Cx1DJs We Do Things Different Podcast "Untold Stories of E-40" hosted by DJButterrock

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 Cx1DJs We Do Things Different Podcast "Untold Stories of E-40" hosted by DJButterrock
Earl Tywone Stevens (born November 15, 1967), better known by his stage name E-40, is an American rapper. Stevens is a founding member of the rap group the Click and the founder of Sick Wid It Records. He has released 27 studio albums to date, appeared on numerous movie soundtracks, and has also done guest appearances on a host of other rap albums. Initially an underground artist, his 1995 solo album In a Major Way opened him up to a wider audience. Beginning in 1998, he began collaborating with mainstream rappers outside the San Francisco Bay Area. He rose to higher mainstream popularity in 2006 with his single "Tell Me When to Go", which was produced by Lil Jon.

Early life
Stevens was born in Vallejo, California.[2][1] He grew up with his siblings raised by a divorced mother who worked three jobs, and he became interested in hip hop after hearing "Rapper's Delight" by the Sugarhill Gang.[3][4] Beginning in fourth grade, Stevens played the snare and bass drum.[3] He graduated from Hogan High School in Vallejo in 1985.[5][6] Stevens played baseball in high school, recorded music with his siblings, and sold their recordings from the back of a car.[7] After high school, Stevens enrolled at Grambling State University in 1986 with his cousin Brandt Jones and attended the school for one year.[8][9][10][3]

Music career
1986–1999
Stevens made his rap debut as E-40 in 1986 with his cousin B-Legit, sister Suga-T, and brother D-Shot in the group Most Valuable Players. After impressing fellow students with a rap remix of the school song and a Grambling State talent show, Most Valuable Players released a single, "The King's Men".[11][3] The group later became the Click and released the EP Let's Side in 1990.[2] The EP was co-produced by Mike Mosley and Al Eaton and was released on Sick Wid It Records, an independent label founded by E-40. In 1992 they released a second album, Down and Dirty, and in 1992 E-40 made his solo album debut. Federal, a nine-track LP/14-track CD produced by Studio Ton and released by Sick Wid It Records in association with SMG (Solar Music Group), a regional distributor.

In 1993, the Click had mainstream hit, "Captain Save a Hoe" (radio edit "Captain Save Them Thoe"). They moved back to Vallejo and teamed up with D-Shot, E-40's brother, to form the group MVP or Most Valuable Players. E-40's gospel singing uncle (Saint Charles) helped them put out the record.[12] Suga-T was then added to the group to form the Click.[13]

Although having a large following on the West Coast, E-40 did not have a large mainstream audience, so only two of his songs released under Jive Records, "1-Luv" featuring Levitti and "Things'll Never Change" featuring Bo-Roc, charted on the Billboard Hot 100.[2] He had been working nearly exclusively with rappers from the Bay Area until 1997, when he released the double disc compilation Southwest Riders featuring exclusively rap acts from the Bay Area and the south. His collaboration with southern rappers continued in 1998, when he was given guest appearances on albums by Southern rappers, including Lost by Eightball, and MP da Last Don by Master P.[2]

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Episode Transcript

SPEAKER_03 (00:00):
Gotta blow Joe.
You gotta let a lot of let themknow, Joe.
We here.
Shit.
CX1 DJs.
Shout out to my team.
Check it in.
DJ for real.
Is that DJ for real?
I don't know who the hell thatis.
DJ for real.
800.

(00:20):
Houston, Texas.
Vice Vice President of CX1 DJs.
Lawante Wilson, check it in.
Make sure my shit is working.
We got Fat Joe unstole on untoldstories of Fat Joe tonight.
We with the shits tonight.
We with the shits.
Shout out to Skeletor and myproducer.

(00:43):
For getting the sound right.
My mic sound right.
Miss, I gotta get this shitright.
Shout out T Caps.
Caroline, everything in thebuilding.
CX1 DJ member.
I was just talking to DJ Money.
Money's coming.
You know, shout to DJ Money.
And there he goes, the presidentof CX1 DJs.

(01:05):
The man in charge.
He's like the Bodge, the man incharge.
DJ Money Dabodge.
You heard of Chico DeBodge?
DJ Money is the one of thedebog, one of the Debodges,
because he's in charge.
And I mean my green apple.
Shout out to Lawandia Wilson.
How you doing?
Peace and love, Lawondia.

(01:27):
Yeah, Jones Graphics CX1 DJ'srepresentative, Lawandia Wilson.
She's the other nigga in charge.
Why I gotta be a nigga?
Well, she's a black femalequeen.
And shout out to Punkerfootwherever she at.
She's somewhere out there.
She says she said, Butter wrack,I watch you on Roku.
Don't got time to watch you on agoddamn phone.

(01:49):
We're gonna watch you on Roku,motherfucker.
Me and my man.
My man.
Shout out to Punkerfoot, huh?
Watching us on Roku.
We got Fat Joe tonight.
Drew me crack! We're gonna getinto it.

(02:13):
I'm gonna tell y'all something.
I met Fat Joe back in back inthe 90s.
A lot of the shit they a lot ofshit Fat Joe said about himself
was so true.
I met him through actually, myboy Tito.
They call him Screw.
He's a Latin King brother fromJersey City.
And he also managed Akon.
And Tito died.

(02:34):
He got shot out there inRingside, Jersey City, New
Jersey.
We're gonna talk about thattonight.
We're gonna talk about that.
Tito's my guy.
I went to school with Tito.
They call him Screw because hehad a screw loss.
He was crazy.
Tito will fuck you up.
But one thing about Tito, eitherhe was Latin King, he was cool
with niggas like me.
He was cool with people fromDunkin' Projects.

(02:55):
Even though Duncan, Duncan andthe Heights, they call that
Jersey City Heights.
Used to always be beefing.
Well, make a long story short, Imet Fat Joe through Tito.
My Latin King brother.
The fuck you know about meetingFat Joe back in the 90s?
Fat Joe was about that shit.
He was about that.

(03:16):
He's not the same Fat Joe now hewas back in the 90s.
He will slap your ass.
He will rob you.
He will rob the whole gym.
That nigga ain't lying.
Shout out to Terror Squad,allowing us to do this tonight.
I cannot not shout out theproducer that had man in charge.

(03:43):
Chad from iHeartMedia.
Shout out to Chad.
Getting all these fly showsapproved.
And I'm eating my apple, a greenapple.
Um shout out the punk of runningJones Graphics, making sure
Jones Graphics run right whenI'm on the road doing my ding
for Watson Britain and everybodyelse I work for.
Or I think I'm I think I'm aMexican.

(04:06):
Shout the ice, lock your niggasup in South Carolina.
They written rating all kinds ofshit at Abbeyville and um uh
Greenwood.
They're out there locking themPuerto Ricans and Mexicans up.
Shout the ice.
Why you shot not ice?
Because if they lock all themniggas up, niggas got jobs now.
They go into niggas' jobs andlocking them up.
I'm like, why the fuck you don'tlock the niggas up that's out

(04:28):
there slinging cracking shit?
You go into Wong Home Depot, yougo into some of the warehouses
locking all these hardworkingMexican and Latinos up.
But you know one thing about it?
When you lock them niggas up, wegot jobs now.
Niggas can go get a job.
Because Mexicans is no longerthere.
Ice came and got their ass.
So anybody live in Abbeville andum in that area of Greenwood,

(04:52):
it's jobs available.
I'm not laughing, but someniggas don't have jobs because
the Mexicans got them.
Your homeside, you're gonna godown the hill and Greenwood and
take all the fucking jobs andthem niggas is lazy.
Where the fuck is Greenwood at?
That's Greenwood, SouthCarolina, nigga.
Look at them, look at the map,nigga.

(05:15):
You say, why are you shotingthat ice?
Cuz now niggas can get a job.
Yo, homes, niggas don't want ajob when they have a job, homes.
That's the Mexican talking.
I said, hold on.
Jose.
It's Jose.
Let me tell you something,Holmes.

(05:36):
Niggas is lazy.
We came and we picked up andcame to the United States on my
boat.
We went over to Taputa and wecame to work.
Niggas don't want to do shit.
Now you lock it all.
You you you you try to take allthe Mexicans away.
Like my house, I got MasterKano.

(05:58):
I love him.
He cuts my grass.
That nigga come, you know.
I see him on the cameras and mymy camera system when I'm when
I'm at work out of town.
He said, Your homes are cuttinghis grass, homes.
I want to ask him, say, nigga,you you he said, no, don't
worry, man.
No, don't worry.
I'm gonna stay.
Don't worry.
I'm I'm I'm illegal.

(06:21):
Shout out to Fat Joe.
He's Puerto Rican, he's notMexican.
Somebody just text me.
Is they gonna uh the reportdeport Fat Joe?
No, he's born in the Bronx, NewYork.
He ain't going nowhere.
He's Puerto Rican, he's notMexican.

(06:41):
All right, don't get it twisted.
But shout out to Ice for lockingthem niggas up now.
Niggas can have jobs.
Tell them Lawandia.
So, fat Joe, I've been I've beenlistening I've been I'm gonna
get into one the untold storywhen I met Fat Joe do Tito.
We'll not do Akon.
It had nothing to do with Akon.
Me and Tito was cool.

(07:04):
It was me, Tito, Akon, everybodywent to school together.
Dickinson High School, JerseyCity, New Jersey.
So if you niggas don't know,what Dickinson High School at is
more is on the heights.
Okay?
It's downtown Jersey City.
Like, you know, you got it'sit's on the heights.
My mother used to live rightnext to the motherfucking shit.

(07:25):
And I used to have an apartmentright on Waldo Avenue, right by
right down the street fromDickinson High School.
I had a nice ass apartment backin the 90s down there.
You was balling.
If you live anywhere nearJournal Square, you had money in
your pocket.
You know, nigga like Butter Rockwas I was out there on his
streets making that street moneyand I was doing the dancing and
the music shit, and I had moneyin my pocket, and I was living

(07:47):
on Waldo, going to DickinsonHigh School.
After I moved out of Dunkin',after I moved out of Dunkin'
Projects.
I was like, hold on, thisproject shit ain't working.
I gotta get the hell out ofhere.
So I was I was on I was off theporch into another porch like in
93.
I had my first apartment in 93.
I think I was 19, 18.
I was I was young as somemotherfucker.

(08:13):
Let me tell you how I met FatJoe.
I don't do this shit no more.
I was selling weed, okay?
And Tito said, yo, man, we saidcoca.
We don't sell weed.
So I was the person they comeget the weed from.
And that nigga, like, yo, at thetime, you get, I'm gonna tell
you the year.
It was 93.

(08:33):
Flow Joe came out in 93.
Fat Joe came out in 93.
I met Fat Joe in the beginningof Fat Joe.
True fucking story.
So when I'm gonna give you anuntold story, I'm gonna give you
some shit that is legit.
MC Hammer motherfuckers.
So we're in Jersey City,downtown Jersey City, in the

(08:53):
Latin King area.
That's why I have no problemwith Latin Kings.
Cause this is how it works.
If you this is what we wastalking about yesterday with the
New York shit, the bloods, thecrips, and all that shit up
north shit.
If you live in the area wherecertain gangs live at, or
certain sets live at, and you inthat area, they'll accept you as

(09:15):
hey nigga, that's that niggafrom that block over there, DJ
Butterfott from Dunkin'Projects, but he don't live in
Duncan no more.
Because, like I said earlier inthe conversation, Duncan was
beefing with the heights, JerseyCity Heights.
You had Duncan Projects out ofNorth Jersey, like going towards
uh Kennedy Boulevard, that area.
If you from Duncan, that's whereover there with Alba Yao, that's
that area where Alba Yow livesat.

(09:35):
You got Duncan, you got MarionGardens.
And I'm gonna tell y'allsomething.
You know anybody really fromJersey City, they'd tell you you
got Duncan Projects with thisshit.
We had seven fucking buildings,13, 12, 12 stories.
I lived on the 11th floor.
I'm gonna give y'all some hint,hint uh uh some history.
Marion Gardens, the place thatAlbi Al from is right down on

(09:57):
the goddamn street, down fromthe graveyard.
You got the Duncan projects, youhave the graveyard, and it goes
all the way to Marion Gardens tothat other section of Jersey
City.
But it's it's walking distance.
You go walk from my projects towhere Albe Al from, right?
They tore down my goddamnprojects because we was getting
too active.
It was seven buildings, it wasseven fucking buildings, 13

(10:19):
fucking uh stories.
It was like uh shit, 14apartments on each floor.
It was crazy.
It was niggas all over theplace.
Gangbanging at his best, crews.
You had, I'm gonna tell you howit was in Ducky Projects when
we're gonna get back to Fat Joe.
We had buildings they like thesame.
I lived in five buildings.

(10:40):
We didn't get along with twobuildings.
Nigga, we all in the samefucking area though.
And you had one section of theprojects that didn't get along
with the other section.
Niggas is shooting at eachother.
But I tell you one thing aboutDucky Projects, if you bring
your ass down there from anotherarea, from another project,
niggas would get fucked up.
We all come together then.
And no, I didn't like livingthere.

(11:00):
And Georgia, because it was anupbringing, but who the fuck
wanna live in that shit?
Back to Fat Joe.
Because I was I'm from theproject, so I moved to uh
downtown Jersey City, and he washe was with the Latin King.
So the fuck?
What you think he's gonna bewith the niggas?
So I met him through Tito's, akaScrew.

(11:23):
And uh Fat Joe, like, yo, yougot some weed?
Uh and uh, you know, I didn'teven sell that nigga that shit.
I knew who he was, so I justgave him, I gave him the goddamn
weed.
True story.
You learn something, you learn alittle, you learn a lot today.
I gave him this shit because hehad Flojo out.
And he was with Tito.
And Tito was my guy.
Tito, man, I was Tito is I'mgonna tell you something about

(11:44):
Tito.
He had my fucking back.
Anywhere I went to New York, allthem Latin King niggas was
dating.
Yo, that's Butter Rock, that'smy man right there.
Well, yeah, I go to school.
He they always thought I wascrazy because I had the Gumby
and shit.
Everywhere I went in the city,Tito was respected in New York
because he was Latin King.

(12:05):
And he made sure he knows Iwasn't fucking Latin King.
He knows the shit I repped.
But he made, he made sure thatnothing happened to me.
And y'all look up all thestories of Akon.
Tito, the one that made surethat that nigga got his record
deal.
It was Tito managing Akon,niggas.
And Fat Joe, listen to me, I'mgonna let you know something.

(12:26):
Y'all didn't hear this untoldstory because nobody got the
fucking story.
Only one know the story is me,RP to Tito, because he's dead.
Fat Joe, Akon, and a coupleother niggas that know the story
I'm about to tell you guys.
And shout out to Fat Joe.
And fat Joe, when I, if he whenhe watched this untold story, he
gotta know everything I'mfucking saying about screw.

(12:48):
Tito is so fucking real.
So, we in New York.
Some shit kick off.
Tito had everybody fucking back.
Some of them Lat King brothersdon't like niggas.
Yo, man.
Yo, that's my people rightthere.
Don't fuck with him.

(13:09):
Don't fuck with him.
He made sure Acon was good.
He made sure I was good.
Yeah, you know back in the early90s, me and ACORM ACON grew.
I went to school with Akon.
We did a DJ for that nigga.
We did this and this and that.
So I met a lot of people doTito.
Acon made all the people doTito.
Tito was the one thatintroduced.
Now I'm gonna bring y'all thehistory you want and say, what

(13:30):
the fuck this got to do with FatJoe?
Shut the fuck up.
I'm gonna tell y'all niggas.
Because niggas on the back end,what the fuck this got to do
with fat Joe?
Lean back.
I'm gonna tell you,motherfuckers.
So 93, we was cool.
Akon moved his ass down south togoddamn Stone Mountain.
I was still on the block doingcrazy shit and making money.

(13:53):
Tito was doing his shit makingmoney.
Acon gets locked up.
Locked up, you don't let me out.
Okay, he comes back home.
He working at Kroger.
I'm talking about Acon.
Yeah, I need listen to me.
Follow me.
Tito is hanging out with TerrorSquad.

(14:17):
Fat Joe, everybody.
So you understand?
I met Fat Joe in '93.
Tito and fucking Fat Joe isstill cool.
It's a motherfucker.
So once you one thing I sayabout Puerto Ricans and
Mexicans, they stick together.
Niggas don't stick together.
You don't have to worry aboutmotherfucking Fat Joe and Tito
falling out.
Them niggas stick together.

(14:38):
So Akon uh.
Akon went to jail for hisrobbery, car, whatever the fuck
he was doing, stealing cars andtop shop shit, whatever the hell
he was doing.
So he went to jail.
And um he came home.
He connected back to Tito withTito.

(15:00):
And Tito put him in contact withuh SRC.
SRC Steve Riffins.
Before he did that, he put himin contact with Fat Joe.
Fat Joe, the one that walked thedeal in with Tito and Akon.

(15:21):
So lean back, Terasquar wassigned to SRC Universal.
Akon got signed to SRCUniversal.
Do your fucking research.
So you know I ain't fuckinglying.
It wasn't for Tito, Acon wouldbe nowhere he at now.
Alright?
So we're gonna fast forward it.
Akon gets signed.

(15:42):
They did the lockup song.
It wasn't doing nothing.
Fat Joe said, yo, man, I gotsome untold stories of Fat Joe.
CX1 DJ's untold stories of FatJoe.
You niggas ain't getting this.
This is a true story.
And it's an underground JerseyCity story.
So you niggas never gonna hearthis.
So fat Joe told Tito, hey man,in the in the you know, Akon

(16:04):
shit.
I like the lockup shit, but weneed to put Styles P on that.
Fat Joe told Tito that.
Fat Joe told Tito he need to pitStyles P on it.
He like he wanted he wanted FatJoe on the remix of lock.
Nah man, I don't want to, Idon't want to do that.
This pit you know, styles on it.
Styles fit better for the song.

(16:25):
That's what Fat Joe told Tito,my nigga Screw.
How I know this because Screwtold me I was on the road with
these niggas in Charlotte.
When I bumped into the nigga, hetold me the whole goddamn story
in Charlotte.
God damn, Charlotte was theshit.
And this was in 2004.
So Tito told me that shit in2004.
I won't never forget it.
And I hugged a nigga that had mebackstage with Acorn, all that.

(16:46):
We told him about 2004 whenlockup just came out.
Styles P got on a song a monthafter we was in Charlotte in
2004.
They remixed it, it blew up.
Everybody thought it was theLocks record.
All they hear, they hear StylesP rapping first.
And Fat Joe said, yo, see what Isaid?
See what I said, Tito?

(17:06):
I told you that was gonna wrap.
He called him Screw.
See what I said, Screw?
They didn't, I'm calling TitoTito, because that's his real
name, but they they calling thatnigga screw, the Puerto Rican
nigga screw.
He like, yeah.
See what I say, screw?
I told you I should have usedStyles P.
Everybody blurred the recordbecause they thought it was
Styles P.
Styles P and Locke's mixtapes,Jaciss, all them niggas was on
fire in the 90s.

(17:27):
We talked, you know, and so soin 2004, everybody thought it
was some locks shit.
They was on fire in 2001, from90s all the way up to the
goddamn 2004 when then lock upwhen Acorn came out.
Either I, you know, I knew aboutthe shit, so I knew it wasn't a
locks record.
But most of the most of thesemillions of people that brought

(17:47):
the record thought it was aStyles P Locks joint.
I used to DJ, yo, put that newStyles P lock up on like, nah,
that's Acorn.
Akon, who the fuck is Acorn?
That's in the beginning.
So Fat Joe threw the Aliyu andhe helped his brother, his
fellow brother Altito.
So that's that's fast forward.
So Fat Joe had a show inringside, New Jersey.

(18:08):
Ringside is a bar in JerseyCity, New Jersey.
It's in Jersey City Heights.
So Fat Joe was there, and um itwas ACORN doing something for,
he was doing a something for theguy from Ringside.
I want y'all to walk with mewith the story.
This is the deep story.
So, okay, they're in there.
They're partying is live andshit.

(18:30):
All right, the niggas fromNorfolk came down there to rob
niggas.
Nork, New Jersey.
These niggas, niggas from Nor,New, Brick City came to Ringside
to rob the Jersey City niggas.
This is something, this is someJersey shit.
Like I'm I'm gonna explain toyou niggas.
Nork, New Jersey, Brick City,whatever the fuck you want to
call it, they was they was knownfor they having the best fucking

(18:53):
stick-up kids in New Jersey.
Ain't nobody, nobody could stickyou up better in quality like
Nork, New Jersey.
Them niggas know how to stickyou up and they do it quietly.
I got robbed by them niggas manya times.
They do it broad daylight atnight, club hours, disco hours,
goddamn uh work hours, schoolhours.
They don't give a fuck what timeof the day.
They're gonna rob you and getaway.

(19:14):
Them niggas rob me, it wasgoddamn 11 a.m.
I'm like, what the fuck, nigga?
You ain't gonna wait till thatnight.
Nigga, give me your chainwatching.
I said, Hey, nigga, fuck that.
That nigga said, turn around,don't look back.
Like, nigga, you can have allthis shit.
Nigga ain't tough.
You can have my jewelry, my roleit.
I had all I had a bunch ofjewelry too back in the night.
They're like, nigga, give meyour shit.
A bitch, a bitch from PennStreet Projects set me up.

(19:38):
So I, you know, yeah, I know,and I do stories, I gotta get
real in depth in it.
So I took my shit up, gave it tonigga from North.
Yeah, nigga, you can have it.
I said, You want the watch?
Yeah, nigga, give me the watch.
Take all that shit.
I can get it again.
I should have died that day,too.
Them niggas had the burnout.
And like, nigga, I said, nigga,you ain't worried about nobody
coming out here and seeing you,nigga.

(19:59):
It was crazy.
It's crazy.
I get chills thinking about it.
I could have died that day.
I tell you, God got a purposefor my black ass.
So back to it.
So ringside, in case you lost,in case you niggas don't catch
on to the story, because I tellgood stories, but it's real
stories.
Back to ringside.

(20:20):
Because I was talking about theNew Jersey niggas robbing me.
I ain't getting sidetracked.
These niggas is known forrobbing niggas.
So they came there to rob theclub.
You know how Fat Joe said, Irobbed a whole gym.
No nigga.
These niggas came to rob thewhole ringside.
True story.
So Fat Joe was the leaning back.

(20:40):
You know, that's he had to leanback out.
Acorn had locked up.
They was partying on somecelebrating shit.
Acorn came back to Jersey Cityto fucking um pay homage to the
niggas that the person thatowned ringside because they
always supported him.
So they try to rob Fat Joe.
Tito, screwed, was not havingthat.

(21:03):
He jumped up.
Fat Joe was fighting the niggas.
One of the other niggas pulledout the burner.
Bow! Bow! Bow.
Niggas start running.
Where Akon at?
I don't know what the hell Akon.
Akon was there, but he wasn'tthere when they were shooting.
Alright?
He was there though.
Screw got hit with two bulletsand died.

(21:26):
Fat Joe helped him pick them up,bring him inside ringside.
Fat Joe, my man, right there.
Screw died.
Tito, my nigga, my Latin Kingbrother.
The brother always had myfucking back.
The brother made sure I was goodin Charlotte and made sure I was
took care of at the A con tourand shit.
He died protecting Fat Joe.

(21:48):
True motherfucking story.
I don't see nobody ever talkingabout that story.
I don't see Fat Joe talking, butFat Joe, I think Fat Joe
mentioned him back in the day,but you know, this shit was
under.
Investigation or some shit.
You know.
I mean, some niggas got got forthat shit, but the niggas that
robbed that killed Titoeventually got locked up 10
years later.

(22:08):
And they do a murder.
They didn't catch the stickerkids that killed Tito.
Akon manager.
Some people say, huh, that's acoincidence.
That's a coincidence that Akonmanager on something got killed
at ringside.
I said, that's some nigga.

(22:30):
I goin' too deep.
They already caught the niggasthat killed the nigga.
So if they figure Akon hassomething to do with it, I know
them niggas that's locked upwould already snitched on Akon.
So Akon had nothing to do withthat shit.
People don't hear that.
Because I ain't gonna lie, afterTito died, then that nigga went
up.
Got a new manager, all kind ofshit.

(22:52):
But Akon had nothing to do withthat.
Because I know them niggas fromNorth New Jersey would have
snitched on everything that wasmoving.
The niggas got a life.
It was four of them niggas.
Niggas got life.
The shooter got double life inattempted murder.
Because they almost hit goddamnfat Joe.
True fucking story.

(23:12):
Woo! RP RP to my nigga screw.
AKT though.
Block Royal Entertainment.
Black Royal Entertainment.
Jersey City owned screw.
Block Royal Entertainment.
That was my guy.
And I could not not give himhomage on this show tonight.

(23:35):
Being I met him and that I metFat Joe do with him.
RP to my Spanish brother, myLatino brother.
Screw.
AKA Tito.
Black Block Block RoyalEntertainment.
That was his company, y'all.
I got stories.
I got real stories for your assthat make your ass chill.

(23:57):
And that bullet was made for FatJoe, they was trying to rob Fat
Joe.
They wasn't trying to rob, theywas not trying to rob Tito.
They were trying to rob Fat Joe.
They wasn't even trying to robAkon.
They were trying to rob Fat Joe.
That's why I know Akon hadnothing to do with it.

(24:18):
Because they wasn't not tryingto rob Tito or Akon.
They went after Fat Joe becausehe had all the jury.
He had lean back.
And some black niggas.
And them niggas detective, themPuerto Rican niggas.
Latin King niggas.
They can't never parade.
They would have shooting likehell in that fucking outside of

(24:40):
ringside.
Go look up ringside, New Jersey.
The club is still fucking open.
Like how Mike Tyson investedmoney.
That shit was a in Jersey City.
In 2026.
Everybody go to ringside.
Nigga, get it together.
I be out.
Everybody go to nigga.

(25:01):
I used to go to ringside backthen back in the days.
Ringside is still after afterall that shit happened.
After Tito lost his life there,ringside is still popping.
That's a deep story.

(25:24):
True story, too.
Fat Joe.
Before I met him.
He did a lot of shit in thestreets.
We ain't gonna talk about that.
He emerged from the bebop music,the hip hop old school, you
know, that battle rap shit fromthe Bronx to where he had now

(25:46):
global superstar now.
The beef he had with 50 Cent andeverybody else, and the love he
showed to certain artists likeJaru, Ashante, and Murder Inc.
and a lot of other, you know, uhbrands like uh Rick Ross.
A lot of people that was beefingwith Fat Joe wasn't Fat Joe

(26:08):
beef, but he stayed loyal to alot of people.
Tony Sunshine, you know,allegedly he was mad because Fat
Joe Puss had had his people fuckhis bitch or Rice reverser.
Fat Joe said it was his bitchfirst.
I like, nigga, I don't know whobitch is.
All I know them niggas fell outfor pussy.
Nigga, we niggas so much pussyout here, we're not falling out

(26:29):
for pussy.
Fat Joe was loyal.
He like, man, how the fuck canTony Sunshine shit on me after I
did everything I did for him?
But you know, we don't reallyknow the story.
I'm paying flowers and givinghomots and take it, giving
respect to Fat Joe tonight.
But I'm gonna play both sidesbecause that's I won't be DJ
Butter Rock like that.

(26:52):
Tony Sunshine, listen to me.
I love you.
I love your music, and I lovewhat you stand for, and I love
everything you bring to TerrorSquad.
But if you call this man yourbrother, you own private jets,
you spending the money.
Fat Joe, like when I was goingthrough the shit with the RS and
all that, all these niggasstopped coming around when there

(27:14):
was no money around.
So Tony, answer that question ifyou see this interview.
Well, y'all shitting on Fat Joesaying he did this, he did that,
but when the money, when I whenhe got locked up with the IRS
shit and he he owed the IRS andwent to jail for that shit, he
said nobody was there to helphim out.
He came home and only one personhelped him.

(27:38):
That was Scott Storch, superproducer Scott Storch.
He put Fatcho back on the map.
On those stories of Fat Joe.
How you have all thesemillionaire friends, and as soon
as the feds come, everybody runslike roaches.
And he expect you expect him tocome once he gets back on the

(27:59):
map to really look out for youwhen you have all these
so-called friends that turntheir back on him when the boys
came.
That's when you know who yourfriends are.
When the cops come and the fedscome and you owe some money, the
money ain't there no more, ain'thow it used to be.
We ain't private jets, we ain'tgot the luxury shit, we ain't

(28:21):
eating at the fancy restaurants.
That's when you're gonna see whothe fuck really your friend.
See, I study Fat Joe because Imet him and I I study his career
as a DJ.
So I, you know, of course Idon't agree with everything Fat
Joe did and or say, but youknow, as an artist, I think he's
a well-grounded artist and he'skept his self development.

(28:42):
He kept himself in privateplanes, he kept himself as a
multimillionaire.
A lot of people don't know, andpeople don't know, and if you do
know, Fat Joe is the one thatpit DJ Cali on.
And Fat Joe tells you himself,DJ Cali got more money than me
now.
He co-signed for DJ Cali.

(29:04):
Cali was a part of terror squad.
You guys know that.
Butter Rock, there ain't nountold shit.
Yes, it is.
Listen to me, I'm gonna get tothe shit you niggas don't know.
Fat Joe asked Cali forsomething.
And Cali turned him down.
I'm gonna eat my apple.

(29:24):
I need some water.
I'm just gonna get deep.
Don't start making up shit, butno, I ain't making up shit.
I got my I got my sauce thisnigga.
He asked him for some shit at atime in his life that he needed
Cali.
And Cali didn't have it at thetime.

(29:47):
Well, he said he didn't have it.
I'm not watching Cali Pockets.
I don't know what the fuck thisman got.
But at that time, he didn't haveit for Fat Joe.
I know Fat Joe like, how thefuck Butter Rock knew that?
Nigga, we gonna I'm a nigga,listen to me, I'm gonna fix my
mic.
I I am an independentjournalist, I know every fucking
thing.

(30:08):
I got people in high places thatfuck with me and that want to
see this podcast win.
So we're gonna have exclusiveand legitimate shit.
You know, I ain't say allegedly.
You never gonna hardly hear mesay allegedly unless it's some
shit I don't know.
So, I don't know how much moneyhe asked Callie for, but Callie

(30:28):
like, I don't have it right now.
But we the best.
And if you noticed, I'm justgonna pit some, I'm gonna do,
I'm gonna do some shit out thereso y'all can catch it for my
real hip hop niggas.
You notice Callie and Fat Joefuck with each other, but they
don't fuck with each other.
Did y'all pay attention to that?
Or y'all think I'm just lyingmaking up shit for the podcast?

(30:51):
Nigga, do your history.
Do your this is open your eyes,nigga.
Open your eyes and look.
I don't think Cali was even on aJDN, the Joe and Jaden podcast
yet.
Even if he was, it was the wayafter the shit builds up and
popping.

(31:11):
It wasn't in the beginning, Itell you that shit.
I think he's I think he probablyjust got on because he promoting
that album he got out there.
That um Drake pretty muchshitted on that new Cali album.
And I'm gonna I like Cali.
Don't get it twisted.
I'm just gonna I'm justreporting the news, niggas.
You gotta probably I love DJCali.
We the fucking best.
But I don't like the fact that amotherfucker helped you walk you

(31:34):
in the door, and then you all ofa sudden you got more money, and
you and I mean a man isn't neat,and he asks you, and you like
you don't have it right now.
But see, you gotta say, it's twoparts of that.
How the fuck we know what theCali had.
But according to Joe, this niggahad like 10 top 100 songs on the

(31:55):
radio at the time.
When he asked him for somemoney.
Well, he asked for a favor.
I don't know what the fuck hehad.
You could ask for a car.
I don't fucking know.
I don't know it was a dollaramount, it was a car cosign.
I don't know what the fuck itwas.
I know Cali said he didn't haveit at the time.
And Joe never got it from him.
Joe got it from Stot Scorch,Storch, the super producer.

(32:18):
And Joe, Fat Joe been up.
Joey Crack, as they call him,been up every since.
So you're only gonna keep God isgonna lie, and that's why Fat
Joe always picked God first.
You only gonna keep me down forso long as long as I got God.
And no matter what Fat Joe didin his life, he lost weight,
he's he's slim Joe now.

(32:39):
You know?
And one time I was skinnier thanFat Joe.
Now I think I'm fatter than FatJoe.
Shit, I'm butter Joe.
I'm fucking with you niggas.
I love Fat Joe.
So you gotta watch your friends,man.
Everybody say they love you, butwhen you need a nigga, if I say,

(33:01):
hey nigga, I need$8,000 now.
Nigga, hey, I don't nigga, Idon't got it.
I don't got it either.
Nigga, get the fuck out of here.
One of you niggas got it.
Let me let me shout out the realqueens that always help me out
when I need them.
Number one, punkin' foot thepanty girl.
Number two, Lawandia Wilson.

(33:22):
Number three, Julia Simmons.
Who else?
It gotta be somebody else.
That's it! Are the females?
We talking about females.
That's all the fuck out.
Nigga, that's it.
Damn, that's fucked up.
Everybody else is all business.
I got Punkinfoot in the numberone spot because I know it's
longer.

(33:43):
I got Lawania Wilson.
And I got Julia Simmons.
After that, I don't knownothing.
Everybody else is just on somebusiness shit.
I'm talking about the femalepart.
I can count on one hand how manyfemales hold me down at this
motherfucker.
I don't know what the fuck I'mgonna do with myself.
Shout out to Puckin' Foot, thePanty Girl.
Shout out to Lawandi Wilson.

(34:04):
Shout out to Julia Simmons, thequeen, the three queens.
I don't give a fuck what I need.
I can say I need a bottle ofwater.
One of them niggas will give me.
If I don't get it for one, themother niggas got the water.
Hey nigga, I need a piece ofgum.
One of them niggas will give mesome gum.
My breath is saking, nigga.
I need some food.
I'm starving.
Well, somebody, one of themniggas will feed me.

(34:25):
One of them niggas.
Out of the three, one will comethrough.
Fat Joe had only had threemotherfuckers.
Fat Joe had a millionmotherfuckers with him.
And only one out of all themillions helped him.
So I'm gonna shut the fuck upwith my three.
I know a lot of more females inthe industry, and I won't even

(34:47):
say their name.
I'm just gonna say the threethat count, nigga.
You got Punkinfoot number one,Lawani Wilson number two, and
Julia Simmons number three.
Everybody else is just strictly,oh, it's just business.
We just on payroll.
We just we just investors.
We ain't we don't gotta makesure you straight, nigga.
So I ain't gonna complain whenFat Joe had everybody on his
part, private jet.
He had all these motherfuckershe was feeding, and when he

(35:09):
needed help, they wasn't therefor him.
So who the fuck am I to complainabout?
Nobody being there for me butthree people.
I ain't saying shit aboutnothing.
Shout out to all the new niggasthat's fucking with me now.
You never see a man cry till yousee a man die.
That's a real shit there,Scarface made.

(35:30):
That's some real shit.
And do it hurts when you have aperson that you helped out and
you put on to make up millionsof dollars.
I wanted to have Fat Joe.
You know, these tough guys ain'tgonna cry, ain't gonna tell you
they real felons.
But I know that had to botherFat Joe.
And then you pick niggas on fromthe terror squad, and then some

(35:53):
of them niggas turn on you.
Yo, Joe, my album ain't do shit.
Oh, you ain't promote my album.
You put my album, like him andRemy Ma.
Let's get to Rimmy.
Let's talk about it.
Let's talk about Remy Ma and FatJoe.
This is untold stories.
This ain't bullshit stories,this is untold niggas.
Let's talk about Rimi Ma, TerrorSquad, Remy Ma.

(36:13):
And yes, we got approved to doRemy Ma as well.
I don't know what fucking monthwe're gonna do it, but Remy Ma
people approved us to do theuntold stories.
I guess they see we was doingFat Joe.
Oh, you doing Joey Craig?
Oh yeah, let's do Remy Ma.
We ain't doing that shit rightnow, though.
I like Remy Ma.
I love her.
I want her to get it just alittle, little hot.
What you mean, nigga?
I ain't hot.
No, you hot, Remy.

(36:33):
I love you, Remy.
Your body looking your bodylooking snatch.
But we get we the way uh uh Chadfrom our meeting, he said, no,
no, no.
Joey is hot.
We only doing this is why wehot.
This is why we hot now.
Well, nigga, you only got threepeople, nigga.
No, no, no, no, no.
Fuck YouTube numbers.
We got other numbers that'sbigger than YouTube.

(36:56):
That's why I report the way Ireport now.
I change my whole strategy.
You ain't see how I change mystrategy of reporting.
I still get to I get to it withall the bullshit now.
We're gonna get right into it.
We're gonna like, you know, youhave foreplay.
Now I'm jumping into the pussy.
Nigga, stop all that bullshitand fuck me, nigga.
That's how I'm doing the podcastnow.

(37:17):
In the beginning, I was all thatfor play, oh, getting it wet and
shit.
Now we said, fuck it, fuck medry, nigga, fuck me dry.
That's how we is now with thepodcast.
Because before I was just withthe fall play in the beginning,
cursing niggas out and andpissing off the team.
And well, I wasn't trying tocurse nobody.
I just had my telling people howmy day went.

(37:41):
And then I think I went too far.
I was battle, I was asking someDJs to battle me, then niggas
didn't take the challenge.
Cause them niggas had the money.
They ain't wanna battle.
Just the fuck.
I you know, I took 30 down, 30years, 30 minutes, 30 hours
doing that.
Then I talk about the meownigga.
I like we're done with thatshit.
Straight to the story.

(38:03):
I love everybody.
All of you DJs, I hope you dogood in life and be healthy and
blasphemous.
Because I'm not gonna waste notime talking about you niggas.
Ain't got nothing to do withthis.
Shout out to chat fromiHeartMedia too for fucking with
me.
Shout out to Bill Watson, TroyWatson, definitely Troy Wallace.

(38:23):
So let's get back to this.
So you look at yourself like Iwant to be a millionaire, I want
to be, I want to be a globalsuperstar.
A lot of shit come with that.
Heartaches come with it.
Backstabbing niggas.
Shit, I'm saying that now.
I'm gonna tell you something.
Since I started this podcast, Ilost so many goddamn people.

(38:44):
Everybody, so many peopleturned, so many people I thought
was my friends turned their backon me.
I know people for years thatturned their back on me.
I don't like nigga, I ain't madeit yet.
Nigga, I ain't rich, nigga.
God damn you.
They gave me the ass to kiss to,you know, it's overcasting over
my ass.
So many niggas turned, so manypeople turned their back on me
when I started this podcast.

(39:05):
The people I thought that wasgonna have me and like support
this shit.
And uh, you know, so the fat Joeshit.
I I like talking about shit likethis because it makes me feel
like yo, shit ain't that bad.
You know, if it can happen toFat Joe, who the fuck am I?
You know, let's talk about RemyMa.

(39:27):
So when Remy first came out, shewas popping.
You know, he uh they did thelean back shit that she came on
album, and uh, and unfortunatelyfor her, it was the wrong
timing.
You know, when you you you thisshit is about timing because you
think you hot.
This shit is about I'm gonna putmy water here.
This is this water right there.
Put it right there.
So this is not about you know,you had a hot you had a hot

(39:50):
feature.
You uh you got a nice body ofgood titties or whatever.
This is about timing, bro.
When you when it's not yourtime, you're not gonna pop.
When they did lean back, it wasthe time for that shit.
You can't rush timing.
So if it ain't your time, itdon't matter how much money you

(40:11):
put in it, how much shit you putin it, if the you know, it
wasn't even no social media backthen.
But I will say this if it ain'tyour time to blow, it's not your
time to blow.
Everybody got their time toshine, man.
I want to share that tonight.
If it is if it ain't your time,you can't rush your fucking
time.
Your time will come.
You will know when it's yourtime.
Everything's gonna be.
This is what I'm gonna tell you,artists.

(40:32):
Something.
Remy Ma got mad at Fat Joebecause she thinks she he wasn't
putting the money into thelabel.
I mean, to the project.
It wasn't Fat Joe's fault.
It was the record label.
The record label did not want topush the button on Remy.
But fat Joe had to get the blamefor that shit.
You know why?
Because she looked at Fat Joelike a big brother.
So when a shit fell down, sheblamed Fat Joe.
And being fat Joe and being thehood nigga, slash Puerto Rican,

(40:55):
he's like, man, fuck you, bitch.
You can believe what the fuckyou want to do, Remy.
All right, but when she gotlocked up, fat Joe was holding
her ass down while she was inthere for them years.
Untold story of Fat Joe.
A lot of people don't sayeverybody's be saying how much
that Pat Pooose did.
Fat Joe holded Remy down evenafter she shitted on him.

(41:20):
Untold stories of Fat Joe.
CX1 DJ's untold stories of fatJoe.
A lot of people, I don't everhear Remy talk about how much
Fat Joe holded her down.
How much fat Joe gave money toPat Poose so her kids could be
straight.
Made sure any of her publishingcame in, made sure that Pat
Poose had the money.
He was he was cool with PatPoose because of Remy.

(41:43):
Fat Joe didn't want to make sureRemy people was good when she
was locked up.
Loyalty at his best.
But you know, Remy was talkingshit about Fat Joe before she
went, before she smoked thenigga, before she got the jail
time, before she got sentenced,her and fat Joe was not talking

(42:04):
untold stories.
CX1 DJs.
Because it's anothermotherfucker doing untold
stories.
So let me make my shit public.
Like my nigga Rick James said,make it publicly clear, nigga.
This is a CX1 DJ's untoldstories.
Bitch.
I want y'all to get my shitmixed up with them other niggas
doing that bullshit.

(42:25):
It's trademarking copyrighted,nigga.
That's why it says CX1 DJsuntold stories.
I'm gonna have to have myproducer make sure they put the
CX1 DJs until they only gotuntold.
They need to be CX1 DJs there.
I'm gonna talk to my producerswhat the fuck y'all doing,
Bonds, dude.
I think some of my producers aresmoking some shit.
So we're gonna have to changethat until because this is a

(42:46):
untold story.
And then it's a CX1 DJ's untoldstories of whoever we got.
That will be changed tomorrow.
No, uh, yeah, tomorrow.
I need glasses.
Nigga can't niggas gettingblind.
What time is all right?
It's time to play something.
So we're gonna um shout to FatJoe, man.

(43:08):
We uh we definitely uh love FatJoe.
And um, and I was I hope y'allenjoyed some of the shit I was
saying tonight, and um, and Ihope y'all followed what the
hell I was saying and that y'alllearned something.
We're gonna play one of thesponsor songs tonight.

unknown (44:00):
I could corner out from the crowd that I'm with the wall
back.
So you know I'm on the proud.

SPEAKER_02 (44:08):
But I feel it nice night.
I'ma lay that bike down.
I'm filling my stuff right now.
My flow type, my dough right.
I'ma put on the stone like theyellow feet.
Yeah, that I hold the mic,that's the one and only only no
doubt.

unknown (44:26):
I'ma take the back and go on.
I'll make the two spot and gooff.
So we go, stop.

SPEAKER_02 (44:51):
Now I got any cup.
I'm mixed to me.
I'm a bit of what we dump, killit.

SPEAKER_04 (46:09):
It's the we want.
We just enough to play thisbecause they all get embarked.
We got the boost in the heart.
And we have time, cause we justget this party.
And do that what they want fromthe phone to the cardinal.

(46:31):
And do that with the cucks we dothe party.
And that look so sweet that Iget nothing.
We don't look to the top becausewe top target.
That's right.

unknown (46:49):
I'm gonna say the babies in the spot to go on.
I'm gonna make the booths in thespot to go hard.
Say we go.
So hard.
I said we go.
Go so hard.
I said we go.

SPEAKER_01 (47:04):
Go so hard.
I said we go.
Go.

SPEAKER_03 (47:09):
So that's my shit.
Go hard.
That's a J Cap reaching pluginplay.
You know, we're working on aproject with plugin playing.

(47:52):
I can't believe I can't playthat one.
We gotta play the next one.
Let's go.
Yeah, punk your foot.
We back.
We hit him.

SPEAKER_01 (47:58):
We hit him.

SPEAKER_03 (47:59):
Chocolate princess.
Princess.

SPEAKER_01 (48:05):
What the fuck we about to do?
Hell no.
Hell no.
Punk your foot, you ready, baby?
Come on, girl.

unknown (48:10):
Come on, girl.

SPEAKER_01 (48:11):
Chocolate princess.

SPEAKER_04 (48:14):
Chocolate princess.
I'm the chocolate princess.
I'm the chocolate princess.
I'm the chocolate press.
I'm the chocolate press.
I'm the chocolate press.
Chocolate princess.
I'm the chocolate press.
I'm the chocolate press.
I'm the chocolate princess.

(48:34):
I'm the chocolate princess.
I'm pumpkin foot.
I'm the chocolate press.
I'm fucking foot.
I gotta take on me.
I give peace to the duke boyswith that D.
I'm the chocolate princess.
Royal tea, that's right.
Hard with my MU and my B.
All about my hustle cuts, I dome.
Uh-huh.

(48:54):
I'm clutchy and I'm nasty withpopin'.
Oh, you know you like it,chocolate cover cherry.
That's fine.
Don't like the pits, try thestrawberry.
I don't do it cause I'm too.
I do it cause I wanna wannagotta keep a mixture fit.
Looking at my poster poster.
With the lyrics, pop it out likea toaster eye.
My poopa make them look a littlecloser.

(49:16):
Yeah, the chocolate press, I'mthe chocolate press.
I'm the chocolate press.
I'm the chocolate press.
I'm the chocolate press.

SPEAKER_03 (49:27):
I'm the chocolate press.

SPEAKER_04 (49:31):
I'm the chocolate press.

SPEAKER_07 (49:40):
Chocolate press.

SPEAKER_01 (49:45):
I'm out of that truck, man.
I'm la fuckin' foot.
Young butterfly, DJ butterfly.
Yo, I'm la on the block.
I used to be well in theprincess, that means we won't be
motherfuckin' y'all can't seeme.
We out of here, yeah.
We sweatin' on these hoes.
Got all the jury, yeah.

(50:05):
We sweatin' on these hoes.
I don't give a really a full.
But a rock I'll g jump and notthe truck.
I don't give a f I get mad, Iget buck.

SPEAKER_04 (50:16):
Punk your buck and get beat down, the chocolate
princess, I'm the chocolateprincess, I'm punking foot, I'm
the chocolate princess, thechocolate princess, I'm the
chocolate princess, I'm punkin'foot, I'm the chocolate prin
Nigga.

SPEAKER_03 (50:33):
I'm rapping in DJin and host of the goddamn podcast.
You niggas, I'm a triple trapdance threat.
Now I'll be singing.
I'ma I'ma play my singing charm.
I don't need no cars on adiamond room ring.
All I need is happiness.
I don't need no cars on nodiamond room rings.

(50:53):
All I need is happiness.
I know I'ma stop.
If I pray I'ma let's get it.
Come on.
Uh-huh.
Punk and fullness.
We out here getting, baby.
We don't need no cars or nodiamond rings to be who we are.
We still get money.
Oh, we tryna be happy, man.

(51:16):
Come on.
Tell me up in the hairs.
Tell me up in the hairphones.

unknown (51:20):
Tell me up in the hairphones.

SPEAKER_03 (51:22):
I don't need no cars on the diamond rings.
All I need is happiness.
I don't need no cars on thediamond brains.
All I need is happiness.
Oh my god, I'm patient.
All I need is happiness.
I don't need no boss on thediamond brains.
All I need is happiness.

SPEAKER_04 (51:46):
If I pre I'ma go far.
Let's go.
I like a challenge, I usuallytake them happily.
Whether you're up or down orlooking raggedy, you can have
success stacking rapidly.
Make sure the ones with you arejust glad to be.
Money don't buy happiness, butit sure makes life a lot less
stress.
Be with me, be ready for more orless.

(52:07):
Or just be ready for ourconquest.
Pull speed ahead.
Now I'm on the incline.
You better get out my way or getin line.
I want someone that knows how tospend time.
And when times get tough, he'son his own grind.

SPEAKER_03 (52:24):
All I need is happy.
I don't need no cause on adiamond breaks.
All I need is happy.
All I need is happiness.
I don't need no cars.
On a diamond breaks.
All I need is happiness.
I know I'ma stop.

(52:44):
If I pray, I'ma go far.
I like the part when I say, Heynigga, check this out.
If you don't think you'll start,you gotta say.

(53:05):
I know.
I'm gonna start that like this.
I know.
You gotta do it like that.
You gotta do it like that.

(54:18):
CX one DJ.
The panty girl.
Let them know about your crew.

SPEAKER_04 (54:28):
My crew is full with shooters and gangsters.
Yo crew, it's full with snitchesand wangsters in a shootout.
I bet you can't spank us whenit's gunfire stop.
You niggas gon' thank us.
My crew is full with shootersand gangsters.
Yo crew, it's full with snitchesand wangsters in a shootout.
I bet you can't spank us.

(54:49):
When the gunfire stop, youniggas gon' bank us.
I got a mean team, so don'tsleep for a minute.
Right.
Fucking up your speed, we goover the limit.
We like wearing platinum, but wecarry the steel.
And you can dress the party, butwe dress the kill.
Full of food best, they berockin' with pleasure.
Attire for tonight is guns underthe leather.

(55:10):
And yes, I'm with my crew, causethey treat me like treasure.
You ready to get you if youthink you're rough on my
feathers?
My crew is pretty clever, wemake each other better.
We be spoilin haters because wekeep it pressure.
So if you wanna step, hope youcan handle pressure.
Don't be an easy dish with mycrew as a tester.
They shoot a pest, don't letdictators bug me.

(55:31):
We handle business and then besittin' lovely.
And we be chill until you give areason.
And we can go from chill toclappin' season.
It's full with shooters andgangsters.
Yo crew, it's full with snitchesand wangsters in a shootout.
I bet you can't spank us whenthe gunfire stop.
You niggas gon' thank us, mycrew.

(55:52):
That's my shit.
No crew, it's full with snitchesand wangsters in a shootout.
I bet you can't spank us whenthe gunfire stops.
You niggas gonna bank us.

SPEAKER_03 (56:05):
That's that punk my crew, that's the sh that's the
shit, niggas.
Pretty much.
Let's get back into Fat Joe.
So one thing I like about FatJoe, he he loved the underground
music.
He loved that before the shit.
He loves the real hip hop.
He's a real hip hop.

(56:51):
Let's get into the video.
I want to take the terror mediato make it sure everything's
clear.
Allow us to do this in Fadio.
I love you, brother, and allyour success.

(57:12):
You and your wife, your kids,and uh you keeping keeping up
the good work with you doing.
Let's get into terror squad.
Let's get into Pad Joe.
Let's go.

SPEAKER_00 (57:33):
You never catch me, stutter.
Everybody knows that I'm butter.
I'm not the man withsensitivity.
The name is Fat Joe.
The label's relativity survived.
I'm chopper lapping like a meatcleaver.
I'm burning hot, people think Ihave a fever.
Check it.
It's one of fun, they come withit.
Yeah, yo, yo, I'm standing homein this cold world.

(57:56):
Could you believe that?
I see some good men get blownover cheap packs.
In the roofs, we're a story.

unknown (58:06):
Shit, my life's legendary.
If I wrote that door down in thebook, it would be very scary.

SPEAKER_00 (58:11):
But you know, 16 bears of message.
Broke seeds down on my dick, thebeats look tremendous.
Seeing my niggas pick holes inbitches, come back in when I
went even falls.
Of bitches, say yo, you can actup a dead.
With the bear back in ADA, everyother week trick, dirty grand.
Even my bitches walk through Tin the way.

unknown (58:31):
My bitch already in the ground.
Look at the groupies, screw me.
Exit the club, bump the cruiseup the black now.
With the top, stay fucking withthe side down.

SPEAKER_00 (58:40):
See me in a new game with my fiancee.
Ass so fat, making you sayMutra's Grande, don't blame me.
Black down the white folk forgiving me temp for possessing
the sight so I wanna live mylifestyle.
Never seen the break, never seenthe drag house.
On the wall with the door andhave your backs now.
Bring it on the door and showyou case up.

(59:08):
On the wall with the door, haveyour backstab.
Yeah, we're on the door.
Slow half your head off, leaveyou with brain damage.
Bricks that take Tomorrow Lot of36 room mistake.
Follow me, I'ma fill it witheight C states.
In the red belly call a bit, CA.
Yeah, it's your dream for real.
They even want the kids toschool and go kill.

(59:32):
And that's the self safe.
You should know how the shitgon' go.
Follow me, come on.
I know you came the body.
So get up on your feet.
Come on, yeah, baby, just trapthe body.
Yeah, sing along with me.
Come on.
Let me let you know why y'allmake this song.
Brothers can't deal with thereal word is born.
I think you're tired of thesethings.

(59:53):
That's niggas saying that theycatch your bodies when they
never pull a trigger.
I know your style, I've seen itbefore.
You wearing army shoot, now youthink you're hardcore.
Drinking on your 40s, smoking onyour butts.
Can't afford a change, so youwear go first.
Yeah, you fucking the fuck, kid,and you'll be getting it up the
ass.
If you ever did a fucking bit,it's time to separate the real

(01:00:14):
from the fully.
The name is facto, all act likeyou know me.
I come equipped with the rushshit.
Nowadays I can't believe thepoor rappers come up with and
all your bitch ass niggas knowfor deal.
Check it out.
The fucking shit is real.
Hey yo, it's real.
Down on the moon, down on themoon, down on the real.

(01:00:37):
Hey yo, it's real.
Down on the moon, on the moon,no moon, don't go, no real real.
The fucking shit is real.
Down on the moon, down on themoon.
From New York to put Skydaway,suck his best friend.
Now in ninety three, it's allabout the fat man.

(01:01:02):
And if you mess around, thenyou'll catch a beat down.
See the name is Flat Joe.
And I'm here to represent, youknow what I'm talking about.
Everybody knows Fat Joe's intown.
Enough respect for the boogiedown.
I'm living in the rocks on anopportunity.

(01:01:23):
My name rings bells within thevicinity.
People always tell me, yo, youJojo, but I'm on a car, so I
don't get gas like Damako.
I'm your idol, your highestidol, numero uno.
Yes, I'm Puerto Rican and Ispeak it so that you know.

(01:01:43):
Storm, yeah, that's the idea.
Be that nigga leaking from earto ear.
Listen here, young rhyme, andyour end is near the crap.
Find your body at the end of thebeer.
Niggas must be crazy tillmistaking me for folklore.
I put the 80 to your baby, man.
I told y'all.
Fucking with cracks, likefucking with crap.
One, pull on the pipe or pushyour way back.

(01:02:06):
Look, you hate that.
Look, we stay strapped withgrill from way back.
They took the game back.
Your shit remained fat, top ofthe world.
Stop knocking the girl, she inthe drive with a ready rock,
locking the burl.
Fish out the hell, flip wellfrom here on.
Half a mill in your grill.
Of course, we're on.
Niggas thinking that this rap isjust worth.
Pull up and they turn, pull adesert burn.

(01:02:29):
They clear the block in no time.
Get off my kick, stop, talk yourshit, get your own shine off.
Take a look in my life, and youcan see that.
I'm from the bronze, where it'sknown to hit the heat clap.
Y'all need a nigga like me toput your fingers at.
So stop hating on the dawn.
You know you need crap.
Take a look in my life, and youcan see that.
I'm from the bronze, where it'sknown to hear the heat clap.

(01:02:51):
Y'all need a nigga like me toput your fingers at.
So stop hating on the dawn, youknow you need crap.
First, we were stuck in.
Then what's love?
Shit, really had the streetparkin'.
Oh no, we ain't come back likethat.
Not crap with a black, no black,yo.
It's the 13th down spinner.
Niggas used to dab out.
We even made great calories looklike a winner.

(01:03:14):
Me and Diddy skippin'automobiles.
Just got the house on the hillnow.
How that feel?
Fuck a lot of y'all niggas.
You been shittin' since thefirst song.
Now we rippin' down screen breakwith no shirt on.
Ass so loud, just moonin' thecrowd.
Say damn me, bitches wanna movein my house.
You see us back to back in themsnow white trucks.
J hangin' on the rim, you notgiving a fuck.

(01:03:36):
You must not be reading itright.
Ice so bright, we don't needheadlights at night.
Yo, crack niggas, axe niggas.
Up I smack niggas with the matglass.
Cause I am what I rap, nigga.
TS throw in your hands, make apack, nigga.
To never let enough prove who isback, nigga.
Take a look in my life, and youcan see that.
I'm from the bronze, where it'sknown to hear the heat clap.

(01:03:59):
Y'all need a nigga like me toput your fingers at.
So stop hating on the dawn, youknow you need crack.
Take a look in my life, and youcan see that.
I'm from the bronze, we're gonnastill hear the heat clap.
Y'all need a nigga like me toput your fingers at.
So stop hating on the dawn, youknow you need crap.
Hey yo, I'll be the showstopper.

(01:04:20):
As I sound like gold, I'm arapper's door, like dropper, the
certified fake nigga dropper.
Which barrel hit the thorough?
I know, do you know?
Let me know I'm seeing though.
The go-connectors putin' leftwith reflectors.
Don't get caught up in mysector, or I'ma have to inject
ya.
Rip a slab of a spherical dope.
Shit, bake and season on thebees, that's the quote.
Fag dope, but two and ever willprevail.

(01:04:42):
Get a pen like sunny up andcross.
Will I fail?
I doubt it.
Over nigga catch a body, whileother niggas fantasize about it.
But there's no need to talkabout it.
Keep it over hot.
What's the rules of a cruisethat I cross?
Hutcha.
What up, Japan's magnificent?
What up, two pop?
We know you're innocent.

unknown (01:05:01):
Like too short, so we gotta live fast.
Gotta keep it real.
Get the door and asset.

SPEAKER_00 (01:05:06):
Before we go out, you know we gotta live fast.
Call for ambulance.
This man's wet.
Bullets cut him down from theroot up just like a toilet.
Brazer, which I keep hitting inmy oral.
Ready to spat out an idiot outthat was the quarrel.
These men for some deservas.
Matter of the fact thatsomebody's getting new chick
that's not okay.
But let's replace it.
Do these streets filled withbutter?

(01:05:27):
Joey crap, aka case of salt.

SPEAKER_06 (01:05:30):
Some niggas get a nickname.
So now we sit drink, rock andmake a lacerate thing.
Doing my thing, fly, nigga.
You a soft kid.
Bitch, grab it set up.
Get them niggas for the shut up.
Fuck it.
Sweaters on a money cover.

(01:05:54):
Cheek some flex and a raw dogwithout protection.
Disease infection.
I get down fucking with brownflops.
Extra keys to the drop.
Flu I'm jingling, baby.
I got crazy Dominicans who payme.
The lay low, I play slow, rollwith the phone.
My fiosa, crop, kick pin.

SPEAKER_01 (01:06:12):
It all real, nigga.
What the deal?
I shot.
What the fuck?
I thought I conquered the world.
Crush Mo D, Hammer and IcedCheese curls.
But still, niggas wannainstigate shit.
I battle any nigga in the rapgame.
Quake, name the spot.
I make it hot for you, bitches.
Female rappers too.
I don't give a fuck, boo.
Word, I'm here to crush all mypeers.

(01:06:33):
Rhymes of the month in thesource for 20 years.
Call for ambulance.

SPEAKER_00 (01:06:38):
This man's wet.
Bullets coming down from theroot up just like a toilet.
Brazer, which I keep hitting inmy oral.
Ready to spat out and idiot out.
Then what's the coral?
These fan's must be for some taxevasion.
Matter of the fact thatsomebody's getting looged, this
I could paint it.
Bullets be blazing, throughthese streets filled with
torture.
Joey crap, aka Kaiser, sorcerer.

SPEAKER_06 (01:06:58):
Some niggas getting mixed to change.
So that we sip drinks, rockin'mix, flash the rings and things.
Work it hard for deep inside theJeep neck.
You in my thing, fly, nigga.
You a soft as kid.
Bitch, grab your death dog.
Get them niggas floating, shutup.
Fuck it.
Lucci sweaters on no moneylevel.
Draw the rocks like the softbefore knocks.
Four carrots, the ice rocks.
Pussy bangin' like Versace lowflop.

(01:07:20):
On the cleat, open like raw asscheeks.
Some flexin' raw dog withoutprotection.
Disease infested, uh, Italiano,got the Luciano.
I get down fucking with brownflops.
Extra keys to the drop.
Two or jingle it, baby.
I got crazy Dominicans who payme.
Delay low, I play slow, rollwith the phone.
My fiosa, crime, king, pin.

SPEAKER_01 (01:07:40):
It all real, nigga.
What the deal?
I shot.
What the fuck?
I thought I conquered the world.
Crush Mo D, hammer and icedthese curls.
But still, niggas wannainstigate shit.
I'm battling the nigga in therap game.
Quake, name the spot.
I make it hot for you, bitches.
Female rappers, too.
I don't give a fuck, boo.
Word, I'm here to crush all mybeers.

(01:08:02):
Rhymes of the most been thesource for twenty years.
Nigga.
Who can fix it?

SPEAKER_00 (01:08:07):
Opposition is pop of fiction.
I start the pictures, shit greenfrom all these things with a lot
of dicks and spot and listen.
I've been doing this for thekids.
And looking real thing, not thelast of the dead yeah.
Yeah, so don't consider thebeefin'.
I can read the feet in the linesquat, follow the squat.
Keep in the streets, we canclose.
We put the floor, stop we'regonna stop, stop me, drop.

(01:08:41):
Yo, stick, mother chicks, gottablow them out.
Put it in the level, sister A.
Put on your baby face, listen inthe baby face.
Five more bitches, never fly onthe shit.
Five you, my nigga, let it flyoff the hip.
This is every summer, mothernigga, don't trip.
This is it, one of them.
Joey put on that drip anotherpick.

SPEAKER_03 (01:09:01):
Human CX1 DJs, we do these different podcasts.
Uh, shout out to everybody thatstayed the whole show.
I think Lawania said good night.
Good night.
We ain't even over.
Anyway, good night to Lawandia.
Good night.
But shout out to everybodythat's checking on and checking
in.
Appreciate everybody staying tothe show.
It's over.

(01:09:21):
You know, when you're over 55, Iguess you gotta go to sleep.
Shout out to Lawandia.
Good night.
Um I was looking at that.
I said, what?
Good night.
We just shouted you out sayingyou was a ride and die, bitch,
and you went to bed earlier.
Okay.
But shout out to Lawandia.
She had to go to sleep.
But shout out to everybodythat's actually stayed to the
whole night.
I appreciate y'all.
And um uh shout to the whole CX1DJ, shout out to Punkerfoot,

(01:09:46):
shout out to uh and Punkerfoottext me.
She said, I'm on Roku watchingyou.
I watch every day.
You know, Roku TV, you can'tleave no comment in there.
You can't leave no comment inthere at Roku and Roku.
So Punkafoot always watching.
And then she texts me, let meknow she's on here.
Shout out to Julia Simmonswatching a roll.
Let me shout out to everybody Iknow watching.
Shout to Julia Simmons, Chad IHMedia, uh, Bill Watson, Troy

(01:10:08):
Wallace.
Everybody watch the big big dogswatch on the TV because they
they they see it.
August 12th to the 15th, CX1 DG2026 Music Conference.
August 12th to the uh to the 15.
I said 26th.
August 12th to the 15th, um,CX1DG Music Conference, make
sure you register now.
Go to the website,JonesGraphics44.com.

(01:10:28):
It's JonesGraphics404.com.
JonesGraphics404.com or call thehotline number 404-552-8731.
Visit and join the all newPunkinfoot OnlyFans page by
going to onlyfants.com and uhsearch for punkinfoot name.
If you listen when you go toOnlyFans, all you gotta do is
search for Punkinfoot and she'llcome up.

(01:10:49):
It's Punkinfoot404.
It's punkinfoot4 on OnlyFans,right?
And I, you know, we had a goodday.
We be back on Sunday.
Today's Thursday.
We ain't back into we ain't backto Sunday.
Troy Wallace will be posting whowe're gonna have Sunday on
everybody on everybody'sInstagram tonight.
When you see it on his instInstagram, make sure you uh take
it and start promoting it.

(01:11:09):
I'm gonna need everybody to dome a favor, promote that shit
more than just one day.
It's Sunday.
So you got Friday and Saturdayto promote it, y'all.
Come on.
Post the shit more than once.
I I just I was told from Chadfrom our High Media, he said if
he's looking out for everybody,he wants everybody to look out
for the CX1 DJ podcast.
Also, have more people uh stillstill get people subscribed and

(01:11:30):
like and share and turn on yournotifications.
If you're a part of CX1 DJs,you're a member, you got a
position.
I need everybody to still gettheir friends and family to
subscribe to the podcast, toYouTube, or listen to the
podcasts anywhere you can findpodcasts.
We on every major platform thatyou can find, any podcasters,
alright?

(01:11:50):
Every platform, all right?
Apple Music, Apple Podcasts,Amazon, uh, iHeartMedia,
anywhere you can find your majorpodcasts, CX1, or you gotta type
in CX1 DJs, we do thingsdifferent podcasts, we'll show
up.
If you want to see the videoversion, you gotta come to
YouTube.
We have other platforms as uhthe video platforms that we
about to launch.
So I I I appreciate everybody.

(01:12:12):
And um all donations, send it toCX1 DJs Coalition LLC Cash App.
Money Sign CX1 DJ's CoalitionLLC.
Uh yeah.
We not bes we are not monetizedyet.
So if you like what you see, youlike the program, you like the
real hip-hop uh information, andwe also promote the only fan
models rapper.
Punkinfoot is a rapper, model,and dancer.

(01:12:32):
So, you know, when you go to theOnlyFans, you see promote our
music and modeling, and makesure you join that is OnlyFans
Punk and Foot 404.
OnlyFans, Punkinfoot ofOnlyFans, make sure you join
that.
And uh, I want to say goodnight.
See everybody Sunday.
We back on Sunday with UntoldStories is Sunday through
Thursday, every Sunday throughThursday, 8 p.m.
until we done.
Usually we done at 9, but we goover we go over it a little bit.

(01:12:54):
We show love to the independentartists and any sponsored
artists tonight.
Shout out to T Cap, shout out tomy vice president DJ Peril, 800,
Houston, Texas.
Shout out to my uh my president,DJ Money, out there with the
tall cannons.
Um to Julia Simmons and shoutout to Chat RH Media, uh shout
out to Bill Watson, TroyWallace, and uh I think I shot

(01:13:15):
everybody.
And if I ain't shot it, shoutout to Punk and put the Panty
Girl, of course.
Shout out to Law and Dia Wilsonthat went to bed early.
You know, she getting old, sheup age, she's like, I'm going to
bed never.
We don't got time to watch novideos and punk and put ass
hanging out at the end of thenight.
I'm going to bed.
Good on my shout out to Lawandiafor going this way.
But anyway, peace and love,everybody.

(01:13:36):
Peace and love.
Peace.
See you on Sunday.