#592 - DJ Snake Speaks on DJ Culture, Hip-Hop Roots, Paris, World Events + Untold Jadakiss Story & More

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Episode Transcript

Speaker 1 (00:00):
Yo, man, Bootleg keV of course, kicking off another episode
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(01:02):
a thank thing, you can see all my lineups. We
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(01:23):
have more than eighty seven and a half rushing yards.
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(01:46):
McMillan is his name, all right, I mess up his
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dollars in lineup. Let's get to the interview. Who that podcast?
We hear man? We got a special guest, one of

(02:08):
my favorite DJs, one of the Goats, DJ Snake. Welcome sir.
Howre you doing? Bro? Hey? Man? I gotta say I
saw you. Last time I saw you was in Thailand.
It was your first time I believed doing a headlining
hip hop festival. Set was that. I know, there was
like the there was like a big deal about that
set because you did all hip hop at Rolling Loud

(02:29):
in Thailand. Yeah. Uh it was fun. That was fun. Yeah,
I loved it. Yeah, it was different. Thailand's a crazy place, man,
So much fun out there. Yeah, Bro, And good crowd,
good crowd vibes, food is fire. Yeah, it's amazing. First
of all, Man, I want to say I always got
to give you props because you know, I was living

(02:49):
in Vegas in like twenty ten eleven twelve when like
the EEDM pop started to really happen, and like during
that time is when you would see all of these
guys come to town and they weren't necessarily really DJ
and a lot of guys they would have these like
pre planned sets on and able ten and they were
kind of just like twisting knobs. And but you still

(03:12):
are like true to the ship. Like you're the only
guy I see who's on your level that does the
type of ship you do that's still using turntables and serato.

Speaker 2 (03:20):
Which is a nightmare for like my team on big
stages and stuff like yo, can you imagine.

Speaker 1 (03:25):
That because the writer, because everybody else is on. Yeah,
even like the like the stage is always like moving,
we jump around. Course, do you use needles still or
do you use the yeah needles, but like most of
the time just to be safe, like I played the
phase joints or use yeah, like the internal mode on

(03:45):
theto but yeah, you'll mix it.

Speaker 2 (03:48):
I'm just lazy everything. Everybody thinks that I do that
for the culture. I'm just lazy to switch.

Speaker 1 (03:52):
That's it. It's funny because I've watched you, h I've
watched you and how you have your Q points set up. Yeah,
And like it's brilliant because when you have the internal
mode the way you do it, you have your Q
points set up like, yeah, that's what I do on
the plane yeah, every song like no, it's it's it's
it's great man. But for you man, like you know,
I want to go back. I didn't know that you

(04:13):
you started doing graffiti back in the day. Yeah. Well
I was really young, like you were like like outside
like twelve thirteen. Yeah, were you like, uh getting to
the point where you were like kind of known in
that community in your hometown.

Speaker 2 (04:27):
Yeah, because you know, like the I had like some
big graffiti artists in my building, like some ogs, like
right in Paris, and he was everywhere, you know, that
type of artist that's like you go to Amsterdam and
at the train station is like he's having like the
biggest like big refity ever and you're like, damn, that
dude's everywhere. Like he was one of the eros, you know,

(04:48):
like from the city, and I wanted to do like him,
you know. So I started doing this on the trains everywhere,
and I was like, you.

Speaker 1 (04:56):
Know, my name was Snake.

Speaker 2 (04:57):
Yeah, because everyone was getting arrested by the police. But
I was young, and I was like I was running fast,
you can get away, yes, all the time, and until
I got caught and I got in trouble, and my
mom was like, yo, you gotta relax.

Speaker 1 (05:11):
What what was the sketchiest shit you got into where
you had to run from the cops or because for
people who don't know, like when you do are a
graffiti artist, it is while you're hitting your pieces, like
it's stressful, like.

Speaker 2 (05:23):
It's super dangerous or so because you know, I was
doing the train a lot.

Speaker 1 (05:28):
Which is probably insane.

Speaker 2 (05:29):
It's crazy because sometimes you know, you do the train,
but there was another train coming in the nights and
it doesn't stop. So when you're like twelve thirteen, like
it's ridiculous, Like this is the butt of close calls. Yeah,
like don't do that kids, Like it's really dangerous. And
and then I got into music, you know.

Speaker 1 (05:46):
Yeah, I mean I feel like it's obviously a natural
progression because it's one of the elements of hip hop.
It's graffiti, you know. Yeah, it's easy. You know, like
I try to wrap. I was bad. I try to dance.
I was bad. How bad were you wrapping? Now? And
like how hard did you try? Did you record anything? No?
Yeah I did. I did, Like I'm a homie place,
you know, like he used to wrap, but I was

(06:07):
so bad. Did you go by snake as a rapper. No, no,
I have no name yet. I was. I was a kid.
It just fucking off, just writing lyrics like yeah, you know,
playing around pro tools and shit, yeah, you know, rapping
on the shook ones, and of course it'd be shook ones,
you know.

Speaker 2 (06:21):
I just I think the DJ was perfect for me. Yeah,
I was like shy you a little bit.

Speaker 1 (06:25):
You know. Do you remember, like, uh initially because this
when you first me and you were around the same age,
so I'm assuming when you first got into DJing it
was at the beginning of maybe the beginning of the
end of vinyl and the beginning of serrado. Is that fair? No, No,
I was like fully vinyl vinyl yet, because I was

(06:47):
touring with like with Crates. So the vinyl thing for
back then, like it was a lot harder and a
lot more expensive for you to like get into this
thing because you had to buy doubles. A lot of
people would buy doubles of records, of course, was not cheap.
What was like your do you remember like your first
like pieces of vinyl that you bought that you were
able to kind of like do doubles with cut back

(07:08):
and forth with. I think that was a gangster records. Gangster, Yeah,
just to get it up. Oh hell yeah, yeah that's
fire like huge. Did you prom your fan? Of course?
And uh yeah, I had like those records like double
doing like it's like you gotta have both to kind
of like practice of course of course did you? So

(07:28):
from that point until what point do you feel comfortable
where you have enough creates of records to be able
to go to a party. Do you feel comfortable?

Speaker 2 (07:36):
Yeah too, yeah too, you know you need the big records,
you know.

Speaker 1 (07:40):
A couple of years? Was it like a year? Like
I would say, how long is that process where you
like are comfortable, like, okay, I know what I'm doing. Yeah,
a couple of years, three years at least, I want
to go to a party. Now you had, like you know,
you needed all the his classic records. You got to
be able to put together like a two hour set, yeah,
the song for the girls, you know, like, yeah, you
needed like a lot. But you know what I appreciate
about back then was requests weren't as possible like let

(08:05):
me the fuck alone. I brought what I brought. I
don't have it, sorry, I don't have it. Well, nowadays
people be like let me drop YouTube, I can drop you. Yeah,
funk out of here. No, do you even deal with
that to this point? Like, because I'm sure you dj
for like some of the most like elite, richest motherfuckers
alive sometimes in the crowd or at the clubs with

(08:25):
you at a certain point, Like do you remember the
last time you took a request while DJing.

Speaker 2 (08:31):
I think that was like Connor, Mike Gregor or some
ship you know in Vegas, like you won and he
came to celebrate the body with us, and and he
asked me some biggie, like you play biggie only.

Speaker 1 (08:44):
That's a great request. I mean, yeah, you know, I
didn't mind. And he's a cool guy, you know, like,
and plus he won, you know, yeah, you know there
was a moment, a moment, and then I'm fine with biggie.
I can play biggie all night. That makes sense. Man,
talk to me. Uh this new album back in business?
Uh no, I'm sorry you have new you have you
have three songs on the New Shoreline album. Uh. Yeah.

(09:06):
By the way, the New Shoreline album, it's like top
ten album of the year for me. I just told, oh,
geez this when I saw him last week that Shoreline
Twins record. I don't know if you did that one,
but that songs fucking crazy. But which records did you
do on that album? I forgot which one?

Speaker 2 (09:20):
Aaron helped me on this one, remember all the because
we we had so many songs together.

Speaker 1 (09:25):
Like, yeah, like was was was that initially you connected
with g Z or was it a phoenix flexing thing
or like how did you get first? You know?

Speaker 2 (09:33):
But both my boys and super Humble guys, you know,
like they came to Vegas to party with us.

Speaker 1 (09:41):
We connected. You know. It's like there's such an LA
like so important to LA culture and like, but I
didn't know how big they were, like to be honest
with you, but I knew it, but I knew like
who they are, but like like they are very very
like respected. No, they're here, and they influenced like all
this new LA shit that's going. It's like them and

(10:01):
Draco the Ruler kind of like influenced all this shit.

Speaker 2 (10:03):
And I love it, you know, and to me, that
was fun. That was a good challenge to me to
do like those, to make those like West Coast type beats,
you know, because I love this vibe and yeah, I
want to make some more with them.

Speaker 1 (10:15):
I feel like bpm wise too, like the worst for me,
well lines up with all your biggest hits. Yeah, bpm
wise one hundred Yeah, all right, so you end up
start doing the party ship, uh with with your crates
with Vinyl. At what point in time was ed M

(10:36):
kind of introduced into your repertoires of DJ because obviously
it wasn't necessarily the big I mean, I may be
in Europe it was different because I'm speaking from an
American perspective, but I'm assuming back then.

Speaker 2 (10:48):
No, in Europe is different, especially Paris because you know
we had deat Punk, you know.

Speaker 1 (10:53):
Deaft Punk is like so influential.

Speaker 2 (10:55):
Yeah, national heroes, you know, and like justice like all
this clear you know, like this team of those guys
like were like killing it, David Ghetta, Bob Sinclair, Martin Selvagg,
all those guys. So we grew up with hip hop,
you know, because I'm from like Paris, and Paris is
like the second market of hip hop in the world.

(11:16):
So it's like huge, like the hip hop culture and general. No, no,
it's massive, Yeah, it's massive. So we grew up like
I grew up in the hoods, so it's all wrapped.
You know, there was no electronic dance music at all.
But like we like around like the like ninety eight,
you know, like when daft punk was like on fire,
like all those guys, the French Church and everything like

(11:37):
that was really interesting to me. Like we used to
go out in the club and certain clubs didn't play
hip hop. They were playing like house. It was still
a vibe. So I was like, you know what, that's interesting,
But I was not ready. You know, it's late, late late.
When I got tired of playing those same hip hop
nights in Paris, I was like, you know what I
want to do this, Yeah, I want to play like

(11:57):
at least like fifteen minutes house, you know, a quick
like a session in in in the party, and people
were not trying to hear no house music.

Speaker 1 (12:07):
Yeah, if you go to hip hop club, like I
own a club in Scottsdale that's strictly hip hop, and
I cannot imagine somebody. We actually book somebody once to
try to like do like eat like a couple of
E d M remixes of like some trap songs or
like yeah, yeah nobody was here the ship here, no,
you know, like if it's a hip hop party. So

(12:27):
people like I was.

Speaker 2 (12:28):
I was the resident DJ in like one of the
most iconic club in Paris, like the very like rap
shit like Alchemist was playing there, like just playing everyone
was there, you know, like and I used to play
there like every week, and I was just tired to
play like the same records over and over, you know,
I was just tired of this ship. I was like,

(12:49):
let me try to, you know, to play like a
couple of records, like somehouse ship, like just to let
it breathe and I could go back to hip hop.

Speaker 1 (12:56):
And people are like, no, I feel like you have
more free him as a DJ. And at that time
that was not the wave, you know, like people were
like going to a certain clubs to play of if
you're a d M, if you're gonna do an DM set,
you have more freedom because I feel like a hip
hop set, people want to hear hip hop records as

(13:18):
they know them. Yeah, as on the d M side,
you could kind of like you could play a bootleg
that nobody has ever heard because it's in the culture.
It's a part of It's.

Speaker 2 (13:27):
Like the bootleg culture, like the remix culture. It's a
different type of energy. But I remember, I remember one
time I was playing in this club and someone threw
fos ones at me.

Speaker 1 (13:42):
When I played like death punk one more time, they
threw forces at you. Yes, And this is the moment
where I was like, you know what, I gotta go
somewhere else. Fuck that such a big song. Yeah, the
guy was like, Yo, I'm going to spend the old
like the rest of the night with one shoe on
and and fuck like fuck that dude. Yeah, imagine that
guy was so mad you played that song that he

(14:03):
committed to walking around with one shoe the rest of exactly.

Speaker 2 (14:07):
That's what I was trying to say in English, but
my English was not good enough. Fucking crazy, and I
was like fuck that, you know, like I'm out, I'm
gonna do something else. I want to start like you know,
playing like whatever the fuck I wants, you know. And
it was not easy because at that time, like the
open format thing was not a thing, you know that
there was. There was not the wave like you were
like hip hop or you were like electronic, no nothing between.

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get back to the interview. A lot of hip hop shows,
I'm sure come to Paris, right, Were you able to
like open up for any anybody, Like.

Speaker 2 (16:12):
Yeah, Snoop I did, Snoop I did, Lilu Wayne, I did,
like a couple of things. I was young, Like when
you see like those pictures, I was like seventeen years old,
like you know, a baby.

Speaker 1 (16:23):
You were like a prodigy out there going crazy. Yeah,
I mean learning, you know, learning so fast forward. When
does the EDM shit really start to like work where
you're like, oh, is it? Like, do you you start
expanding the production side? Was there a moment because we
knew you? I feel like when you were already a
thing in that world. When was this the transition from

(16:46):
you like doing hip hop clubs, fucking around with EDM clubs,
and then that turning into like, oh, maybe I want
to put out a record. Maybe I'm want to probably
mix it my own shit.

Speaker 2 (16:57):
Probably like two thousand and seven thousand, yeah, two thousand
and six, down seven, two thousand and eight. I was
watching a lot of videos from DJ am Oh yeah,
shot to a man, Yeah by days, Yeah, And that
was not what I wanted to do. But I was like, Okay,
he's doing his thing, like mixing everything together in a
good way. He was like the mashup guy, the guy

(17:18):
who made that ship a thing in the flyaway, and
and that was really interesting, you know. So and then
I started producing, you know, I wanted to make my
own music, and it took a long time.

Speaker 1 (17:31):
What was do you remember the first song that you remixed?
Maybe you made like a bootleg of or you made
like the first song where you were like, yo, maybe
it's a like DJ's snake edite I pick. I think
that was like.

Speaker 2 (17:47):
The ODB record, like ya like house remix fire, But
don't check it out on the internet.

Speaker 1 (17:53):
You don't want to hear that? Is it? Still there.

Speaker 2 (17:54):
I think I'm gonna I'm gonna pay something, he said, nobody.

Speaker 1 (17:57):
Now that we've advertised it, by the time you see this,
it'll be deleted. What do you like like back then?
Is there's not Ableton back then? What do you like?
What do you first of all? Like, what were you
using to produce on then? Reason? Reason? Are Are you
still using reason? What do you use? No? No, I'm
not a built it now? Yeah, Ableton, I feel like
in terms of just like an interface for that, it's

(18:20):
the best ship. I mean everyone's you know saying like
everyone's got pro tools, I got the thing. Some people
use logic, but yeah, like I feel like I've seen
like on Ableton, like you can like it's got the
grid with the bpm. It's like if you're doing DJ
shit like any it's super easy.

Speaker 2 (18:35):
But like people on the on pree Loops are saying
the same thing, and everyone has their own thing, you
know at the end of the day is just like
the idea is like your vision one hundred percent.

Speaker 1 (18:46):
Uh So you got a new album on the way, Yeah,
it's coming out. Uh, I'm not going to say it.
We're not going to say right, We're not going to
say it, okay, but a new album is on the way,
yeah October, Okay, in October is this album? What is
kind of the direction of the album?

Speaker 2 (19:03):
It's the same is some djsnake shit, you know, like
just is my third album, and uh and the first one,
the second one was like a bunch of everything, was
like a journey, like a mix of everything, like some
electronic shit, some rap shit, some some Afro, some house,
some Spanish.

Speaker 1 (19:21):
You know, that's what I do. It's like a no,
you have a palette, man, you have a big pat
I mean if you just look at all your records
that have like really really like like.

Speaker 2 (19:29):
I don't feel like doing like a project, like full
of the same shit.

Speaker 1 (19:33):
Right, like a whole hip hop project.

Speaker 2 (19:35):
No, just like a party like even my set, you know,
I can't do like a full like house set. That's
boring to me. Like I get very like I don't
know how to see this, but yeah, I get bored quick,
you know, pretty quick.

Speaker 1 (19:48):
And it's have you ever like cause you and I
talked a little bit in Thailand. We're just talking about
just some of your favorite hip hop albums. I know
you're big Wu Tang guy, and you mentioned gang Star earlier.
Have you ever tried to reach out to like tap
In and like maybe do something because I feel like
you working with like ghost Face Killed would be crazy
or you working with like.

Speaker 2 (20:09):
That's funny because I met with ghost Face in Saudi
Arabia a couple months ago. I mean like that was
back in December, I think on January, like the Wu
Tang was performing before me. Oh yeah, and backstage, you know,
I linked up with the ghost Face. We were talking
on ig and uh yeah, we love to do something
with it.

Speaker 1 (20:28):
Like if we do like a boombab DJ snake banger.

Speaker 2 (20:31):
Yeah that would be I mean, we got some ship
on the way to be honest, now we go now
we ghost Face Killer, but we got some ship that
you're going to.

Speaker 1 (20:38):
Be on your album or just stuff that you know, yeah.

Speaker 2 (20:41):
After the album that's for me. But like this is
from something else and that's tight. That's dope.

Speaker 1 (20:47):
Yo. When was do you like like break me down?
Like because I feel like the DJ economy with the
boom of the DM boom that happened just kind of
changed where DJ started to kind of get the same
respect that like rock bands and like a list pop
stars would get in terms of like, you know, the money,

(21:07):
the headlining, you know, all this shit. Do you remember
the first time or the first gig that you had
and I don't want to be in your pockets or
anything where the money was so substantial that you had
to like be like what the fuck they won't pay
me how much? Yeah? Yeah?

Speaker 2 (21:25):
Yeah, I mean, bro, that's crazy because the first time
like my shit really blew up was after it turned
down for what you know, the record was number one
everywhere was massive. That was insane, and back then I
was like, I mean right before that, I was struggling
paying my rent, and like a months later, I was

(21:47):
number one everywhere, getting shows everywhere, and like everything went
pretty quick, like from one hundred. Yeah, and I couldn't
speak English at the time, so imagine me being from
Paris struggling, and like a week later, I mean a
month later, I'm like everywhere and everyone's reach out, like

(22:08):
reaching out to me, trying to work, trying to sign me,
trying to do deals, me, touring the world like like
getting offers and the money is crazy, and I'm like, bro,
I was like my fridge was empty like a month ago,
and now like I'm signing those deals like multi million deals,
you know, like.

Speaker 1 (22:29):
And then at that time that's like a because I
was like twenty thirteen, right, yeah, and at that time,
that's like the craze, like peak craze of like they're
trying to find the next whoever. Yeah, you know, so
they're probably I'm sure you had everyone calling.

Speaker 2 (22:41):
Yeah, everyone, and even the artists like yo, I mean
this artist wants to do a session with you.

Speaker 1 (22:47):
This and this and.

Speaker 2 (22:48):
That, and I'm touring and and I don't understand, like
I'm lost, you know, like I was like, what the
fuck is going on?

Speaker 1 (22:55):
This is too much. What's crazy about that song too,
is that gave Little John like an entire other like
life of.

Speaker 2 (23:02):
Yeah, shout out to John, like he changed my life,
you know, like I'm not going to say that, you know,
he blessed me with this because he was legend. He
was like he was not like super hot at the moment,
because even some people were like why Little John, like
you know, that's he's done whatever, And I'm like, bro,
the words like he's a legend. He's a legend, and

(23:26):
he's always going to come up with some you know
like h.

Speaker 1 (23:28):
And then well the thing too is I think what
it's almost like him and Fat Man Scoop at a
certain point in time, God bless fat Man Scoop. Rest
in peace. Like if you're a DJ, you're playing like
some sort of like vocal track of like body breaks
or breaks. So little John, it's like it's just it's perfect.
It's just over some medium.

Speaker 2 (23:46):
I wanted to do like a DJ too, right, Like
that was not like I was not even trying to
make like a hit record because to me, until this day,
I don't understand how that ship get big because, like,
like you said, like folks like four words and I
remember when you when you send me those vocals.

Speaker 1 (24:04):
I was. I was telling my friend, I was like,
what does it mean? Like what is this ship like
turned down for what? Like because at the time you
don't speak English, no, so you don't understand. But I
was like that sounds hard to me. I don't know
what the fuck is saying, but that's hard. So I
was like, fuck it.

Speaker 2 (24:19):
You know, we drop it for free on SoundCloud and
John was like, nah, we can. We can't drop it
for free. You trip it And I'm like, bro, I
don't know nobody. I don't have no labels. I don't
have no lawyer, I don't have no team, Like it's hard, Like,
let's give it to the DJs first and let's see
how it goes. And John was like you tripping, Like
we can't do that. We can get a big bag.
I was like, bro, which bag? Like, let's drop it first,

(24:42):
give it.

Speaker 1 (24:42):
To the DJ So who won? Did you drop it first?
You dropped it first?

Speaker 2 (24:45):
I dropped it first, you know, on my Sundcloud and
that ship was getting like one millium like plays every day,
boom boom boom boom boom.

Speaker 1 (24:52):
It starts popping up and people and then people were.

Speaker 2 (24:54):
Calling like Universal Sony like every labels, and they were
trying to more money, more money, And I.

Speaker 1 (25:01):
Was like, John, you see it, it worked, And do
you remember who who the first? Like really big DJ
was who played it in their set that you were
like scritics play yeah.

Speaker 2 (25:12):
Yeah, critics did Dipplo two a track like got to
a track? Yeah, like all those guys and then you
know like yeah, like mine, it was over. Yeah, my
life changed forever.

Speaker 1 (25:26):
Damn. That's crazy man. Yeah, it's wild too because when
I when I was I was chopping up a little
John and he was saying essentially like he's like, Yo,
that record like gave me a whole new run and
put him in a new space. You know what I'm saying,
because yeah, he was a little John on the East
Side boys the crunk shit, you know what I'm saying.
So now it stope man. So for you, I want
to give you props because we talked a little bit

(25:47):
about this in Thailand. But you know, I've I've noticed
over the last year because the last time I saw
he was in November last year. What's been going on
in Palestine has been like undeniable that that you've seen
a lot more celebrities speak out that. I feel like
we're dead silent on on that, but I feel like,

(26:11):
you know, I appreciate you because you've been, you know,
very very as outspoken as you can be for somebody
who's a DJ, and for what's going on over in
Gosland in the West Bank and all that shit was
there because I know I dealt with it myself, talking
about it in interviews and posting stuff and people say, no,
you should take that down, You'll fuck your money up.

(26:33):
Is there anything that you dealt with negatively taking that stand?
And it's the right stand obviously staying with humanity, standing
with Yeah, you know.

Speaker 2 (26:40):
I'm sure you know, like a lot of people were
like upset, you know, uh with me. But you know,
when you feel like you're doing something right, like whatever.

Speaker 1 (26:49):
Happens happens, Yes, you let the cards fallowere they fall? Man? Yeah?
You know, like if you don't want to book me,
you don't you don't want to play my ship, you
don't want to do like I'm just trying to say,
you'll stop boone people that's just locked in like I
don't know how how many kilometers, but like, yeah, let's
just stop killing everybody. Yeah, that's just not right, you know.
And and it does like it doesn't matter like.

Speaker 2 (27:10):
Where, like like the religion or like the color. If
that ship was happening in South Beach, that would be
the same thing. I would be like, Yo, don't fucking
bomb South's Beach for two years straight. You know that
makes no sense. And like the the collective punishments like
this is not right.

Speaker 1 (27:27):
It's like illegal.

Speaker 2 (27:28):
It's it's like, you know, if if some dudes from
like Hollywood like just start doing some crazy shit in
uh somewhere in New York, like it doesn't give the
rights to New Yorkers like to bomb like West Hollywood
all day, Like I mean, yeah, the U n the.

Speaker 1 (27:44):
United Nations yesterday officially said they did an official boarder
commission and they officially the United Nations. This is this
is they said that they are committing a genocide. So
that's what the United Nations.

Speaker 2 (27:58):
But like, go back to my tweets. I've been I've
been tweeting like this for like two years.

Speaker 1 (28:01):
That what I'm saying is That's why I think it's
important to point out that, you know, a lot of
people I've noticed it's like I'm like, what were you?
Like this has been going on for years. But that's great.
You know, I'm not good. I'm not blaming nobody, you know,
like if you just woke up, welcome, right, you know,
because we're not enough, like we like this, these things
needs to stop, like we need to go back to

(28:24):
to building together, like you know, like yeah, man, humanity bro,
Like you know, it's been two years. Like everyone is
like against each other, like posting like we wake up,
we we I mean.

Speaker 2 (28:34):
I turn on my I checked I checked my my socials.
I see babies, you know, like dead on the floor
like blood. We don't want to see that.

Speaker 1 (28:41):
Nobody wants to see it. Like we pray for everyone.
We want peace, you know, we we artists, you know,
we want to spread good vibes and good energy, like
I'm praying for the like for for everyone for sure,
because that she's not gonna go nowhere, because those kids,
like they're gonna they're gonna grow up and they're gonna
they're gonna ask for revenge, and that she's never gonna stop.
It's a never ending cycle exactly.

Speaker 2 (29:04):
And when we say like free Palistine, we say free
Palistine because everybody deserve freedom, Like you can't live like this, yeah,
like not even animals. You know, if like you see
somebody doing this to animals, like.

Speaker 1 (29:19):
Like in the United States, does they'd go to jail
for sure, exactly. So you know, I think we just
need to pray for like that sounds corny, but like
for peace. You know, we want to cease fire.

Speaker 2 (29:31):
We want to we want to go back to normal
and shout out everyone to say we got love for everyone.

Speaker 1 (29:37):
You know, it's not a it's not a it's not
a religion thing. It's not a racist humanity.

Speaker 2 (29:42):
It's not it's just like a political thing. And uh
and Nathania who is a monster, you know, and fun that.

Speaker 1 (29:47):
He's a monster. He should be in prison. And you
know I never vote for anything, you know, I don't.
I'm not into politics. But you know, we don't need
people like that, right and ever? Yeah, are you are?
Because I know in France, isn't there like a issue
with the with the government right now in France some
shit going on with the Macron. Are you like engaged

(30:08):
with that at all? Do you, like I'm not, you know,
we're one of the biggest stars out of the country.

Speaker 2 (30:12):
Yeah, but you know, like I had some issues, you
know when when I was talking about Palestine, you know
in France.

Speaker 1 (30:18):
Yeah, the president like like the office called my team
to be like, yo, take those tweets down because you
have such a huge influence that like you creating tension.
You know, everyone's gonna you know, well, and then I
think that people don't understand that they're there. Y'all don't
have free speech like we do technically. No, that's bullshit,

(30:39):
that's what I heard. I've heard. No, that's bullshit because
I don't think you have free speech. Oh no, no, no,
I don't think we do either, but I mean in
terms I think I think that we think that France
has like we have the First Amendment in the United States.
This is bullshit. And I don't disagree with you, by
the way, I'm aligned with you on that, Like this
is bullshit like anywhere in the world, like if you
cross the line, you cross the line, and you in

(31:00):
the danger zone. I'm telling you right now, because you know,
I was. I was very loud. I was very loud,
and they didn't like that.

Speaker 2 (31:10):
And until this day, my Twitter is shadow ban wow,
until this day because they don't want me to, you know,
to express myself and to tell.

Speaker 1 (31:19):
Did you end up taking the tweets down? No, it's
still on, Like.

Speaker 2 (31:22):
I have like a hundred thousand with tweets and everything
because I was going at him, you know, and I
don't really like I don't do that normally, you know,
I don't go and talk like politics. I don't go
against the president because to me, bro, a president's not
gonna change shit. Like look at the last you know
ten Like I mean, I don't know how old you are,

(31:42):
but like the last five president of the US or
like the five the last president of France, nothing's changed,
like this is the same ship over.

Speaker 1 (31:50):
And over, especially in Gaza. Yeah, nothing's changed since anywhere
in the world. But yeah, for sure, that doesn't change anything.
I don't trust in politics.

Speaker 2 (31:58):
I trust in the poles, like trying to get better,
you know, like, yeah, I'm next to were next to
each Other's what we're doing, what we're doing for our community,
what we're doing for our city, what we're doing for
the next like those kids in my block, right, you know,
when it's close to you, like those things, like one
guy is going to change like the lights of millions

(32:18):
of people.

Speaker 1 (32:19):
I don't believe in that ship. That's not possible. Ask
what you know. I don't like I don't wake up
in the morning and I don't go vote like that's
not I don't. I don't believe in that ship, right yeah,
I mean especially here, like.

Speaker 2 (32:33):
Anywhere in the world. That's that's what That's what I'm saying.
But your problem is not like just American It's always
been like this, you know. So No, I'm not the
I'm not the enemy of the of my president. I'm
not his friend.

Speaker 1 (32:47):
And oh I know, man, I saw I saw his
wife hit him in the face on that airplane. I
was like, oh, they get down crazy in friends, don't
don't you fight with your girlfriend or your wife? Oh
for sure, Like those people are just like us, you know,
they're like everyone else. And uh was crazy though, and
that's it, you know, and we just prayed for like
better times. That's it you already know. Man. Want to
give a shout out to slap Woods for presenting the

(33:08):
podcast only papers I smoke man only leafs that we
let fly around here on the Blue Leg Cap podcast.
We just did a crazy pool party with them too.
That was insane out here in La. So shout out
to slap Woods. When I tell you, man quality. They
smoke so good. And they're called slap Woods because they
slap I know, that's like their you know, their tagline,

(33:30):
but it's also the truth, all right. So look, go
follow them at slap Woods. Make sure you hit their website.
And if you're at your local smoke shop, if you're
the local store and you need some papers, get you
some slap Woods. And you know, I think pretty soon
I want to do we are going to do this
pretty soon. I want to do a giveaway with some
Slapwood stuff. So be on the lookout for that. We'll

(33:51):
be announcing it on the podcast. We're gonna be sending
out obviously, you got to be of age sending out
a good box of these goodies. Oh the sweeping and
and cilgar wraps are fire. Slap woods Man, make sure
you go show them some up slap woods dot com.
Follow him on Instagram at slap woods. Let's get back
to the podcast. Can you tell me, because you've done
some of the most insane crowds ever, what has been

(34:14):
your most surreal performance where you just looked out over
the sea of people and you're like, this is fucking crazy.
Like you've done everything. I mean, you've done it all,
so like what is kind of that that one show
that sticks out to you? Though, I don't know, Bro,
It's hard to say, but like you tell them, like,
it could be capacity, it could be vibes, it could

(34:36):
be maybe you had guests. I mean, whatever it is.
I mean we did like.

Speaker 2 (34:39):
Four one hundred thousand people, like maybe more like free
shows in Africa.

Speaker 1 (34:45):
We Bro, I've done so much.

Speaker 2 (34:49):
I can't tell you one, you know, but hometown shows
are special for sure, Like it's you know, the thing
that I just did in I did a stadium in
Friends for like a the thousand people sold out in
three minutes.

Speaker 1 (35:02):
Three minutes. Yeah, that's crazy because you know that's that's
your city and you don't want to fuck up. You
don't want to suck it up, and so much pressure.
You want to do good. You want to you know,
your family is here, like the old city.

Speaker 2 (35:15):
Do your friends like and you're back in town because
you know, like this, they follow me, they support me,
the showing love all around the world. And when I'm
back home, like they're like, Okay, you gotta turn up
like crazy because we see you everywhere all around the world.
Like when you come back home, you gotta you gotta

(35:36):
bring the fire you did you performed on the arch too, right, Yeah, Dad,
that was crazy too.

Speaker 1 (35:41):
That's nuts. Yeah that thing is how old is that?
The things have been there since? Yeah? But like next
the next thing we gotta do or the Eiffel Tower,
the Lover or like you know, if you do a
set in front of the Mona Lisa or some sure,
but like right now we have some smoke with the presidents,
So I don't know if you gotta wait, you gotta
wait for sure. Who's for you?

Speaker 3 (36:02):
Man?

Speaker 1 (36:02):
Because can you give us any any of the features
on the new album? Can you give us one? Can
I yeh uh, we get a yes, Future Future let's go. Now,
did you bring Future to your world or did you

(36:22):
kind of go to his world a little? We're mixed.
We we met, Like, can you give me the BPM
of the song? It's very interesting vpm to be honest. Okay, yeah,
eighty eighty Yeah, I like that was eighty Yeah, yeah,
Future in that eight. I feel like futures in the
like eighty to eighty five. It's a very DJ like that.

(36:44):
There's some DJ ship right here. The bpm. I don't
know if anybody's gonna get it, but like yeah, like yeah,
his last two big songs, I like that was eighty
and then or eighty two I think, and then Too
Fast was eighty five. Yeah, that's it. That's his bag
right now. But yeah, that's hard.

Speaker 2 (36:58):
That's a turn of And there was somebody else the song,
but I'm not gonna tell you because he just signed
the fucking PaperWorks right now. That's why we're waiting for
him for the for the album released. But uh, that's
a crazy one.

Speaker 1 (37:09):
Is that? Is it? Because I feel like the uphill
battle when you put a DJ album together, right, because
you have so many different artists is the hardest part
getting all the clearances and oh it's a fucking nightmare
because you're dealing with all these different camps, all these labels, and.

Speaker 2 (37:21):
First of all, like like just getting the like two
artists to get together, you gotta be like, it's politics
to lie.

Speaker 1 (37:28):
Yeah. Yeah. So sometimes like someone's gonna cut the song
and then the next day you know that they're not
cool anymore, and you're like, bro, what am I doing now?
I put this out? Now? Yes, I need somebody else
on the verse, and then you damn near got to
pick and choose exactly, and then that's gonna make someone
else feel sometime.

Speaker 2 (37:43):
Both like they both love the song, like you gotta
that's a Yes, it's politics.

Speaker 1 (37:48):
It's crazy, you've been through that before. Hell yeah, of course.
Do you kind of just pick who the best, the
best verse, the best versus better that's it? Yeah? Yeah.
Has it ever gotten to like where you like someone's
feelings were hurt that you removed them off of something, No,
for sure. Yeah. Yeah, they don't follow me and ship

(38:08):
on Instagram? Oh my god, Yeah, I think yeah, I'm
not gonna start doing it. Don't say who, don't say who,
but but but it's happened. Someone hasn't followed. Yeah, juicy J.
Juicy J was Matt really yeah, yeah, I love you.
Let's work again. But Juicy J even gigs from the
UK gigs is thope, Yeah, I love just because you

(38:29):
took them off something.

Speaker 2 (38:30):
Yeah, but like it didn't make sense, like all those
American rappers, and he was like in the middle, and
I wanted to.

Speaker 1 (38:38):
I mean, it's a long story, but sometimes you know
it's about violence, you know. Yeah, I mean, look at
the end of the day, I just saw like when
metro Booman put out Heroes Versus Villains, And this is
before we knew he had any issues with Drake. There
was like Drake was supposed to be on one of
the records down Tolliver was on and he was like,
I took Drake off because I just thought artistic it

(39:00):
sounded better with like it's your album, right, so it's
like you got to make sure you're not forced it.
I do feel like a lot of DJ albums, but Drake, Like, no,
for sure, but I do feel like a lot of
DJ albums compilations, especially in the hip hop space, it
feels like a lot of forced verses together and it
doesn't ever really feel organic. And that's what I'm not

(39:21):
trying to do, right, do it for the names, you know,
like just do it because it's for this makes the
song better, Like if the verse is not good, like
you're not gonna make the cook you know. Yeah.

Speaker 2 (39:31):
And and speaking about like Metro, like we're doing a
back to back in Saudi Arabia in December, me and
Metro Booming hip hop set.

Speaker 1 (39:41):
That'll be crazy. Yeah, there's gonna be nuts. Hey, Metro Booming. Man,
he's on a run. No, he's the men. Would you
work on a like, like, would y'all get in the
studio maybe work on a beat together? No? Hell yeah easy?
Because for you, Like, I feel like people don't understand,
like if you're not in the game. It's like a
lot of producers sometimes will get loops or they'll get like,
you know, it's like the collaborative effort of being a producer,

(40:03):
especially in hip hop. Sometimes you'll see people produce post Hey,
if you got loops, send them my way, send them
my way. I feel like you're a Metro booming something.

Speaker 2 (40:11):
I don't really do loops, but like I don't mind,
you know, yeah, just dope, like if something sounds hard,
like use it, that's it. Metro and even Mustard most
is my guy, Like I love Mustard and we both
like in the same bpm, you know, since we speak
about BPM, Like, uh.

Speaker 1 (40:31):
Are you? Are you still if you get inspired and
you like a song enough, will you make a will
you still funk around and do a remix of it? Yeah?
For sure? Like what's like, what's the last song that
you maybe you didn't end up doing it, but you
wanted a remix? Good question? Fuck I think was a

(40:55):
Bona Boy record, I'd be crazy. I love Bna Boy.
Oh you know what the Thames Thames? Okay, I fucking
love her. She's incredible, Like her voice is crazy and
I did a remakes but we couldn't clear like not
clear it, but she was not doing like any uh
like sending out stems type shit. So you know we

(41:17):
moved on. But yeah, because for you, it's like if
I'm a if I'm a remixer, like send me the
a cappella. Yeah, but it has to be like at
least original, you know, to be out on on like Spotify,
Apple Music, you know, because now, like that's the problem
with like music nowadays, Like it's it's impossible to go
on SoundCloud to drop some like bootlegs, some remakes, like
they take it down the labels and everything shout out

(41:39):
into scup in the building in scope. Yeah, stop sucking
up the culture. Let us do the fucking bootlegs. Interscope
stays fucking up my YouTube channel, Lord forbid, somebody wrap
over an Interscope beat on my fucking show. It's flagged
thirty days to fucking Sunday.

Speaker 2 (41:53):
But you know, like now it's uh, I feel bad
for like young DJs and young producers, right because you
can't like just think of something and just do remaxs
and drop it for the streets and for the DJs because.

Speaker 1 (42:04):
They get taken down. Yeah, fuck man, that's that's annoying.
It's crazy they just counted as a as a stream.
Here's even like an attack on the on the DJ pools. Now,
it's like certain DJ pools. I'd be like, fuck if
something comes out on Epic, I know I can't get
it on fucking BPM Supreme. No, but we got to
fix this and shout out DJ City, like DJ City, BPM,
all them guys.

Speaker 2 (42:25):
Of course you're doing a great job and this is
important for the culture. And if label I mean, I
mean to Day like, I mean, I'm sure the label
knows that it's very important for them.

Speaker 1 (42:35):
To you know, you want to cater to DJs. Do
you want those DJs make it easy for DJs to
play your music.

Speaker 2 (42:40):
Yeah, in front of the human to create that buzz
you know, in the streets and the club and uh
so stuff fucking like stuff sucking.

Speaker 1 (42:47):
Up the culture. Yeah, no, it's it is crazy. Talk
to me. Uh if you had to put together your
mount rushmore of rappers all time? Who's it? Who's who's
the top four? Who's your top four? Man Dead or
Life are Alive? Of course? I mean Biggie jay Z,

(43:08):
Jeddykiss and back, Jada top five, Dat are Alive? Yes,
off one LP man. Yeah, I mean have you got
to meet Jada Kiss? Yes? I got a crazy story
involving Kiss. Yes. I was really young. How young is

(43:28):
really young? Like graffiti days? Young?

Speaker 2 (43:31):
Probably like seventeen, Okay, New York City, first time ever
in New York and I was in uh in Brooklyn,
staying at my friend's house, and you know, I was
like hanging out with those like Synegalese dudes that's selling
like bootleg mixtapes on Kenna streets.

Speaker 1 (43:53):
Oh buddy, that's how I got my name bootleg HEV.
Literally my entire come up was smirting music from some
Interscope records.

Speaker 2 (44:00):
So my boys are from Senegal, so and they're over
there like you know, hustling all yea, and they're selling mixtapes.

Speaker 1 (44:09):
So you know, I don't speak the language. I don't
speak English.

Speaker 2 (44:13):
People from selling other speak French, right, So all day,
every day I'm on Canna streets with them, hanging out,
snapbles in my hands, selling mixtapes with them. You know,
my boys were like, Yo, we gotta go, We gotta
go get something. Can you take care of the stand?
Like the shop, the store right got you? But I
don't even speak the language, so I'm crazy to say, yes, Bro,

(44:37):
we're selling the new Jeddakis mixtape, like jay, I mean
that that that week that was Jadakiss and DJ Caseley
and we're selling bootlegs.

Speaker 1 (44:48):
Ply d Block tape. Then Bro, Jadakis arrived. Jadakiss comes,
he comes while you're selling a pirated version of his yes,
and he goes off and you don't know what he's saying.
I mean I heard like you knew he was right,
right of course everyone knows the bad words.

Speaker 2 (45:09):
And he's going crazy and he has a dude with him,
like with some dreadlocks smoking like ashesh.

Speaker 1 (45:15):
And I'm like, damn, how the fuck did he found
like some ashish in the States? You nobody to smoke
weed anyway, Jennakis doesn't give a fuck. Egos crazy on
me and I'm like, listen, my bro, me no speak English,
Me no speak English? Sorry, he said, that's my ship.
You're selling my ship. That's fake. And bro, he takes
the old ship and like put everything on the floor

(45:36):
and I'm like, bro, and mind you your homies hadn't
come back yet. Nah, but I supposed to be overlooking
the spot, like I'm by myself getting pressed by Jeddakis.
That's and I'm seventeen and I don't speak English. I
never told this story like this is a word premiere
for you, and bro, like I'm like, and you're a

(45:59):
fan of Jady, like I want to take a picture
of him, right.

Speaker 2 (46:01):
He wants to fight me, right, And I'm seventeen from Paris,
and I'm like, bro, what what do I do? You know, like, oh,
shit is fucked up. My friend's gonna be mad.

Speaker 1 (46:10):
Yeah, your friend's gonna come back has a very scary
motherfucker with him looking looking at me crazy and I'm
like trying to survive in his ship. I mean New York, bro,
I was sweating. Trust me. Did your friends believe when
they got back then? Yeah? Kissed everything up? Yeah, because
all the DJs, like I think Kesley was coming with

(46:30):
like a baseball bats fucking up those stores and ship.
So that was like something very common in New York.
Like when the artist shout out to case Lay fucking
legend rest in peace. Yeah, man, that is fucking what drummer,
Now you gotta go, and you gotta go do Jada
and Joe Yes and.

Speaker 2 (46:48):
Uh And that's funny because uh, like last year we
I mean it was last year or two years ago
when the dip set and the Lox uh.

Speaker 1 (46:55):
Oh, the verses that was like ship that was like
three or four years ago. Now. Yeah, so I was
the Madson Square Garden. You were there, Yeah, they invited
me and shit, that's one of my favorite hip hop
moments of the last decade and.

Speaker 2 (47:06):
Jada like sent me a DM and I was like, bro,
he has no idea that he pressed me in kinda
streets for the mixtape thing.

Speaker 1 (47:14):
Shot out to Canal Street man. You still get some
good deals down there, but you gotta get taken in
the back room. Yeah, I don't want to go back there.
They have a mall in Thailand. When I was out
there for Rolling Out, they got this whole fucking mall
in Bangkok. All the fake shit. It's the whole mall.
It's fake shit. Oh it's called NBK, Yes, MBK Center
or some shit. You want a story, I got. I
got a crazy story. Yo, I'm gonna get in trouble. Hey,

(47:37):
we gotta wrap up this interview another one presented by Hardan. Baby,
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them a follow. I was in Austin, Texas, and you
know I was off the Broken in Texas, even though

(48:20):
I'm not sure legally I was supposed to be off
the Broken in Texas. But look, you gotta go follow
them right now. Go to Rokencannabis dot com. Shoot them
a follow on social media. You'll see it down below.
They got the solventless Rosin pure. It will melt you
in a good way, by the way, all right, so
make sure you go shoot them a follow. Man. And
you know we only rock with the premium the best.

(48:41):
And when I tell you, Broken is the best. They've
been doing this for so long and uh man, the rosin,
the solventless rosin, Man, it hits all right. So they
got the disposables, they got the carts. Let's just open
one of these up just so y'all can see. These
carts are beautiful, all right. We got it open. He
fast forwarded. All right, so this the cart and then

(49:04):
obviously you got your disposable right here. Both of these incredible.
Follow them and check them out rocancannabis dot com. But
you know what, like, I got a crazy story. I
don't know if I should tell the watch thing. What
happened with the watch? Got a fly? Fuck it?

Speaker 2 (49:18):
Okay, So let me tell you. I used to go
to Thailand a lot. Yeah, and I bought like a
fake Ublo watch. Okay, MBK Center, MBK Center exactly.

Speaker 1 (49:32):
So you know I bought a fake Ublo. I was like,
fuck it.

Speaker 2 (49:35):
You know it's too expensive. I can afford a real one.
I'm gonna look fresh. Nobody is gonna notice this. And
a year later, turn down for what blows up? And
I get to play Ultra Music Festival in Miami and
I play and I play and I'm wearing the watch
and Ublo see the live stream and tweet Hedy just Nick,

(49:58):
thank you for rocking Ublu at your Ultra Music festival sets.

Speaker 1 (50:02):
So I'm like, bro, that's crazy, that's a fake one.

Speaker 2 (50:07):
And they're just like and they shouted you out. They
just show love. So I'm like, so we we get
in touch. Yeah, and I saw I signed a deal
with them off a fake one, off of a fake one.
So I signed a deal with like a Ulu and
we did the collab for a watch and everything for

(50:28):
like five years. And everything started with a fake watch
with a fake like one hundred dollars watch from Thailand.

Speaker 1 (50:35):
That's crazy. Yeah. I went to UH when I was
When I was there, I was, I was like, this
is crazy that this place exists. But they take they
got the back wall and that's where they have like
the smoke, the really nice fakes. So the dude's like
trying to tell him. He's like, yo, this is a
one to one Rolex. He's like, of course it's five hundred.
This one's a hundred, but this one's five hundred. But

(50:55):
no one will tell you. Shit. Yeah, it's crazy. That's
fucking wild though.

Speaker 2 (50:59):
There, So how like how crazy it is to sign
a deal with one of the biggest like watch off
of a company much.

Speaker 1 (51:05):
Yes, think about that one hundred dollars investment you made.
You know it was an investment at the time, you know, no,
no insane. Yeah, so a lot of things, you know,
like this happened to me. My whole life. I feel
like you have such a dope come up dude, and
I appreciate the fact that you're still very much like
a DJ at heart, you know what I'm saying. Yeah,
I mean I've been doing this my whole life. That's

(51:26):
why I am. You know, that's it. That's the only
thing I can do my life. Do you can you
tell me what? Because I feel like, as you know,
because you mentioned this a little bit earlier, but there
is like what came out of the Amen or the
am Era was a lot of like am shit, Like
you said, he did it without being corny. It was dope,

(51:48):
but there was like there's this whole underbelly of like
really corny remixes. How do you know, like to walk
the line when you do a remix or you do
some sort of edit to not make it cringey as fuck?
Because there are some really cringey party break you know
what I'm talking about?

Speaker 2 (52:08):
Until this day, Until this day there bro you see
like this ship on TikTok that's popping and I'm not
doing no remix that mean, right, Like what the fuck
is this ship? Like I grew up with gangster with
Wu Tang. I grew up with like daft punk. You
see myself doing a right. No, there's no no like

(52:31):
fuck this ship.

Speaker 1 (52:32):
Even that, like you said, even the TikTok. I feel
like TikTok's open it up for even like lower low
hanging fruit motherfuckers will be doing remixes on their little
pads that was already pre produced, but they're just making
it look like they're doing it live. I mean, shout
out to anybody hustling.

Speaker 3 (52:49):
Yeah, they might even make that that thing, but but
it is, it is a little it's even like the
group I don't know who's doing like this song, but
who did that song, but shout out to them because
then making money.

Speaker 2 (53:00):
You know, they're making money. They're trying to, you know,
take care of taking care of their family and everything.
So I'm not like I don't knock the hustle.

Speaker 1 (53:08):
Right, but yeah, they gotta do. Like here's just something
like the TikTok. It's terrible, bro, the TikTok DJ like
twenty second flips or mashups that are like the most
obvious low hanging like wordplay shit.

Speaker 2 (53:25):
I'm just like, oh my god, it's always gonna be
some good shit and bad shit out there. So you know,
I don't want to be like talking shit about TikTok.
It's just that now seeing like I mean, the people
that's on TikTok doing their shit, the kids and everything.

Speaker 1 (53:40):
You know, let them be in kids, that's fine.

Speaker 2 (53:42):
But when you see like some real DJs, like respected
DJs or like very famous DJs.

Speaker 1 (53:48):
Following what's going on TikTok, man, you corny, super corny
for sure.

Speaker 2 (53:53):
Like you a superstar, you a legend, and you over
there like doing some dance in front of your fridge
and your kitchen, like bro, I rather stop music, quits music.
You know, you're never gonna see me doing no like
no bullshit like challenge.

Speaker 1 (54:08):
God bless you for that. Do you feel like the
eed M wave has kind of turned more into like
kind of the the more house vibes as opposed to
like the big drops. It's not music, is that fashion?
It's a cycle.

Speaker 2 (54:21):
Yeah, you know today is gonna be afro house, and
then it's gonna be like melodic techno, and then trap
music is gonna come back, and then mom button is
gonna come back, and then we're not gonna play like
I mean, afro house gonna is gonna die and then
something else and big room and it's just like a
cycle over and over over and over. Like one day

(54:43):
we're gonna be wearing like skinny jeans and.

Speaker 1 (54:46):
Then oh, everyone's wearing fucking Jinkos, Like did you guys
have Jinkos in France with the big ass pockets. Everybody's
got fucking Jinkos on Like.

Speaker 2 (54:52):
It's so in two years gonna be like like skinny
jeans again, and the baggy again and this and that.

Speaker 1 (54:58):
It's a cycle. It's too baggy for me. It's getting
too baggy. Did that ship in the nineties, I was there,
So stick to your like Gki's or I just I
just just regular fit. Yeah, classic ship, Yeah, give me
a classic fit. I don't want my pants over to
cover my shoes like when I was a kid. I
don't need that ship dragging from my all right, So
album's coming out in October. We know futures on the album.

(55:21):
That's a good thing. And uh, are you handling any
production for anything outside of your stuff? Are you doing
like sending beats out? Yeah? Yeah, for sure, for sure.

Speaker 2 (55:32):
I can't I can't speak about it, but we got
some shit going on and it's gonna be fun. Dylan
Francis on the album.

Speaker 1 (55:38):
Too Shout out to Dylan one of the funniest human
beings of all time.

Speaker 2 (55:41):
Bro the best. That's my brother. You know, like we
stopped talking for like almost five years. Why some bullshit,
you know, like some ego bullshit, bad comedy. I'm really
bad with communications, you know. So it was tripping and
then he blocked me. And now you guys unblocked. Yes,
because you wanted to come to the to the to
the show in Paris, my hometown show at the Stadium,

(56:02):
and I was super happy to see him. We hung
out and then we worked on music and we ended
up like making a song together and he felt like
we never left each other, like so like nothing happened.

Speaker 1 (56:13):
What is your at all? Your big songs obviously got
let Me Love You, Taki, Taki, lean On, turn Out
for What's the Life Changer? What's your like one song
that if you like you're kind of tired of, Like,
is there a song that you're like enough? I get it?
You know.

Speaker 2 (56:32):
Yeah, some moments I'm like, man, I don't want to
play turn Down for what right? I don't want to
play lean On. I don't want to play Taki taki,
but you know, and sometimes so like I stopped, I
stopped playing them, you know during those big shows, and
then the next I mean right after the show, like
people are complaining you didn't do turnout for what?

Speaker 1 (56:49):
Yeah, I came just to hear, like, lean on, what
the fuck? You gotta play the hits? Yes, So now
I understand when like fifty cent was saying like it's
tired of in the club, he probably hates. But imagine
like going to a fifty cent club a concert and
he's not performing in the club. You're gonna be pissed,
you know.

Speaker 2 (57:06):
But I get it now, and so I think it's
just like sort of moments you're tired of the song,
you stop like playing it, like for for six months,
and then you bring it back.

Speaker 1 (57:15):
Any up and coming DJs you want to shout out
that are doing any dope remixes or dope production that
are on the come up.

Speaker 2 (57:21):
Remixes? I don't know, but like new Shit there is
like a kid, I mean he's not a kid. He's
like twenty twenty four, twenty five. His name is Trim
is French. He's doing Heart Take No Shit's Fire. I
think it's gonna He's gonna have a big year. Who
else give me some Yeah, just San Diego water boys

(57:48):
like those kids on Fire, I mean NOC too and
Isogs so are already like super fire right now. But
oh like the old crew is like super creative and dope.

Speaker 1 (57:57):
Have you been able to tap in with any of
the ship, like any of the Mexican instead of cracking
right now?

Speaker 2 (58:01):
Like I mean I did the song with Pistol Pluma,
but the new ones, yes, there was, and like jop
and those guys. Yah, yeah, we're talking to them like
I love what's going on right now in Mexico because
they have their own ship.

Speaker 1 (58:13):
They're not trying to.

Speaker 2 (58:14):
Sound like it sounds different than anything. Yeah, they don't
try to sound like Puerto Rican or like Colombia. Like
they have their own wave and I respect that.

Speaker 1 (58:23):
And now shout out to the Mexicans from La you
worked with our brother Shoreline Mafia one more time. Yeah,
my guy, jeezy man, listen man, looking forward to the album.
Appreciate you pulling up an album coming in October. We're
gonna be at the Sphere Friday by the time this
comes out. We already hung out at the Sphere and
I was high as a fucking drafts coach. DJ Snake Man,

(58:44):
I appreciate you, brother. Respect there it is