BIG FACTS feat. Jermaine Dupri

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
This Big Bank, DJ Scream and Baby J with the
number one podcast industry, Big.

Speaker 2 (00:06):
Facts, Live from Revolt Studios. It's time for Big Facts,
Big Bank. What up? Baby J? What Up? DJ Scream?
I'm here. We are welcome in today finally Jermaine dupri
big what's up? What's up? What's up? What's up? What's up?

Speaker 3 (00:21):
Man?

Speaker 2 (00:21):
We'll tell you so long to pull up on this. Man,
you've been heavily requested by.

Speaker 4 (00:26):
I ain't never know y'all wanted to come on watching, man,
I don't know what's up with you? Everything solid?

Speaker 2 (00:36):
Yeah?

Speaker 5 (00:36):
Yeah, you know?

Speaker 4 (00:38):
Excited about this, uh this little Magic City documentary, I
say little City documentary.

Speaker 2 (00:44):
Yeah, it's Magic City document Magic City documentary, Big Magic City.
Why was now at the time? Why was it so
important to document the history and add a soundtrack to
the legacy of Magic City? Why do you feel like
now is the time?

Speaker 4 (00:57):
I mean, I think it's this is just the universe
because it's the fortieth the anniversary of Magic you know,
so I think it's just forty you know, he celebrated
forty years. I ain't know that when we start trying
to do the documentary and I ain't even know when
it was gonna catch as far as getting a deal
which stars. So I just think it's just the universe
just making it feel like this the time.

Speaker 2 (01:18):
Is supposed to go and not the speed to this
too fast. But it's on my mind, so I might
as well bring it up. Now you is that accurate?
Did you say ten thousand a week at Magic City
every week for ten years or was your Caviain love it?

Speaker 5 (01:35):
I mean, Jay's seen me in there every week.

Speaker 2 (01:38):
I'm there.

Speaker 4 (01:38):
I'm saying like, oh still now yeah this now I'm
now I'm there every week. What I'm saying, yeah, like
so that's like this was I mean, you know, if
you think like Gentleman, it was between Gentlemen's Club and
Magic City because Magic say had burnt down right, so
that everybody had went to the Jump's Club, then Gentlemen's Club,
then Magicity came back, so it was between both of

(02:00):
them clubs.

Speaker 2 (02:01):
But yeah, every.

Speaker 4 (02:01):
Monday was it was, you know, and probably went more.
I mean, I'm just that's just a guaranteed day that
you would see me. But I was in there at
least three times a week, and I'm saying you don't
even think about like I mean, I don't.

Speaker 5 (02:15):
Drink like that no more, but I used to drink
like so.

Speaker 4 (02:18):
You buy four five bottles of champagne, you probably in.

Speaker 5 (02:22):
Two thousand right there. Yeah, you know what I'm saying, Like.

Speaker 4 (02:25):
That's just that's that's what it is.

Speaker 2 (02:28):
If you got like five.

Speaker 4 (02:29):
Sixty people with you, you at you at two thousand
dollars worth alcohol off rip, right, you gotta spend five
thousand in Magic City at least?

Speaker 2 (02:38):
I mean, I do you do?

Speaker 5 (02:40):
Yeah, you know what I'm saying.

Speaker 4 (02:41):
But it's just I mean, you gonna end up doing
it anyway if you try to, If you try to
slow roll it and go twenty five, you're still gonna
be in there for like three four hours. You gonna
you're gonna get tired of not having no money, seeing
everybody else throw money. You're gonna get you another twenty five.
Now you at five, You know what I mean, it'll go.

Speaker 2 (03:01):
Bout for you.

Speaker 1 (03:01):
You know you ain't number like three two three songs.
If you're feeling good and it's lit.

Speaker 5 (03:09):
You know what I'm saying. This just Atlanta, Real Atlanta.

Speaker 6 (03:13):
A former strip club veteran.

Speaker 5 (03:14):
Yeah, I'm just saying it's just real Atlanta coach.

Speaker 2 (03:16):
It ain't not like if.

Speaker 5 (03:17):
You really do it, it just it ain't even.

Speaker 4 (03:20):
I have my homeboys called me like why they acting
like that that ain't no money.

Speaker 5 (03:24):
I'm like, oh, you know what I'm.

Speaker 1 (03:27):
Saying, Like when you add it up in some money, yeah.

Speaker 2 (03:29):
I mean yeah, if you add them anything.

Speaker 4 (03:32):
Yeah, you know what I mean, if you add them
anything that we donet did our heads some month.

Speaker 1 (03:36):
Right forty years Man, that's a long air term, bro. Yeah,
it's crazy how that line up you said. It wasn't
even it wasn't even planned out to be to do
the anniversary for the forty years and do it.

Speaker 2 (03:50):
That's that's dope though, Yeah, because I mean we did.
We did. We took the doc to.

Speaker 4 (03:57):
South By Southwest two years ago, right, So so when
I showed freaking it at south By Southwest last year
a year before last.

Speaker 2 (04:07):
Or it might be last year.

Speaker 4 (04:10):
We also got a little placement to put to show
like the first part of this Magic City.

Speaker 2 (04:15):
But we ain't had no deal.

Speaker 4 (04:16):
You just had an opportunity to show it at south
By Southwest.

Speaker 2 (04:19):
So then it was like my phone the man picture
that you tell you everybody with the phone.

Speaker 4 (04:26):
Oh yeah, so we got opportunity to show it, and
then from there I didn't know if we was gonna
get a deal or not, because I was trying to
figure out who was gonna show this. You know, it's
cities and ass and this it ain't no you know
what I mean, it ain't no faking. So to see,
you know, to even go downstairs in the locker room,
you gotta you gotta be you gotta be on something

(04:47):
that will provide that that space.

Speaker 2 (04:50):
So what.

Speaker 1 (04:53):
Is it one part or two parts?

Speaker 5 (04:55):
It's five five five parts? Yeah, it's a five part series.

Speaker 4 (04:59):
It's out to be like a three part and then
I guess when stars they wanted it, and they just
kept trying to like squeeze as many different little pieces
out of it to try to keep it going.

Speaker 1 (05:09):
How long is the episode?

Speaker 2 (05:10):
It was an hour.

Speaker 1 (05:11):
I think it's probably thirty minutes now. It just was
just as five you know, so I series, I mean
five parts. I'm not really sure.

Speaker 4 (05:17):
I saw it and I just saw like the first
episode in Miami at the Black Film Festival.

Speaker 5 (05:24):
Idea.

Speaker 4 (05:25):
I feel like it feels like it was forty like
thirty five to forty five minutes.

Speaker 7 (05:30):
Okay, so let's take it like all the way, all
the way, all the way, all the way back to
the beginning when you first started as a kid, like
garnering your love for music, and you saw your dad
in the executive space and you know, doing his thing
with the music. Is that one of the things that
motivated you to want to like step up and be

(05:53):
the boss as opposed to actually being an artist.

Speaker 4 (05:57):
Nah, Like when my dad, when my dad day I
was working in the music business here in Atlanta, is
like moving around and doing like being like a roadie
for like Cameo and Sosband and Brick when he was
doing that. I don't I don't think I wasn't even
old enough to even like understand for I want to
do nothing, you know what I mean. I just wanted

(06:18):
like I wasn't even paying no attention to what was
going on. I just was like I know I was there,
but I wasn't really paying no attention to it. I
didn't really get the bug until, like I think, like rap,
when hip hop started, like rap really started, so like
the late eighties, yeah, like the late well let me see, well,

(06:39):
no early eighties.

Speaker 5 (06:41):
Yeah, well I'm saying I'm tripping.

Speaker 4 (06:42):
Yeah, the early eighties so like like I think like
like eighty two and then like in eighty two, I
started like seeing people breaking on TV and dancing and
this type of stuff.

Speaker 6 (06:53):
When did you start background dancing.

Speaker 4 (06:55):
For yeah, like eighty three. But it wasn't like that
wasn't even like a real job either. That was just
like a coincidence that happened because the Fresh Fest, the
first hip hop tour that ever went out, came from Atlanta,
you know what I mean, Like people don't even be
saying that, but the first hip hop tour that ever launched,
it started.

Speaker 5 (07:15):
Here in Atlanta.

Speaker 6 (07:16):
I didn't even know that.

Speaker 4 (07:18):
Yeah, yeah, like one DMC, who didnny, the Fat Boys,
the New York City Breakers, the Dynamic Crew, It was
a whole tour. And the promoter he named Ricky Walker,
he from College Park. He started the tour and the
tours started here in Atlanta, and that just happened to
be like away from me to like open up the show,

(07:38):
Like they used to have these little places where you
could open up show. You can always use on shows
back in the day, where you could open up as
long as you let the promoters meet their time. So
it was like let JD open up and I opened
up and I stayed perfect with the time, and it
just happened with it was like, we'll let you do
it the whole rest of the tour if you if
you available.

Speaker 5 (07:57):
I don't know if I was.

Speaker 4 (07:58):
I wasn't available. I was in school, you know what
I mean. But it just happened to be an opportunity
that couldn't pass up.

Speaker 1 (08:05):
Hey, you started early, like the South movement, So how
hard was it like the breakthrough being from the South?

Speaker 2 (08:11):
Oh?

Speaker 4 (08:11):
Extremely hard, Like every every piece of it, you know
what I mean, every every every inch of everything that
I did was like always challenged, always questioned, always talked about,
you name.

Speaker 2 (08:24):
It was like it wasn't never.

Speaker 4 (08:26):
What was the biggest hurdle though, The biggest hurdle was
just trying to like I guess, actually break you know
what I mean, actually finally get a record that actually
made it out of Atlanta, out of you know, a
couple of you know, in the other other bigger cities. Basically,
I think that like the first rap group that I

(08:48):
had was Silk Tom's Leather was these two female artists
that I had met on the Fresh Vest and we
had video, they had video, they had you know, what
I mean, they got signed to one of brothers and
all of that, but it didn't and break you know
what I mean, It wasn't supported because I feel like
the South I wasn't that good either, you know what
I mean, So it won you know, the music wasn't

(09:09):
that great.

Speaker 5 (09:10):
So it's just a bunch of things.

Speaker 4 (09:11):
I had to get better and we had to just
like figure out a way for people to make people
pay attention to us through right as far as yeah
for me, yeah, So.

Speaker 1 (09:22):
What type of respect that you gained when they broke through?
Like did you see it immediately?

Speaker 2 (09:28):
Not a lot of respect.

Speaker 4 (09:29):
Not the respect that I would have got if it
happened in this era, you know what I mean.

Speaker 2 (09:33):
I was nineteen.

Speaker 1 (09:34):
So the.

Speaker 4 (09:38):
Situation I had to go through at nineteen was that,
you know, I'm a young boy trying to put out
music and compete with all of these adults, and niggas
weren't trying to hear that. They just won't like it
wasn't a thing for a young person to actually be
trying to compete with with adults and hip hop. So

(10:00):
I was, you know, I got was getting dissed. I was,
you know, it was every everything that could possibly happen
to a younger I was. I was getting treated like
a young boy. It was a young boying me to death,
you know what I mean. So it was a bunch
of like it was like even like the like I
was like the first teenager to ever have a number

(10:21):
one record on Billboard, you know what I mean, But
that it ain't even get celebrated because when nobody else
doing it.

Speaker 1 (10:31):
So when you think you see me at your feet
like I'm.

Speaker 4 (10:34):
Here, it's a strange because you know what I mean,
Like it's feel like it feels like it's been that
fight for me for a long time, like and I
just started not caring about it.

Speaker 6 (10:44):
You don'd it for you?

Speaker 1 (10:46):
Not? Hell?

Speaker 4 (10:47):
No, Escape was definitely like a even more of a
challenge because it was the first time I ever wrote
and produced a female R and B group, So I
didn't really know what I was doing. I just was
going with what I wanted and what I felt. But yeah,

(11:08):
it was tough with Escape. It was like really really
tough because the same thing Escape was young, they were
still in tra cities when when I signed them, do
you feel like they.

Speaker 7 (11:23):
My question is do you feel like their image was
part of the reason.

Speaker 4 (11:28):
That no, I was all a young it was because
we were so young, like you know, like I said,
I'll be telling people.

Speaker 2 (11:33):
All the time.

Speaker 7 (11:33):
You know, they were like they came in like they
could sing like funk, but they were kind of like
on the Tomboys ship. They weren't on the like the
super sexy like you know vixen.

Speaker 4 (11:45):
Yeah, that's what I'm saying. They was kids. They won't
and they weren't even trying to dress like.

Speaker 2 (11:49):
That because they was kids.

Speaker 4 (11:50):
So it wasn't even like I could be like, you know, man,
let's put on some heels, and they weren't even with
that type of shit they was on.

Speaker 2 (11:56):
They was young, they was in school.

Speaker 4 (11:58):
So it was just the fact that being young, Like
in the music industry in the nineties, in ninety two,
ninety three, ninety four, the whole music industry was the
old person spoiled, right, you know what I mean, it
one made for nobody young. So what I was trying
to do and what I was doing, niggas wasn't trying
to even they was trying to.

Speaker 6 (12:17):
Look were like being met with resistance.

Speaker 4 (12:19):
Yeah, every time, every time they was trying to look
the other direction, like y'all trying to change us, you
know what I mean, y'are trying to move y'all trying
to move us out of the way, and you know,
and like, like my biggest hurdle with Escape was that
they were so young and they was making R and
B music, and all of the radio stations even like
if you want a three v won three.

Speaker 5 (12:37):
Used to be an older sounding station, right, it won't.

Speaker 2 (12:40):
They didn't.

Speaker 4 (12:41):
They didn't represent hip hop and on RB the way
they do now. Like it used to be just an
R and B station that played a little bit of
hip hop or a little bit of rap. And the
records that they played was in vogue, you know what
I mean. If you look at in Vogue and Escape,
that shit looked like night and day, right, Yeah, because
these is grown as women and he's just a little
bit the girls.

Speaker 5 (13:01):
So that's basically what it was.

Speaker 2 (13:02):
Okay, two part question about this man. First Off, how
much hate came with that billboard when you put it
up in the city, that social death billboard, love and hate,
and that that was the same billboard that was replaced
at one point in the b am F billboard.

Speaker 1 (13:19):
W Right, Nah, Yeah, he's university the whole time, right, yeah,
yeah they were. They was up by the stadium of
the airport.

Speaker 2 (13:31):
Gotcha. So how much love or hate with that billboard?

Speaker 4 (13:35):
I mean, I really didn't know. I heard it one time.
I tell Ron Cameron. I tell the story the time
I was in the car ride and Ron Cameron was like, man,
when JD gonna change that uglass billboard color?

Speaker 2 (13:46):
And I was listening to.

Speaker 4 (13:47):
Him say this on the radio, and I'm like, damn, okay,
all right, So I didn't really get a lot of hate,
you know what I mean.

Speaker 5 (13:53):
But then nobody tell me they wanted it up either.

Speaker 4 (13:56):
Niggas want saying what they say now, Like now, niggas
be like, yo, you took this ship.

Speaker 2 (14:00):
Yeah, I put it back up.

Speaker 4 (14:01):
But before I put it back up, that's all people go.
Why you ain't why you take the sign down?

Speaker 2 (14:06):
Man?

Speaker 4 (14:06):
That represented Atlanta? Like you ain't say that ship when
that up? By the way, that billboard cost me ten
thousands a month. Question it was up for ten years.

Speaker 2 (14:15):
Yeah yeah, yeah, same city money. You know what I'm saying.
That's the same thing. No different. It's in the airport too.
You got some ship in the airport too, right, Nah?

Speaker 4 (14:27):
I think they had like a little they had something
that they had like a little.

Speaker 2 (14:32):
Coming up the escalator.

Speaker 4 (14:34):
Oh nah, I was the first person that they put
on the things to welcome people to the city.

Speaker 1 (14:38):
That's like, this means I keep what I'm saying, find
them for you gotta put me in there one day. Hey,
let me ask you some j D. So, oh what
about Maria? Did Mariah stamp it?

Speaker 2 (14:49):
Nah?

Speaker 4 (14:50):
Still I'm not because you know what's crazy about the
Mariah situation is that the first time I worked with her,
I ain't get I got a third single. So back
in them days, you get like, you know, first two singles,
that's the songs that really is the hits. The next
records that come out, they just be like gravy, especially
for an artists like Maria because she already she's selling
a lot of records. So at least I ain't paying

(15:14):
no attention to it because it was the third single,
so I didn't even see it being like oh this
getting ready to do something for me, even though when
number one it popped off at the time, I looked
at it like, oh, well, I got the third single.

Speaker 2 (15:26):
I I gotta do better.

Speaker 7 (15:29):
So let me ask you this, Like speaking specifically on
like Mariah, the Mariahs and the Ushers and you know
all those types of people. How is it different working
with an artist of that caliber as just a producer
as opposed to actually being a real life friend to
those people.

Speaker 4 (15:48):
Well, I mean Usher, Usher won Usher when he came
to me the first time. It was like Usher won
no Superstar. So I was actually bigger than Usher when
he came to work with me, because I mean it
was success. So that was a different relationship than Mariah.
Mariah's situation was crazy because it's like I didn't really
ever really feel like I could do anything for her.

(16:09):
I felt like, you know, I felt like she liked
me and she wanted to work with me, and then
we became friends, and I think that was like, so
I was more into that part of it. I never
really felt like I'm already put my hands on her
and make her bigger.

Speaker 2 (16:24):
I never thought that I.

Speaker 4 (16:25):
Could do anything like that for her because she was
already Mariah Carey.

Speaker 2 (16:29):
Yeah, you know what I mean.

Speaker 4 (16:30):
I don't know what I could. You know, I always
I always view myself as messing somebody shu up, Like
I don't want to be that person. I'm like, let's
just be friends. I ain't gotta go in the studio
with you. I ain't gonna fucking shit up. I don't
want to be that person. I don't want to even
be known for that person.

Speaker 2 (16:44):
So right, one real big conversation though, like with breakthroughs,
like the Brat kind of broke through because it was
the first female rapper to be platinum or something like that.

Speaker 4 (16:55):
Was that a big breakthrough? Did you kind of start
to feel some of it? I mean the female rap
you know what I mean? For her more or less
than anything. I mean that for me, I guess it
was like a Wusai moment because that project was tough
for me. It was hard for me to figure out
how to get my niggas to like a female artist
because because up until that point in time, I never

(17:17):
saw that in my neighborhood. I never saw none of
my niggas riding around listened to something people. I never
seen none of them listening to Queen Latifa. I never
seen none of them that one. My and I grew
up in car culture, Like with your cars, I rocked sidekicks,
Suki samurais all this shit. That's what if you had

(17:38):
that and you had a system. That's what niggas was saying.
So all myamies, they was righted. That's how they was riding.
They never had that ship playing in the car. So
I was always like, all right, here I go try this.
Garing'd be tough as fuck. So I tried, I play
a song. I just put the song in a CD
player whatever, not even like try to like tell them

(17:58):
what's going on. And I used to see the reaction.
They reaction were never there. So it took me like
two years to get to functified.

Speaker 1 (18:07):
How you deal with like coming into some thinking that
is gonna win and it don't do nothing Like how
you deal with that.

Speaker 4 (18:13):
I don't come in think it's gonna win. That's probably
why I said little Magic City thing. I don't be
I don't be thinking. I already prepared myself.

Speaker 6 (18:22):
Prepare for the worst.

Speaker 5 (18:24):
But I mean I don't do that as a defense mechanism.

Speaker 4 (18:27):
That's just how I had to defend myself because I
was I was never treated like, oh yeah, this ship
gonna blow. It would never like that. It was always
like fuck you, what he can read to do with
this ship? Like you know what I'm saying?

Speaker 5 (18:40):
Everything every time.

Speaker 1 (18:47):
So so basically you just put the work in and
let it prove to you what it is.

Speaker 2 (18:51):
Yeah. Yeah, I mean I don't know what I mean.

Speaker 4 (18:53):
If I like it, that's usually what I'm always satisfied
with me liking it. If people don't like it, you
know what I mean, I can't I can't please everybody.

Speaker 1 (19:03):
Who who do you think the goat artists out of
here today? Period of all time?

Speaker 2 (19:10):
All time? I mean it's a munch.

Speaker 5 (19:12):
We got a lot.

Speaker 4 (19:12):
I mean, you know, Future three thousand and you know
it's a bunch of belly cush now, it's a bunch
of it's a it's a bunch of artists we got.

Speaker 1 (19:22):
Who you think was the most influent say the words?

Speaker 4 (19:30):
I think Future was the most influential as far as
people wanted to in other cities trying to steal the
sound I mean outcasts as well, but outcast you gotta
be more into rap to try to steal they sound.
So I feel like Future sound was easier for knicks
to like in other cities to copy iakdown.

Speaker 7 (19:53):
I totally agree, and I am all the way with that.
But I also think that we have to include Gez
that almost.

Speaker 4 (20:03):
I mean not copy though they couldn't copy Gez sound
I'm talking about.

Speaker 5 (20:07):
I'm talking about people.

Speaker 4 (20:08):
That verbatim sound just like like from New York that
came out that just like like you know what I'm saying,
like I ain't never heard nobody sound just like Jeez.

Speaker 2 (20:24):
They copy his content, They copied his content.

Speaker 4 (20:28):
They tried, but as far as like really sound, I
feel like niggas really ripped that future ship went crazy.

Speaker 2 (20:37):
What about producers? Same thing.

Speaker 4 (20:39):
I feel like all the producers, I mean a mafia,
you put all them together. I feel like people just
stole They just stole that sound, you know what I mean,
like just really really trying to like take it. And
you know what I mean. I mean, I think Lex.

Speaker 2 (20:56):
Luga was like the first I was just getting ready
to say that.

Speaker 4 (20:58):
I think Lex Luga was the first person seeing you
know what I mean. And after Lex, I don't even
know what the Lex that now, But after after Lex,
it just said like yeah, you know what I mean,
everybody just starts stealing that whole ship.

Speaker 2 (21:11):
I remember that.

Speaker 1 (21:11):
Man, I went to a concert at Wolf Creek and
the head DJ, you know, you know how you could
be sleep on niggas Bro.

Speaker 2 (21:19):
Got bro really like you.

Speaker 1 (21:21):
You wouldn't you know how you didn't give you a
DJ saiding you play your ship. Yeah, I'm like, damn
about the versus ship. That's who you think you'll do.

Speaker 2 (21:29):
A versus with?

Speaker 5 (21:30):
It be a good one, nobody that listen.

Speaker 2 (21:33):
If if it would have I don't know that behind
the scenes politics, if you know.

Speaker 4 (21:37):
What I mean, I would yeah, me and puff me
and puff versus was gonna be exciting, right, That's that's
that's probably the most exciting.

Speaker 7 (21:45):
Yeah, like that would have been. That would have been
something that like I might have even would have paid
to come watch because it would have been balanced.

Speaker 4 (21:55):
If all his artists were cooperated, it would have been
really perfect.

Speaker 5 (21:58):
But that you know, I don't know that would have happened.

Speaker 4 (22:01):
But yeah, if all of his artists would have cooperated, Uh,
it would have probably been the biggest show period in
hip hop history.

Speaker 2 (22:08):
The artists, though, you don't think y'all could just y'all
without the artists right there tune for tune and still
be entertaining. Nah, you think you need artists? I mean
I don't.

Speaker 4 (22:20):
I'm saying I'm just trying to say, like I just
don't know, you know what I mean, you can't. It's
hard to go toe for.

Speaker 2 (22:26):
Told with me and i't. I ain't even trying to cap.

Speaker 4 (22:29):
I'm saying, like I go into like that's what I'm saying,
I go, I got so many different areas where compative
compatibles it ain't.

Speaker 2 (22:38):
It ain't the same.

Speaker 4 (22:39):
Like if I get into the bow Wow era of life,
I don't know what bad Boy put out when bow
Wow was number one on one on six, apart some.

Speaker 1 (22:48):
Of that Mason puff shit. Remember they were dropping around
in it.

Speaker 2 (22:51):
Now listen, it's nah, not that time, not that time.
And then still that was right after Biggie pass.

Speaker 4 (22:57):
Right, Nah, not not not the lineup I'm talking about it.
I ain't come out to two thousand, oh yeah, yeah,
two thousand and one. You know what I'm saying, Like
just back, you're talking about nineties. Now, I'm telling you,
as we get in the in the latter parts of
life where we are right now, I don't know, you
know what I mean, It ain't.

Speaker 2 (23:16):
But it's only twenty records, so that when I think
about that, I.

Speaker 5 (23:21):
Can't play ten Biggie records against me.

Speaker 2 (23:23):
He got he got bigger, he got, he.

Speaker 4 (23:29):
Got no, he got he got, he got, he got,
he got a bunch of records. But I'm saying that
the core of it, at the core of it, you know,
you ain't see that day with me and was on
the line I was. He tried to tell me he
was gonna play victory against me. You're not gonna play
victory against me.

Speaker 1 (23:44):
He could, look, that's what. But I feel like that's
why you ain't gonna play victory against me, because he
just said that.

Speaker 2 (23:53):
Y'all know ten RAT records and y'all could both go
ten R and B records. Yes, yeah, we're the only
producers that I know that can Maybe maybe doctor Drake
could maybe you know Drake records.

Speaker 6 (24:07):
Listen, don't before y'all start with that.

Speaker 7 (24:13):
I'm not you know what I'm saying in terms of
like total like you said, the total scope of like rap,
R and B, fucking kids, whatever, whatever, diversity. Not taking
anything away from doctor drayd Off because he's one of
the phenomenal goats of this ship whatever whatever before y'all
start that ship. But it's like, I don't I don't

(24:36):
place I wouldn't place him, like with with the JD
or Diddy when it comes to like the R and
B ship or the you know, the the formulation of
like the younger you know what I'm saying.

Speaker 6 (24:51):
People, because he's so up there, like I don't, I don't.

Speaker 2 (24:55):
I just if it was a versus I would it
would makes sense if it was J. D. Puff or
j D. Doctor Drake. That's what I'm saying. That's my opinion.
That's the only one know.

Speaker 4 (25:05):
Me and Puff was like gonna be the best, But
that would I was gonna was gonna and.

Speaker 7 (25:10):
Him and would be more comfortable than him and him
and doctors right and opinion.

Speaker 4 (25:14):
I agree, Yeah, I was gonna have fun with the person,
you know what I mean? Like even though we joked
back and forth and both.

Speaker 7 (25:18):
Of y'all are like both of y'all, y'all aren't like
it wasn't gonna be some ship where y'all like fake
get into it or no ship like that. Both of
y'all have that same camaraderie. So would have really been
like a big ass party. It would have been.

Speaker 2 (25:31):
It was gonna be fun. It was gonna be fun.

Speaker 4 (25:33):
And we got artists that could go, Like I said,
you know, one twelve against Jaggs, Escape against total exactly
Anthony Hamilton against Carl.

Speaker 6 (25:42):
Thomas exactly exactly.

Speaker 2 (25:44):
You know it was gonna go down. It's gonna be something.

Speaker 1 (25:48):
Hey, what about should talking that ship about? What happened
with that ship? What suld what it's about about? Bow
wow bow wow? Like he had by while saying went
to jail and then came out. You had them blew
him up, acting like you're supposed to own some money.
He's just dropped the interview about that.

Speaker 2 (26:06):
I saw pep.

Speaker 4 (26:10):
Somebody assumed me if it's the truth, I'll be telling
people our time.

Speaker 2 (26:17):
Somebody, if somebody owe you some money, I won't man
some type of way.

Speaker 5 (26:22):
Somebody owe you some money.

Speaker 4 (26:25):
You said nine times out of ten, if somebody, if
somebody really owe you some real money, and they got
somebody signed to you, right, Okay, they signed to you,
and you got proof that the artist is signed to you,
you're supposed to get your money, right.

Speaker 1 (26:39):
Oh he thought he was just gonna debo you out
some money. That ain't going.

Speaker 2 (26:44):
I'm saying that.

Speaker 4 (26:45):
I'm saying I'm little so niggas always gonna try the
little boy me my whole life. That's all I'm telling you.
And the music shit just that I'm a little nigga.
Niggas be trying to little boy me, that's cool, But
I'm just saying I play by the real rules. Like
if he's I do you I would have paid them? Yeah,
you know what I mean.

Speaker 5 (27:04):
He ain't signed. I ain't see no contract. Yeah, you
know what I mean.

Speaker 4 (27:07):
And shure he be talking in a world where niggas
don't understand this. Niggas don't understand business. If they did it,
it'll be more millionaires than it is that we got
out here. Niggas don't understand business. So niggas just be
going off of yeah yeah, yeah, it ain't no yeah
yeah over here.

Speaker 1 (27:23):
Yeah, I ain't got that nah nah. Hey, so how
did you know jay Z with jay Z early on?
Because you brought him to the South first, right, Yeah,
I ain't no, I ain't no. Like I said, I'm
going off my taste.

Speaker 4 (27:36):
I don't know, Like, I don't know if people gonna
get into him, you know what I mean. What I
did know was that me being on the fresh Fast,
I got a chance to live in New York in
state in Brooklyn, and I seen like what hip hop
was to them and what hip hop was to us, Right,
in Atlanta and new rappers that came out of New

(27:59):
York people, they embraced them, really really, you know, they
really embraced them. They also, if you could rap with
these guys, they'll put you in the you know, they'll
put you in the space where Okay, he lyrical, he
got some minds. So here I am doing my album,
and you know, I'm writing all these songs for everybody else,

(28:21):
and people telling me I should do my album.

Speaker 2 (28:22):
I write my own raps.

Speaker 4 (28:24):
So I'm like, shit, I want to do a song
with a nigga who niggas think could really rap. I'm
still trying to prove myself to the world by doing
that more or less than anything. I'm like, let me
get on a song with jay Z, then y'all niggas
will stop saying JD don't do nothing right, kiddy raps
or whatever whatever like.

Speaker 5 (28:40):
So That's what I'm thinking in my mind.

Speaker 4 (28:42):
I'm just trying to put myself in the same blignement
with niggas who people think really could rap.

Speaker 6 (28:49):
And what made you?

Speaker 7 (28:51):
What made you pick money and the thing to be
that song to showcase your skills as well as his.

Speaker 2 (29:01):
It just happened. I was I was picked.

Speaker 4 (29:03):
I was going to pick him up at the airport,
and I'm listening to Can't Knock the Hustle And in
the song, that's what he says. In the song, he says,
I'm deep in the South, kicking up top game, screaming
through the some roof money and the thing. And when
he said that, I'm like, why did he say the South?

Speaker 2 (29:21):
You know?

Speaker 4 (29:21):
He talking about me, Like you know what I mean.
I started like visualizing this as like this is this
a message from somebody telling me JD.

Speaker 5 (29:30):
This the part with this it right. So I'm and
I'm driving like that.

Speaker 4 (29:33):
I'm I'm late to pick him up, so I'm driving
fast and I'm I'm down that.

Speaker 2 (29:39):
Yeah, I'm down Old National.

Speaker 4 (29:40):
So i ain't that far from the airport, but I'm saying,
I'm I'm swerving and I'm getting there fast, and I'm
listening to it and it's saying that like screaming through
the some roof money and anything. And I'm telling y'all,
I'm at Magic City every night spreending his money. That's
what I'm thinking. It's like just me, this this is
my life.

Speaker 7 (29:57):
Yeah, yeah, yeah, that video that vision is crazy.

Speaker 2 (30:02):
Yeah.

Speaker 1 (30:02):
Hey, what do you think the good and the bad
is about Atlanta then?

Speaker 2 (30:05):
And Atlanta now?

Speaker 4 (30:08):
I don't feel like there's no hustlers in Atlanta no more,
you know what I mean. Then it was hustling. Niggas
was hustling. Everybody out here was trying to hustle first
to get a deal. And I feel like the independent
mindset hurt Atlanta because Atlanta was built on hustling to
get a deal. It was wasn't built on you do
it yourself. It wasn't built on niggas trying to put

(30:30):
records out theyself. If they would have did that, then
we would have blew up when Itchi Bud was here, right,
you know what I'm saying. But want niggas didn't blow
up when Itchi Bun was here. Niggas like Shade too
and them niggas was that Itchi Bund. My generation of me,
we came in. We went straight to Columbia, you know
what I mean. I went to Sony, Rico Wade and

(30:52):
went the end of scope.

Speaker 2 (30:54):
Ship. Polo went to end the scope.

Speaker 4 (30:57):
Every young nigga out here that was doing what they
was doing, they was want to get bags from these companies.
You don't see that no more, you know what I mean,
everybody trying to act like they're doing it independent. I
get it, I understand that, But that's still that's that
ain't the nature of this city or how the city
was built from the music standpoint.

Speaker 2 (31:15):
You think that when they talk talk about producers names
such as yourself and and Rico Wade, like it's a
little bit of a handicap because of the South thing,
just because y'all from the South and representing Atlanta, like
y'all should be mentioned more than adult talk.

Speaker 4 (31:30):
Of course, I mean, I mean, yeah, without it doubt
like I it's it's you know, the fact that I
got to spend time in New York and Atlanta back
and forth. It gave me a different perspective of just
like what needed to be happening with us as opposed
to what's actually happening right, And a lot of times

(31:51):
we be here in Atlanta and we be so caught
up in this bubble in Atlanta, we don't be paying
attention to what need to really be.

Speaker 5 (31:57):
Happening, right.

Speaker 4 (31:58):
So a lot of times we don't push ourselves, all
of us pushing each other to get to them, to
them conversations. You know what I'm saying, It be making
it feel like, well, sometimes we don't even care, Like
right now, it's all you know. I did a little
dinner for the DJs about two months ago, and niggas
went crazy on the in and everybody started beefing talking

(32:18):
all this ship about who ain't playing records And then
you know, out of space told me it won no
hot males in the city. Then that started this whole conversation,
right all the niggas.

Speaker 2 (32:31):
Yeah, yeah, the niggas starts.

Speaker 4 (32:32):
So so even with that, niggas want to argue about
who hot in Atlanta.

Speaker 2 (32:36):
It ain't.

Speaker 4 (32:37):
It ain't but one rapper on the radio in New
York that's from Atlanta. That's That's That's what I care about.
Who is Playbo Cardi. You're the only person that's got
a record on the radio in New York.

Speaker 2 (32:52):
City, not New It don't matter.

Speaker 4 (32:58):
The only nigga that got a song on the radio
in Atlanta. That's why I've been pushing this Magic City ship.
So I'm like, man, we we we fucking up about it.

Speaker 2 (33:08):
The wrong ship.

Speaker 1 (33:10):
We worried about the yes, right heard that, I'm telling
you straight. So it's New York still the way they like.
It's New York still the stamp for hip hop. As
far as culture awareness, I think niggas don't give a

(33:30):
funk about.

Speaker 2 (33:31):
Being you can make.

Speaker 7 (33:33):
But you know, it used to be like to where
like if you could get a record on the radio
in New York or l A, then that was like
the Grammy.

Speaker 4 (33:42):
Sure, but now now you can make it without it. Nah,
you can't know why you say that. It's still culture awareness.
These cities are.

Speaker 5 (33:51):
Still this place is still it's still the mecca of culture.

Speaker 2 (33:55):
If you take someone you really popping into the world.
Let's take someone with a long tim in you're a
couple of some names like Boosy who just ran laps
around the South and get good. He been relevant a
long time. God, it's a lot of people. That's why
I feel like you.

Speaker 4 (34:11):
But I'm saying you put butsy on what level of
who like Let's let's talk about Atlanta, right, Let's talk
about Gez Ludacris, outcast t I.

Speaker 2 (34:20):
Gucci made a long time record. He made a long
time without a record in New York.

Speaker 4 (34:26):
Okay, what I'm saying if you take them five artists
who who the biggest.

Speaker 2 (34:30):
On that list.

Speaker 4 (34:32):
Get a list again, t I jez outcast Gucci Manucci,
who I said, Ludacris.

Speaker 7 (34:43):
But are you Are you speaking on just the biggest
from a musical standpoint or just the biggest from an
overall standpoints?

Speaker 4 (34:51):
Were talking about music, were talking about who got who
really got ship going? When niggas say they popping, who
really popping on this list?

Speaker 2 (34:58):
I'm talking about that they hight they hike, Yeah, they hike.

Speaker 1 (35:02):
It wasn't.

Speaker 2 (35:05):
Jesus to me Jesus.

Speaker 4 (35:08):
Okay, take that's good. Take Jezy right, Jezy was getting
played in New York. Jesus was in New York doing
parties at the strip clubs.

Speaker 2 (35:17):
In New York.

Speaker 6 (35:18):
Jesus, Yeah, we show in New York.

Speaker 4 (35:21):
This is what I'm saying. You cannot you can't be
popping just then now, you can't just you can't be popping.

Speaker 1 (35:31):
Who going to New York doing something?

Speaker 4 (35:32):
Honey on your They don't. But and they not popping.
That's what the problem is. We ain't Atlanta not popping
right now? You're right, The ain't no artists out here.
It's popping. That's what I'm trying to tell you. The
only ain't playing in New York. Nah, that ain't even
on already on New York. They popping around here. It's
not on already on New York. It's still you gotta
reach out man.

Speaker 1 (35:53):
You say New York is the first first place to
cross you over to going overseasons. Nah, nah, it's just
it's just the first place that that basically to me,
that bridge is all hip hop hip hop levels. If
you love hip hop in the South, right, and you
love hip hop from the North, and you start getting
played like, it's just it's just the bridge of all.

(36:14):
I agree, I don't like it like that, but that's
what everything really.

Speaker 7 (36:23):
But do y'all think that that goes back to the
whole ship about there always being some sort of like
slick New York nigga Atlanta nigga, Like.

Speaker 2 (36:36):
No, I don't know what it's like.

Speaker 7 (36:41):
It's all like not even like Atlanta nigga, but just
from the South, Like you know, it's always been kind
of like a thing like with Atlanta niggas and New
York niggas, like South niggas and New York niggas, like.

Speaker 4 (36:55):
Yeah, because we always been cool enough to get to
that to advance and space, right, and if and niggas. No,
if you advance in that space, you basically have advanced.
You have advanced, and it ain't gonna be no, it
won't be no whole backs or nothing if that. If
you start popping in New York, I'm gonna tell you,

(37:17):
like I when I put out the franchise was the
Young Bloods and Bone Crushing, niggas in New York hated
me because I was staying in New York and I
was running the label right.

Speaker 5 (37:29):
They hated me because all I was doing was centing
my promo.

Speaker 4 (37:32):
Team out to their clubs promote Bone Crusher and young Blood,
Bone Crushing, young Blood, Bone Crushing, young Blood.

Speaker 2 (37:40):
And Case Slay Rest in Peace.

Speaker 4 (37:42):
I remember one of the people came back and was like,
Case Slay broke your record to night Man. When I
gave it to him, he broke it and said, man,
if you bring one of them, another one of them
Southern records over here, you got them kill y'all niggas.
Because the dominance, the dominance of what was happening is
it's it's it's it's dangerous, you know what I mean.

(38:02):
It's a dangerous space. And that's what happened. Once we
started taking over like that, we started getting on the radio.
Then New York started signing like Atlanta. Right then Atlanta
started I mean, then New York started looking like Atlanta,
you know what I mean. They got stripped clubs and this,
that and the third and it just started being a thing.

Speaker 7 (38:22):
So do you feel like that the New York the
New York crew felt like the Atlanta or Southern influence
was a threat to their own personal culture.

Speaker 2 (38:33):
No.

Speaker 4 (38:33):
I don't think they knew it, but I think I
think once they started paying attention to it, they started
feeling it like oh shit, Okay. Then across the across
the bridge, they got some you know, New Jersey. The
niggas in nor they don't even really like really want
to represent. They want to act like they like not
really that connected. So was the nigga that had a
patch overs I Freddie wat.

Speaker 5 (39:03):
Wop fed Wop went public and said, oh.

Speaker 2 (39:07):
He listened to his whole Yeah, you know what I mean.

Speaker 4 (39:12):
You know what I'm saying. You got all these niggas
saying all they listen to Wap. It's just like you
could start seeing like, oh this ship. Oh you know
what I mean, it's a different thing. But all of
them are like what I'm saying, all of them artists
that I named on that list, they was all respected
and accepted.

Speaker 5 (39:32):
I think we make that list right now.

Speaker 2 (39:34):
But ain't none of them. But but but but on
the flip side of New York one in validation from
down South, they.

Speaker 5 (39:41):
Had to come always always got it.

Speaker 4 (39:44):
We gave it without even we gave it without even
giving it.

Speaker 2 (39:48):
We gave it way he had to come get it.
Guess what.

Speaker 1 (39:50):
See, that's what I think, that's what we fucked up
at is when we got it, we take it all
the way when they started because you gotta think New
York ship went popping unless they came out on South
beats at one time.

Speaker 2 (40:03):
Let's keep it real enough.

Speaker 4 (40:04):
Well, I mean, you know, like I said, I don't,
I don't, I don't know. I feel like New York
always had a footprint in Atlanta.

Speaker 2 (40:13):
That ship was dead around the time got them in that.

Speaker 1 (40:17):
When all that future and that ship was dead.

Speaker 4 (40:21):
Yeah, but when future came out, like you know what
I'm saying, you're talking about twenty ten, that ship right
like we had it prior to that.

Speaker 2 (40:29):
That's a long time. Yeah, you're right, before up little
Little John start doing them hot.

Speaker 6 (40:41):
From then the twenty.

Speaker 2 (40:43):
Stretch the hot ain't know boy, listen.

Speaker 6 (40:51):
To give me your hand man.

Speaker 5 (40:54):
It was now they had a long they had.

Speaker 2 (40:55):
A long run.

Speaker 4 (40:56):
But they also, like I said, they always had a
footprint here. I feel like, you know, that's what I'm saying.
I went through every piece of this. This what niggas
don't be understanding about me. I went through every part
of trying to get that right and get it wrong,
you know what I mean. Like, so in the beginning,
when I started throwing parties here in Atlanta, the DJ
scene won cracking it won.

Speaker 2 (41:18):
No DJs in Atlanta. They even had no name. How
old are you screamed, ye forty three?

Speaker 4 (41:26):
Okay, you probably want you won djaying You wasn't even
DJing when I was throwing parties.

Speaker 2 (41:31):
I'm sure of it, right.

Speaker 4 (41:32):
So, so what I'm saying is it wasn't even know
DJ cruise out here. That was really like they won
on the radio. They definitely want to around.

Speaker 2 (41:41):
Oh, this is after a J team around.

Speaker 4 (41:45):
J Team been around, but J Team won. J tem
was mixtapes. They they want things about going to the radio.
You're talking about niggas who was on the radio. Let's
started with well, not damns, it started with it started
with It's started with Shabas and these these dudes that
was on they had it was a state, we had

(42:05):
five I'm talking about.

Speaker 5 (42:09):
So it started with them. That's what started being on
the radio.

Speaker 4 (42:12):
But what I'm saying is radio DJs using their mics
don't know what I'm talking about.

Speaker 2 (42:18):
I ain't even a hip hop head.

Speaker 1 (42:20):
Bro, Like the first New York nigga, I'm gonna keep
it real, the first New York nigga I ever listened
to a fifty cent Wow. I know that's fucked up,
but it is the truth. I couldn't understand all that fast.

Speaker 2 (42:31):
So no, so no, no, like no rough riders.

Speaker 5 (42:35):
They already mans were cool.

Speaker 1 (42:37):
But I'm saying I just couldn't understand that ship fitted
seeing it seemed like, Okay, this is a nigga that
could have been in the South with a New York accent.

Speaker 2 (42:44):
To me, yeah, I could just identify with.

Speaker 1 (42:46):
This story, like the fuck with this nigga?

Speaker 2 (42:49):
He going crazy?

Speaker 4 (42:49):
By the way, now listen, you see how you are,
You see how exactly how you talking right? This is
exactly the same way that they feel about Southern rap
in New York. Right, So it's like, like, who gonna
break through? That's the same thing, you saying the same ship.
So they saying the same thing. Jay Z, I'm gonna

(43:10):
do a record, U GK record, I'm gonna.

Speaker 2 (43:14):
Breakthrough, you know what I'm saying.

Speaker 1 (43:16):
That's always been the goal to try to figure out
how to break through niggas that don't That's why I said,
that's a hustle mentality though.

Speaker 5 (43:22):
You don't want to just be cool at home.

Speaker 2 (43:25):
You want to be cool you Yeah, and it's.

Speaker 7 (43:27):
Just like just like not to cut you off, but
just like it's the same way, like in comparison, like
when niggas are on some street ship, like when you
trapping or whatever, like you're trying to expand your empire,
so you're trying to take over another block. So for
the New York niggas, or even for the South niggas,
the other blocks were the North and the South.

Speaker 6 (43:46):
You know what I'm saying. So it's like it's the
same ship. Don't you get control of that, then you
can take off of the world for real.

Speaker 2 (43:51):
Yeah, And that's what I'm saying.

Speaker 4 (43:51):
That's that's that's what I'm trying to say it hustle mentality,
because you sit in and say if you want to
say it don't matter no more than that's you ain't
hustling to me as fuck concerned because I did that.

Speaker 2 (44:01):
You understand what I'm saying.

Speaker 1 (44:02):
You always want the next space, right, You want niggas
fuck with you in this space.

Speaker 2 (44:07):
You don't want to go there and be like, oh,
y'all don't know.

Speaker 4 (44:10):
Y'all really don't know who the fuck I am that
need to be booing niggas in New York though, you
had to go to the tunnel and make it.

Speaker 1 (44:20):
Yeah, I'm more on West Coast music though.

Speaker 2 (44:24):
Listen from the West Coast.

Speaker 1 (44:25):
H I me listening Spice one Back then Snoop fordy
Too Short, all that ship.

Speaker 2 (44:33):
You know what I'm saying.

Speaker 1 (44:33):
That sounds more Southern than me. You know what I mean,
I'm eight volum j g K Nigga man.

Speaker 2 (44:38):
Yeah, you know what I'm saying. That's that's I mean. Nick.

Speaker 4 (44:42):
Can you the type of person that I had to
use as my barameter in my neighborhood? I'm like, okay,
just ain't here. Listen to this here, listen to this here,
listen to this, you know what I mean. So I'm
using that when I'm making my music, and I'm also
using that when I'm trying to figure out my collaboration
was and all that right when I when I did

(45:02):
jay Z, all my own boys were saying the same
thing as you, jay Z.

Speaker 1 (45:07):
It's just like when dropped to bring him out to me,
that ship with trash New York.

Speaker 2 (45:14):
For game myself, and.

Speaker 5 (45:19):
I liked them on them too.

Speaker 1 (45:20):
Beats in there and to be easy, you know what
I'm saying, slow sound and ship that bring him out.

Speaker 2 (45:24):
Even though that crossed them over, right, it ain't crossing
them over. It just took to New York.

Speaker 7 (45:29):
Not yeah yeah, did you respect Memphis bleaks verse on
around here?

Speaker 2 (45:35):
But that is down here round around here. Oh yeah,
that was cool. Was good. Now, I feel what you're saying.
I feel I got on jay Z, my bad. I
got on jay Z. I heard him on on on
on brush ship.

Speaker 1 (45:53):
You know they were cool here. He got New York
nigga on the ship. But then when he got on
the ship with cash money, then when he started coming
into yeah, okay, what this ship was y'all? Yeah, it
was like, okay, he started started to get on not

(46:14):
not that my radar matter, but he started to get
on my radar.

Speaker 2 (46:17):
You know what I'm saying. Other than that, I couldn't.

Speaker 1 (46:19):
I can't go listen not and go back. After I
got hip to Jay, I went back and listening to
Ship like, oh, I was slipping.

Speaker 6 (46:24):
So you didn't like feeling it?

Speaker 2 (46:26):
What's that, Jake?

Speaker 1 (46:29):
I went back and listened to me ship and I'm like,
oh nah, the niggas spin this ship.

Speaker 6 (46:33):
No, he like he overly was.

Speaker 5 (46:36):
First I had my road to the whole.

Speaker 2 (46:40):
Thing with the Black album. Hmm.

Speaker 1 (46:42):
Then I went back and started and been talking and
ship slipping.

Speaker 6 (46:47):
You know what I'm saying, Yeah, you had to like
regurgitate his ship.

Speaker 2 (46:50):
I just went old. My mind went old enough.

Speaker 6 (46:52):
To even that nigga man, that nigga was, that nigga was.

Speaker 4 (46:57):
But that's what I'm saying. What y'all talking about right
now is hip hop just what I grew up in
where I come from. It's always been we gotta figure
out how to get them niggas to like us, and
them niggas gotta figure out how to get.

Speaker 2 (47:09):
Us to like them.

Speaker 1 (47:10):
Use Use Use advanced on the Hustle part of it
because nigga thought, you want to be from New York
back Manna, I wanted to be accepted.

Speaker 2 (47:19):
In New York be like JD.

Speaker 1 (47:21):
Don't fuck with the New York niggas. But you knowing
br this is why I gotta be it if I
want to be this.

Speaker 4 (47:26):
Is that's It's just hip hop, you know what I'm saying.
And one nothing in Atlanta hip hop when I grow
up fact, you know.

Speaker 2 (47:35):
What I mean?

Speaker 5 (47:35):
Like, we ain't had this, We ain't had we had
V one O three had one they had.

Speaker 4 (47:41):
They played rap for a hour. Wasn't even Friday night.
They played rap for one hour, right, one hour.

Speaker 2 (47:50):
You know.

Speaker 4 (47:53):
You can't play with four songs in one hour with
them commercials they got on the radio, right, So the
fresh part, the fresh part, damn Field, just what I
had to do then what I'm living with. Yeah, but
I go to New York, the whole city, w b
LS kiss they got hours of hip hop on the radio.
This is where hip hop is living. And I'm growing

(48:15):
up in this and I'm like, just where I want.

Speaker 2 (48:18):
To be at?

Speaker 4 (48:18):
Yeah, because I'm doing hip I dance, I rap. I
want to I want to be where hip hop at.
You could folp me, but I'm celebrated, then nobody give
me ship in Atlanta. I had to bring ship here.
The matter like when the first time I did. I'm
tell you when I did. I think the Brat. I
think the first time I had the Brat was successful.

(48:39):
She done went platum and all that. I called Billboard like, yo,
y'all should come to Atlanta do a story on the Brat, dude,
And I see y'all doing that ship with everybody else.

Speaker 5 (48:49):
There's like, well, we don't got no crew in Atlanta.
You could fly us out there.

Speaker 4 (48:53):
I had to fly Billboard Magazine to Atlanta to get
them to interview my artists for the first time ever,
the first time coming to They weren't even fucking with
the city. This is what I'm saying, Like, niggas don't
understand the shit I had to go through me. I
had to go through some shit to get niggas to
pay attention me. I'm out here doing cotwheels and backflips.

Speaker 2 (49:12):
And all kind of shit. It was.

Speaker 4 (49:14):
It's just because that's just how it is. When you
were the first you know what I mean, first person
doing something.

Speaker 6 (49:19):
I remember you had to open the door.

Speaker 4 (49:21):
I mean, I guess I wasn't even thinking about opening
the door. I was just trying to get some shit
done because I was watching everybody else. I'm seeing like
niggas from the source magazines, they getting covers and this
and and I'm like, damn, why they ain't fucking with us?
And then they be like, well, we ain't got no
crew to take no pictures in Atlanta. You wanta flies
down there. I'm like, y'all want me to fly y'all

(49:41):
so I can get on y'all magazine. I'm like this,
that shit can't be right.

Speaker 2 (49:46):
But I'm I'm I'm young, I don't know.

Speaker 5 (49:48):
Ain't nobody telling me nothing. I'm just doing shit, you
know what I'm saying.

Speaker 4 (49:51):
So, like I said, when I would go back to
the DJ shit, I have parties out here, and I
used to be thinking, like I want the parties to
be the biggest parties in Atlanta, and ain't nobody. You know,
the DJs in Atlanta they cool, but they ain't really
they ain't really popping their name off. They ain't trying
to be nobody. So I used to I used to
bring I brought Kid Capri out here. A couple of
times and I start, you know, I brought a couple

(50:12):
of DJs from that had names, but Kick probably the biggest.

Speaker 2 (50:16):
That's probably the biggest. And then DJ Marsnham started this
this this.

Speaker 4 (50:19):
Crew the super Friend and they was the first niggas
to like be rebellious against me for doing ship with
New York. And they was like, jad, you keep flying
the New York DJ niggas down here, you know what
I mean, let us do the parties and not aly
I wanted them to give me that energy.

Speaker 2 (50:38):
I wanted that energy.

Speaker 5 (50:39):
I'm like, I ain't seeing this energy and never seeing
this ship. Yeah, talk that ship.

Speaker 4 (50:44):
Tell me do the body, nigga, because right now I'm
the person doing all the ship.

Speaker 5 (50:49):
I'm throwing the part of I'm fine do it talking.

Speaker 4 (50:52):
So it took a minute to get niggas, to get
niggas wound up to even understand what my mindset was at.
Niggas won't trying to play the game I've been playing.

Speaker 1 (51:00):
How important you think the DJ is in this day
and time?

Speaker 4 (51:03):
Still important? The DJ just they they gotta be hustles though.
The DJ A hustle though, what's the hustle for the DJ? D?
I mean, if you got a radio show, you gotta
hustle your show and let people know what time it is.

Speaker 2 (51:13):
It's just like this, you know what I mean.

Speaker 4 (51:15):
You gotta you gotta pop it off. You gotta show
little content here and there. You gotta break niggas records.

Speaker 2 (51:20):
You got hustle.

Speaker 6 (51:21):
It is more digital right now.

Speaker 5 (51:22):
You got a job, You still got a job.

Speaker 2 (51:24):
But who's breaking records now? I don't know.

Speaker 4 (51:28):
I can't really say. I mean, because ain't no records
breaking in the Limba fact, that's wrong. I mean, who
got a bigger record than win Whammy? I think it's
some records, but niggas just ain't breaking them. Wait wait, wait, wait,
who got a bigger record than when Whammy in Atlanta?

Speaker 2 (51:45):
Is the record? Right now? There we go.

Speaker 4 (51:48):
That what I'm trying to tell you. And she signed
just so everybody know she's not independent. But it broke
here though it did break, it broke here. But I'm
just I couldn't tell you.

Speaker 2 (51:57):
I don't want to. Now, somebody somebody is, some spot
might have did still still be doing this thing.

Speaker 5 (52:07):
They gonna be breaking records.

Speaker 2 (52:08):
It be DJ know.

Speaker 7 (52:11):
I'm not saying that, but I mean overall like that's
what did the trick and pushed it over the top
in Atlanta.

Speaker 4 (52:17):
Though you think that, you think TikTok broke and yes, man,
yes that's crazy. Yes, I think TikTok broke it globally.
But I think in Atlanta, these little side, little hookah
lounges and ship.

Speaker 7 (52:33):
What I'm saying, what made people want to request that
ship to the DJs.

Speaker 4 (52:39):
I don't even think. I don't I don't think. I
don't think it was being requested. I think the DJs
was just playing off the top because it was it was.

Speaker 6 (52:45):
I was, I move around. It was definitely being requested.

Speaker 7 (52:49):
But it was being requested because these girls that smoked
these hookahs in these lounges were on TikTok making videos
to it, and they wanted to hear it in the
club like loud.

Speaker 1 (52:59):
That record to breaking records. Though we can say, DJ
who breaking records?

Speaker 2 (53:05):
I think we don't even will't we w don't even
have it. We don't even have a venue big enough
for that. In Atlanta.

Speaker 5 (53:10):
No more, they break, they still break, like I feel like,
I mean.

Speaker 6 (53:14):
A lot of the club you gotta look at it.

Speaker 7 (53:15):
A lot of the clubs PA all the biggest are
rested in peace, gonna like, ain't I still.

Speaker 4 (53:22):
Feel like it's still a little DJ's out here that
that that's trying to break music, you know what I mean?

Speaker 2 (53:27):
Yeah, they little DJ because they ain't really they still
ain't stepped into that light yet. But they get overlooked though, right.

Speaker 4 (53:33):
Nah, they're getting overlooked because they don't want to step
into the light. You gotta step into You gotta step
into the light. You gotta start making sure that people
understand that you're the person, you know what I mean, Like,
you can't be playing the back when niggas come. You
gotta walk up to shake hands, say what's up. I'm
just saying, it ain't that hard. By the way, it
ain't that.

Speaker 2 (54:00):
Easy.

Speaker 1 (54:00):
Break the record. It is, bro, they gotta stand on it.
Niggas ain't standing on them records if you if it's.

Speaker 2 (54:06):
A light like let me let me let me tell
you somebody who made it a lifestyle that I learned
from different DJs. So I salute them all. But like
take for this is t rot at the Pool Palace.
That's a record break. He's gonna break that record. You
can hate that record.

Speaker 6 (54:20):
Yeah, his pole Palace, crucial days or legendary.

Speaker 2 (54:23):
You hate the record at eleven PM, you love it
at eleven thirty, that's that's somebody stand Yes, he is
that ship.

Speaker 7 (54:32):
But I feel like the another most important aspect of
being a DJ and breaking the record and like doing
all that shit is you have to understand the party
and you have to understand for the flow, because in
order for you to be able to effectively break a record,
you have to get it in where it fits in

(54:52):
so it'll make sense to your crowd. Because if you
playing whim whammy right after fucking uh ship Uh, you're
playing whimmy right after fucking Give me an example of
some ship that don't make.

Speaker 2 (55:07):
Sense or some ship.

Speaker 5 (55:10):
Yeah you know what I'm saying.

Speaker 6 (55:11):
People be like, what the is this like?

Speaker 1 (55:13):
Especially Bro, you can stop the party silent and let
these folks know I'm about to break this record. I
don't give what came on before it will come on
Ethic dish, the one I remember Nigga saying.

Speaker 2 (55:26):
Hold up, y'all, dish the record. It's different either when
Jesus first came out, BRO was different. Then't funk with
breaking the Nigga ship with another DJ talking that was
a different but breaking.

Speaker 7 (55:40):
But they're doing this ship that they're doing the same
ship now with Cardis ship with Swamp Swamp is talking
all over the album and niggas are playing, yes they aren't.

Speaker 4 (55:57):
Whoever watching this that's not from this nigga is the
pants in shoo. You see how he's talking.

Speaker 2 (56:06):
But you don't go out.

Speaker 6 (56:06):
That's what I'm trying to explain.

Speaker 7 (56:08):
Like playing this ship in the club with Swamp Swamp
is all like, you know, that's unheard of.

Speaker 2 (56:13):
DJ don't do that.

Speaker 1 (56:14):
It's just a little dick rhyme bro about like breaking
the records. Bro, you know what breaking records? Yeah, I'm
keeping the rill when women don't go out, But.

Speaker 2 (56:22):
I know that ship.

Speaker 5 (56:23):
Oh my god, it's different. I don't go I know
these JD.

Speaker 2 (56:29):
Remember when remember when records records riding? Bro, I'm telling
you ship records.

Speaker 7 (56:36):
The hype is making another nigga play some ship.

Speaker 5 (56:40):
That he never would have played.

Speaker 2 (56:43):
Right. JD's right now because the Cardi dropping was already
out of here. As soon as it dropped.

Speaker 3 (56:49):
Carty is so big as soon as lady, I don't,
I don't listen.

Speaker 7 (56:55):
Listen what I'm trying to explain to you, I don't
give a fuck if it was motherfucking Michael Jackson nigg
certain DJs with another nigga's.

Speaker 5 (57:03):
Screaming his name the record.

Speaker 4 (57:07):
Car.

Speaker 2 (57:10):
I ain't saying they just dicked rhyme, but they just
dick Ryan.

Speaker 1 (57:12):
What they doing is they playing the song because Cardi
is big, That's what I'm saying.

Speaker 5 (57:18):
He already breaking no record, that's playing the song.

Speaker 2 (57:20):
He's already out of here, but he's.

Speaker 7 (57:24):
He's not typically an artist that you would necessarily hear
in the club, So I don't consider that, Dicky.

Speaker 1 (57:30):
It's hyped he dropped the album, is hep It's supposed
to be the biggest album of you. I'm an artist
and he playing in New York, so it's hyped or not.
You never heard before when women, we never heard of
those girls. So when you're playing that for the first
time down, a lot.

Speaker 6 (57:45):
Of people ain't ever playing Cardi in the club.

Speaker 5 (57:46):
What you've heard of him or not.

Speaker 2 (57:49):
But he's big.

Speaker 6 (57:51):
I don't give a fuck, nigga. If the nigga was
an elephant nigga, try.

Speaker 5 (57:56):
Oh my god, he already already rejected. It's already projected to.

Speaker 7 (58:04):
Be going up but up until now, these certain records
and all this certain ship, you weren't hearing Cardi.

Speaker 5 (58:10):
In the club. But no, but you just heard card
on that and fe that big as they peep.

Speaker 1 (58:16):
But what I'm trying to tell him, he's already been
accepted from the listen what I'm saying.

Speaker 2 (58:21):
Let me say this, he already just on Pluto ship.

Speaker 1 (58:25):
So all these niggas, who the niggas who say that
niggas is it already having him on this ship before
he dropped this boy ain't dropped it so long. But
he made the right features. He was on Kanye, he
was on goddamn Pluto, he was on Goddamn.

Speaker 2 (58:40):
All these niggas want this boy.

Speaker 5 (58:41):
He the only nigga on.

Speaker 2 (58:42):
YB new ship. So his hype is there. It shouts
out to Cardi, I fuck with him. But what I'm
saying is this hype and that he did it perfect.

Speaker 5 (58:50):
So when he dropped his alms like he already everybody
who's somebody already had.

Speaker 2 (58:55):
Him on that ship. So when he dropped, hell yeah,
we're gonna break this new Cardy.

Speaker 6 (59:00):
But what listen, listen, please tell you.

Speaker 5 (59:04):
Not been on none of that other ship.

Speaker 2 (59:06):
It will even still have been played over there.

Speaker 6 (59:09):
But what I'm saying to you is this is saying.

Speaker 7 (59:13):
What I'm saying to you is the records and ship
that they're playing over and over again in the club
aren't traditional hype records, like they're what would be technically
considered like filler records off of his album, Like they're
playing that kind of ship along with the hits like
the Weekend Ship and the Fine Ships and the you
know what I'm saying.

Speaker 1 (59:31):
The songs, and you know what I'm saying is, at
the end of the day, if he didn't create the
hype that he created through being on video with masks
on them and god damn all that ship, they wouldn't
have did that.

Speaker 7 (59:45):
The hype definitely helped. But to get you gotta understand,
I'm speaking from a DJ standpoint. To get a DJ
nigga to play a song with another DJ niggas screaming
his name all through the records.

Speaker 2 (59:59):
I mean, I'm a center shot.

Speaker 4 (01:00:02):
I'm gonna say Esco started that, right, Le's go, let's
go by putting his tags on the future records.

Speaker 5 (01:00:08):
You had to play, you had to play the future.

Speaker 7 (01:00:11):
You had all goes back to the artist enabling their
DJ and allowing them.

Speaker 4 (01:00:16):
To because I think they had He had his tag
on March Madness and you couldn't get it without the
tag on it for the longest, right, and you con't
play March Madness unless you had the tag on that.

Speaker 2 (01:00:27):
And I think on on they had the m l
k H tag emil.

Speaker 5 (01:00:38):
K bitch on every every time.

Speaker 4 (01:00:40):
And I'm DJ DJ, so I'm telling you I'll be
playing it and start off with the with they tag
on it. I think they just started it, you know
what I mean. I think they started that little. And
I think I think these new DJs to what he's saying,
you know, I think the new DJs don't even care
about what you're talking about because.

Speaker 1 (01:00:59):
Theyk that swamp on this album as a feature, not
as a DJ.

Speaker 5 (01:01:05):
They're not paying like like he he got a tag
for his show on mix tape.

Speaker 3 (01:01:10):
Hes not goingad to be having JD screaming on the
screen mixtape, you know what I mean.

Speaker 2 (01:01:14):
It ain't gready to be like that because it's his,
it's his show.

Speaker 4 (01:01:18):
These young DJs, they don't have they're not they're not
they don't have hip hop etiquette. It's a lot of
motherfuckers ain't got no hip hop etiquette. I think they're
in hip hop right now?

Speaker 5 (01:01:28):
You know so, I mean y'all both right, right, y'all
about right? Because she she right?

Speaker 4 (01:01:34):
They in the club, they playing it. But like I said,
the young DJs, they not tripping over the DJ. The
DJ screaming over the thing back in the day that
ship happened.

Speaker 2 (01:01:43):
That's still that.

Speaker 5 (01:01:43):
But that's hip hop etiquette.

Speaker 2 (01:01:44):
We don't have that no more.

Speaker 1 (01:01:46):
Yeah, and Swamp is featured on the album, like that's
a joint album. They brought the man out.

Speaker 2 (01:01:51):
He on the show.

Speaker 1 (01:01:53):
It's a joint album, so it ain't he's a feature.
It ain't like it's a DJ, like how Drama was
nothing else, it was a sailor.

Speaker 2 (01:02:02):
It's sailor. If that record no dramma with him on turn.
If that record get hot enough on you, you're gonna
it don't matter ship if it gets hot enough.

Speaker 1 (01:02:18):
I just feel like me personally, you know what I'm saying,
Most of most people are just following instead of Centrick.
You know what I'm saying, Like you ain't finna hear
a nigga listen to a record, and it could be
hard nigga be like, Yeah, he's gonna want some money
to play it, and he's gonna.

Speaker 2 (01:02:33):
Play it with altitude.

Speaker 6 (01:02:35):
But let me ask you this.

Speaker 2 (01:02:36):
He ain't finna break your ship.

Speaker 6 (01:02:38):
Let me ask you this. It's following the trend, really.

Speaker 1 (01:02:41):
Following, Yes, following the trend, because trend sellers like you
back in the day you get trends are set to
be followed. But I'm saying it, back in the day,
we ain't got enough DJ to heal song be like
just a hit or see a break and be like,
I'm going to make my niggas play this.

Speaker 2 (01:02:58):
You ain't got enough of that no more. He niggas
want what what? What can go?

Speaker 1 (01:03:02):
Instead of you know, even put some time in this
little boy and make sure I turn any clothe back them,
letting them jump around.

Speaker 2 (01:03:08):
They ain't doing that no more.

Speaker 1 (01:03:09):
Bro, niggas ain't doing Niggas waiting to see oh shit
they fuck it on Instagram.

Speaker 2 (01:03:15):
They get it. Yeah, nah, I want to. I want
to say that.

Speaker 4 (01:03:17):
So what I'm saying, I'm I'm I'm gonna talk about
this when I say the hustling. The one thing about
Magic City documentary that I feel like that I definitely
don't see no more is you know, the rap niggas
trying to get to the dancers, to get the dancers
to get to rating and play their music.

Speaker 5 (01:03:36):
Like that's the that's the easiest.

Speaker 4 (01:03:38):
Hustle in promote music that you could ever do. But
these niggas they too laying to talk to the dancers.
They don't be trying to kick the dances a whole
different way than what they suppose. So you can pull
a dance to the side and talk to her. And
you know what I mean, if you're gonna spend some money,
spend your money with a dancer, she gonna play the song.

Speaker 5 (01:03:57):
She's gonna tell X rated when she going to stage.
This is all I want to hear.

Speaker 4 (01:04:01):
X Rader ain't gonna even know nothing about what's going on.
He gonna play the song because that's what his job is, right.
That's a that's a hustle that's happening, that happened withinside
these strip clubs that do None of these niggas be
doing no more.

Speaker 7 (01:04:13):
But I feel like I feel like that's the formula
for most Southern music that a lot of people from
other places are kind of like not realizing it is
the real cheat code for real because at the end
of the day, you going in there, you spending your money,
you're creating this look for content or you know, even
if you just want to fucking spend your.

Speaker 6 (01:04:35):
Money on these ladies, girls or whatever. You know what
I'm saying. And at the end of the day, they're
not they're not understanding that.

Speaker 7 (01:04:44):
Like you said, it's the easiest way, like in order
for you to like you go tell the girls in
order for you to get this paper from me tonight
or whenever. Every night, I need you to make sure
that you tell this nigga in that booth that you
want to hear this song when you go on stage
and you.

Speaker 6 (01:04:58):
Turn up, I'm gonna turn up for you or whatever.

Speaker 7 (01:05:01):
They need their money, so they are gonna make sure
that this nigga needs to understand that they need to
hear that song every night.

Speaker 6 (01:05:09):
And that's how it goes.

Speaker 4 (01:05:10):
But you don't see that hustle happen. That ain't happening
in Atlanta no more. Like niggas ain't doing that. I've
been there every every week. I know they're not doing that.

Speaker 6 (01:05:20):
Nowadays.

Speaker 5 (01:05:20):
I got three of them spaces because they gonna figure
it out.

Speaker 1 (01:05:23):
There's enough innovators. Man, it's my opinion, this is not
enough leaders man, Like, motherfucker, you bring a Niggas song,
they motherfucker be hard like it being hard like what's
your ground? Oh damn sure, you gotta see it on
the follow This ain't it no more?

Speaker 5 (01:05:41):
This shit could be a store, It could be whom women?

Speaker 2 (01:05:45):
Oh my god, but bro, who know you?

Speaker 5 (01:05:48):
Don't nobody know you yet?

Speaker 2 (01:05:50):
Nigga? You make them know me, y'all your own motion.

Speaker 1 (01:05:54):
It's the hustle, man, that That's what I'm saying. I
think the hustle. We lost the hustle in the city.
That's all fact.

Speaker 2 (01:05:59):
How we get it back? I don't know.

Speaker 1 (01:06:02):
I don't know.

Speaker 5 (01:06:02):
I mean people got to start paying attention to hustle.

Speaker 2 (01:06:05):
Huh.

Speaker 4 (01:06:05):
You gotta drop the next document, the all of the
atl hustle. I mean, I hope you know what I mean.
I mean, I hope niggas is paying attention to me.
I'm running around kissing babies and shaking hands for this,
you know what I mean? I'm doing what Trump did?

Speaker 2 (01:06:18):
You know what I mean?

Speaker 4 (01:06:18):
You gotta that's what you gotta do. You can't just
be sitting out here on the Internet. That shit don't
work like that. That's what niggas be believing. That's another thing.
That's another thing I'm telling you. Every nigga in New
York got a podcast, y'all. The only niggas in Atlanta
with the Atlanta Podcast.

Speaker 2 (01:06:35):
You realize the.

Speaker 1 (01:06:36):
Only way I ship, We're gonna have to go to
New York.

Speaker 4 (01:06:38):
They got no y'all, ain't you ain't gotta do that.
But I'm just saying, just think about that in the
city of Atlanta, what was got? We got all these artists?
How many big facts is in in this city?

Speaker 3 (01:06:51):
I feel podcast podcasts eighty five that's fucking with y'all.

Speaker 2 (01:06:56):
Eighty five sounds. We salute them. They do their thing.

Speaker 4 (01:06:58):
I mean, I ain't saying it from a distance. What
I'm saying. Okay, eighty five South, that's true, I feel, but.

Speaker 7 (01:07:03):
I feel like eighty five South has a different direction
with their content.

Speaker 2 (01:07:08):
I'm just saying podcasting.

Speaker 5 (01:07:10):
What I'm saying podcast so so okay, so that's true.

Speaker 2 (01:07:13):
What's up? No, it's not a lot of pods.

Speaker 4 (01:07:15):
I was in New York last week. Every nigga in
New York got a podcast. Every time I turned nigga,
you're gonna do my podcast. I'm like, God Damn, these
niggas really is on this ship. They don't know they hustling.
Every nigga they got they ain't ain't got this ship.
They got a little goddamn little bo daggers they setting
up inside and goddamn they don't give a fun They

(01:07:35):
got a podcast.

Speaker 5 (01:07:36):
And I'm just saying, you just just see it like you.

Speaker 2 (01:07:41):
Know what I'm saying.

Speaker 1 (01:07:42):
They just hustling. Yeah, they just they just move. They
just get onto it faster. I think they gonna come South,
gonna come and they by the time they come, it
gonna look like they follow it.

Speaker 4 (01:07:51):
But know what I'm saying, y'all gonna be ten years,
fifteen years in how long you say you've been doing
it exactly what they gonna what they waiting on? This
is what I'm saying. Yeah, y'all getting money up him.
Y'all got a whole goddamn set. That's all nigga spposed
to see you.

Speaker 3 (01:08:05):
Goddamn what y'all niggas need for encouragement, That's all I'm saying.

Speaker 4 (01:08:12):
That's all I Listen. I told my niggas listen, I
sweat to god. I've seen all the niggas in New York.
I said, I'm gonna give me a podcast in my spot.
I got the space, I gotta face, I got the room.
We can set this ship up just like this, all
this ship, I got all this ship. If that's where,
that's where it's going, that's where it's going. That's where
you're gonna see one over that as so so that

(01:08:33):
then you know what I'm saying. That's all I'm saying.

Speaker 1 (01:08:36):
You're right, niggas just waiting. What the fuck is niggas.

Speaker 2 (01:08:39):
Waiting on to see if it's safe. They want they
want somebody else to go through the journey and make
sure it's gonna do a certain thing.

Speaker 4 (01:08:46):
Nah nah man, listen, I'm telling okay, listen, Yes, what
was it Saturday?

Speaker 5 (01:08:51):
What was Friday?

Speaker 2 (01:08:52):
Friday?

Speaker 4 (01:08:53):
I did million dollars worth of game A Magic City?
Huh Saturday? Saddy, Me and I were the game magicit.
Y'all got a whole y'all got way more cameras than
them niggas had set up. They told me they gonna
get They about to do a deal for one hundred
and fifty million.

Speaker 1 (01:09:12):
That's a lot of money.

Speaker 2 (01:09:13):
You watching me. You heard me say this.

Speaker 4 (01:09:15):
You don't go get no goddamn cameras and do what
you got you don't want. You ain't got no hustle
on your body.

Speaker 6 (01:09:20):
Shout out the while on agathering.

Speaker 2 (01:09:21):
Man, what I'm saying.

Speaker 1 (01:09:22):
The nigga got damn catching flights with the bag waller
doing the whole ship right behind.

Speaker 2 (01:09:28):
You know what I'm saying.

Speaker 4 (01:09:29):
That What I'm saying that them niggas hustling. That's all
I was paying attention to as a little nigga. Niggas
that was hustling. I ain't want to say a dope,
but I was. I seen niggas hustling, like figuring out.
I also knew I was too small to be trying
to get into some gangster ship like you know what
I mean, but just hustling. You can't stop me from hustling,

(01:09:53):
Ain't it ain't gonna be. Ain't no way you could
do it.

Speaker 1 (01:09:55):
What's niggs, man? What the next five years look like
for Jad?

Speaker 4 (01:10:00):
I don't actually know, you know what I mean. I've
just you know, I got a new deal with Hide
and you know I'm gonna sign a whole bunch of
artists and I'm trying to.

Speaker 2 (01:10:08):
I'm probably gonna try.

Speaker 4 (01:10:09):
To just like do what I feel like, what I
feel like I didn't do, or whatever I feel like
I made minor mistakes. I'm just trying to fix them
and just just roll out, you know what I mean,
a lot, a lot louder, and just keep doing what
I do.

Speaker 1 (01:10:26):
That's it.

Speaker 2 (01:10:28):
You do pretty on big facts. We appreciate you. Make
sure you check out the documentary, the soundtrack, everything. Any
final words for Hollywood. See.

Speaker 4 (01:10:35):
I seen him on here and I called him the
next day like, nigg you gotta be, you gotta be
on this album.

Speaker 5 (01:10:43):
Yeah, I go, I go, I go, I go, I go. Yeah,
don't give it.

Speaker 1 (01:10:52):
Man, you got loot on that too. Yeah, that's the
list one of his list down one time.

Speaker 2 (01:10:58):
Who all you got on?

Speaker 4 (01:10:59):
Let me pull up because I don't forget nobody. I
got a bunch of mockers on this album, uh, same day. Yeah,
supposedly if I can finish, if I get get close
to finishing, Uh, let me see.

Speaker 2 (01:11:15):
I got a bunch of people I got.

Speaker 4 (01:11:17):
I got Travis Porter, I got bow Wow cause I
got Tip to change, Young drou Quevo, Lula, Chris k Camp,
Luci big Boy Killer, Mike, I got uh Tip Drow
and I came what's his name? Yeah, I came, I League,

(01:11:40):
Jay Monty, Sean, Paul Wannabe, bank Roll nine, Belly Gang
Cushve c Low, Hollywood, I see Schooley, a little scrappy rock.

Speaker 2 (01:11:53):
Oh, I mean, I got you got yeah, you know
what I mean?

Speaker 4 (01:11:58):
And I want it to be at first of just
gonna be a soundtrack, and I was gonna get songs
for people. Then I was like, you know a lot
of these people I ain't did records with right, right,
and Atlanta used to be a place where you could
be on this side organized noise doing what they doing.

Speaker 2 (01:12:13):
They don't need JD JD doing he doing I don't
need you know what I mean.

Speaker 4 (01:12:16):
We always making records separate, but so I ain't have
an opportunity to make music with a lot of these,
none of these artists. So for me, this album feel
like a very like the first of you know what
I mean, the first time going in the studio because
I'm making records with people I ain't.

Speaker 2 (01:12:31):
Never made music with.

Speaker 1 (01:12:32):
You ain't putting no R and V records on it,
not yet.

Speaker 4 (01:12:34):
I mean, what the K camp record I say, K Camp, Yeah,
K Camp. The K Camp record is kind of R
and B. But that's that's, you know, And that's why
I say I'm trying to make this stretch because these
last couple of records that I do, you know, Little
John Usher, you know, the usual suspect, they gotta be there,
so I gotta go get it. So hopefully I'll get
it done in the next.

Speaker 2 (01:12:54):
Couple of days.

Speaker 6 (01:12:55):
Can we get Lovers and Friends Part two?

Speaker 4 (01:12:58):
Nah, not Lovers some Friends Part two, but something some
Part one on some part on some part one the show.

Speaker 2 (01:13:06):
Appreciate you. Big shout out to JD for pulling up
the big fast. Check us out at Triple W dot
big faxpod dot com so.

Speaker 7 (01:13:14):
Catch the Big Facts audio experience on Iheart's Black Effect
on Tuesdays, revote on Wednesdays, and revote YouTube channel on Thursdays.

Speaker 2 (01:13:22):
Visit our website now, bigfaxpod dot com

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