gonna bring eight change clothes. You
see what I'm saying. That's not no, that's not him.
I'm gonna bring him some right and and Back in

(48:11):
the eighties, man, when cats made records, I mean you
had to. If you making a record, man, you're putting
all your money together. This is your one shot. You
better come correct with that shit. You better be real creative.
Cats ain't got money to blow in the studio. You
better make something that you know, the hood is gonna
like something that you can take up there to Greg
Mac and kJ and those guys. So you had to

(48:31):
be very serious about what you were doing. And a
lot of those guys knew how to A and R themselves.
They felt what was what the streets was kind of
leaning towards and patterned it on that. And back then
you had the producer. They normally came from a DJ.
Back around again, the sound man. I'm pretty sure Slip

(48:52):
probably was an R and y'all earlier records, y'all were
some young guys, so I'm pretty much I'm pretty sure
he was probably telling you ight say it like this
or do this this. Am I correct? I kind of.

Speaker 4 (49:09):
I kind of never uh had to go with that,
uh as far as came to recording, because I took
pride in writing and saying shit. I was the type
of motherfucker back then that I wrap some ship and

(49:31):
get halfway through the verse and say stop it and
go back.

Speaker 1 (49:35):
Oh, so you was producing your let me do.

Speaker 4 (49:37):
That over, and you know, I do it again, and
we'll listen to it and I'd be like, oh, I
fucked up on that part. Let's do that over or
I'll be like or you listen to me right there,
or and then you know slip would give me that.
But I think I just took pride in wanting to
be a good MC.

Speaker 3 (50:02):
Back then, you know, it was hard.

Speaker 4 (50:06):
To maintain or get any game you get me. It
wasn't simplified like it is now. Shit, I can sit
in my you know, my room, turned on my laptop,
get me a microphone and being now like you said,
back then, and it was costing two three hundred dollars

(50:27):
an hour to go up in one of them studios
within two inch reels, and it's ugly.

Speaker 1 (50:32):
Now with this AI shit is about to get real
ugly for a lot of people because if you look
at what they just did to Spotify today, right, they're
about to open up all this other stuff and they're
taking more money from the artists now, right with this
AI stuff is scary, man, because the AI stuff, it's
a great tool, right, but it's gonna start replacing a
lot of people, it is. It's gonna start replacing a

(50:54):
lot of people. Pretty soon. They're going to have an
AI version of and I'm gonna tell you it's coming.
They're going to have an AI version of a rapper.
They already got one. It was a guy. A couple
of years ago they announced they had an AI rapper,
some some white dudes. Yeah I remember that. Yeah, And
people were like, hey, what the hell is that? Then
they got quiet about it exactly because I'm gonna tell
you what's about to happen. They're not gonna tell us,

(51:15):
We not gonna know. It's gonna be a dude that's
gonna be the perfect the perfect MC almost and he's
gonna be all AI base watch see what I tell you,
because because I'm gonna I'm gonna tell you, man, people, it's.

Speaker 4 (51:28):
Just like a motherfucker like they doing with the companies.
We don't need you to stand here and screw a
handle on the car no more or whatever you give me.
We got the motherfucking machines that do all that ship now,
So why would I want to deal with a motherfucking
nigga who is a knucklehead and helen from my whatever whatever.

Speaker 3 (51:47):
I can just go create a nigga like that.

Speaker 1 (51:49):
And punching my computer what type of attitude and what
this and what he won't and then and then take
it on tour with a hologram exactly and make all
the money Matt merchandise and everything about and the kids
go go crazy about it. I'm telling you with scary
man Now, I forget which rock and roll dude, and
I fuck with him for saying that man the guy

(52:12):
from Kiss, Gene Simmons, Gene Simmons. They offered Gene Simmons
like a ridiculous amount of money for his like virtual rights.
I think they offered that man something like fifteen to
twenty million dollars and he said no because I can't
picture them. They not gonna care about the quality of
the stuff that I do. They go have just and
everybody just can't come and write a Kiss record, right,

(52:32):
So I want all these people to go on our
farewell tour to remember me from being this. If they
want to see us, they can go buy the video,
right right right. I don't want a ghost version of
me floating around here one hundred years from now. Yeah. Yeah.
When they did something on one of those Grammy shows
where they had a hologramd Michael Jackson, a lot of
that turned a lot of people up. I didn't like it,

(52:53):
you know, because there's only one Michael. It don't that
thing don't have the spirit of Michael. They need to
leave that alone. And when Drake did that dis record
and used Tupac's vocals, a lot of people got turned
off from that too. Or his family was pissed off
about that. Yeah, everybody was a lot of folks are
pissed off on that. And I'm gonna tell you, dog, Tupac,
I think people aren't even where Tupac got a lot
of family members to still here because I managed Glass

(53:16):
to bloge. I remember when he put out South. That's
when he put out the Tupac Much Die record. Whenever
Glasses released a record, my lip my dining room is
like the war table, right. We had come in there
playing and stuff. Man, I remember the phone calls we
was getting me and him was driving down the one
oh five freeway. Dude, and Tupac's cousin called him, was like, man,

(53:36):
what the fuck? You know what I mean? But he
hadn't listened to the record. He just saw And that's
why I told him. I never liked the name of
that record because to me, it took away from the story.
But he was trying to be provocative. Yeah, he was
trying to be provocative, but to the average person, all
they see is Tupac much that what the fuck is
he saying? He was talking about, you know, from the
mind of Orlando Anderson, right, and it just kicked off

(53:59):
a lot of stuff that I don't even know what's
worth doing, or kicked off a lot of stuff, man,
And I think the one thing that they would never
be able to emulate with these AI whatever you go,
always have to have somebody writing. Yeah, yeah, you always
have to have somebody writing, because I don't care what
you say. Ain't no AI go spit no gangster shit

(54:19):
better than Scarface or mcas or now or whoever they not.
It's not gonna be able to do it. But everything
is turning real vanilla and saccaring right now. I'm really
worried about the culture right now, even to the point, man,
where do you think this comes from? To me, I
call the baby man syndrome to where you got a
whole bunch of cats now online from their forties to

(54:41):
their fifties just acting like little kids. Pro And when
I say acting like little kids, that's almost insulting our
young generation. The kids are more mature. My kids never
acted like them these games today, Man, what what can
you attribute that to?

Speaker 3 (54:54):
That man?

Speaker 1 (54:55):
Look in the system of white supremacy, and doctor Welson
talked about this, the white male is supposed to be
on top. And if you don't challenge the white male,
they put you in either one or two positions. You're
gonna have to be a grown boy or you're gonna
have to be a male woman. You understand. So dudes

(55:15):
either take one or two routes. They're gonna be over
feminized or they're gonna be ultra babyfied. That's what the
movie Baby Boy was about. And in the movie Baby Boy,
they had a doctor Wilson quote at the beginning of
the movie. The Jody character living with his mama. He's
a big, overgrown child because of arrested development. And that's
a problem. That's why we always have to be in
a position to say, hey, man, we got a problem

(55:36):
with systematic racism. Let's not be ashamed of it. That's
an issue. Let's deal with it, and let's acknowledge it exactly.
And I think right now, if you look at it,
all that stuff seems to move the needle. Now, yeah,
anything negative, if you go say something really positive and profound,
it's gonna get buried. Nobody's gonna nobody wants to hear.

(55:58):
But if you're seeing something crazy in the landish, oh man,
it's gonna break all kinds of records. Man. Look, when
I did my books The Art of Macin, I was
on MTV VH one. They were trying to give me
a show on NBC. They were trying to give me
a late night show. That's why I was on. If
you go Google, there's images of me. I was on
Conan O'Brien The Tonight Show. I did all that stuff

(56:18):
because I was just doing relationship books from a kind
of satirical standpoint, so that was non threatening. When I
started doing the Hidden Colors films, that's when I started
getting negative pressed. When I said, hey, let me teach
about black history, all of a sudden, I'm a race bata.
I get all of these negative headlines. I'm getting visited
by the FBI and all that stuff. Oh many times.

(56:41):
They I can't even go to England. I'm banned from
the UK because of my films. Are you serious? I'm bad.
I cannot go to the UK. I was gonna go
over there to have a film screening, and the airport
they had to take me off the whell. They wouldn't
let me on the plane, and they had phone calls
going all over the place saying that I'm not allowed
to go to the UK from not because you've got
a criminal record, not because of the book that you wrote,

(57:05):
because of the movies he Tellor's movies, because of those movies.
They said that my presence is not conducive to the
good of the society there. Basically, I might wake too
many black folks up. You start waking up black folks,
that's a problem. That's why let's go back to the
rap thing NWA. When they were fucked the police, they

(57:26):
were getting the FBI letters. I talked to Greg mac
one time. He told me the FBI was up there
Kday asking about easy in those guys. When you're talking
revolutionary and you're independent, that's a threat, you understand. That's
why the music industry they have to get control of
independent artists and say, hey, no, no, we can't have

(57:46):
you out here moving those records saying what you want
to say. Get us under you. Let us get you
under our wing so we can control what you say
and do. Wow, man, it's heavy with all the changes
that we've had in America, things have gotten a lot better. No,
we've had some progress in this country. We've had to
fight for it. We made it happen. Do you ever

(58:07):
see us getting reparations? Absolutely, because the thing is, man,
it's they already have to spend the money that's used
on reparations for defense. Man, when they militarized the police,
that's the reparation's money right there. All they have to
do is do the right thing. Look, man, they started
militarizing the police after the Watch riots. After the Watch riots,

(58:28):
they saw black folks was actually whooping ass in the
nineteen sixties. That's not talked about black folks. They'll show
you some black folks getting beat on, but low key
black people were bringing it to the Cleveland, Cleveland, Cleveland, Detroit, Yeah, Chicago. Man.
In Illinois, there's a town called Cairo, Illinois. Man, they
ran all the white people out that town in the
nineteen sixty engineered probably here like what then let me

(58:59):
look listen, listen, man, I don't know. They probably picked
the wrong guy. We're talking about Tupaca. Man, listen, listen
to me. Man. You had groups like the Black Liberation
Army putting in work that's where Tupac comes from. That's
his stepdad, Matulush you cor he was from the Black
Liberation Army. They the one broke aside of Shekur out

(59:20):
of jail. That was Tupac's god mother. Tupac shot the cops, remember,
yeah he shot Yeah, definitely. Yeah, that's when that saw
his election kind of cause I'm gonna tell you interesting story,
not to cut you off. So Bob Kat was one
of the first producers in LA that really messed with Park,
you know, like really you know, he did strictly for
My Niggas album. That's when Park was kind of going

(59:42):
on his own, not leaving shots. She was kind of,
you know, getting his own identity, right.

Speaker 3 (59:49):
Pac.

Speaker 1 (59:51):
That's the Tupac. I loved the revolutionary, the revolutionary that
told black women how beautiful it was that but she
had to turn around and shoot a cop. And I
asked because he thinks he out there fucking with a brother,
but he was a sponge. Yeah, ultimately, you feel what
I'm saying. And I just really think, man, we missing
that in the community right now. Yeah, because our we

(01:00:13):
we don't have no leadership no more. Man. I always
look at myself because if you look at Black America now,
it's set up to where the young people hate him.
Oh six year old ass, Now you don't need a
rap no more. Get out the way. That's the whole
thing is. So it's this dynamic get out the way
so I could make my way through instead of them

(01:00:34):
coming to sit with this brother and say, hey, I
wanna be able to sustain a thirty year career like
you did. Yeah, what can I do? Yeah? You got
you know, sixty year old dudes trying to get record deals,
and you got fifty year old women trying to be
video vixens. Now they're trying to compete with the young girls. Now,
So right, we don't have that balance of leadership of

(01:00:54):
just a adult supervision. Cause it wasn't like that. I
went to the older dudes. I revered the older dudes
in my hood that were that may have went on
before me and played college football. That's how I got
up out of Cleveland because an older dude that played
he went to a junior college. I don't know what
they like. Junior. I thought it was old with for me.
After my high school career, all them d's I had
on my report card. Man, I never thought I would

(01:01:16):
go to college. But because of him, he made some
phone calls for me and next thing, you you know,
send some film off. Back in the day, had to
put shit in the mail. You see what I'm saying,
Them bigger ass around tapes. You know, you had to
put them in the mail. And next thing you know,
I got a call from five to six junior colleges
around the country. They were like, hey, we interested in
bringing you out. But there was a leadership. It was

(01:01:38):
like everybody looked out for each other. Now, everybody is
too busy to be in competition, right Even back in
the day, man the eighties, even the street cats would
look out for people who had potential. If you saw
somebody trying to venture off in some street business, the
hustlers would take get your ass off this. Well, definitely
get the fuck out of here. Man, don't come out

(01:01:59):
here banging with us.

Speaker 4 (01:02:00):
We definitely didn't want to deter brothers away who had potential.

Speaker 1 (01:02:06):
To somebody say more, there was a reason why he
stopped going to the neighborhood, Ain't that rect I mean,
sometimes you just get to a point where people see
that you can do.

Speaker 3 (01:02:19):
More than what you think. You feel me.

Speaker 4 (01:02:23):
Uh, And that's just people seeing the potential. Like I said,
a lot of people look at you and and try
to determine because where you come from where or your
situations of where you live. But you know.

Speaker 1 (01:02:39):
That's that's those old cats, that's the motto that we
came from, uh, to watch out for our youth and
are inspiring. Do you think Lonzo kind of did that
for you guys to a certain degree.

Speaker 4 (01:02:52):
But Lonzo really didn't where as far as you know,
as recognizing talent. And yeah, he felt like, I can't
fuck with y'all, But then here's a dude who could
fuck with y'all. Because at the time, it was coming

(01:03:12):
out of his era of music, you know what they
were doing.

Speaker 3 (01:03:20):
At first.

Speaker 4 (01:03:21):
You know, he probably hated that shit, you know, like
it portrays not hated it. But we have been successful.
What's what's right here? And like you know a lot
of people like to use the term if it ain't broke,
you know, don't fix it. So that's the way he
probably was looking at his success in his career. We've
been we've been quite successful on what we've been doing.

(01:03:45):
So but at the time the music was changing, you're
getting the Brothers from New York was coming out and
we was hearing that. And then you know, once Once
Easy came out, and like you said, we had dudes
like Spade and Toddy t who were already giving us
tales from the neighborhood. You know, a lot of the

(01:04:08):
ship was underground. So that's just how ship was. You
know what I'm saying. Someone be going back to let's
say Unknown, What happened with Unknown man? I heard something
happened with him up a death row. Somebody put hands
on it, right, what happened? I've heard different versions over

(01:04:33):
the years.

Speaker 3 (01:04:33):
This is the story that I know we were working on.

Speaker 4 (01:04:41):
We had just came off for a straight checking the
record and Dre had just left Easy got with sug whatever.

Speaker 3 (01:04:49):
So we basically sat.

Speaker 4 (01:04:53):
Down one night, me Unknown, Uh Slip and my nigga
Chill and the Unknown told us that Dre was Finnah
start a new label and they were looking for a
name for the label. Long story short, we came They

(01:05:13):
came up with the death Row name. We basically came
up with the name, me Unknown, Chill and Slip. Yes,
they called it d E F first and and I
think if I'm not mistaken. Unknown took it to Sug

(01:05:35):
and sold it to Shug the name whatever. But that's
how he got in with Sug in them because Sug
knew that he so called was producing our records comptas
Most Wanted, and I think we were on our third album,

(01:05:56):
so they enlisted Unknown to do production work for The Convicts.
Was supposed to be the first group. They came three.

Speaker 1 (01:06:13):
That's three two and Big Mike used Texans.

Speaker 4 (01:06:20):
Group called the Convicts. That's right, that's right, that's right.
They were supposed to be the first group on death
Row because I don't even think they had snoop yet.

Speaker 1 (01:06:33):
Wow, what that record was Big Mike's record, the one
to break them off? Some break them off, some of
the deep cover record.

Speaker 4 (01:06:43):
So because Unknown got in with him, he took some
money from them to do beats. Sugar was expecting the
beats Unknown was using. From what I hear, every time
they asked for the music, he was like, well, I'm

(01:07:04):
busy right now working on Compass Most Wanted record.

Speaker 3 (01:07:08):
That didn't fly too.

Speaker 4 (01:07:09):
Good with Shuit, especially when I done gave you money
to turn in beats. So I heard he was up there.
One day they questioned him about the beats. He didn't
have them, so they took off on him. Yeah, because
he came to the studio with us about three days
later and we couldn't figure out why he had sunglasses

(01:07:32):
on in the dark ass studio, like why you got
sunglasses on? And that's around the time when I stopped
fucking with him because I had found out that he
basically stole publishing money. I wrote all my songs. I
never I never had a ghostwriter. I never had so

(01:07:55):
half of that publishing was mine. I wrote every fucking
CMW you song, every m C eight song, never had
a ghostwriter, never had any help.

Speaker 1 (01:08:07):
So you co produced them in the record, say hey
this sound I started. I started well. I would always
bring music to him. I would go like, hey, let's
use this record, Let's use this record, sample this record,
sample this record. I started doing that around the second
straight checking them record. I was interested in producing, so

(01:08:30):
but yeah, once I found out he.

Speaker 4 (01:08:32):
Stole publishing money, and that was kind of the end
of it from there. You know, I'm a young kid
from content. You know, I ain't know no better. Like
if you could have asked me back then, I would
have been like, what the fuck is publishing.

Speaker 1 (01:08:48):
I want to go back, like, what the fuck is publishing?
I want to go back to this because we touched
on it, but we did. I'm going to talk about
this reparations.

Speaker 3 (01:09:00):
Yeah.

Speaker 1 (01:09:00):
Yeah. If you look at the impact that slavery had
on this as the people, it's still lasting up to
this day. You know, I was talking to my dad.
My dad is seventy nine years old. He was just
out here with me, shout out to Butch. But we
were talking, and you know, he had a father who

(01:09:21):
had a whole nother family in Tennessee. That was just
the dynamic back then. It was just like he was
just rolling around the South sowing his seed. And my
dad was telling me, you know, is this as your
parents get older, it's important to ask, you know, uncles, aunties, Hey,
where is it that we from? Yeah, so I got
a whole. My family is from Memphis, I got a whole.
My grandmother was from there, and my grandfather was from there.

(01:09:42):
But apparently my grandfather had a whole another family down
there and had another family in Arkansas too, So he
would disappear sometimes from my grandmother and them, who had
ten kids with him. He would disappear for sometimes for
a whole year and go off here, you know, playhouse
or whatever like that. And I had and all the
ways we got old ryankle. Disrespecting them is just the.

Speaker 3 (01:10:02):
Truth, right.

Speaker 1 (01:10:04):
I think all of that stuff, man, that's like a
stud almost he gets around there so on to see.
I think all of that stuff got embedded into our
DNA somehow.

Speaker 3 (01:10:14):
Man.

Speaker 1 (01:10:14):
We suffered a lot because of that shit. Man, We
suffered a whole lot, man. And I feel like everybody
else kind of gets taken care of. Like you know,
if you and I don't want to say that, you
can't say shit nowadays without getting in trouble. But if
you come from another country, you can come over here
and get all kind of helped open up a business
and all that stuff. But no one is said. And

(01:10:35):
the biggest is the thing I hate hearing, Well, that
was so long ago. Why are you still so worried
about it? It's like you bullshit. It wasn't your generations,
Your people wiped out. We don't even know where the
fuck we come from. What the fuck is black? Yeah,
but they said they give red natives, they give them reparations,
they give them big money, casinos, tax free status, and
that happened long ago. They tried to play the longergo

(01:10:57):
game with us. It wasn't that long ago. Man. Grandmother
was alive when Harriet Tubman was alive, So we had
people who were former slaves still alive in the nineteen sixties. Man, See,
you come from the same kind of background I come from,
because my grandmother had told me that her mom was
just fresh out of slavery. And then in the Annabelle himself,

(01:11:21):
a lot of that shit was still going on up
intil the motherfucker forties. I mean they still got plantations
down slaves was still going It was a lot of
people who just were afraid to leave masters proverbial house
that were still down there working for free. And then
after slavery, they had the sharecropping thing, which was another
former slavery because they were working for peanuts. So that

(01:11:42):
legacy is still there. We've never been compensated for that,
and we got to stand on it and demand the compensation.
People thought we weren't gonna get out of slavery. When
we said, hey, we need to get rid of the
slavery thing, people said that's impossible. We did it. We
actually fought they got to get out of slavery. That
was something on aass roots level. Black people were fighting.
You had maroons living in the swamp that were attacking plantations.

(01:12:06):
Before the Civil War, you had the Seminal War, which
was a black war down in Florida, where they essentially
wiped out most of the plantations down there. They don't
tell you about this. The US Army was down there
trying to suppress the black people. They ended up sending
a lot of black people to Oklahoma. We were fighting
our way out of slavery in the nineteen sixties when
people were saying, y'all ain't gonna get no civil rights,

(01:12:27):
we fought and got civil rights. Whatever we focus on
we can get, so we'll get reparation. We just got
to stay focused. So just think about the absence of
a black father and the home. It's almost like we're
programmed because they come and tell a woman, hey, for
every child you have, you're gonna get three four hundred dollars.
So you have women go out and have a church
full of kids. They're gonna move in the apartment. It's

(01:12:49):
really not that bad, right, She's gonna pay fifty dollars
a month. But guess what one of the main things
is you can't have a game have a man here
with you if you get a man and you lose
all this. So now you got women of the mindset. Well,
I don't even need a dude because and and the
media was a big part of that too. In the sixties,
when they were getting black men out of the house

(01:13:10):
with these little Section eight welfare programs, they started putting
on television shows with single black women, making that seem
like it was cool. They had Diane Carroll do a
show called Julia, She's a very beautiful black woman who
was a single mother. That was new. They had a
movie called Claudine. Same thing, Early Sex, Good Times, was

(01:13:30):
supposed to be Florida Evans being a single mother, right
she said no, no, no, I don't want to be
a single mother. She went to the producers and said, no,
give me a husband and James. They didn't want that
image that James Evans. That image still resonates with us man.
That's that was America's black dad. But they had to

(01:13:51):
kill that image off and kill him off, and that
messed with the psyche of a lot of us. Man,
So that propaganda is real. Before we go, man, I
just want to say something about being a father, right.

Speaker 3 (01:14:02):
Yeah.

Speaker 1 (01:14:02):
I loved my biological dad and I loved my dad
to death, and I was angry at him for a
long time until I started getting the understanding and talked
to him about how he came up. Yeah, he had
no blueprint, right, he had no blueprint.

Speaker 3 (01:14:18):
He was a dude.

Speaker 1 (01:14:18):
There was something from his own wounds, you know, his
brothers and sisters getting separated and shuffled across homes, you know,
different homes. That's what they would do if you, if
the mama didn't have enough money to take care of
the kids, they would just put you on Falster Care.

Speaker 3 (01:14:32):
Yeah, man, Yeah, they.

Speaker 1 (01:14:33):
Would just put you on Falster Care. So I had
to forgive him because we got a lot of healing
to do as black men in this country. Man. We
all think we all suffered from some form of PTSD. Yeah,
and nobody suffered from what we've suffered from, man, and
we're told to get over it. Other groups, Man, they
couldn't suffer the half of what we suffered, the stuff

(01:14:54):
that we've survived.

Speaker 3 (01:14:55):
Man.

Speaker 1 (01:14:56):
Growing up in these neighborhoods, growing up in the Comptons
and places like that, these were like war zones and
that was by design, man, And for cats to come
out of all that slavery, yeah yeah, man, that was
a societal plantation that they've created. They created those things,
They created the economic deprivation and then say okay, here
you go, and by the way, here's some crack, so

(01:15:17):
y'all fight over that. And here's a train full of
guns that we're gonna leave over here mysteriously, which is
what they used to do all the time. Oh yeah,
these illegal guns would just pop up in these neighborhoods.
So yeah, a lot of the stuff was orchestrated. And
for anybody to come out of that with your right mind,
that's a miracle right there. Well we have to start, man.
That change starts with us man as directors. And because

(01:15:40):
me and eight we working on some stuff right now, man,
and I fell to him when he said, Man, if
we go do something, I don't want to play the
stereotypical dude. You know, I'm a grown man. I don't
want to run around the pistols. So we could have
them where he's a football coach. Yeah, yeah, doing good.
Because they never show those images on TV. The brothers
that do come out of jail and they because you

(01:16:01):
know we both coached you football right and half my
staff over period mo Man was former feelings, theys out
there with their kids. Man shout out to what snoop
to do with this?

Speaker 4 (01:16:11):
Wif actually change the dynamic of what what was done?
You know, like you said, with your father, a lot
of us grew up single moms. You get me, and
like you said, the dynamic of what the situations was

(01:16:33):
we never knew because we don't know the past of
what our fathers and grandfathers went through. Uh to be
able to have that direction to be better, but you
can break that code.

Speaker 3 (01:16:50):
You get me. Look at your sons, look at my son.
You get me.

Speaker 4 (01:16:57):
It probably be looked at as if our kids would
probably follow with negative footsteps because of what we've done.
What people look at what I've done. You get me
where I come from gang banging and selling drugs and
even with the image of who I.

Speaker 1 (01:17:14):
Was, and now he got a son that's playing college football.
How dope is that? Man? So amazing? That's amazing.

Speaker 4 (01:17:20):
Just like you said, we have to change the dynamic
and of what they tried to put us through. As
far as taking taking the dads out of the homes
and making women feel like, like you said, still, I don't.

Speaker 3 (01:17:36):
Even need a motherfucker today. You get me.

Speaker 4 (01:17:40):
It's hard to raise a kid, and especially as a
young man, as a single mom, when he influences today
that we have. Man, it's just it's just crazy, you know. So,
and we got to understand, man, how we got here. Man,
let's talk about LA in particular.

Speaker 1 (01:17:57):
Man. Look, in the nineteen sixties Central abaw Man, you
had the Black Panthers, black men who said, Hey, we're
gonna feed these children out here. We're gonna have a
free breakfast program, we're gonna have an education program, We're
gonna feed these kids. The Panthers with the guns. That
wasn't the threat because all they did was changed the
gun laws. They changed the California gun laws because of

(01:18:17):
the Panthers. What these gun laws out here? So right
right when they did it, because of the Panthers, and
the NRA was in on it too. They were like, hey, listen,
don't let them niggas have no guns. So that was
neutralized the problem with the Panthers. When you start feeding people,
that's nation building. They said, we got to get these
niggas out of here. They started shooting up the headquarters
of the Panthers. Right after that. That's when the gang

(01:18:39):
started sprouting up. Because the splintered leadership, it was directionless.
These young kids didn't have the Panther programs to go to,
so they started to morph into gangs. Let me ask
you this. It's a reparations march coming up, correct, Yeah,
June fifteenth in Washington, DC, June fifteenth. Everybody's in support

(01:19:01):
of reparations. We need to be out there, absolutely, indeed,
we need because I really feel like you know, and
that's why I get pissed off when people say, well,
why did impact you?

Speaker 3 (01:19:12):
Man?

Speaker 1 (01:19:12):
Did you know how hard difficult? I'm not supposed to
be here. Real talk, real talk. And man, we got
so many out here in l A. We got so
many homeless black people out here. Man, it's pathetic. We
need to be compensated, man, because that stuff has been
orchestra And who is the people? The people tethers. Yeah,
we call people people who are foreigner as we try

(01:19:33):
to undermine our movement, we call them tethers. Just because
you're a foreigner doesn't make you a tether. But we've
called the tethers out because We have a lot of
people who jump up and say, hey, we don't need reparations,
and then we'll look in the background and this person's
from the Congo somewhere, like you're not even qualified to
get it's the deal right now. You know what I noticed?

(01:19:54):
I told somebody because somebody I don't like the thing
African American. A lot of them don't even like it.

Speaker 3 (01:20:00):
Yo.

Speaker 1 (01:20:00):
Yeah, we don't like using that term. And there's no disrespect.
That term was put on us in nineteen eighty eight.
But Jesse Jackson, the Democratics, the Democrats wanted us to
be comparable to immigrant groups. We just used to go
buy black or color or whatever. But when they got
Jesse Jackson to start labeling us African American, that made

(01:20:21):
us comparable to Mexican American, Italian American, Asian American. So
that almost made us like immigrants. So whatever we got,
all of the other immigrant groups were supposed to get
a part of the two. But we have a unique
history here because we as foundational Black Americans, we built
the country. We're the only non immigrants here. We have
a very unique relationship to this land and that has

(01:20:42):
to be recognized. Because I'm gonna tell you. I know
I have a lot of family in England. So our
family reunions were real interest and I got to find out.
I know, I'm from the Igbo, from the Igbo tribe
in Nigeria and all. Like I said, I had family
in England that didn't even go through that pro They
went straight to England. You feel what I'm saying. So

(01:21:02):
it's a lot, man, We pretty much children were no country. No,
this is no this is our land. We got to
understand that we're not foreigners here. You know, there were
black people on this land, thousands of you. But that's
what I'm saying. Yeah, yeah, and this is our land.
Let's be very clear. California was named after a black woman,
Queen Califia, all right. That's a mythological Moorish queen that

(01:21:24):
the Spanish used to write books about. There were black
Aboriginal people in California, the Mahave people, the Alone tribe.
You look at pictures of them, they look like African tribes.
That's why you don't see too much archaeological work done
in North America. I always wondered that, man, because I
always said, everybody can't be slaves man, right, because you

(01:21:45):
know what, everybody didn't come over on slave ship. But
that's what I think about that. We think about this though, too,
think about all the slave ships that God took over. Right,
many of the pirate ships were former slave ships. That's
where the pirates were still in slave ships. And a
lot of the pirates were actually black. But the story
of millions of people being shipped over on ships that

(01:22:07):
wouldn't make any sense because it takes about three four
months for a ship to sail back there. And you
talk about right now from then them rickety as ships
the head back right at the numbers don't add Yeah,
they don't add up. There were people who are black
already here, they just enslaved them here. We got to
really look at it from that perspective. There are books
by people like von woot Now I've in Van Curtima

(01:22:29):
who talk about the black people who were here thousands
of years before Columbus. Again, like I said, they'll do
archaeological work in Africa, Asia, you don't see too much
archaeological work here because, as our brother James Small says,
every time they put a shovel in the ground of
North America, you're gonna dig up something black. Our DNA
is real deeply rooted in North America.

Speaker 3 (01:22:50):
Man.

Speaker 4 (01:22:51):
All they want to find here is some dinosaurs, right
they're starting out, because what happens is, man, they start
doing archaeological work and they start finding these native of
Americans with all of this African and black DNA.

Speaker 1 (01:23:03):
Then they get real quiet about it. They act like, oh, ok,
let's not really talk about that because we've been here
for a long time. I'll tell you something that really
had me laughing, man, And then we all had to
because I know we're going over there. I appreciate you
being patient. It was funny. I was in the grocery
store with my wife the other day and I'm looking
the things where they reconstructed this picture of Jesus and said, oh,

(01:23:24):
we know how Jesus looked, and he looked like he
was from England some damn We're had long blond hair, man,
and it was just this white dude. Man. So we definitely, man,
gotta fix a lot of stuff.

Speaker 3 (01:23:33):
Man.

Speaker 1 (01:23:34):
I ain't even go get into that whole.

Speaker 3 (01:23:35):
Thing, you know.

Speaker 1 (01:23:36):
But because you definitely offend some people, Yeah, you had
somebody pissed off. We had to tell you that you
want to lost you all deal. You said, what mother
like they be all your fault to borrow man. I really, man,
we really support what you doing, man, and appreciate you
coming on man, and you dropped a lot of knowledge

(01:23:57):
on here. Man. I got some good some game from
you guys. And eight because I'm a big I'm a
uc I'm a huge hip hop fan. Oh yeah for sure.
So all of this stuff, I'm just soaking it in.
That's why I was just letting you roll when yeah,
like I said, we got to let people know. You know,
it's other ship that goes on as far as even

(01:24:18):
though we represent the streets and we come from whatever,
you still got a motherfucking uh. You still got a
motherfucking give people some some real knowledgeable man. Somebody got
to be the adults. We can't be on here this
people are so and this and all the time.

Speaker 3 (01:24:34):
You know.

Speaker 1 (01:24:35):
And in this movie Microphone Check, you know, it's about
the origin of hip hop, particularly in the East Coast,
and I want to do I want to do a
West Coast version of it next because the history of
West Coast hip hop, man as it ties into the
gang culture, Uncle Jam's Army, all that, all of that
stuff that has to be told too, that's never been
told the way it should be told. I want to

(01:24:56):
get aid in that and.

Speaker 4 (01:24:58):
Do a lot of stories where we start off from
the Linzo and the Easy and Nwa era. But like
you said, it was a lot of it was a
lot of shit going on before then, and like you said,
that needs that story has to be told about the
foundation of West Coast hip hop because everybody looks at

(01:25:20):
you know, of course we all recognize with what you know,
New York did for US and East Coast and whatever,
but we don't go in depth on those stories about
LA and West Coast hip hop before the Easy Doctor
Dre era, you get me.

Speaker 1 (01:25:41):
Yeah, it's like it's almost like cut off, right, And
many of the dances came from here man, yet they
still do today. Cass was doing that in the early
seventies out of here man, So that has to be cold.
And also the gang influence definitely that you know what, man,
I used to pop back in the day, believe it
or not. I used to be a locker and that
was my biggest thing looking at the dudes on the

(01:26:03):
West Coast, seeing those guys. Yeah, and they were so
fluid with it. Man. It was amazing, you know what
I mean? It was amazing. Man. How can the people
get in.

Speaker 3 (01:26:13):
Touch with you?

Speaker 1 (01:26:14):
Yo?

Speaker 3 (01:26:14):
Man?

Speaker 1 (01:26:14):
Go check out the movie Microphone Check at microphone check
dot com. Check out the rally for Reparations we got
coming up in June. That's rally, the number four Reparations
Rally for Reparations dot com. And just support all this stuff. Man,
y'all follow me on Twitter at Tarik Nashid. I would
definitely be at the rally, Yes, sir, where's the Where's
they gonna be it again? That's gonna be Freedom Plaza, Washington, DC, Saturday,

(01:26:37):
June fifteenth, And we got Big Daddy Kane performing out there.
We should probably organize something out here too. Man. We
need to, like really man, because I'm gonna tell you,
if you tell people to show up for some bullshit,
they go show up for Every black person in this
country need to be there. They got to jumping cars
together and carpool up there. Yes, indeed, and get up there.

Speaker 3 (01:26:55):
Man.

Speaker 1 (01:26:55):
I'm my shoot. Man. I might organize something myself man
and get some people out there, man, but leve get
on the buff. We got homies that got the class licensed. Man,
let's rent a bus man and six people out there. Man.
We appreciate you. Man, I appreciate y'all having me on that.
Oh for sure. Man, y'all make sure man, y'all like subscribe,
leave for common and all that other good stuff. Man,

(01:27:15):
and we out of here. Well, that concludes another episode
of the gainst the Chronicles podcast. Be sure to download
the iHeart app and subscribe to The Gangster Chronicles podcast
For Apple users, find a purple mica on the front
of your screen, subscribe to the show, leave of comment
and rating. Executive producers for The Gangster Chronicles podcasts Norman Steelled,
Aaron m c a Tyler. Our visual media director is

(01:27:36):
Brian Whatt, and the audio editors tell It Heyes. The
Gangster Chronicles is a production of iHeartMedia Network and The
Black Effect podcast Network. For more podcasts from iHeart Radio,
visit the iHeart Radio app Apple Podcasts wherever you're listening
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