Crafting Authentic Hip-Hop While Raising Kids

Episode Transcript
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Speaker 2 (00:21):
Hey man, check it out y'all.
This week, man, we got a very,very special guest to the
podcast.
Hey man, this dude has beenputting it down on the Chicago
music scene as far as an emcee,writer, curator and just all
around just doing what the fuckyou got to do to help the scene
prosper.
So, with no further ado, I wanty'all to put y'all
motherfucking hands together andshow some love for the one, the

(00:42):
only, griffin.
Y'all Appreciate it.

Speaker 3 (00:52):
Thanks for having me, though, man, it was good.

Speaker 2 (00:53):
No problem, man.
Thank you for coming on.
I appreciate it, bro, all day.
So, before we go any further, Igot to give some shout-outs to
some people that's making someshit happen.
Shout-out to the Ownership clubon soulowner 6.3 fm.
Every sunday, you can find meon there from 9 pm to 11 pm with
the ownership club on soulowner6.3 fm.
And also I want to put this outthere too, because I think this

(01:14):
shit is very, very, veryimportant.
Um, for those who feel likethey need people to talk to and
they need some type of therapy,and you feel like it's not
affordable, there is a service,there's an organization that
offers free mental healthsupport 24 7.
If you need, if you feel likeyou need it, call this number

(01:34):
708-524-2582.
Once again, that's 708-524-2582.
They are offering 24 7 mentalhealth support.
Whether you need health support, whether you need to come in,
whether you need to talk on thephone, I think that shit is very
, very fucking important, man,real talk.
So, griffin, on the podcast,man, we like to do a check-in

(01:55):
with our guests and since youare the guest this week, man,
how your week been.

Speaker 3 (01:59):
I can't complain.
It's been a great week.
There we go.

Speaker 2 (02:02):
I gotta compliment you, man on the merch man like
that, hey, y'all check that shitout little anti everything,
anti everything, fuck everythingbro anti clout, anti clicks
anti you, nigga but I also wannaask this.
I also wanna ask this questiontoo, cause I ask people you're
an artist, you're a curator,you're a writer, you got all

(02:24):
this stuff going on.
So, on the artistic side,you're an artist, you're a
curator, you're a writer, yougot all this stuff going on.
So, on the artistic side, youalways working on something
right All the time.
But the question I'm gettingready to ask you is about
yourself what are you working on?
As far as Griffin?
What are you working on?
Not on the art stuff, but justas yourself.

Speaker 3 (02:42):
Shit.
Being a better dad Gee, that'san everyday thing like my kids
is more important than thismusic shit.
So I'm working on that shit sois it is it difficult.
Uh, yeah, life is difficult,you know, yeah, and I feel you,
I feel you.

Speaker 2 (03:01):
I'm a father myself, so it's so much that you got to
go through, especially being-.

Speaker 3 (03:05):
My daughter just started high school.
Bro, like yeah, it's difficult.
We a week into this shit.
It's just like yeah, all right,roll something up.

Speaker 2 (03:13):
Please roll something up.
I know you need it, man.
It's a whole new world, man,okay, oh, hey, god bless you,
bro.
God bless you, hey, man.
I got a 10 year old, I got a 10year old and I got a 10 year
old daughter and at 10 I'm likeyou know, I'm saying you just
think about it.
So I have one in high school.

Speaker 3 (03:34):
I command you, bro this is crazy trying to balance
the social media influence andall that is going on with the
friends and the shit and tryingto like keep grounded and shit
navigate through that becausethey getting bombarded with that
shit at a ridiculous rate.
It's kind of crazy.

Speaker 2 (03:49):
And they keep the phone in their hand.
You see what I'm saying.

Speaker 3 (03:52):
They keep the phone From early on because I saw that
shit you see online a lot oftimes like kids go off killing
their grandmama and shit, doingall kinds of stuff Like from
jump.
When they was shorty theydidn't even get phones for a
minute okay and then it's alwaysbeen restrictive.
Like you already know, it'sgonna be times you're not gonna
have this shit right form adependency on this phone and
shit and have some real issuebecause I took it away like
right, you know that's smartthough we was on that from the

(04:13):
beginning, like I didn't wantthe device yeah shit to take
over and shit.
And plus, like the influence,the tiktok, all this shit.
Like they get bogus ass factsthat ain't facts on there and
they believe that shit.
So I spent a whole lot of timelike fixing tiktok shit.
You know what I'm saying?
Yeah, straighten them out, likewhat.
Where you hear that shit atlike youtube right, block that
dude.
Like don't watch this goofy assstreamer no more, and shit.

(04:34):
You know what I'm?
saying yeah, y'all the wrong andshit.
So trying to navigate that shitis the most difficult shit with
the kids shit now.
Yeah, you know what I'm saying.
That shit's crazy that's love,bro.

Speaker 2 (04:45):
That's love like real talk.
Like, like I said, man, like Ifeel people need to understand,
like being a father in thissociety where you got so much
shit against you, you know, I'msaying like you gotta fight for
the shit that's going againstyou already, but you also gotta
put yourself out there and makesure that your daughter is
straight.
See what I'm saying.
So, like you said, you gottathink about this man.

Speaker 3 (05:07):
There's kids popping up missing.
It's all kind of shit thatpeople aren't paying attention
to.
Where I'll be worried all thetime, like when we were shorties
, you could hop on your bike.
We was all over the city andjust ride.
She can't leave the block, bro.
I'll be like where the fucklike?

Speaker 4 (05:19):
where you at, where you going like you know I'm
finna apple.

Speaker 2 (05:22):
Tag your clothes, your bag like as you should out
here, bro, man, I got a I got a16 year old son too, and I'm
damn near like that with him,bro you gotta be like I did.

Speaker 3 (05:33):
Uh, I worked at the audi home for a couple years,
okay, mentoring the youth orwhatever.
So this is like the age groupwhere I'm looking at my daughter
she's 14 and I'm entering 12,13, 14.
That's in the Audi home.
They locked up for shit.
Yeah, so knowing like these,the niggas you in school with
right now and these niggas, isgoofy, super goofy, just gone
off goofy.
It's like clout has taken overcrack as the worst epidemic

(05:59):
period.
It's the new drug, it it's themost highly addictive drug out
here, bro, and it's cloutchasers all over.
But that shit, like the cloutshit, is a real problem.
Where you got niggas, you'llfilm yourself or your boys doing
crime because you finna getlike the child niggas, finna get
years.
And you was really thinkingabout the likes and shit and
it's trying to go viral for youand shit.
It's like how the hell is thatworth it?

Speaker 2 (06:18):
cuz like I don't understand that shit, but it's
worth it to them.
That's the society is told like.
That's the society has toldthem.
I think that the sadder partabout all that is when you see
the adults that fall into thesame fucking problem.
You get what I'm saying andthen you start to feel like
y'all the reason why thesemotherfuckers act like this
because we got too manyweak-minded ass adults out here.

Speaker 3 (06:40):
Like, that's just the bottomline.
That's a lot of kid ass, grownass kids.

Speaker 2 (06:47):
yeah, with uh kid mentalities, that's grown ass
people so, with that being said,I want y'all to think about
what I said earlier.
If you feel like you need thatmental support, call that
fucking number, because I feellike it's a lot of adults that
didn't have that growing up andthey just had to adapt and they
never had a motherfucker to talkto, but somebody actually tell

(07:08):
them the shit that they're doingis goofy as fuck and they need
help.
You know what I'm saying.
And then, uh, how can I putthis?
A dysregulated child turns intoa dysregulated adult you know
what I'm saying who ends uphaving a kid, and it's a cycle
just keeps fucking keeps fuckinggoing and going and going.

Speaker 3 (07:23):
Discipline issue Like motherfuckers.
Don't got discipline.
No more, bro, Not at all yougot.
You got no impulse control andno discipline and shit.
You know what?
I'm saying yeah.
Whatever you want right now, Igotta go get it, maybe on his
best life.
Shit when it's like best lifemeans a long one.
That you had all the shit youneeded Y'all on some Best Life
tonight and that ain't the lick.

(07:44):
Right, but they convinced thatit is.

Speaker 2 (07:48):
That's a t-shirt right there.
Best Life is a long oneStraight up.

Speaker 3 (07:51):
I mean getting old sucks, but getting old is dope.

Speaker 2 (07:55):
I mean, isn't that the goal though?

Speaker 3 (07:57):
Yeah, it's supposed to be.
But for to go out.
It's like the what?
Movie was that uh, top of theworld mom with a motherfucker um
public enemy or whatever it wasuh shit, I'm talking about this
shit with uh, uh, the old shit,the old black and white joy,
yeah, yeah, top of the world,mom, public enemies, so like,

(08:17):
but that's like the, thementality of motherfuckers, like
man, tonight it's all about.
Tonight I'm finna, do this shitbig tonight right niggas is not
worried about next Wednesday.

Speaker 2 (08:24):
Right, you only live once, but you only die once too.

Speaker 3 (08:27):
Goofy ass nigga.
Yeah, you only live once, sosavor the motherfucker.
Don't blow the motherfucker,because it's only one time.
That don't make sense, g.

Speaker 2 (08:37):
Yeah, I mean, but a lot of motherfuckers ain't
saying what you saying andthat's the problem.
You know I'm saying everybodyain't saying what you're saying
and so many motherfuckers theyhear that line and they just
agree with it and they run withit a whole different way, like
it's.
It's different perspectives toeverything you know I'm saying
and it just seems like with thewhole social media thing, we're
only giving one perspective, youknow I'm saying, and dependent

(08:59):
on how many likes, well, that'sbecause they got capitalism, we
in that society, so it'scorporate run, right?

Speaker 3 (09:05):
so the shit we're given is the shit that gets
their bottom line hit every day.
You know I'm saying what'sgoing to sell the most shit this
quarter, this day, thiswhatever, like that's the system
we in, so it's fucked upbecause it affects the mentality
of people in it, right, youknow I'm saying so, you, we,
capitalist, and shit and that'sshit.
The problem with capitalism isthere's ceiling.
You just got to keep like if acompany like Apple they made

(09:28):
more money than anybody in thehistory of making money.
Right.
And if they don't make moremoney next year, they fail it.
Right, nigga, how Y'all mademore money last year than
anybody ever did, but if youdon't make more money than that
next year, you fucked up, andthat's capitalism.
And that's fucked up where it'slike y'all a trillion dollar
company, bro, and you still belike we need to lay off some
niggas.
How the fuck for right, causewe ain't make more money in

(09:51):
quarter two than block, like allthis.
That's capitalism.
And that's the problem.

Speaker 2 (09:55):
Where there's no, no cap, no limit and shit you know,
ayo, we gotta take all themotherfuckers out there.
That's greedy as fuck and don'teven realize the beauty that's
right there in front of yourstupid ass.
And that's the Shits Podcastman.
It's the Shits.

Speaker 1 (10:10):
What up y'all?
It's your boy Monsoons, the Rodfrom the Ownership Club and the
Shits Podcast.
Just letting y'all know aboutthe hottest after party going on
every Sunday at the Hideaway 12, 45, burnham Avenue in Calumet
City, Illinois.
Every Sunday, 10 pm to 2 am.
It's the shit.

Speaker 2 (10:30):
We're back at the shit's podcast.
We either shooting shit,starting some shit or picking up
what shit left off hey y'all Igot or just being the shit.
Exactly, I got the phenomenalGriffin in the house, man and yo
.
So, man, I love the way youbroke all that down, bro,
earlier about the capitalism,about the social media, about

(10:51):
the mental health, and I likethe fact that you talked about
you worked with the youth andyou working with the youth.
You know what I'm sayingBecause I look at it like with
music music especially with theChicago Sing the youth still
need that fucking mentoring, bro.
Like the youth and music stillneed that mentoring.

(11:11):
Like I've ran across peoplethat be like man I heard your
album from 20 plus years ago.
You know I'm saying as shortiesand then they see you out in
the street and it's like you are.
The people like yourself arethe ones that's keeping this
culture thriving.
So my question to you is howwere you first introduced to

(11:35):
Chicago hip hop?

Speaker 3 (11:38):
Chicago hip hop specifically.
Yeah, chicago hip hop.
I mean that's becausetechnically, like, hip-hop is
more than just rap shit, right.
So just by going to parties andbeing around, hip-hop shit,
that's chicago hip-hop.
Like being around niggas breakdancing and shit okay that was

(11:59):
like shorty, like from.
I don't even remember a timewhen there wasn't hip hop
involved that type of shit.
You know what?

Speaker 2 (12:06):
I'm saying Like the first.

Speaker 3 (12:08):
The first hip hop song I heard was Duh Ha by
fucking uh rapping Duke.

Speaker 2 (12:12):
Rapping Duke.
I remember that shit yeah.

Speaker 3 (12:14):
Like my dad.
He was working.
Was he white?
Who Rapping Duke?
Was he I have?
He was trying to sound likefucking John Wayne, yeah.

Speaker 5 (12:23):
You know what I'm saying, so I don't know if he
was.

Speaker 3 (12:25):
I have no idea, but I was at.
I think I was like six or sevenyears old and my dad used to
work at WVON.
Okay.
Which is a black radio station,Voice of the Negroes.
That's like one of the.
It was one of the biggest.

Speaker 2 (12:37):
I didn't know it stood for that.

Speaker 3 (12:40):
Yeah, w.

Speaker 2 (12:40):
Wait, what was it based out of?

Speaker 3 (12:42):
Here Based out of Chicago, chicago WVON.
That shit been out Boy.
Hey, you need to do someknowledge on your own shit.
I got you Boy like what.
Wvon.
It's on the south side of shit,the studios or whatever, but
that shit's been there since Iwant to say like the 60s, whoa.
I got work to do of the negroesis the uh, the name of the shit,
violinos, the college orwhatever, but he used to work

(13:04):
there.
Uh, he was a dj on the shit,but sometimes I would go to work
with him okay and it was ajanitor dude there that'd be
there at night.
He like yo check this out andhe played this record for me and
I was tweaking off this shitlike what the fuck is like what
is this like?
right, but it was hilarious andit was dope.
But that was like myintroduction to that and to me
that's chicago hip-hop, becauseI was in chicago when I got

(13:25):
exposed to all of that shit.
You know what I'm saying, sothat's all a part of it, like
the vibe, the feeling orwhatever you know.
So I wouldn't even say likewhen I started rapping as well,
or when I've seen niggas fromhere rapping, or nah, because it
was break dancers, it was markswith the spikes looking like
breaking tools, shit, like outhere on the we had the linoleum
pull it out.
Un on the corner, we had thelinoleum Pull it out, unroll the
joint, breaking on the corner,like all that shit.
So that was from again likeseven years old, so real quick.

(13:50):
Beach Street or BreakingBreaking is bullshit.
Beach Street is the actual shit.
You know what?
I mean Like, if you want toknow what hip hop was like, then
it's for in beat street.
Yeah, breaking was like a whitesavior complex.

Speaker 2 (14:08):
Somebody got to come in and you know that whole that,
that shit like I want to say,like I always felt like it was
more pop.
It was more pop hip-hop.

Speaker 3 (14:16):
You know, I'm saying like well, it's pop breakdance
whatever you want to call it'shollywood and shit like beat
street is an authentic hip-hopstory, yeah, whereas breaking
like follows the whole writers.
Uh, what is that shit calledthe writer's journey or hero?
Journey yeah.
So the chick, the white chick,that comes in the middle, she's
like the hero.
It's her story.
This shit is not about hip-hopit's about the white chick going

(14:39):
from the uh, the white world orwhatever and doing this street
dance shit, like that's whatthat whole shit was.
It was her movie.
I don't look at that shit likesome hip-hop shit.
We was the backdrop to herstory, whereas B Street was a
story about these dudes.

Speaker 4 (14:54):
that's in it you know what I'm saying.

Speaker 3 (14:55):
With spit and the whole it was about that shit and
it just felt organic bro.
That's how we would have toldthe story, whereas if you look
at breaking, that's how somerich white motherfuckers would
tell the story.
They gotta come in and savethese youth.
That's in trouble when they,you know, I'm saying like all
that goofy ass shit, like and Idon't knock breaking like it for
what it was like.
It put uh hip-hop in front ofaudiences that normally wouldn't

(15:18):
have seen the shit, true, true,so I mean elements of it,
because it was still mostly thecorny side Of the shit.
But who ain't wanna be Turbowith the broom?
That's what I was about to say.
Who ain't wanna do that LikeOzone.
Later now we looking like thisnigga had on Half top shirts and
the crazy, but back then it waslike this motherfucker Cool as
shit.
It was like Now you're likeRest in peace, boogaloo and shit

(15:41):
.
That's definitely it.
Long live that nigga.
Do you realize?

Speaker 2 (15:46):
how many motherfuckers you could
blackmail if you showed picturesof the shit they was wearing?

Speaker 3 (15:51):
No, you can't, because the shit Ice-T had on in
that movie was O-C.
He's all right.
That shit ain't going to work.
Niggas had on some wild shit inthe Breaking movie.

Speaker 2 (16:02):
It was suspect.

Speaker 3 (16:04):
Borderline like a motherfucker, Like that shit.
Yeah, that shit was crazy, itwas real suspect.

Speaker 2 (16:08):
And then I think about even some of the scenes.
Man, like you know,motherfuckers meeting up in the
alley like all tough and shit todance.
And every time I watch thisshit I be like that's the West
Side Story influence.

Speaker 3 (16:19):
That's when you get into the Hollywood side, where
they coming up with oh, let's dothis scene like this Right and
they go.
West Side Story and then theybreak that down.
So you see that's really WestSide Story.
Influence to that.
Yeah.

Speaker 4 (16:28):

Speaker 3 (16:29):
Yeah, Again, breaking was the Hollywood version, so
it's funny that you say thatbecause it makes me think about
how the shit was just recycled.

Speaker 2 (16:38):
So you, what's the fuck is this shit with
Christopher Short Columbus Shortin it, the dancing movie
Christopher Short Columbus Short, chris Brown, what the fuck was
that?
Stomp the Yard, yeah them Like.
And I always tell motherfuckersI do not like dance movies

(16:59):
because like the shit is notrealistic.
I be feeling like who the fuckmeets up, who plans a battle to
meet up, and just dance.

Speaker 3 (17:06):
They need an excuse for these choreographers to do
some shit, like they didn't hirechoreographers to do shit.
Now they gotta have make upscenes for that to happen.
It's all like that's a skeleton, that's a blueprint or
something.
They cookie cutter that shitout.

Speaker 2 (17:21):
It just come off as real corny to me.
It always felt fucking corny tome but, like you said, b Street
, it was like, hey, that shitfelt like I mean, I guess, for
lack of better words, it justfelt real.

Speaker 3 (17:31):
You know what I'm saying it just felt like you get
a real idea of what it was likein the 80s to be in the hip hop
.
Shit, yeah, in the 80s, late80s, and shit was just like that
.
Yeah, so you got to take aglimpse into the lives of these,
uh, three or four charactersright and they roll.
You know I'm saying you got theyoung dude mad.
His brother ain't letting themdo shit yeah, they got they crew

(17:52):
, whatever you got the graffitibattles, yeah, then these the
dancers and shit, and they ontheir own thing.
So it's like you got a glimpsein the actual, the mentality of
like this some everyday shit,like people live this shit for
real, like be on that.

Speaker 2 (18:04):
You know what I'm saying and also with you being a
curator, I would like to pointout you also had the aspect of
the dude that was putting showstogether or trying to put shows
together.

Speaker 3 (18:14):
You know what I'm saying, so, like it was, like
all that's what I mean like thatmovie represented all of the
elements of this shit we doing,yeah, except that it didn't
really get into the media sidebecause it didn't even exist yet
.
But I'm just saying like forwhat it was.
For then it was like we touchedon that movie, touched on all
the elements of what hip hopencapsulated in this shit
Exactly, whereas Breaking wasthe surface level shit.

Speaker 4 (18:37):
What it looked like outside.

Speaker 3 (18:39):
I don't even like when it came out.
I was at the theater to seethis shit.
Like that.
It wasn't nothing out like thatright.
Like this shit wasn't intheaters and it wasn't in your
face like that like, especiallyfor us.
We didn't see that shit andhip-hop was some old secret
society ass shit.
So just having to be on thatplatform was dope.
Now, in hindsight, you lookback like this shit was corny as

(19:00):
shit and you could pick itapart all day, but it wasn't
shit out like that right.
Hats off to them for eventaking a chance at doing that
shit, because you know what I'msaying like there wasn't.
No, you ain't know that shitwas gonna make money or anything
at the time it probably didn'tmake money like.
I don't know what the box officewas like on that shit, but they
didn't know one way or theother there wasn't no guarantee
that shit gonna slam dunkbecause it's hip hop, like now,

(19:23):
where you put that shit in acommercial.
Your shit gonna sell at thattime they didn't know that you
know what I'm saying.

Speaker 2 (19:30):
They felt like it was a fad.
It ain't gonna be around nextfive years.
Now you look up hip hop tocelebrate it 50 fucking years.

Speaker 3 (19:37):
that scene with Turbo it would have been a fad.
That shit wouldn't have didshit like you had to change it
up nigga If motherfuckers keptrapping like that.
Yeah it wouldn't have lastedlong.

Speaker 2 (19:50):
But, put like this.
At the time I don't even knowif I'd say it was dope, it was
new.

Speaker 3 (19:56):
That song particularly or.

Speaker 2 (19:57):
No, that song particularly.

Speaker 3 (20:00):
You never heard it.
Right, that's what I mean, butit was still funny.
It was like we are our Yankovic, like is this dope or is it
just?
It's hilarious and I fuck with,like you know we gotta take a
break real quick.

Speaker 2 (20:11):
Hey, yo shout out to all the motherfuckers out there
that start rapping and rappinglike rapping duke and man.
Get your goof ass out of here,man.
Change your style like man.
It's just podcast, it's theshit everybody.

Speaker 4 (20:22):
It's comedian stephanie robertson with the
shits.
Come check it out.
You can follow me on instagramat stephanie underscore
underscore robertson.
I will see you there.

Speaker 2 (20:31):
Make sure to follow yeah, yeah, we are now back at
the shits podcast and we're here.
We got my man griffin in thehouse and we're just breaking
down the evolution of rap, rap,da ha, ha, ha, ha ha ha come a
long way, baby exactly, so canyou remember the first venue you

(20:52):
performed at?

Speaker 3 (20:57):
yep, so the first show I did was at saint xavier
university.
Okay.
And I got paid $150 to do this.
That's beautiful.
How old were you when you asked?
13, 14.
Oh, that's even better.
And I took two of my homieswith me and shit to do this shit
and we didn't have like nosongs, we were just freestylers

(21:19):
and shit.
So like, we freestyled the show.
Now the problem was this was ata time when it was the house
verse hip-hop shit, so it was ahouse-o-matic show, so the whole
audience was all they had onhammer pants and sequence and
shit.
like with the polka dot with thewhole because they were doing
that shit.
So it was like a dance thing,but we was opening up.

(21:40):
I didn't know that shit thoughyou know what I'm saying so we
come out on some hippity hopshit, you know what I'm saying.
And these motherfuckers, likethe crowd was not feeling that
shit.
You know what I'm saying that Iwas fuck, whatever.
So we did our shit, we got offstage.
But my man runs back on stageon some fuck house music and
runs off the stage and shit.

(22:01):
I'm back, I'm talking to'mtalking to this shit.
She got my check.
It was a university, so theygot budget or whatever.
I'm getting a check and shit andI just see these motherfuckers
running and they running.
I get the check, I'm running,we running.
Motherfuckers chasing us out theauditorium because this nigga
shout out to malik and woody andshit.

(22:23):
But yeah, that was the firstshit I ever did and it was some.
We just got it on a whimbecause I told him like yeah, I
rap, yeah, I rap whatever.
Like yeah, but we got this showwe need to.
They was trying to pay people,like they had a budget and they
was trying to get it off yeah soI ended up.
It was like some house dramatic,some shit.
It was a house thing, you knowwhat I'm saying and we came on
some super hip-hop shit with theBeatties and the Peppermint

(22:45):
Sticks and the fucking backpacksand shit Like the whole shit,
and it was fun, but it couldhave ended bad, dangerous,
dangerous.
That was my first joint Shoutout to St Xavier University and
shit, that shit was cool.

Speaker 2 (22:59):
So what made you want to rap?

Speaker 3 (23:03):
The fact that you could cuss on a record.
Honestly, that was the wholedraw, like I heard ice cube when
nwa dropped yeah dope man and Ifirst started hearing those
records and shit like I was likeI want to do that shit like ice
cube, the way he cussed likereally it was all about that,
yeah and that was like my introto it was like it was just some

(23:24):
old, out of the norm shit, likeyou're not supposed to do that.
Like at the time, like youcouldn't, like they was getting
arrested for cussing on stage.
Like you know what I'm sayingwith some shit, you couldn't,
really can't do that shit now,dude.
And I was just like everybodycussing, that's dope.
Yeah, it's like I want to pisspeople off like that.
Like, and from that's when Istarted writing my own shit.
Like the first shit I recordedwas over DLC instrumentals from

(23:46):
that first album.
It's funky enough, no one cando it better than shit.
Okay.
Like those, my brother's a DJ,so he had equipment and shit.
So I literally taped that,recorded the shit, put the wax
on, grabbed the DJ mic or novelfor the mic, because it was
through the headphones, becauseif you plug the headphones, into
the mic jack, you plug theheadphones.
Because if you plug theheadphones, into the mic jack.
You plug the headphones into themic jack, you can talk through

(24:07):
that shit.
So I'm talking through theheadphones, like I rap through
the headphones over DLCinstruments.
That was like my first shit,but it was all inspired off
hearing Ice Cube do Dope man andGangsta Gangsta.
I think that was like a B-side.
It was like the 12 inch shitwas Dope man and Gangsta Gangsta
from them.
It was just like both of themwas dope as fuck too.
I heard them shits like yo whothe fuck is this dude like?

Speaker 2 (24:28):
and I wanna do that shit so you said two names, man,
that really stood out to me.
One of them is Ice Cube shoutout to Knight for stealing my
lighter the other one is the DOC, and I feel like to me both of
them motherfuckers arephenomenal writers.
What the fuck.

Speaker 3 (24:49):
Both of them motherfuckers are phenomenal
writers.
You said DOC and Ice Cube.
Yeah, yes, no one can do itbetter still, like in my top ten
rap albums of all time and shit, and it's ill because I got the
email back and forth and DMwith DOC and shit and that shit.
One of the surreal moments, ohman, conversations with this
nigga is like yo, cause he'sdefinitely one of my favorite

(25:10):
motherfuckers.
Like I thought this nigga wasthe coldest motherfucker he was
Like ever.
Like he's cold.

Speaker 2 (25:15):
So I was going to ask you okay, do you think if he
would have never got into thataccident?

Speaker 3 (25:31):
where would the doc be placed as far as top 10 mcs?
I'm saying if that shit neverhappened?
And he because, like dude, thatshit happened right after he
got done recording the albumtype shit like it was like two
weeks after the release thatfucking album.
You can listen to the albumstraight it, that shit is
fucking incredible, exceptBeautiful but Deadly, but
whatever it's at the end, so itdon't really matter and shit.
But everything else on thatmotherfucker is like, yeah, this
shit is crazy, right, but he, Imean he would be like, look at

(25:55):
where Snoop is, and he's Snoop'smentor that's a damn good point
so it'd be like on some snoopshit, like he was the first
motherfucker that dre was likethis my solo nigga yeah you know
, I'm saying everybody, likethat it's like you got doc snoop
m&m 50 cent.
It's specific motherfuckers, dredone, touched pause.
You know I'm saying it's likethat, turned into like these are

(26:18):
some of the most phenomenalmotherfuckers you've ever heard
because they don't write us.
It was like ice cube, but in thegroup, but dlc like that's a
motherfucker.
Yeah, he was like yo, thismotherfucking shit.
So he would have been like Ithink that level because like
the chronic, would have been afucking dlc record, not a dr dre
record, because he did a lot ofwriting on the way he was

(26:39):
leaving easy and took doc withhim yeah so the first shit they
would have been on wouldn't havebeen like a dr dre record.
That shit would have changedthe trajectory a lot there.

Speaker 2 (26:46):
Probably wouldn't have been a snoop like that
probably wouldn't have been asnoop.

Speaker 3 (26:49):
You know what I'm saying because if there was no
chronic, no deep cover, if docthat's a damn good voice or
whatever, and you're saying likesnoop probably wouldn't even
got that, look, because damndrake would have been producing
doc second album type shit atthat time.
It wouldn't have been producingDoc's second album type shit at
that time.
It wouldn't have been nofucking Chronic.

Speaker 2 (27:06):
That's a.

Speaker 3 (27:08):
Because, if you think about it and listen to
interviews, dr Dre said the DLCis the reason why he even did
the Chronic.
This nigga was the one tellinghim yo, you need to do an album.
And I'm sure he's only doingthat because, like nigga, I
can't do it, like I can'tfucking rap right now, right, so
you got to do the shit.
So if he could talk and allthat shit, he wouldn't have been
telling that, nigga, you needto do the album.
He'd be like man lace me up, g,you did it yourself.

(27:29):
I'm finna kill this shit.
He'd have knocked that.
We'd have had that.
Nigga would have been on aTupac run, bro, I feel Texas,
yeah, dallas, nigga would havechanged the whole landscape to
West Coast hip hop and he kindof still did, because he was
behind the scenes for DoggyStyle.
The sequencing so manymotherfuckers, though.

Speaker 2 (27:49):
I mean, like he wrote for so many motherfuckers, you

Speaker 3 (27:56):
Mc Breed best album DLC.
Ghost wrote that shit.
That the new Breed album Justanother clip into my AK and all
them songs Like MC Breed.
Coldest fucking record DLC theghost.
Writer For that shit.
Look that shit up.
The one where he got the songwith Tupac.
Yeah, gotta get mine DLC beingall behind that bitch.
Y'all Do the knowledge On thatshit.
I'm telling you I know thisnigga.
He was my favorite Fuckingrapper at the time For a long

(28:19):
time.
You know what?
I'm even off that I seen anigga performing concert before
he fucked the shit up.
Okay, as a shorty, like I wasat the motherfucking shit, like
my brother took me to that shit.
I'll never forget that shit.
Didn't think when everybody wason tour with two live crew
it'll be like a whole bunch ofrap motherfuckers and two live
crew like on every tour.

Speaker 2 (28:35):
Yeah, shit was crazy so so so is it safe to say that
you come from an era wherewriting was very important.
Lyricism content was veryimportant.

Speaker 3 (28:53):
I mean more than lyricism.
It was originality.
Okay, you could, because youtake a motherfucker like Biz
Markie.
This nigga ain't a superlyricist?
No, not at all.
But he got his own lane.
Niggas respect it and rock withwhat he own.
This nigga doing songs calledpick and boogers.
I was about to say that you knowwhat I'm saying like about some
other shit, right like thisshit is hilarious where you see

(29:13):
later you got devin to do it'skind of on some biz marky shit
but more talented and shit oh,he's cold, but I'm just saying
on as far as that he could dosongs, like I'm in the bathroom
boo-booing because Biz Markiedid doo-doo rap, Right Like that
happened.
So now there's oh, you could dothat the same way where I'm
like I ain't think about rap.
So Ice Cube was cussing.

(29:34):
I didn't know you could do that.
Oh, you could do that.
I'm finna do that.
I'm about to do that shit, butuh, on some everybody had their
own lane on some originalityshit, yeah, so that's really
what.
It's not even about lyricismand who the rawest, like all.
It's not about that shit at allg.
It's about, like, your ownpersonal flavor and how you let

(29:55):
that shit shine out right, isattracted to it or not.
You know I'm saying yeah it'snot like I use the best words or
I got the most metaphors of myshit's a quadruple entendreed
Like dude.
That shit's cool, but it ain'tthe like.
It's really like.
Are you an original personality?
Are you a motherfucker?
I want to smoke one with Right.

Speaker 2 (30:14):
Right right, right, like thattype of shit, and I think I
think we got to take a break.
Hey, hey, yo Shout out to allthe motherfuckers Out there man
that wrote their raps While theywas sitting on the toilet and
you really came up with thatshit.
It's the shit podcast y'all.
It's the shit.

Speaker 4 (30:30):
Zsa Zsa Smith 7 Heaven At gmailcom.
Zevin Heaven At Instagram.
Zevin Heaven Facebook.
Zsa Zsa Smith.
Facebook Zsa Zsa Smith 20.
Instagram I have the cupcakesthat you need.

(30:51):
I have the cupcakes that youwant and all the flavors, Any
flavor that you can imagineChocolate chip cookies, Any type
of sweet treats.
That's why I have seven sweettreats y'all.
Mobile, if you want to call mearea code 872-225-2680.
That's 872-225-2680.

Speaker 2 (31:15):
All right, we are now back for real.
This time at the Shits Podcast.
We're either shooting shit,starting some shit, or picking
up what shit left off.
We are in here with my man,griffin, breaking down a lot of
shit, hip-hop-wise, like I saidhey man, y'all go check out that
motherfucking Daylight Soulalbum.
Y'all go check out themotherfucking DOC album.

(31:36):
If y'all not up on that, we weputting y'all up on it.
One of the coldest albums to bemade.
The doc uh, no one can do itbetter.
No one can do it better, andyou brought up a very good point
.
If the doc did not have hisaccident, would there be a snoop
dog?

Speaker 3 (31:55):
that's a very good question, bro.
I mean, I'm not to say itwouldn't, because snoop is an
incredible rapper and he wasplugged in with warren g and he
had his thing, but it wouldn'tbe, motherfucker, skip school
for doggy style and shit like Ithink that would have happened
with the dlc second record,right, you know what I'm saying.
There wouldn't have been a needfor the chronic to even happen,

(32:15):
because dre would have had thedoc already right when he does
that throw and does the wholeshit yeah, I'm saying so and a
lot ofthe inspiration for the chronic
happening was the DLC inspiringDre to do it and giving him the
confidence that he could do a drDre record cuz again.
At that point he hadn't beendone.
Only my fucking doing that typeof shit was Quincy Jones, when

(32:36):
no producer records, right youknow, saying it was this was
this mc and so and so and dj soand so, like it was a team and
it was a group and it was awhatever, but it wasn't.
No, like I'm the producer andI'm finna, put out a gang of
different rappers on my shit,but it's my album right like
that wouldn't really that hadn'tbeen done, as far as I know.

Speaker 2 (32:52):
At the point, at that point, you know I'm saying yeah
, no, no, I agree, saying thatalso, it also makes no, I'm
lying, maybe marley maul, butmarley maul didn't even do in
control till after.

Speaker 3 (33:01):
Was that after before the chronic in control volume
one?
Marley maul, when he did analbum he did all the beats and
all them.
Jews crew niggas rapped on itokay it was coogee rap bears
marky about what year?
Was that and shit.
That's what I'm trying toremember.
That was before the chronic, soyeah, dray't first, but they
was on that shit.

Speaker 2 (33:21):
I just wanted to be clear for the record, bro, that
also made me think about whatthey would have done for Texas
as far as a hip hop scene if DOCwould have blew up like that.

Speaker 3 (33:33):
I mean Texas was doing this like at the time,
faze and them was on one tooalready by the time D, them was
on on one too already by thetime the.
Dlc shit came out like theGhetto Boys was out right.

Speaker 2 (33:45):
So you think about it .
So you'd have had the GhettoBoys, you got Scarface and then
you had the DLC added on to that.
What would that have done forthe way we look at Texas as a
hip hop hub?
I don't know.
We still look at Texas the same, I think.

Speaker 3 (33:59):
I just think it would be different for Snoop and it'd
be different for the DLChimself.
Like that shit would havechanged the trajectory of a lot
of shit and I don't think wewould have ever gotten a Chronic
Like the Chronic would havebeen the DLC second album Okay,
but the Chronic that would havebeen in 91.
That would have been Dreputting the DLC next fucking

(34:20):
album out under Death Row.
He would have been the mainartist on Death Row.
All the shit would have beenbehind, doc, I think.

Speaker 2 (34:27):
So kind of switching it up a bit.
So we was talking about WestCoast, talking about Texas,
talking about Chicago.
We started thinking aboutChicago and some of Chicago's
hip-hop cliques and crews.
Depending on who you talk to,people can name numerous cliques
and crews.
Do you think?

(34:49):
Because you've been in it for awhile, you've been emerged in
this scene for a?

Speaker 3 (34:53):
long-ass time Shit from the beginning of it, for
the most part Exactly.

Speaker 2 (34:58):
Do you think that the hip hop, the Chicago, with the
clicks and the crews, do youthink they have done more to
progress the culture of Chicagohip hop?
Or I know motherfuckers may getpissed off when I say it or
slow it down neither.

Speaker 3 (35:18):
Actually okay like number one.
People forget that chicago is aconsumer town okay so that's
the number one shit we gotagainst us.
As far as trying to be abreakout city.
Our radio stations don't breakrecords, it's hit format gc.
I never said we break records,they say we play the fucking

(35:39):
hits good point.
They play the hits because othercities break records.
If you go to atlanta,everything on their radio
station right now is going to beon our radio station four
months from now.
Okay, they break records in newyork.
They break records in la.
They break records down south.
They do not break records.
In chicago we buy records.
George's music room is one ofthe most popular spots ever

(36:00):
because that nigga sold a lot ofpeople's records out of that
store on the west side consumertown.
So that's number one.
That's like the.
That has nothing to do with nocrews, no niggas, no, none of
that shit.
That's just the way chicago isset up, period.
So that's that's like problemnumber one and shit.
And then I don't think there'sany one motherfucker that could

(36:22):
put it on and there's no onecrew that could.
That could have killed it eitherokay every city I've been to is
the same.
When I was living in la la,niggas were saying the same shit
chicago niggas saying aboutchicago.
They saying that shit in laabout la.
Right now ain't no unity, weall trying to whatever at each
other.
They're like it was the sameshit.
You go to new york, they'regonna be saying the same shit

(36:43):
about other new york niggas.
Okay, texas, other texas niggaslike I don't, it's not like a
chicago thing.
We just are more we around it,more and we, you know, I'm
saying we live here and shit.
So this is our reality, or whatthe fuck?
Especially if niggas ain't beennowhere else for a significant
amount of time.
That's all you got to base shitoff of.
Not a knock, that's just allyou got to base shit off of.

(37:03):
I lived in other spots and I'veseen the same shit as far as
the local scenes, in everyfucking spot.

Speaker 2 (37:09):
So I meant to ask and I apologize, I really should
have asked this long-ass timeago where are you from?

Speaker 3 (37:23):
chicago.
Okay, I was born and raised inchicago.
I just moved around.
Yeah, at a certain point it gotto be like yo, I'm gonna do
this shit and I need to gosomewhere where I can walk into
an office or bump into themotherfuckers I need to bump
into and do this.
So in 98 I moved to atlanta.
Okay, I was down there for liketwo and a half years.
I ended up doing a lot moredirty shit than music shit.
You know what.
I'm saying so it got funny style, like I was in the county for a

(37:45):
second down there and shit,like it got stupid and shit.
So I came back to the crib,yeah, redid shit, and figured
out LA was where I needed to go.
So I went to LA.
I was out there for like six orseven years but but it was all
because of music Like it'spopping in Atlanta.
Let me go see what's up with it.
You know what I'm saying,because Chicago, again, consumer
town, you can't walk into a DefJam office or Columbia or

(38:08):
whatever.
Like none of that shit is here.
We got middlemen.
It's a city full of fuckingmiddlemen and shit, gatekeepers
and shit, and that's it.
The nigga ain't here.
That nigga is in la or new yorkor atlanta and you could bump
into him if you go there.
So that was my whole thinkingwhere, if you go to santa monica
and walk down, uh, colorado,nigga, it's mtv, they're like

(38:29):
these are the offices, likestanding outside, I'm gonna bump
into somebody that's producing,doing some shit, right, you
So it was just a whole like letme leave the the city Because I
did everything.
I rocked every venue, I doneall the shit I could do here.
Got to go outside the city andsee what's cracking and shit.
Atlanta worked out funny stylejust because niggas was on some
nigga shit.
Yeah.

(38:49):
You know some survival.
I was 20, 21 when I got downthere, so it was kind of up and
shit, you know.
But LA, but LA, I had a littlemore of my shit together or
whatever the fuck, and I'm outthere trying to like.
That's when I met Ice-T.
That's when I got down withProject Blow AC alone and all
that and Bionic was out therelike it was a dope ass
experience but I plugged in to alot of shit.

(39:11):
That's like authenticrelationships.
I'm cool with all them niggasright now.
But I still hit motherfuckers upfrom out there.

Speaker 2 (39:18):
And that shit is important.

Speaker 3 (39:20):
That shit is very fucking important.
That shit is more importantthan being dope.
It's having good relationshipswith people.
That's out here doing dope shit.
You could be a huff-assmotherfucker falling into a gang
of shit.
Be based on who you know andwho you was cool with at
whatever time and who you?
Looked out for and whateverBecause the motherfucker look
out for you.
Yeah, well, motherfuckers, justdo it out of familiarity.

(39:41):
Yeah, like they'll look out foryou and don't know why they are
.
It's like man, I do know you.
Yeah, come on, know the nigga'sface.
Come on, type of shit, andyou'll end up in situations just
based off of do like.
I fuck with him and then you ina room you need to be in for
something you know I'm saying,which is which is that's how the
fuck is supposed to be.

Speaker 2 (40:01):
You know, I'm saying like because that's the goal for
you to be able to make it to bein those rooms so you can do
what you gotta do in politicwith the motherfuckers.
You gotta politic.
If you're supposed to be, um yo, we gotta take a break real
quick.
Hey, yo shout out to all themotherfuckers out there man, if
that be going state to state andbe flying on spirit and your
ass just depressed like amotherfucker because that
motherfucker's seat is fucked up, it's the Shits Podcast, man.

(40:23):
It's the Shits what up?
Ladies and gentlemen, it's theAmerican Dream, the American
Nightmare.
The Heartbreaker Young Baka.

Speaker 1 (40:29):
And when I come to Chicago I check in.
I get on the radio with theShits Podcast One more time.
Man give a big shout out to hisshits podcast.
Young Baca Productions.
Man.

Speaker 3 (40:37):
Hollis, we out here yeah, yeah, yeah, be safe out
here, boy shout out to thatnigga Black Knight don't even
cut that shout out Black Knightwe're talking about.

Speaker 2 (40:47):
Man Griffin shout out to Black Knight in the building
.
Well, he was in the building,um, so alright.
So we talked about what Chicagodon't have.
Why it's kind of difficult forus to make.

Speaker 3 (41:07):
The plug ain't here nigga.
Right, the plug ain't here.
You got to fly the dope in.

Speaker 2 (41:12):
So, speaking of such okay, this is what I have
observed, and correct me if I'mwrong To me, it seems like you
becoming the plug.
You are the plug with the shows, with the shows that you
putting on with.

Speaker 3 (41:28):
I'm not the plug.
Gq the plug.
That nigga know everybody.
He part of the Letterman andthat whole investment group Okay
, putting together that type ofshit.
And GQ is the plug.
This motherfucker that niggaknows everybody.
Dog, he's Spider-Man, thismotherfucker in the middle of a

(41:49):
web and he can reach out sixdegrees of separation and find
whatever.
You know, what I'm saying, justto clarify that shit.

Speaker 2 (41:58):
And I appreciate that .

Speaker 3 (42:02):
However, you play a part in it, connect the dots.
I like, which is important, Idefinitely mold the shit.
You know I'm saying I see theavailable assets and understand
where to put them right.
You know I'm saying like thatmatters.
I just didn't want to act likethat nigga wasn't like.
I don't.
I don't know half these niggas.
That nigga knows everybody.
I get to know him and be cool,like our relationships.
I can get to whoever I need toget to, but bro like has those

(42:23):
relationships already with everyfucking body, that shit is
ridiculous, like all right so.

Speaker 2 (42:30):
And to me, I feel like it's good to be amongst
that.
You know what I'm saying and Ifeel like, just listening to
everything you said where you'vebeen whether it was Atlanta,
whether it was LA like youpicked up shit.
You picked up knowledge about.
Hey, I need to be in a roomwith this person.
I need to connect with thisperson.

Speaker 3 (42:51):
Like I tell my man uh TK, like bro niggas, take L's
all the time.
But it's up to you whether youlook at it as losses or lessons
and I take l's and them bitchesbe lessons nigga oh yeah so any
l I take, I definitely learnedsome shit from it.
Like I'm not gonna take thesame loss or shit twice.
It's not gonna happen two times, because I got the lesson out
that motherfucker.
So from all them situations waslike, yeah, I'm learning some

(43:14):
shit, you know, I'm saying itseemed like the?
l got took but a lesson got tookand that's good.
So I ain't tripping and all ofthat shit applies to right now
and all the shit I'm doing andhow I know how to handle artists
when y'all I'm booking you butit's not a regular booking agent
, nigga, I'm an artist, bro.
I know what the fuck like.
We finna look out for you likeI know how to do that.
You know what I'm saying and Ithink that's.

Speaker 2 (43:36):
I think that's a blessing for the city.
I think that's a blessing forthe city.
I think it's a blessing for thescene, because I do want to
speak on the Barmageddon event,which was dope as fuck, and I
know we had Andres Haley on theshow and he spoke about it.
And when he spoke about it hewas like this is going to be a
rapping ass show.
That's what I mean like andthat's exactly what the fuck it
was you know know what I'msaying.

Speaker 3 (43:57):
It was a good rapping ass show.
It was.
I'm bored these niggas isfucking rapping too much.
You know what?

Speaker 4 (44:01):
I'm saying Every one of them.

Speaker 3 (44:02):
It was like a holy fuck, it was dope yeah.

Speaker 2 (44:09):
I felt like being there and experiencing it.
It was like for niggas who lovehip hop, for niggas who love
lyrics you know what I'm sayingFor niggas who love performances
, for niggas who love like dopeass beats and, like I said, I
commended you for that becauseyou was a part of that shit.
When you start to think aboutthose type of shows and

(44:33):
capitalizing on the success ofthose shows, what's one of the
first things you think about asfar as how to get people out to
those shows?

Speaker 3 (44:42):
um well, it's not really about the show.
Like with this one, we weretrying to create an experience
okay specifically formotherfuckers, that's 35 and
older, that don't go out much,because anything hip-hop you
don't know what it is now itcould be a whole drill.
So it could be this likethere's no real identifier on
which type of, which brand ofhip-hop you're gonna get at the

(45:05):
event you're going to right.
So I wanted to make itabsolutely sure, like yo, this
is a 90s vibe.
If yo ass missed the 90 shit,here's an experience of what
that shit felt like and whatthat shit was like.
So we did a regular grassrootsin store joint where it was free
for people to come out.
Um, jay dot had a dj set wherehe was spending all the artist

(45:25):
shit.
The shit was dope, you know,I'm saying.
And then it's like the showwhole after party shit with
local sponsors and shit, like itwas instead of this.
And then like the artists, likeat the fucking event, bro, they
in the audience, they're in thecrowd, it wasn't no green room,
they in vip or some dressingroom or some other shit.
It was like real personable.
So we wanted to really providethat shit as a authentic hip-hop

(45:49):
experience that a lot ofmotherfuckers don't get and shit
, that shit turned out exactlylike that and that's what y'all
did, bro.

Speaker 2 (45:56):
That's what y'all did , like, um, that's what y'all
did For a motherfucker that paidattention to lyrics and for a
motherfucker that paid attentionto performances.
I liked what I saw.
I think Andres Haley put on adope show.
I think Vixx put on a dope show, the Licks Razz, cairns KT.

Speaker 3 (46:17):
So the venue we picked is a black owned venue on
the south side.
Nobody's really done anythingthere privilege, right privilege
.

Speaker 2 (46:25):
Shout out to privilege dope venue.

Speaker 3 (46:27):
Maurice is the owner and shit, like he looked out for
us and shit.
But that's a black ownedestablishment.
The in-store was at inglewood,branded on 63rd and ashland my
man cory on that shit.
Okay, black owned clothingstore and shit.
Then we did the after party Atthe my man Mick's spot.
It's a little Smoke bar andshit, but it's a black Owned
spot and we did all that shit Onthe south side and normally

(46:50):
when hip hop shit Comes hereit's up north, it's just up
north, like so there's no, um,there's no shit that happens for
us where it's like I'm not 20,I'm not trying to be on the club
, uh, like niggas is trying tochill, peep some shit.
Uh, go through some nostalgia.
Here's some dope shit.
I remember right.

(47:11):
You know I'm saying kick it alittle bit, have a couple drinks
, whatever on some regular assshit and we just try to provide
that shit.
It's a void, we trying to fillthat little gap up and shit.
So we got a couple more thingscoming on the same vein.
You know 35 and up, niggaTrying to kick it again.

Speaker 2 (47:28):
And I appreciate, like I honestly do appreciate,
where y'all took it, man,because, like I said, like for
me to be up in the spot and tohear somebody rhyming over a
dope ass beat and they say aclever ass line, you're like, oh
shit, it fuck with you bro, youknow what I'm saying.
Because you'd be like youappreciate that shit, because
sometimes it'd be funny as hellor sometimes it'd be some shit

(47:51):
where you'd be like damn, thatnigga went there.
And it's kind of like for me.
I feel like we don't get a lotof that shit these days.
You know, I'm saying like a lotof motherfuckers to me in my
opinion, a lot of motherfuckers,not really focusing on the
wordplay because the music, asfar as rap goes, became about

(48:11):
the cadence and not about theword anymore.

Speaker 3 (48:14):
Right, niggas don't give a fuck if you said some
clever shit.
They want to know you said itin a clever way, right, so you
could have said some dumbbullshit, but if you said it
where it sounded cool, then theyrocking with it because the
cadence of that shit they couldbop to the shit.
Yeah, and that's, that's likethe, that's the bar now, which
is fucked up and that's why I goback to like very much so I've

(48:35):
had a before the whole no diddy,uh puffy campaign.
Like I've been on that shit.
Like I don't fuck with dude andI never have like when niggas
like puffy did so.
Like I don't know what he did,I don't listen to his records.
Like I don't fuck with bro,right, because it like it's some
vulture shit.
Him coming in the game andniggas hearing dudes like that
rap these motherfuckers at home.
Like nigga, I could rap betterthan that because they can they

(48:57):
right so you lowered the bar andhe's one of the reasons why
it's every like it used to be.
It was one or two niggas fromevery neighborhood that could
rap.
Yeah, oh my cousin.
Oh this nigga over here, callthey go every other house, bro,
everybody can rap everybodyevery other house and it was
like part of that happening wasbecause of fucking diddy.
You lowered the bar so far thatall these niggas that shouldn't

(49:21):
be rapping is like yo.
If this nigga's making millions, I can do that.
I know I can do it.
And he just paying niggas.
He writing checks formotherfuckers to write him bars.
I'm going to do that Whack bars,not all the time.
He just delivered them whackBecause Sauce Money wasn't whack
and he had some niggas that gotsome pants jayda could throw

(49:44):
for him too.
He got he just he ain't arapper.
He shouldn't be delivering noneof this shit.
Bro, sound goofy to themotherfucker delivering this
shit.
But niggas didn't care becausehe had a whole lot of money and
that was a problem.
It's a slippery slope.
Y'all didn't give a fuck.
He had money.
And now here's where we areexactly.
Niggas don't give a fuck.
Motherfuckers got money or theylook rich.
You follow them and that's justsome goofy, that's some lame.
We was never on that.
But here we are and it's.
It's like part of the reason.

(50:05):
I ain't saying he's the, themain, whatever, but him being so
prevalent and taking thatbiggie spot and using that whole
or whatever and putting himselffront and center like, yeah,
you have a lot to do with that.
We all got diddy you have a lotto do with that shit, nigga we
all got.
Diddy you had a lot to do withthat shit nigga.

Speaker 2 (50:21):
No pun intended, that's all.

Speaker 3 (50:21):
I'm saying that was before any of the allegation,
shit or whatever.
That's just.

Speaker 2 (50:25):
Hey, yo, we're going to take a break real quick.
Hey, shout out to themotherfuckers out there.
Man, I actually got Diddy atthe party saying they got a
story coming up.

Speaker 3 (50:41):
Jay Jer to the.
I had a shit podcast and I waslike shit yo, it's Griffin
checking in from Inglewood,motherfucker you know I'm with
the shits yeah, yeah, yeah.

Speaker 2 (50:48):
Yeah.
We are now back at the shitpodcast, man, and we been this
motherfucker just chopping it upwith my man Griffin cause I'm
gonna have to roll another onein a second.

Speaker 3 (50:55):
We keep doing this shit and and yo.

Speaker 2 (50:58):
I appreciate the fact that my man got a lot of
knowledge as far as hip hop goes, as far as what motherfuckers
need, as far as what the cultureneeds.

Speaker 3 (51:06):
I've just been doing this shit for a minute.
G hey.

Speaker 2 (51:08):
I mean it's important , it's important.

Speaker 3 (51:11):
On some high level shit.

Speaker 2 (51:12):
I got this thing, man , this portion of the show
called what If man?
So portion of the show calledwhat If man?
So you got to reach in thereand pull something out, man, and
we're just going to saywhatever it is, let me see.
Alright, back, what if God wasa black woman?

Speaker 3 (51:32):
What you mean?
I thought God was a black woman, okay, okay, okay, just gotta
ask that question.
I'm just saying just to put itlike that's all I know when we
get into the God shit.
But like people don't honortheir parents the right way

(51:52):
because really your mom is God.
Like if God is the creator whocreated you, motherfucker, your
mama did who you come out of,came out your mom yeah, that's
God Bro.
Like what the fuck you mean?
That's the end of that.
I'm glad you said that.
What you mean, what if that'snot even a what that shouldn't

(52:14):
even be in your bag, bro?
That's not even a what if.

Speaker 2 (52:19):
What you mean.
I like to put it out there aswhat if people, what if
everybody realized the blackwoman is god?
What if everyone, the wholeworld, realized the black woman
is god?
What would be the difference?
How?

Speaker 3 (52:33):
would I look well, how would I look different.
What if like to be real honest?
What if it's not like that foreverybody like?
in a way like like everybody'smom isn't a black woman
necessarily.
Like it's a differentnationality, there's different
ways of life, it's different,all kinds of shit, like now the
original and all.
Like when you want to get intowhere the first bones was found

(52:56):
and all of that shit.
Yeah, that's where it all began, cool.
But it's not like that foreverybody.
Like if the person that gavebirth to you was god everybody's
mom ain't.
Like it's different people gotdifferent religions, different
ways of looking at shit and Idon't know.
You gotta honor and respectthat shit.
Like there's, there's beliefswhere, when you go to heaven or

(53:17):
when you die, the shit thathappens or whatever the fuck you
thought was gonna happen.
Like there is no one size fitsall for this shit right, which
is what people think it's notand that's, that's what we talk,
that's what we, because that'swhat they trying to make it
right so they can do.
They think right, but it's it's.
That's the whole dope shitabout hip-hop, bro, is the

(53:39):
individualism and shit is onfull display.
That was the fucking crux of itall.
Right, it was like you couldlet whatever your thing is nigga
go do that thing.
Yeah, and we finna honor it.
Let that shit shine.
Oh shit.
Look at that nigga doing whathis thing is.
He's cold at it.

Speaker 2 (53:52):
You just, nigga, wrote a rap about being on the
toilet whatever.

Speaker 3 (53:56):
Like he's cold at that, he's that shit's
entertaining in whatever way,like he's a interesting fellow,
right?
You know I'm saying like, andeverybody's like that.
And they found their thing.
Your shit might not have beenon the mic.
You, dj, you called at thatshit.
You're transforming this shitand all that shit.
You know shit might be.
Paint, motherfucker, like thisshit is all art, it's all
expression, no matter how thefuck you're doing that, even

(54:17):
down to how you dress.
Yeah, you're talking walking.
It's how you're expressingyourself, the confidence you
carry when you move around afucking room.
It's your creativity.
That's hip-hop, yeah, andthat's what hip-hop taught
motherfuckers.
That's why, now you got, youcan't judge any books out here,
because you'll have the squarestlooking white motherfucker.
You'll never think he'llwhatever.
And this motherfucker knows alldos, effects, shit.

(54:38):
Wow, this motherfucker knowsthe juice crew.
You just be like what the fuckis like.
Yeah, nigga, now it's whole.
Like, by hip-hop being 51, now,there's an entire generation of
motherfuckers that grew up onnothing but that shit.
Right, not just niggas,everybody the world.
The world grew up on it.
Like.
Motherfuckers that don't speakEnglish grew up on this shit,

(54:59):
right?
You know what I'm saying Likethat's some other shit.
No, you're right, that's someother other shit, you're right.

Speaker 2 (55:06):
And the thing is, it's a beautiful thing.
It's a beautiful, it's powerful.
It's powerful as a motherfucker.
And the thing is, for a personlike yourself who has the
opportunity not only to makethat music but to put people in
a position where others can seetheir art, where others can hear

(55:28):
their art, that's powerful, bro.
You see what I'm saying, that'spowerful and that's why I'm
saying I commend you for it,because I'm listening to how you
speak.
I'm listening to your passionfor raising your daughter.
You see what I'm listening tohow you speak.
I'm listening to your passionfor raising your daughter.
I'm listening to your passionfor dealing with the youth.
I'm listening to your passionfor how this Chicago shit should

(55:49):
work.
You know what I'm saying andhow you recognize the lack of
resources that we have and howwe need that shit.
So motherfuckers like you arevery important people when it
comes down to this.
Not just the hip-hop period, butChicago hip-hop especially Bro.

Speaker 3 (56:03):
I just want to be surrounded by dope shit.
I want to do dope shit, but yougot to create it.

Speaker 2 (56:07):
You see what I'm saying you got to create it.

Speaker 3 (56:14):
Nah, I just got to identify it.
You know, what I'm saying.
It's not even creating thatshit and then putting it in play
.

Speaker 2 (56:19):
What I'm saying is you create your surroundings.
We all do.
We all create our surroundings,whether you know it or not.

Speaker 3 (56:25):
You create your surroundings.
No facts, but that's why I saythat out loud a lot and I type
it out loud, I tweet it everynow and again Like nigga, I just
want to be surrounded by dopeshit.
Yeah, dope shit.
Nice car you created, nicefucking merch.
Proper weed Bruh, you know whatI'm saying?
Like, since we talked,comfortable situations, g.

Speaker 2 (56:46):
Since we talked, since I since we talked, within
the last hour and a half, I'veseen three dope ass pieces of
merch that sweatshirt, the oneyou got up under it, then what
shirt?
The one you got up under it,then another shirt, that's it.
Nigga, that's creating, that'spowerful.

(57:07):
Right there, bro, we make shit,dog, that's what we do, so all
right.
So now I gotta switch it up,man.

Speaker 3 (57:09):
I gotta go to a real serious question, all right, so
look, here's the situation.
It's not gonna be a seriousquestion like the setup already.
Let me know it's not a seriousfucking question depends on who
you talk to here's.

Speaker 2 (57:20):
Here's the situation.
So you got a person that youreally digging.
You really emotionallyconnected to that person.

Speaker 3 (57:27):
It's a relationship, yeah, okay, you vibing with her.

Speaker 1 (57:31):
You know I'm saying, yeah, it's a motherfucker, you
think of all the time.

Speaker 2 (57:34):
You know I'm saying.
This is the person that youfeel like you want to spend your
time with right?
Here's the problem no matterhow many showers she take, no
matter how much deodorant sheput on, she will always be musty
.
Do you stay with her?
Can you stay in thatrelationship?

Speaker 3 (57:53):
some niggas like musty I don't know what kind of
musty, it's levels to this shit.
I don't know, hey, what kind ofmusty like it's levels to this
shit, I don't know.
So basically, you're justsaying would body odor be a deal
breaker in a relationship?

Speaker 2 (58:08):
like, no matter how much they like, no matter how
much they shower, no matter howmuch deodorant they put on, like
they always gonna have thatbody odor.

Speaker 3 (58:15):
That doesn't even make sense, though, but I mean,
that's the case it could be amedical condition.

Speaker 2 (58:25):
I'm just saying it could be a medical.
Do you, do you stay?
Do you stay in a relationship?

Speaker 3 (58:33):
like that's kind of I don't know, man, that's so
weird.
Like do you stay with a nigga?
You stinky, I gotta leave.
Leave because you stinky, likehey, but you'll be surprised.
I mean, it's a thing, it's besurprised, bro, it happens,
what's I know?
But what's crazy is like allright and it's off, like my mom.
You know, some people like allright, some people are blind,

(58:56):
like some people can't uh, hearthey definitely my mom was born
without the sense of smell atall.
Some people are blind, somepeople can't hear, they deaf.
Yeah, my mom was born withoutthe sense of smell at all.
She's never smelled anything inher life.
Okay, she can't smell and shit.
So in that situation, you'd belike, damn if a motherfucker, if
I ain't have to smell.
You know what I'm saying youwouldn't know.
Yeah, that shit wouldn't matter.
So in certain situations likeman, motherfuckers work, other

(59:28):
some kind of fucking way andshit, so universe is always
right.
So if that was, I can't call it, but I mean it really depend on
how good the waffles is whenshe make them like I don't know,
like maybe she the bombest cookever right?
Hey, bro, I don't know.
It's situational like that shitis.
I can't even say it on some, onsome paper shit.
It's like life is too lifey forthat type of shit.

Speaker 2 (59:41):
That's why I love to ask thatquestion, bro, because I want
people to think about.
How much are you willing toaccept, how much are you willing
to accept from others?

Speaker 3 (59:55):
Yeah, but you can't honestly answer a question like
that until you're in the midstof that situation.
That's why I want people tothink about it.
You know what I'm saying buteven thinking about it, you're
not thinking about.
It is theoretical.
Okay.
That's the type of shit whereyou have to be like, yeah, but
fuck it, man.
Like she wrong Right.

(01:00:18):
Like you get past it and that's, but you wouldn't be able to
really honestly answer thatuntil you're actually in that
shit, bro, like because rightnow it's just on some like nigga
, oh, I never do this and allright, because I say a whole lot
of shit until they in it.
Until they in it, and it'd be awhole different fucking
situation.
So that's just one of themquestions where it's like you
could say whatever nigga, but ifyou in it, you in it, it's a
different you probably nigga, Ican't call it like, yeah, we

(01:00:41):
gotta take a break real quick.

Speaker 2 (01:00:42):
Hey, yo shout out to all the musty motherfuckers out
there that uh, go to theconcerts and keep their hands
down, even when the people sayput your hands in there.
Hey, it's the shits.

Speaker 4 (01:00:49):
Podcast man, it's the shits this comedian, marnie P,
checking in from the ShitsPodcast.

Speaker 2 (01:00:57):
We are now back at the Shits Podcast.
We, the shooting the shit,starting some shit, picking up
shit.
We locked off.
So at this portion I think wemight be in the portion we
probably starting some shit.
Man, I don't be starting shit,bro, you don't be starting shit.
A motherfucker start shit withyou.
Right, I'm gonna start shit.
So let's touch on that man,because you had somewhat of a

(01:01:22):
situation.
Let's speak on that.
I had a situation, there was asituation.

Speaker 3 (01:01:30):
Let's speak on that.
Nigga, you said what youtalking about.
I don't know the beef let's,let's, let's which.
What do you mean?
I don't I talking about the the, the beef, let's, let's, let's
which.
What do you mean?

Speaker 2 (01:01:37):
um, hey, the the most recent.
Let's talk about the mostrecent, no I don't, I'm not
again.
Bro, you got a question aboutsome shit cool, but I don't, I'm
not bringing up, bringing upokay so let's put it this way
has there been a point where youhave been doing what you have

(01:02:00):
been doing, but you haveencountered problems from people
that have a problem with whatyou're doing, how you're trying
to progress, how you're tryingto make shit happen?

Speaker 3 (01:02:16):
I mean there's a lot of behind the scenes shit in
Chicago.
I don't know as much as you do.

Speaker 2 (01:02:23):
It's a lot Because you've been around it way longer
and you are way deeper in it,but I would love to get your
perspective on it and how youhandled it and how you handle it
.

Speaker 3 (01:02:34):
It's a lot of behind the scenes shit in chicago.
Um, it's the time for it.
No, I don't even like it's thetime for it.
I don't know.
You would have to ask me aboutspecific situations because I
can't.

Speaker 2 (01:02:53):
Even so, like I said, in the process of you doing
your thing and you trying tomake shit pop, can you speak on
situations where people havetried to place obstacles in
front of you and placeboundaries on you in order to

(01:03:16):
stop you from progressing theway you need to progress?

Speaker 3 (01:03:19):
I mean, if a motherfucker put a try to put an
obstacle, I wouldn't know it.
Like none of that shit stoppedwhat I was doing okay like
there's nobody in chicago.
That really stopped, stoppedwhat I was doing.
Niggas might have prevented mefrom doing a specific show,
speak on that, or I'm just a, orbeing on a specific album or
some shit like that, but itwasn't no shit.
That really.

(01:03:39):
Like ain't no beef, likestopped me from no so why do you
think that is?

Speaker 2 (01:03:45):
let me ask you that why do you?
Why do you think?
Well, from what I hear you talkabout, it's a lot of positivity
.
It's a lot of I'm trying tohelp motherfuckers.

Speaker 3 (01:03:53):
I'm trying to do this for oh because everybody ain't
trying to help and sometimes Igotta identify that's out here
not really like like front, likethey trying to help and they
really trying to help themselves.
Like that's when I get intoissues with like ryan fest and
okay, I'm saying it's likehip-hop is not a grift to me,

(01:04:15):
right?
I'm not using this shit, um, asa means to only enrich myself
for other shit.
Right, like I do this shitbecause I do this shit.
Like this is that's yourpassion grain, like a
motherfucking shit, and if I canhelp anybody, do that shit.
Like I've never stepped onanybody to try to better my
situation, right, um, I've nevershitted on nobody in this shit

(01:04:40):
because they name wasn't poppingthe way I thought it should
have been for whatever the fuck.
Like none of that shit.
Like anybody that was with me,I've always been like my mom.
Like if niggas ride in the carwith you, they riding home with
you, which makes sense, y'allniggas in my car and we go to
the club g G, we not leaving thebitch till.
Everybody that was in my car isgood and they back in my car,

(01:05:00):
right, type shit.
You know what I'm saying andeverybody's not like that.
It's a gang of niggas out herethat'll go to the club with a
car full of niggas and leave nguys.
You know I'm saying like soit's that type of shit where I
bump heads with ryan fest onshit because he know.

(01:05:21):
I know what kind of nigga he isright and we ain't never gonna
mesh on shit, so it's always aclash you know what I'm saying,
so so would you.

Speaker 2 (01:05:31):
Would you classify him as a person that's not
authentic?
I mean, I'm trying to put alight.

Speaker 3 (01:05:38):
Uh yeah, that nigga's a slime ball okay you know what
I'm saying.
And again, he can rap and shit.
So what a gang of niggas canrap, real fucking good, yeah,
but okay, like, name me.
Name me any fucking Like.
There's a reason why If you'rea Grammy Award winner, right,

(01:06:01):
right, but when the Grammys thatyou got awarded were presented,
you weren't even on stage toget them Right.
That was a decision madesomewhere more than one time,
for a fucking reason For you notto be present.
You ain't coming to get itRight.
You wrote it, you did work.
You did work.
Get your credit, yeah, but youain't.
You can't come on stage with us, right, more than one time.

(01:06:22):
That's not an accident.

Speaker 2 (01:06:24):
There's a reason for that right you know, I'm saying
like that niggas a slime ball soyou not the first person that
I've heard speak about buddylike that.

Speaker 3 (01:06:38):
Bro, if you have.
So he's in charge of Donda'shouse.
You have a billionaire backinga nonprofit for kids, right?
You fuck it up.
Donda's house all fucked up.
And now you running for CPSlike I'm supposed to trust my
kids with you.
You couldn't even run anon-profit with a billionaire

(01:07:00):
backing your shit cuz.

Speaker 2 (01:07:01):
Right for kids so it's like what's the problem?
Like something like the mathain't the math ain't adding up.

Speaker 3 (01:07:08):
You're a fucking slime ball.
Like the problems have beenidentified.
Niggas just don't know it yetbecause you good at the grift
and hip-hop ain't a grift to me,g, you know what I'm saying,
right so, like bro, listening toyou, man, like what I get from
you is that you analyze things.

Speaker 2 (01:07:27):
You know, I'm saying like you analyze things and like
it seems to me like pisces,super analytical and that shit
some more.

Speaker 3 (01:07:34):
If you're on the zodiac, shit like that's that
shit like make it's analyticalas fuck.

Speaker 2 (01:07:38):
So yeah you right Now for some people that can be a
problem, because they alreadyknow they on bullshit.
So when they already know theyon bullshit.
I said for some people whenthey come across a person that's
analytical and they're reallyreasoned to shit, that can be a
problem for them.

Speaker 3 (01:07:58):
You can't bullshit me , and you know it, so all your
grift shit is not working overhere when we in a room together.
Right.
So you don't want to be in aroom?

Speaker 2 (01:08:06):
So do you think that was part of the issue that you
had with Rhymefest?

Speaker 3 (01:08:13):
No, the issue that I had with R Ron Fess is he's a
fucking slime ball.
Okay, like I mean I, I don'tknow, like I fuck with authentic
people.
Like I, I don't want to saynames and burn shit, like like
here's a story and shit and I'llsay it without even burning no
shit up when Fess was working onhis debut album, a producer he

(01:08:34):
fucked with for years before hegot the deal and all that shit.
He brought him out to the spot.
He was working on the album infor a couple months and shit,
bro made a gang of beats, didshit for the album.
This nigga told dude he can'tuse none of the beats he made
because his name ain't bigenough and he's trying to use
all big name producers on thisproject.
Like you can't get a niggainterlude that nigga can't get

(01:08:57):
right.
This nigga been with you fromthe beginning.
Like from the beginningbeginning we was 14 years old.
This nigga was with you.

Speaker 2 (01:09:02):
You know what I'm saying, and if it's dope, it's
dope it.

Speaker 3 (01:09:05):
I mean, I'm just thinking that I should, but that
shows you what type of niggayou're talking about.
Like this you're not concernedwith authenticity or what's dope
, you're concerned with whatsome shit.
Look like the name, the clap.
You're a weak motherfucker brolike you, supposed to ride with
your people?
Like again, that's what I'msaying.
You got in the car with me, g,I'm getting you home, right.
You put the nigga in the carand then left his ass where he

(01:09:25):
was at and you went drove offwith yay right left that nigga
where he was at.
That's the type of nigga like,that's a character thing and
this is like bro it's.
I'm not finna go through everyexample, but it just come back
to like the niggas a slime ball.
And now, your grift, is youtrying to use some shit and use
the kids?
To further your grift you asuper fucking slime ball that's

(01:09:48):
really fucked up you fucked upDonda's house, bro, like pull a
resume at this, motherfucker,like why you think you ain't
making it.
Prime got elected.

Speaker 2 (01:09:57):
All them, men Rhymefest didn't shout out to
Andre Vasquez, aka Prime,because that shit is huge.
That shit is fucking huge and Ithink that that's some shit to
be celebrated, because Prime isa motherfucker.
That was like hip hop, hip hop.
It wasn't even like acommercial type nigga, it was
like hip hop, hip hop.

Speaker 3 (01:10:15):
I remember when Prime was, I was out.
I remember when he came out.
I remember when he first poppedup on the scene and shit, Like
I fuck with bro.
I fuck with bro.
But yeah, you know authenticitymatters and shit, and you run
across people like it getsidentified who the fuck they are
.
So the stories you're hearing.
You don't hear a bunch ofstories about a motherfucker.

(01:10:37):
That's not true.
If it's a bunch of storiesabout a motherfucker, it's
probably true.

Speaker 2 (01:10:40):
Hey man, there's probably some truth to it, nigga
, hey, yeah, we got to take abreak real quick.
And man shout out to all themotherfuckers shady, nah, fuck
that shit, we ain't shoutingthem out.

Speaker 1 (01:10:54):
Montoon Bubble Ball.
It's the sh, but I can't saythat you know.

Speaker 2 (01:11:02):
Yeah, yeah, yeah, yeah.
We are now back At the ShitsPodcast and we're here Kicking
it with the one, the only, myman Griffin.

Speaker 3 (01:11:09):
Yeah, twista, twista got a dope case.
You can make a whole case ForTwista being the greatest of all
time On some On technical rapshit so I like the way during
the break you broke down that hewrites 32 bars.
Twister writes 32 bars forevery 16.
We do right, just like tech.

(01:11:29):
Nine same shit, yeah you know,what I'm saying, but twist the
shit super clear.
Every word he hit it.
Yes, the shit he put togetheris crazy like the niggas are
fucking lyricists, with thewhole thug emphasis and shit.
But he's a fucking writer andyou could feel that shit, hear
that shit and all that shit.
And he, he talk about shit.
Niggas saying out here, likeour shit.

(01:11:50):
Yeah, bro, it's audible.
You can make a fucking case forany rapper you bring up.
You can put twist the shit upagainst this nigga shit and be
like yo, he got one of them.
Yeah, he got one of them too.
Right, he got a couple of them.
A case can be made is all I'msaying is that nigga is in the
conversation of the greatestmotherfucker to rap.

Speaker 2 (01:12:11):
Do you think that he get the amount of credit that he
deserves?
Fuck?

Speaker 3 (01:12:15):
no, not at all.
Why do you?

Speaker 2 (01:12:15):
think that he get the amount of credit that he
deserves Fuck?

Speaker 3 (01:12:17):
no, not at all.

Speaker 2 (01:12:18):
Why do you think that is?

Speaker 3 (01:12:21):
Humility On his part.
Yeah, humble motherfucker.

Speaker 2 (01:12:26):
I mean, I like the fact that I see him out at the
spots.

Speaker 3 (01:12:28):
You'll see him at the spots humble as hell, but he
don't like.
Kanye is not one of thegreatest rappers, but
motherfuckers will talk abouthim like he's one of the
greatest rappers.
But motherfuckers will talkabout him like he's one of the
greatest rappers because hetells them he's one of the
greatest rappers.
But Twista ain't like that.
He just gonna be one of thegreatest rappers, but he ain't.
Finna tell you.
It's like the differencebetween LeBron and Jordan.
Lebron will be like I'm thebest ever, I'm the GOAT, and

(01:12:50):
Mike just like nigga.

Speaker 2 (01:12:52):
Just look at it you know what it is right, right,
you know, I'm saying likewhatever it's.

Speaker 3 (01:12:59):
That's the difference in that shit where you know I'm
saying motherfuckers, bothgreat, but one motherfucker's in
your face about it and anothermotherfucker kind of humble with
it.
So you don't get recognized asmuch because you're not standing
on it this hard, you're justkind of doing it right.
So when niggas look back overthe shit and flip through your
catalog they'd be like damn, butyou wasn't standing there like

(01:13:19):
nigga.
This album was the greatestalbum that ever album did you
know I'm saying, like you ain'tone of them motherfuckers and
shit, so you kind of you mightget glossed over on some
mainstream recognition shit.
You know I'm saying so bro isup there.
He's in the conference.
I don't give a fuck like thatnigga in the conversation so so
do you, do you think?

Speaker 2 (01:13:37):
do you think more?
Do you think more artistsshould be more like a twister
and be like more humble with it,or be more in your face and be
like no motherfucker, I know I'mdope.
I'm dope, you should know I'mdope.
I don't know why the fuckyou're not saying I'm dope.

Speaker 3 (01:13:54):
There's no blueprint for this shit.
We make the rules for this shit.
You should be yourmotherfucking self, okay, and
enjoy your shit, bro.
Period, there's no like.
What should artists do?
Like nigga.
Be a fucking artist, nigga.
Like.
Can't nobody tell you how todraw a picture?
Right, you paint the picture.

(01:14:19):
How the?
If you want to follow thisstyle of, uh, renaissance in the
20s, all that shit cool, followthat little shit.
But you don't have to.
Why?
Because, with art, we make therules to this shit as we go.
Nigga.
Like that part.
You know I'm saying it'ship-hop.
That's what's the dope shitabout hip-hop and what niggas
that grew up on.
The shit learned from this shitis we make this shit up as we
go, bro, like all this shit wasmade up.
All this shit was made up.
Religion, all this shit wasmade up.
At some point.
Somebody made this shit up andthe gang of niggas chimed in and

(01:14:41):
was like, yeah, I believe that,right, but at some point it
wasn't no that.

Speaker 2 (01:14:47):
Somebody came up.

Speaker 3 (01:14:48):
Somebody made all this shit up.
Dog Right, we made it up.
Nigga.
We make the rules, bro.
You know what I'm saying no.

Speaker 2 (01:14:56):
I feel you on that.

Speaker 3 (01:14:57):
Ain't no like nigga.
What advice would you give anartist?
Nigga?
Be a fucking artist, bro.
Stop trying to find a blueprintor a magic.
Do you Be a creator?
Make shit.
Be a fucking creator.
Make shit, nigga.
What the fuck.

Speaker 2 (01:15:10):
Make shit.

Speaker 3 (01:15:12):
Be a fucking creator.

Speaker 2 (01:15:13):
And, and I think that and do from the conversation
that I've had with you, that'swhat I got is that the
importance of being a creator,whether it be the merch, whether
it be the rhymes, whether it bethe relationships and you know
what I'm saying the connectionsthat you make, connecting the
dots, you know what I'm saying.
All that shit is you creating aspace, you creating an

(01:15:34):
environment, and I think thatshit is important.
You know what I'm saying andI'm going to go off of just
really being honest.
I'm going to go off the lastevent, which was the Barmageddon
event.
You, whether it was you byyourself, or whether it was you
with GQ, y'all created a spacewhere motherfuckers who loved
hip-hop was in a dopeenvironment, environment and

(01:15:56):
they felt it.
You know what I'm saying andthey fucking felt it.

Speaker 3 (01:15:59):
I tell you, dude, the energy in the building that
night was like I haven't feltthat shit since some 90s shit.
Like it felt like the ElbowRoom vibe on a Monday night in
96 or some shit.
It was just like yo, this isthat shit.
This is what made niggas fallin love with this shit.
Right, like that's what youneed the licks.

(01:16:20):
Shout out to the fucking licksman.
The licks was scheduled to rockfor 35 minutes.
The niggas performed for anhour and we had to pull them off
stage because the venue wasclosing.
Like I'm not lying, you know,it was just like niggas the
people watching and the niggasperforming had so much fun that
night.
Doing this shit Like niggas waslike y'all over time, dude,

(01:16:42):
e-swift back there like I don'tknow what song we doing next.

Speaker 2 (01:16:44):
Yeah we just doing it .

Speaker 3 (01:16:45):
He's just pulling up shit, like he's just pulling up
records and they just rockingthem up.
It was just likeassi wassupposed to rock for like 25-30
minutes.
Bro was on stage for 45 minutesand shit.
You know what I'm saying andlike made it a point to stop his

(01:17:06):
show.
To be like yo, the Chicagoniggas y'all seen.
Rock was like y'all witnessedfuture legends y' I don't even
know it, you know what I'msaying Like he was really on
that shit, like.
So the energy that was createdin the building was literally
reminiscent of what it felt likewhen niggas was late teenagers,
early 20s in the spots in.
Chicago.
Like yo, this is what it was Inthe midst of it, when now you

(01:17:29):
got these shows Chicago dope.
If a big name artist comes tothe crib, you got a gang of
openers that's probably not thatgood because they paid for
their slot to open.
Yeah, you know what I'm saying.
So if you can pay for a slot,that's fine.
Really fuck when the mixtapeshit was happening.
I respect the DJs and all thatshit, but the fucking grift of
charging artists to get slots onyour mixtape like now your

(01:17:53):
mixtape just finna sound likewhatever the fuck.
That tape like now your mixtapejust finna sound like whatever
the fuck.
That's a whole nother story.
Like whoever the fuck paid isnow on the mixtape and you can't
guarantee all these was evendope.
So now you're not doing it foryeah, this is what some raw
you're doing it for.
I made five thousand dollars.

Speaker 2 (01:18:10):
Put the money or even put this out it's bastard about
this, but I'm.

Speaker 3 (01:18:14):
I got a name, so now I'm exploiting myself and
pimping my name.
It's just like it's bastardized.
It sucks, man.

Speaker 2 (01:18:20):
It's bastardized, it waters down.

Speaker 3 (01:18:21):
It fucks up the product Like a motherfucker.
You got a mixtape.
Nobody want to fucking listento.

Speaker 2 (01:18:26):
Because you got 30 fucking artists on there but you
made five bands.
Yeah, you got yours, but likethe consumer and I'm glad you
pointed out before that Chicagosuffers.

Speaker 3 (01:18:43):
The fucking culture suffers because not only do you
have some niggas that shouldn'tbe doing this shit thinking they
should be doing this shit youknow what I'm saying you done
robbed the world of someengineers or some cold ass nigga
could have been a rawmathematician or something, but
this nigga think he a rapper orshit like.
Come on it.
Just fuck up the balance ofeverything with letting black
shit ride and doing the shit forthe grift, and that be my

(01:19:04):
problem with half the niggas.
Like dog hip hop, it's the same.
We go back to the shit whereBeach Street was authentic.
Break in was a grift.
Right.
They both the same, but you seethe difference.
Like this is the grift.

Speaker 2 (01:19:19):
And I love how you broke that down.

Speaker 3 (01:19:21):
But this product is like damn.
That shit is gritty and kind ofraw in your face and yeah,
that's the shit.
This shit over here is all it'spretty, but there's really
nothing to it.
This shit is flimsy.

Speaker 2 (01:19:31):
It's fluff there's nothing really there.

Speaker 3 (01:19:34):
It's fluff.
It's nothing really there.
I love the way you broke thatdown.

Speaker 2 (01:19:37):
I don't know, that's just hey.
Hey, y'all check this out.
I can honestly and I'm sayingthis with all sincerity this
shit can go on for hours, man,but I know motherfuckers got
shit to do and honestly, bro, Itruly, truly, truly do
appreciate your time, man,because you got a lot of shit
going on, like real shit, and Ireally do appreciate what you're
doing for the city, Iappreciate what you're doing for

(01:19:59):
the culture and I appreciate,appreciate what you're doing for
the youth, becausemotherfuckers need it.

Speaker 3 (01:20:02):
You know I'm saying some of these little niggas just
need a conversation becausethere's shit that really hasn't
ever occurred to them and nobodysaid it, nobody's saying it,
and you know not to say I'm noteven know, like I didn't fix it,
and they listen to me like theydon't listen to me.
They just need a month theygonna hear me later, though, you
know what I'm saying and it'slike that because, like, even
you gotta remember like that'sthe the biggest problem I got

(01:20:24):
with a lot of grown and is y'allforgot what it was like to be
15.
Man bro, like y'all forgot andI'll be trying to hold on that
and remember like uh hold onlike this.
Nigga's an idiot right now youknow, I'm saying like he's 15.
This whole value structure isfucked up right.
So even when we was on thatshit and we was on our wild shit

(01:20:44):
, by the time niggas hit 25, 26,all the shit we was hearing
from the right motherfuckerscame back on some like oh shit,
like these are life truths yeahyou know I'm saying that came
out so you just got to be themotherfucker sometime.
That's the.
I'm tired of hearing that shit.
Yeah, I know, I'm still gonnasay it.
I'm gonna say it like you'regonna hear it because nobody's

(01:21:06):
saying it to you and you need tobe tired of it.
So when it come and you need it,it's gonna be in your mind for
you, right?
You know I'm saying becausethere's been situations where
you needed it and it wasn't evenin your mind for you.
Nobody fucking told you Becausenobody fucking said it, bro.
So it's as simple as that.
A lot with young motherfuckersand all that shit.
Number one meet them where theyat.
And number two you know whatI'm saying?
That shit.

Speaker 2 (01:21:27):
So I'm going to say this man, let people know where
they can find you at, what yougot coming up, because not only
do he have music, he's doing theevents he got merch.
So let everybody know wherethey can find you at, because
I'm telling you like this y'allneed to get in tune, y'all need
to get in tune with him.

Speaker 3 (01:21:47):
Twitter is at Griffin .
Or email me, man.

Speaker 5 (01:21:50):
I can't even spell this shit out, though it's
anti-everything at.

Speaker 3 (01:21:53):
Gmail.
It's anti-everything at Gmail,but I think that's pointless to
even.
But hit me on Twitter atGriffin G-R-I-F-F-E-N.
I got three albums coming outbefore the year ends and shit
like Effortless, pan 2, theImmortal and another joint with
my man, dad Makes Beats calledthe.
End Is Near.

(01:22:13):
So those shits are coming.
We have more shows coming, I'mplanning on a couple more events
, but we're not doing shit.
I don't do it every month, justso it can be an experience for
real, like some actual specialshit.
It's like yo, this is a fucking, this is a thing, you know what
I'm saying where I'm not tryingto water that shit down and
make it whatever, so I'm threeor four of them a year and I'm
gucci and shit.
I'm hitting niggas every seasonand shit, something like that.

(01:22:34):
You know what I'm saying, butthe music is always cracking.
Yeah, shout out to Gigante, dadmakes beats and yeah, shit, I
don't know.
At Griffin for the most partTwitter, you can catch me and
shit.

Speaker 2 (01:22:47):
Hey, I'ma leave y'all with this Shout out to Scarface
man.

Speaker 3 (01:22:51):
Sorry, prayers up for Scarface nigga.

Speaker 2 (01:22:53):
Definitely.

Speaker 3 (01:22:54):
I hope you get better and shit, but I fuck with bro
Face Bob music, that shit.
That's my shit forever.
Nigga, I'm gang for life.
You already fucking know.
I'm sorry, carey.

Speaker 2 (01:23:02):
No, no, no, no, no.
I'm gonna leave y'all with this.
I don't know who need to hearthis.
Stop overthinking.
Stop overthinking things.
The thing, If you know it's afact that you don't know, why
not choose to think positiveabout it instead of thinking
negative about it?
Because the thing is you don'tfucking know.

(01:23:23):
So, to make yourself feelbetter, at least think positive
about it.
So stop overthinking.
Also, make fans not followers.
Followers will get you clout,but fans will get you work.
Trust the process.
Understand that the only thingthat happens overnight is
sleeping and slobbing oh, I'msorry yeah griffinbandcampcom.

Speaker 3 (01:23:48):
That's where you can find all my shit.
Bro, there we go.
I ain't even I should haveplugged that, but it's griffin
with an E bandcampcom and shitlike it's.
It's a gang of music on thatmotherfucker, and shit.
So yeah, y'all get in tuney'all get in tune.

Speaker 2 (01:24:01):
Um, man, y'all can check out the podcast on spotify
apple podcast.
Uh, anywhere you get yourpodcast at, you can find me on
instagram at monsoonstarrar.
That's s-t-R-A-W.
Also, this is podcast onInstagram and on Facebook.

Speaker 3 (01:24:18):
Appreciate y'all having me too, man I thank you
for coming, bro.

Speaker 2 (01:24:20):
Like hey, listen y'all.
I've been blessed to be able tosit down and converse with
people that's doing some bigshit and really get the
opportunity to really pick yourbrain, man, and really get that
knowledge.
Because the thing is like thesefor me, me, these are google in
person.
That's how I like to look at it.
This is google in person.
Instead of me googling whatthis man doing and what he's

(01:24:43):
talking about, I get a chance tohear and talk to him about it.
So I appreciate that and Ithank you for your time ain't
finna be on google anymore.

Speaker 3 (01:24:48):
Shout out to tk and shit and the letterman and shit.
Um, those guys helped me put alot of this event shit together
and find the finance and theshit and securing sponsorships
and shit like that.
So yeah, tk GQ.

Speaker 2 (01:25:01):
Hey, y'all getting tuned.

Speaker 3 (01:25:03):
Yeah, shout out Morris and my people Inglewood
Branded that's my guy Like yeah,leaders in them, you know.

Speaker 2 (01:25:11):
Chicago shit boy.

Speaker 3 (01:25:14):
Chicago shit, y'all Dope shit.
I just want to be surrounded bydope shit, dope shit.
I just wanna be surrounded bydope shit.
So I only fuck with niggas.

Speaker 2 (01:25:18):
I think it's really dope G and I heard a saying that
night.
I heard a saying that nightthat I think is dope as fuck and
I'm, I know somebody comingwith a t-shirt for this shit,
but they said Chicago niggasnever forgot how to rap never
forgot how to rap, shout out IAm God.

Speaker 3 (01:25:33):
That's that nigga.
Whole shit.
Also, effortless Pen Is on.
So no Mediocre Is I Am God'slabel.
Okay.
There's only two artists Onthat shit Me and that nigga.
Oh so Effortless Pen.
The first one came out On noMediocre.
Okay.
And Filthy Analects and shit.
But.
Y'all get it too.
Part two Comes out on noMediocre and Filthy and shit

(01:25:54):
also and shit.
So that's the only shit.
Besides, I Am God, shit that'son no Mediocre right now is some
Griffin shit.
So that's my man.
I fuck with him, he dope.
I've been trying to encouragebro for a really long time and
he shit.
He went way past anyexpectations in this
motherfucker.
Like yo, he's incredible man.
He's a dope ass artist.
It was a dope show.

(01:26:14):
Nothing but the best for thatnigga like.
I want that motherfucker to gofarther than not ever winning
this bitch.

Speaker 2 (01:26:19):
You know what I'm saying it was a dope show, bro.
It ain't over.
Y'all, make sure y'all get intune.
Shout out to my man, deckerDurs, cause without Decker Durs
this would not be possible shoutout to anybody.

Speaker 3 (01:26:30):
Shout out to Cab Crew , cab Crew, buck Crew.
It's unity.

Speaker 2 (01:26:34):
Now nigga Shout out to anybody that fuck with the
shit's podcast.
Hey, man, shout out to my man,bub G.
Man, shout out to my man, bub G.
Shout out to Dee Dee Licious.
Shout out to B Carrington.
And hey, man, y'all, make surey'all get in tune with us and
we'll holler at y'all next timeit's the shit's podcast.
Y'all, we out Peace.

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