Latest / The Real Report with Tony Yayo and Uncle Murda / Beanie Man on Pharrell & Mya collab, making Dancehall history, Eminence album, and Bounty Killer

Transcript

Beanie Man on Pharrell & Mya collab, making Dancehall history, Eminence album, and Bounty Killer · The Real Report with Tony Yayo and Uncle Murda

• 0:00
  Speaker 1: And when I go on the stage and go, oh, na, na, na, na,
• 0:03
  Speaker 1: everybody's singing.
• 0:05
  Speaker 2: Facts, because that's everybody's joint.
• 0:07
  Speaker 1: I'm like, what? But they sing every other song. Let
• 0:11
  Speaker 1: me say, woman, if you're fed up with your boyfriend,
• 0:13
  Speaker 1: let him go. And your boyfriend, they sing everything.
• 0:17
  Speaker 2: Right.
• 0:18
  Speaker 1: So they sing everything. When I go, old dog, like me, them.
• 0:21
  Speaker 1: He didn't get stabbed.
• 0:22
  Speaker 2: Right. Shut the up. OK.
• 0:29
  Speaker 1: Bruvins!
• 0:30
  Speaker 3: Bruvins!
• 0:30
  Speaker 2: Bruvins!
• 0:45
  Speaker 4: Yeah, it's the talk of New York, Tony Ayo.
• 0:47
  Speaker 2: And it's the boy Uncle Murder, a.k.a. Laird Jet Lenny.
• 0:50
  Speaker 5: And right now, we in here with one man, the
• 0:53
  Speaker 5: man with a Grammy, the man with 24 albums, the
• 0:56
  Speaker 5: man that started doing music at eight years old.
• 0:59
  Speaker 4: Make some noise for the legend, Beanie Man.
• 1:02
  Speaker 2: Whoa!
• 1:03
  Speaker 1: Whoa!
• 1:04
  Speaker 3: Whoa!
• 1:06
  Speaker 2: Dancehall legend.
• 1:08
  Speaker 4: Thanks for coming to our show.
• 1:09
  Speaker 2: Thank you for pulling up.
• 1:10
  Speaker 1: Thank you for having me.
• 1:11
  Speaker 2: Thank you, man.
• 1:12
  Speaker 1: Thank you for having me.
• 1:13
  Speaker 2: Yes, sir.
• 1:13
  Speaker 5: You know, I'm from Queens. He's from Brooklyn. So we're
• 1:16
  Speaker 5: trying to figure out where more Jamaicans at. And I
• 1:19
  Speaker 5: said Queens.
• 1:19
  Speaker 2: And I definitely say Brooklyn.
• 1:21
  Speaker 4: That's why they call us South Jamaica Queens.
• 1:23
  Speaker 1: I don't care.
• 1:23
  Speaker 2: We got flatboots. I thought my flatboots Jamaicans.
• 1:28
  Speaker 1: All right.
• 1:28
  Speaker 3: Good.
• 1:29
  Speaker 1: Let me get to the point now. Go ahead.
• 1:32
  Speaker 3: All right.
• 1:33
  Speaker 1: Queens got Jamaica Queens. But Brooklyn, It's kind of Jamaica.
• 1:38
  Speaker 1: What the fuck.
• 1:40
  Speaker 2: Am I talking about? You hear me, Ledger? Ledger, let
• 1:42
  Speaker 2: me get some love on that, Ledger. Thank you, Ledger.
• 1:45
  Speaker 3: Thank you, Ledger. Yeah.
• 1:46
  Speaker 1: Shut up, man.
• 1:47
  Speaker 2: Let the Ledger talk.
• 1:47
  Speaker 1: Go ahead, BD.
• 1:48
  Speaker 3: Go ahead, BD.
• 1:49
  Speaker 1: Queens is Jamaica, Queens. Because Queens got a lot of Jamaicans.
• 1:55
  Speaker 1: But Brooklyn is Jamaica. Like, seriously, Jamaica.
• 1:59
  Speaker 2: Gotcha.
• 2:00
  Speaker 1: Sometimes I go to Brooklyn, I have to say, okay,
• 2:02
  Speaker 1: which avenue I'm going down there? Okay.
• 2:04
  Speaker 2: All right.
• 2:08
  Speaker 1: I'm going around there.
• 2:09
  Speaker 2: Got you.
• 2:10
  Speaker 1: Yeah, because, you know, all the flatbush, the church, go
• 2:14
  Speaker 1: right back to downtown Brooklyn, is Jamaicans.
• 2:18
  Speaker 2: Definitely.
• 2:18
  Speaker 1: Like, right you. Like, definitely. So, don't care who want
• 2:21
  Speaker 1: to move in now and try to move out the Jamaicans,
• 2:25
  Speaker 1: they're still somewhere near Queen, Brooklyn.
• 2:29
  Speaker 2: Definitely.
• 2:29
  Speaker 1: They're not going no further.
• 2:30
  Speaker 2: Nowhere. Nowhere.
• 2:32
  Speaker 1: That's serious. Let's go. Because I've been coming to New
• 2:34
  Speaker 1: York since the 80s. You see me? Like from there
• 2:37
  Speaker 1: to seven of them times I've been coming to New York. So, yeah.
• 2:42
  Speaker 1: A whole heap of Jamaican there.
• 2:44
  Speaker 2: Yes.
• 2:44
  Speaker 1: And the Jamaican.
• 2:45
  Speaker 4: I'm listening to it.
• 2:46
  Speaker 2: I know that. I'm just making sure you know I
• 2:47
  Speaker 2: get hype when it's Brooklyn.
• 2:48
  Speaker 1: And the Jamaican, he lost. And see, they're dead. That
• 2:51
  Speaker 1: nigga's not dead. He go to Brooklyn.
• 2:55
  Speaker 2: He's right there.
• 2:57
  Speaker 1: Yeah. Seriously.
• 2:59
  Speaker 5: So, what was life like for you growing up in Jamaica?
• 3:02
  Speaker 5: Because you did your first record at eight years old.
• 3:04
  Speaker 1: Yeah.
• 3:04
  Speaker 4: Which is unheard of.
• 3:05
  Speaker 1: Oh, well, all right. Jamaican always, when, right. I was
• 3:11
  Speaker 1: born a kid that stammered. You know what stammer is,
• 3:14
  Speaker 1: like when you can't talk. Like you take one minute
• 3:17
  Speaker 1: to make a sentence. You had to.
• 3:19
  Speaker 2: Stutter, you had a little stuttering problem.
• 3:22
  Speaker 1: Not a little, I was always stuttered. Trust me, it
• 3:26
  Speaker 1: take me like two minutes to make one word. Yeah,
• 3:30
  Speaker 1: trust me. So I never like it because sometimes I
• 3:33
  Speaker 1: can't talk to people. I figured out that if you sing,
• 3:38
  Speaker 1: your word flow. So I start to sing the shop list.
• 3:43
  Speaker 1: When my mom sent me to the shop, I used
• 3:45
  Speaker 1: to sing that list.
• 3:45
  Speaker 3: Oh, look at that. That's crazy.
• 3:46
  Speaker 2: Yeah.
• 3:46
  Speaker 1: Then I used to sing the reading book. Like when
• 3:49
  Speaker 1: you get the book to read, it says Johnny was
• 3:51
  Speaker 1: a lip boy and Jane was a girl and, you know,
• 3:55
  Speaker 1: maybe I believe in love and all of these things.
• 3:58
  Speaker 1: I'm trying to get your pale of water.
• 4:02
  Speaker 2: So.
• 4:03
  Speaker 1: When I started to do that, I realized that my
• 4:06
  Speaker 1: thing flow. So at age five, at three, you start
• 4:10
  Speaker 1: going to school. But age five, now I start to,
• 4:13
  Speaker 1: you know, get into the music because if I'm going
• 4:16
  Speaker 1: to sing, I'm going to sing. So I'm going to
• 4:19
  Speaker 1: do serious things. So I, you know, I start to
• 4:21
  Speaker 1: put lyrics together from out of the reading book and
• 4:24
  Speaker 1: all that. So that's when I realized, all right, if
• 4:29
  Speaker 1: I do this, I can't talk. So I have to,
• 4:32
  Speaker 1: you know, fix my speech pattern. I got to know
• 4:35
  Speaker 1: what I'm doing. So at age seven, I decided like,
• 4:39
  Speaker 1: I'm going to be an artist.
• 4:42
  Speaker 2: At seven?
• 4:43
  Speaker 1: Yeah, everybody's laughing at me. They're like, yeah, right. Your
• 4:47
  Speaker 1: mom's going to kill you. Because my mom is an
• 4:49
  Speaker 1: ardent Christian. She's a Christian, Christian, Christian. Fallen spirit Christian,
• 4:54
  Speaker 1: hallelujah Christian, Christian, Christian. So certain things I can't do
• 4:59
  Speaker 1: in my mom's house. So, you know, me have a
• 5:03
  Speaker 1: uncle and grandfather live next door. They got a sound
• 5:05
  Speaker 1: system called Master Blaster. And that's where I learned to
• 5:09
  Speaker 1: sing on the beat. I learned timing and everything. So
• 5:14
  Speaker 1: I realized that I need things because I've been seeing
• 5:17
  Speaker 1: artists like General Trees. I've been seeing artists like Sasa Frass.
• 5:20
  Speaker 1: I've been seeing artists like, you know, Echo Minor. Artists like,
• 5:25
  Speaker 1: you know, Wally, a big star in my days and
• 5:30
  Speaker 1: in my community, these artists are stars. So I decided
• 5:34
  Speaker 1: that I'm gonna need some money because I'm gonna need
• 5:38
  Speaker 1: some clothes. And there was no clothes that could fit me.
• 5:41
  Speaker 1: This is the reason why I named Beanie Man, because
• 5:43
  Speaker 1: I was this skinny. So there's nothing you can find
• 5:49
  Speaker 1: in a store that can really fit I. So I
• 5:54
  Speaker 1: realized that I gotta go tailor-made. So everything I have
• 5:57
  Speaker 1: to do is telemade. If I need the shots, I
• 5:59
  Speaker 1: have to make it telemade. If I need the pants,
• 6:01
  Speaker 1: I got to get it telemade. Even this suit reminds
• 6:04
  Speaker 1: me of some suit that I used to make back
• 6:06
  Speaker 1: in the days. So to get that, you have to
• 6:09
  Speaker 1: have money. So what I do, I enter all DJ
• 6:13
  Speaker 1: competition everywhere. Like I go to Duna Park, DJ competition,
• 6:18
  Speaker 1: win that. Go to Marvelli, DJ competition, win that. Waterhouse,
• 6:22
  Speaker 1: DJ competition, win that. Went to Crossroad, DJ competition, win that.
• 6:26
  Speaker 1: Went to infantry DJ competition, win that. Then I used
• 6:30
  Speaker 1: to follow this DJ called Barry G. He used to
• 6:33
  Speaker 1: work on the radio station, playing music and everything. So
• 6:38
  Speaker 1: anywhere Barry G is, I am. Trust me, because he
• 6:41
  Speaker 1: have the DJ contest and they've got monies to give away.
• 6:46
  Speaker 1: So that's how I started to make some money and
• 6:48
  Speaker 1: started to get myself together, to put myself together, to
• 6:51
  Speaker 1: look the part. Go and take the mic from a
• 6:55
  Speaker 1: Johnny Ringo or a Squidley Rankin or a Peter Rankin
• 6:58
  Speaker 1: back in the days. You have to look the part.
• 7:01
  Speaker 1: So I said, now you got to go clean. So
• 7:03
  Speaker 1: I'm going to go clean. They know that I come
• 7:06
  Speaker 1: as an artist. You get what I'm saying? That's the
• 7:08
  Speaker 1: new slate. You got to be clean. Yeah, you got
• 7:10
  Speaker 1: to be clean. So I went there and clean. I
• 7:15
  Speaker 1: win this competition in Jamaica. I get a chance to
• 7:18
  Speaker 1: go in the studio with one of the biggest producers
• 7:21
  Speaker 1: in Jamaica at the time. But when I reached there,
• 7:23
  Speaker 1: he wasn't there. So Danny Dread was there, and Danny
• 7:27
  Speaker 1: Dread took my vice. And I was like eight at
• 7:31
  Speaker 1: that time, and I vice two songs. I vice two Fancy,
• 7:35
  Speaker 1: and I vice Over the Ocean. And yeah, after that,
• 7:39
  Speaker 1: it was all everybody talking about Beanie Man, Beanie Man,
• 7:42
  Speaker 1: Beanie Man, Beanie Man, because them time we got one
• 7:44
  Speaker 1: TV station. So when you come on that TV station,
• 7:47
  Speaker 1: the whole island see you. You got two radio stations.
• 7:53
  Speaker 1: Once you come on that radio station, the whole island
• 7:55
  Speaker 1: hears you. So, you know, I'm there in my lane.
• 8:00
  Speaker 1: First time, I think it was my cousin. I told
• 8:05
  Speaker 1: him that, yeah, that's me in the cassette. He never
• 8:08
  Speaker 1: believed me because he knows that my mother is Christian
• 8:11
  Speaker 1: and me not supposed to.
• 8:13
  Speaker 3: Be a DJ.
• 8:16
  Speaker 2: So he didn't believe that was you.
• 8:17
  Speaker 1: He didn't believe that.
• 8:18
  Speaker 2: He's like, there ain't no way that's you.
• 8:19
  Speaker 1: So I tell him to pause the cassette and I
• 8:21
  Speaker 1: sing the whole entire song. I said, play it back.
• 8:26
  Speaker 1: He know I ain't got no tape player. So he
• 8:29
  Speaker 1: know I ain't kidding. So I said, I use that man.
• 8:32
  Speaker 1: So yeah, I use that. If you proceed, I'm going
• 8:35
  Speaker 1: and you will succeed. That man say, I want to
• 8:37
  Speaker 1: be successful. Don't worry about that.
• 8:40
  Speaker 3: So And you were eight years old?
• 8:42
  Speaker 1: Yeah, I was eight.
• 8:43
  Speaker 6: That's crazy to even have that mindset like that at
• 8:45
  Speaker 6: eight years old.
• 8:46
  Speaker 1: Yeah, well, you see, when you dedicate yourself to something,
• 8:49
  Speaker 1: that's what it is. It started from the early days.
• 8:53
  Speaker 1: It don't start when you're 15, 16. When you're 15, 16,
• 8:56
  Speaker 1: you think about the job that you want.
• 8:59
  Speaker 2: Right. You get me?
• 9:01
  Speaker 1: If you're going to be a doctor, if you're going
• 9:02
  Speaker 1: to be a lawyer, if you're going to be a
• 9:03
  Speaker 1: professor or not. But when you're thinking about being a musician,
• 9:08
  Speaker 1: you got to get that from childhood days, especially in Jamaica.
• 9:14
  Speaker 1: I don't know about hip-hop, I don't know hip-hop, I
• 9:17
  Speaker 1: don't know nothing about that. But I know that the
• 9:20
  Speaker 1: first time I hear a hip-hop song, it was hip-hop, itty-ditty-hop,
• 9:25
  Speaker 1: and then it don't stop, rock to the bam-bam boogie
• 9:27
  Speaker 1: and the bam-bam boogie and the boogie the beat. Yeah,
• 9:33
  Speaker 1: that was DJ Herc, and I realized that DJ Herc
• 9:38
  Speaker 1: is Jamaican. I'm like, what? So we can do this.
• 9:42
  Speaker 2: Oh, look at that.
• 9:42
  Speaker 1: Yeah. So I did my first album when I was
• 9:45
  Speaker 1: 10 years of age.
• 9:46
  Speaker 2: Yeah.
• 9:47
  Speaker 1: But we in Jamaica, we know everything about music. We
• 9:50
  Speaker 1: know R & B music, hip-hop music, country and western, gospel.
• 9:56
  Speaker 1: I know Whitney Houston and Sissy Houston from they were
• 9:58
  Speaker 1: singing gospels when we were kids. I know these things. So,
• 10:03
  Speaker 1: these things is what I used to play on our radio.
• 10:06
  Speaker 1: And then, dance artists like us, we never used to
• 10:10
  Speaker 1: have no song that playing on the radio. You know,
• 10:12
  Speaker 1: we have artists like Michigan and Smiley that come out and,
• 10:16
  Speaker 1: you know, them get a run, but Dancehall music never
• 10:20
  Speaker 1: used to play in the dancehall because there was no disco.
• 10:23
  Speaker 1: There was sound system that the artists sing on. You
• 10:27
  Speaker 1: as the DJ, you hold the mic and you sing
• 10:29
  Speaker 1: and the selector play the song. Then he flip over
• 10:33
  Speaker 1: the beat.
• 10:34
  Speaker 3: Right.
• 10:34
  Speaker 1: And then you rap on the beat. And that's how
• 10:37
  Speaker 1: the music used to go. All in the 80s, 70s.
• 10:40
  Speaker 1: From the 70s to the 80s, that's what used to happen.
• 10:43
  Speaker 2: Oh, they used to do it live like that?
• 10:45
  Speaker 1: Yeah.
• 10:46
  Speaker 2: Oh, that's crazy.
• 10:46
  Speaker 1: Because we never used to play in the dancehall. It's
• 10:49
  Speaker 1: only singers. You have singers like Johnny Asburn. You have
• 10:51
  Speaker 1: singers like Michael Prophet. You have singers like Dennis Brown.
• 10:54
  Speaker 1: You have singers like, all these singers used to just
• 10:57
  Speaker 1: play in the dance hall and we as the DJ
• 10:59
  Speaker 1: have to grab the mic because it don't make no
• 11:01
  Speaker 1: sense to play a DJ song when a DJ is
• 11:05
  Speaker 1: coming on the mic. Now a lot of people in
• 11:06
  Speaker 1: America mix DJ like DJ scratch scratch. We are the
• 11:12
  Speaker 1: microphone chanters. In America you got rappers, in Jamaica we
• 11:15
  Speaker 1: are DJs. Because we are the, all right, they used
• 11:21
  Speaker 1: to call us MC back in those days.
• 11:24
  Speaker 3: Right.
• 11:25
  Speaker 1: Master of Ceremony.
• 11:26
  Speaker 3: Yeah.
• 11:26
  Speaker 1: So, you know, when they're Master of Ceremony, you use
• 11:29
  Speaker 1: them and they hold the mic.
• 11:30
  Speaker 4: Yeah, you the MC.
• 11:31
  Speaker 2: Yeah, you talk.
• 11:32
  Speaker 5: And the DJ is usually, you know, rest in peace,
• 11:35
  Speaker 5: Jam Master Jay.
• 11:36
  Speaker 3: Or, yeah.
• 11:37
  Speaker 1: DJs usually play. But back in the 80s, I think
• 11:42
  Speaker 1: it's 1986, they changed it to Mike Chanter. then my
• 11:48
  Speaker 1: chance to turn to DJ. So they might say, what
• 11:51
  Speaker 1: are you doing man, DJ? So one time when I
• 11:53
  Speaker 1: used to tell people that I'm DJing, they said, what,
• 11:55
  Speaker 1: you spin music?
• 11:57
  Speaker 3: Yeah, because that's what we would think.
• 11:58
  Speaker 2: We definitely would, definitely.
• 12:01
  Speaker 1: I do spin music. Don't get interested because if you
• 12:04
  Speaker 1: don't know music, you can't do music. Don't make no sense.
• 12:06
  Speaker 2: Right.
• 12:07
  Speaker 1: So, you know, I did my first album at age 10.
• 12:12
  Speaker 1: I walk into the studio and I meet a guy
• 12:15
  Speaker 1: called Bunny Stryker Lee. God rest his soul. And he
• 12:20
  Speaker 1: gave me a chance. I was there to record for
• 12:23
  Speaker 1: King Jammies because Jammies have a government house and a liquor,
• 12:28
  Speaker 1: A-Chalk tape and thing, and Bill M. Strudel from there
• 12:32
  Speaker 1: to what it is today. Now, I couldn't vice on
• 12:37
  Speaker 1: the A-Chalk machine because I wasn't invited them time, but
• 12:41
  Speaker 1: I was there. I was there when Admiral Bailey coming up.
• 12:44
  Speaker 1: I was there when He started to produce Josie Whale.
• 12:48
  Speaker 1: I was there. I was there. I was always there.
• 12:51
  Speaker 1: Until Bunny Lee gave me this chance, I would not
• 12:54
  Speaker 1: get a chance down at that street. I'm telling you
• 12:56
  Speaker 1: that on the street. And that's where I'm from. So anyways,
• 13:01
  Speaker 1: I moved from there and I went to Jonestown to live.
• 13:06
  Speaker 1: And then I started to get more opportunities because this
• 13:10
  Speaker 1: is halfway uptown. Uptown is there and this is Together,
• 13:17
  Speaker 1: but you can just leave out of the ghetto and
• 13:18
  Speaker 1: you're uptown. You see, so them time you know you
• 13:22
  Speaker 1: got all different dance that keep you out. You got Metromeda,
• 13:26
  Speaker 1: you got Skateland, you got all different type of venues.
• 13:31
  Speaker 1: So these are the venues that give us the opportunity
• 13:34
  Speaker 1: so we can, you know, prolong the career to go on.
• 13:38
  Speaker 1: So you got sound like Volcano, which is John Gillard's sound.
• 13:43
  Speaker 1: You have sound like Leeds Unlimited, You have something like
• 13:47
  Speaker 1: King of Tony. You have something like, whoa. You got
• 13:51
  Speaker 1: so many sound systems back in the days. But I
• 13:54
  Speaker 1: used to go on Master Blaster Sound because it's my
• 13:56
  Speaker 1: uncle's sound. So I love that sound. So the first
• 13:59
  Speaker 1: time I went to the country was Port Antonio. And
• 14:02
  Speaker 1: I love it because the people there love me. I
• 14:04
  Speaker 1: couldn't have left there for three days. I was there
• 14:08
  Speaker 1: for three days. I was there for Friday, Saturday, and Sunday.
• 14:12
  Speaker 4: Amadri Murda, he's a kid at this time. Like, I
• 14:14
  Speaker 4: never knew that.
• 14:15
  Speaker 5: Everybody knows who he is, but I never knew you
• 14:18
  Speaker 5: started at 8, 10 years old.
• 14:19
  Speaker 1: No, you got to start somewhere. But I just start
• 14:24
  Speaker 1: from start.
• 14:26
  Speaker 2: See?
• 14:27
  Speaker 1: So, after that, it's just thinking about music, music, music, music, music.
• 14:32
  Speaker 1: Then I started to fly. I can't believe that. It
• 14:34
  Speaker 1: just started happening. Boom, I went to Cayman Island.
• 14:38
  Speaker 3: Yeah.
• 14:38
  Speaker 1: Wow. And then I came to Canada, and then New York.
• 14:44
  Speaker 1: in the 80s, like 1986, 87. Yeah, I came to
• 14:48
  Speaker 1: New York and then I realized that I can go
• 14:51
  Speaker 1: home and make myself the superstar that I need to be.
• 14:56
  Speaker 1: I went home and I work in it. It took
• 14:59
  Speaker 1: me a time because when I was supposed to be
• 15:03
  Speaker 1: the star, I ran up in a big ditch, like
• 15:08
  Speaker 1: Nelson Mandela get free from prison and came to Jamaica,
• 15:12
  Speaker 1: came to the National Stadium, And I was there, I said, mm-hmm,
• 15:16
  Speaker 1: I need a piece of this. I need a piece
• 15:18
  Speaker 1: of this. And when I get it, I sing the
• 15:20
  Speaker 1: wrong song at the wrong time. Yeah, yo, I got booed.
• 15:25
  Speaker 6: Damn.
• 15:26
  Speaker 2: So you got booed?
• 15:27
  Speaker 1: What? Uncle Murda, I got booed. Big booed, the whole
• 15:32
  Speaker 1: stadium booed me. Even the dog was like, whoa.
• 15:37
  Speaker 2: Even the dog booed you.
• 15:38
  Speaker 3: So how'd you feel? How'd you feel? Because, you know.
• 15:41
  Speaker 1: No, you see. When that happen, you always feel down.
• 15:46
  Speaker 1: But when you think about it, the amount of things
• 15:49
  Speaker 1: that I've been through and the amount of things that
• 15:50
  Speaker 1: I've done as a kid and as a teenager, you
• 15:54
  Speaker 1: know that God is showing you a sign. Either you
• 15:57
  Speaker 1: go left or you go on the right street. So
• 16:00
  Speaker 1: I decide like, left, leave me alone a little bit.
• 16:04
  Speaker 1: Let me try the right street. So I went to
• 16:07
  Speaker 1: Hewitt and I was there. Stay in my house and
• 16:11
  Speaker 1: I build some lyrics, I build some lyrics, and build
• 16:13
  Speaker 1: some lyrics, and I came out. And when I came
• 16:16
  Speaker 1: back to Kingston, I did the first show in Scotland,
• 16:20
  Speaker 1: never forgot that. We come on Captain Barkey, God rest
• 16:26
  Speaker 1: his soul. And they were there, talking to me about
• 16:31
  Speaker 1: the stadium thing. Yeah, they were talking to me about
• 16:34
  Speaker 1: the stadium thing. And I went up on stage, within
• 16:37
  Speaker 1: the two of them, And I sing the song, what
• 16:40
  Speaker 1: I sing in the stadium when I got booed, what
• 16:42
  Speaker 1: I dedicated.
• 16:43
  Speaker 2: You sung the same song?
• 16:44
  Speaker 1: Yeah. Yeah. So let me say what I dedicated to them.
• 16:50
  Speaker 1: When we say, So from then I know that people
• 16:52
  Speaker 1: love when they hear talented kid. So I decide, say, okay,
• 16:54
  Speaker 1: I'm going to take this on. So I did a
• 17:07
  Speaker 1: song called Meity on a Good Sittin' when Meity passed out,
• 17:11
  Speaker 1: left my mama missing. Guess what happened?
• 17:13
  Speaker 3: What?
• 17:14
  Speaker 1: My first number one song.
• 17:16
  Speaker 2: Oh.
• 17:17
  Speaker 1: And from there, there's nothing stopping me.
• 17:21
  Speaker 4: But what's your mom saying?
• 17:22
  Speaker 3: Because she's, you know, she's in a church.
• 17:23
  Speaker 2: That's a good question.
• 17:24
  Speaker 3: You know what she's saying?
• 17:26
  Speaker 1: My mom's, see, me and my mom's life is different.
• 17:29
  Speaker 1: My mom was my best friend. God rest her soul.
• 17:32
  Speaker 1: I love her.
• 17:32
  Speaker 2: Mr.
• 17:32
  Speaker 3: Peace.
• 17:33
  Speaker 2: Mr.
• 17:33
  Speaker 3: Peace.
• 17:33
  Speaker 1: Mama loves moms. Yeah, but You see, my mom's my
• 17:37
  Speaker 1: best friend. Everything, every problem I have, I go to
• 17:40
  Speaker 1: my mom.
• 17:40
  Speaker 2: Everything.
• 17:41
  Speaker 1: But I've been taking care of my mom since I
• 17:43
  Speaker 1: was 10 years of age. Because I'm bringing money in
• 17:46
  Speaker 1: the house. Every time she sees me, I bring her money.
• 17:49
  Speaker 1: Every time she talks to me, I bring her money.
• 17:51
  Speaker 1: So it's not like she's going to fight against that.
• 17:53
  Speaker 1: Because she knows that I'm not a thief. And she
• 17:56
  Speaker 1: knows that I'm not doing crime. She knows that I
• 17:58
  Speaker 1: only do music. So she accepts me. for what I
• 18:02
  Speaker 1: am and who I am, and she don't worry about me,
• 18:04
  Speaker 1: because every time she see me, I look better and better.
• 18:07
  Speaker 4: That's crazy, because you're 10 years old. I'm from Queens,
• 18:10
  Speaker 4: he's from Brooklyn, right?
• 18:11
  Speaker 2: Yeah.
• 18:11
  Speaker 4: So, coming up in Queens, One of my best.
• 18:15
  Speaker 3: Friends was Dean. He was Jamaican.
• 18:16
  Speaker 5: It was always Jamaican people around us. I go to
• 18:19
  Speaker 5: the Boulevard, we go to the beef patty shop. We knew,
• 18:22
  Speaker 5: we loved the guy. He opened the door, the whole block.
• 18:24
  Speaker 5: We came up off the beef patties and cocoa bread.
• 18:27
  Speaker 5: That's when it was $ 1.
• 18:28
  Speaker 6: 50, $ 1.
• 18:28
  Speaker 2: 25.
• 18:28
  Speaker 5: My next door neighbor was Hemsley. I never met a
• 18:33
  Speaker 5: broke Jamaican ever in my life. Every Jamaican I met
• 18:37
  Speaker 5: is always work hard, work hard, work hard. So to
• 18:40
  Speaker 5: see you be 10 years old paying the bills, It's
• 18:44
  Speaker 5: crazy to me.
• 18:45
  Speaker 1: It's always a great thing because in the ghetto, you
• 18:48
  Speaker 1: got no bills to pay. You got no water rate
• 18:50
  Speaker 1: to pay. You got no light to pay. You got
• 18:53
  Speaker 1: free light, free water. I used to think that we
• 18:56
  Speaker 1: got everything free. Didn't know that. We was bridging everything.
• 19:01
  Speaker 5: That's why I'm glad you're on the show because when
• 19:04
  Speaker 5: you think about it, when we used to go to
• 19:06
  Speaker 5: all the parties in Queens and you go to parties
• 19:09
  Speaker 5: in Brooklyn, there always had to be a Jamaican set.
• 19:12
  Speaker 3: Two guys.
• 19:14
  Speaker 5: Like my man Rough Hands or Grandmaster Vic might play
• 19:17
  Speaker 5: the hip hop, but you always had like Shorty Black,
• 19:20
  Speaker 5: my man Los, Eli. So I came up, I'll tell
• 19:24
  Speaker 5: you my guy Eli, his father managed Shaba. So I
• 19:28
  Speaker 5: met Shaba and Patra and was like, cause it's always,
• 19:32
  Speaker 5: Jamaican music's always been big in the culture. Every time
• 19:35
  Speaker 5: you go to a hip hop party, there had to
• 19:38
  Speaker 5: be a Jamaican set.
• 19:40
  Speaker 1: Rob Markman No, I tried to do everything.
• 19:42
  Speaker 2: All right.
• 19:43
  Speaker 1: I know Shabba Rankin, from he was called Pilot. the
• 19:50
  Speaker 1: pilot and Shabba was the co-pilot.
• 19:52
  Speaker 2: Right.
• 19:53
  Speaker 1: So you got Kiba Rankin and Shabba Rankin. Right. Yeah,
• 19:56
  Speaker 1: and you got Roos Melody. That's the sound system that
• 19:58
  Speaker 1: he used to sing on. And from those days, I
• 20:02
  Speaker 1: was always trying to say, all right, I respect Shabba
• 20:07
  Speaker 1: because he's a wicked DJ. Don't worry about it, wicked DJ.
• 20:11
  Speaker 1: And you know exactly what to do, when to do,
• 20:13
  Speaker 1: and how to do it. You got a next artist
• 20:15
  Speaker 1: called Chaka Dimas. And then you got my coach. My
• 20:22
  Speaker 1: coach was General Trees.
• 20:23
  Speaker 3: General Trees.
• 20:25
  Speaker 1: Yeah, he's one of the DJs all of them want
• 20:28
  Speaker 1: to be like. Because he's the man with the lyrics,
• 20:30
  Speaker 1: and he's the man with the rock stone plays. And
• 20:34
  Speaker 1: he got the thing like, Wicked DJ, like seriously. So,
• 20:39
  Speaker 1: I grew up in the old school. You know, Super Cat,
• 20:43
  Speaker 1: used to name Cataract. So, you know, from those days, from,
• 20:50
  Speaker 1: you know, Imperial to Kilimanjaro to all of those days,
• 20:54
  Speaker 1: I was always there as a kid. Always there. You know,
• 21:00
  Speaker 1: these guys are bigger man than me. Remember, I was
• 21:03
  Speaker 1: the youngest DJ ever. I remember the first time I
• 21:09
  Speaker 1: was in a dance hall with some big time DJ
• 21:12
  Speaker 1: like Johnny Ringo and Squidler Rankin. They thought I was
• 21:15
  Speaker 1: a lost kid. Like they was looking for my moms. Like,
• 21:19
  Speaker 1: come and get your kid. And they actually put me
• 21:22
  Speaker 1: up on a.
• 21:23
  Speaker 3: You had to stand on a crate?
• 21:25
  Speaker 1: No, it's not a crate. It was a, what do
• 21:27
  Speaker 1: you call them thing? It was a veranda. And you
• 21:31
  Speaker 1: know the veranda got the side there and you put, Like,
• 21:33
  Speaker 1: you know, it's right there and they put me in
• 21:35
  Speaker 1: a stone right there and they said, where your mother name?
• 21:42
  Speaker 1: I said, tell me your mother name. They said, run
• 21:44
  Speaker 1: the rhythm selector. And that was it.
• 21:48
  Speaker 5: Yeah, because I never knew this. Like, when we look
• 21:51
  Speaker 5: at you, we think of all the hit records.
• 21:54
  Speaker 2: Cause like, I know what we was talking about.
• 21:59
  Speaker 5: So when you think about it, cause four of you
• 22:01
  Speaker 5: won Grammys. It's you, Shabba, Sean Paul, and who am
• 22:06
  Speaker 5: I missing? You, Shabba, Sean Paul, and Shaggy.
• 22:11
  Speaker 1: Right?
• 22:11
  Speaker 3: So.
• 22:12
  Speaker 2: Bouncy Killer got a Grammy too, but he was a feature,
• 22:14
  Speaker 2: but it's all good. We're going to give him his
• 22:16
  Speaker 2: props too.
• 22:16
  Speaker 4: Okay, cool.
• 22:17
  Speaker 3: That's the Shabba Bouncy.
• 22:17
  Speaker 1: Yeah, Bouncy got his props too.
• 22:20
  Speaker 5: But when you hear Art of Life, when you hear everybody, like,
• 22:24
  Speaker 5: come on, this is a world record. Zagaza, Zagaza, Zagaza.
• 22:31
  Speaker 5: When you in the studio, what's the process to think, yo,
• 22:34
  Speaker 5: this is going to be... Do you know this is
• 22:36
  Speaker 5: going to be.
• 22:36
  Speaker 4: A worldwide record that lasts for.
• 22:39
  Speaker 5: Years and years of time. What's the process in the studio?
• 22:43
  Speaker 5: Football is back, folks. And you need to change the
• 22:45
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• 22:49
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• 22:53
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• 22:56
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• 23:00
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• 23:02
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  Speaker 5: the Sunday slate to who wins rookie of the year
• 23:08
  Speaker 5: to who performs on a halftime show. We hear from
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• 24:00
  Speaker 4: Let's go!
• 24:01
  Speaker 1: My thinking is different. I make songs for the masses.
• 24:05
  Speaker 1: I don't make songs to say, okay, I'm going to
• 24:08
  Speaker 1: program this type of people and this type of people
• 24:10
  Speaker 1: and that type of people. My song is for the masses.
• 24:13
  Speaker 1: So if you're white, black, pink, purple, it don't care
• 24:16
  Speaker 1: what kind of race you are. If you love my song,
• 24:19
  Speaker 1: you love my song. And this is what I do.
• 24:21
  Speaker 1: I make music for everybody.
• 24:23
  Speaker 3: You see?
• 24:23
  Speaker 2: All right.
• 24:25
  Speaker 1: I remember the first time I've been to Spain, I'm like,
• 24:30
  Speaker 1: I'm going to do this. Because these are Spanish people.
• 24:33
  Speaker 1: You can't talk to these people. And when I go
• 24:35
  Speaker 1: on the stage, I go, Everybody's singing.
• 24:40
  Speaker 2: Facts, because that's everybody's joint.
• 24:43
  Speaker 1: I'm like, what? But they sing every other song. They
• 24:46
  Speaker 1: sing everything.
• 24:47
  Speaker 2: Right.
• 24:53
  Speaker 1: Because that's when people actually used to- You got so
• 24:57
  Speaker 1: many of them. Yeah, because those remind me of when
• 25:03
  Speaker 1: people actually used to dance up on the females.
• 25:06
  Speaker 4: That's when people actually used to really dance.
• 25:18
  Speaker 2: Dance up on the female, you really enjoyed yourself at
• 25:20
  Speaker 2: the party, man.
• 25:20
  Speaker 5: Rob Markman, But what I'm saying is like when you
• 25:21
  Speaker 5: do this record with Maya, right? Because all them records
• 25:24
  Speaker 5: are hits too, right? But like when you hit a
• 25:27
  Speaker 5: record with Maya, like Zaga Za, Zaga Za, you know
• 25:29
  Speaker 5: when that come on, like I want to go to
• 25:32
  Speaker 5: a concert and just want to know his record placement
• 25:35
  Speaker 5: because he has so many hits. But do you know
• 25:39
  Speaker 5: that was a hit?
• 25:40
  Speaker 1: Yeah, because that was a royal song that definitely pointed
• 25:43
  Speaker 1: to the world because it was Pharrell Williams. came up
• 25:48
  Speaker 1: to me with the idea that I need to make
• 25:51
  Speaker 1: Garza M. Sugar and Sim Sima in one song. So
• 25:55
  Speaker 1: I'm like- You said Pharrell came up to you and
• 25:57
  Speaker 1: said that? Yeah, he was wanting to make the beat.
• 26:00
  Speaker 2: Look at that, okay.
• 26:01
  Speaker 4: Oh, Pharrell made them beats?
• 26:02
  Speaker 1: Yeah, he made them beats.
• 26:03
  Speaker 2: That was his beat.
• 26:05
  Speaker 3: That's crazy.
• 26:05
  Speaker 1: So I go, okay, let's try this. And he go,
• 26:09
  Speaker 1: and this little guy from Philippines that play in the Neptunes, Chad.
• 26:18
  Speaker 2: Chad.
• 26:19
  Speaker 1: And Chad started to play. And I'm like, okay, let's
• 26:22
  Speaker 1: do a Sim Sima. Beat him under the girls, them sugar.
• 26:25
  Speaker 1: Sim Sima. The girls, them work. And Farrah said, I
• 26:29
  Speaker 1: will say the Sim Sima. And I said, okay, that's better.
• 26:32
  Speaker 1: That gives me a chance to breathe. Farrah went to
• 26:38
  Speaker 1: the studio and I go, Sim Sima. Because he wanted
• 26:41
  Speaker 1: to put the American touch in it. The Sim Simmer,
• 26:43
  Speaker 1: so I know definitely where he was going with it.
• 26:46
  Speaker 1: And then he sang for Maya. And true because I'm
• 26:50
  Speaker 1: a movie buff, as I see Maya and her, I'm like, wow,
• 26:54
  Speaker 1: this is a girl from the school movie.
• 26:57
  Speaker 2: You know?
• 26:59
  Speaker 1: So I'm like, yeah, this is gonna be nice. And
• 27:05
  Speaker 1: then we start putting the hook together because I told
• 27:09
  Speaker 1: him that we need a hook. Because Sim Simmer, Girls
• 27:12
  Speaker 1: in Sugar, Yes, it can be a nice hook, but
• 27:15
  Speaker 1: we need something to melodize the hook. There you go.
• 27:21
  Speaker 1: So I said, okay, we need that. And then we
• 27:24
  Speaker 1: get that because if we're going to make an American song,
• 27:26
  Speaker 1: I am going to make an American song. I am
• 27:29
  Speaker 1: not going to allow you to do that for me
• 27:31
  Speaker 1: to tell me that, yeah, I did that for you.
• 27:33
  Speaker 2: Got you.
• 27:33
  Speaker 1: Yeah, but he gave me the idea to put it
• 27:35
  Speaker 1: together and I really respect for that. And then we
• 27:40
  Speaker 1: get together and we make the song.
• 27:41
  Speaker 3: Yeah.
• 27:43
  Speaker 1: We nominated for Grammy Award that year.
• 27:46
  Speaker 2: Look at that.
• 27:46
  Speaker 1: And that was beautiful.
• 27:49
  Speaker 2: Dope, man. Dope.
• 27:51
  Speaker 5: Definitely, because it was making, you know, reggae music, Jamaican
• 27:54
  Speaker 5: music worldwide. It wasn't just, it just wasn't one category
• 27:58
  Speaker 5: in music.
• 27:58
  Speaker 1: Kicking on bars.
• 27:59
  Speaker 6: Definitely kicked down the doors with that, man. Definitely kicked
• 28:02
  Speaker 6: down the doors with that, man.
• 28:03
  Speaker 1: Open it for some Jamaican artists.
• 28:04
  Speaker 2: That's a fact.
• 28:05
  Speaker 1: Kicking on bars.
• 28:06
  Speaker 5: And the whole thing is it's not microwave music. Like,
• 28:09
  Speaker 5: I love to hear the stories from the OGs and,
• 28:11
  Speaker 5: you know, the real legends because it's like... The music
• 28:15
  Speaker 5: is lasting. You touring, you just came from Germany, you said.
• 28:18
  Speaker 1: I just came from Europe. See? Yeah. And we did
• 28:22
  Speaker 1: some show here in America where I did two shows
• 28:26
  Speaker 1: with me and Barry Salmon just the other day in August.
• 28:31
  Speaker 1: It was Barry Salmon's birthday, so we did two shows.
• 28:34
  Speaker 1: We did one in Connecticut and we did one in Philadelphia.
• 28:41
  Speaker 1: Was it? Yeah, we did that. We did two shows
• 28:45
  Speaker 1: and it was wicked.
• 28:47
  Speaker 2: Look at that.
• 28:47
  Speaker 4: How do you like performing in London?
• 28:49
  Speaker 1: I like performing in London. I love London. London is great.
• 28:53
  Speaker 1: I've been going to London since forever. I've been going
• 28:58
  Speaker 1: to London since forever. Forever, ever, ever, ever, ever, ever.
• 29:03
  Speaker 1: I've been going to London forever. I love London. Because
• 29:07
  Speaker 1: London people, they appreciate the music.
• 29:10
  Speaker 2: Definitely do.
• 29:11
  Speaker 1: For what it is. Because when you go to London...
• 29:14
  Speaker 1: It's the first place that I ever go from Jamaica.
• 29:18
  Speaker 1: When I turn on my TV, I see an advertisement
• 29:22
  Speaker 1: with reggae music behind it. First place.
• 29:25
  Speaker 2: Was it London?
• 29:26
  Speaker 1: Yes, London. I'm not kidding. I've come to America, been
• 29:31
  Speaker 1: coming to America. I told you how long I've been
• 29:33
  Speaker 1: coming to America. I've never seen an advertisement with no
• 29:38
  Speaker 1: Jamaican song in it. None, ever. So, London is the
• 29:42
  Speaker 1: first place that I ever went to, like, ever.
• 29:45
  Speaker 2: America, we gotta change that. Y'all making us look bad out.
• 29:48
  Speaker 3: There, man.
• 29:49
  Speaker 1: Ever went to. And here, commercial on the TV with
• 29:56
  Speaker 1: reggae song is the background.
• 29:58
  Speaker 2: Look at that.
• 30:00
  Speaker 1: In the commercial. And I'm not talking about one commercial
• 30:03
  Speaker 1: or two commercial. You get like five commercial and all
• 30:06
  Speaker 1: of them is regular commercial. And I'm like, what is
• 30:09
  Speaker 1: going on here? But then you realize that there's a
• 30:13
  Speaker 1: lot of Jamaican living in London.
• 30:15
  Speaker 3: Lots, yes, lots of them.
• 30:18
  Speaker 4: That's your last stop.
• 30:19
  Speaker 2: There's some good Jamaican food in London.
• 30:21
  Speaker 3: You ain't getting nowhere else.
• 30:22
  Speaker 1: Yeah, you'll love London for the Jamaican food.
• 30:24
  Speaker 3: That's a fact.
• 30:25
  Speaker 1: Most of the biggest... Latin, England artists bust from reggae music. Like, red,
• 30:30
  Speaker 1: red wine. That's reggae music. And then you got Steel Puzzle,
• 30:35
  Speaker 1: which is an English band. And then you got Pasi
• 30:38
  Speaker 1: Dotsi Panila, which is an English band. So you get
• 30:42
  Speaker 1: to realize that, you know, London has always been a
• 30:48
  Speaker 1: big supporter of the reggae music. See, when Bob Marley
• 30:52
  Speaker 1: get shot in Jamaica, and he left, he went to London.
• 30:55
  Speaker 2: Oh, look at that.
• 30:56
  Speaker 3: Oh, I never knew that.
• 30:57
  Speaker 1: You get what I'm saying? So it's like, it's kind
• 31:01
  Speaker 1: of a different thing when it comes to London. London
• 31:03
  Speaker 1: people love Jamaican music. Love it, love it. I think
• 31:09
  Speaker 1: almost everybody in a London old soul from the 60s, because, yeah,
• 31:15
  Speaker 1: what is his name again? I'm not going to try
• 31:18
  Speaker 1: to kill myself. But most of the Jamaican artists, Bust
• 31:24
  Speaker 1: in London, Ken Boot, Bust in London. U Roy, Bust
• 31:29
  Speaker 1: in London. I think U Roy have number one, number two,
• 31:32
  Speaker 1: number three, number four, number five on the British chart.
• 31:37
  Speaker 1: That was crazy. So it's not really like London is
• 31:42
  Speaker 1: just picking up the music. So all of us as Jamaican,
• 31:46
  Speaker 1: we love London. So New York was the next London.
• 31:51
  Speaker 1: When you come to New York, Man, don't play around, dog.
• 31:55
  Speaker 2: You ain't lying about that.
• 31:56
  Speaker 6: You know how many parties we used to go to
• 31:58
  Speaker 6: as kids, like bad kids?
• 32:00
  Speaker 2: How many underground basement.
• 32:02
  Speaker 6: Parties and the Jamaican music was popping in there.
• 32:05
  Speaker 1: Queens, New York, Bronx.
• 32:09
  Speaker 2: Bronx, Brooklyn.
• 32:13
  Speaker 1: Trust me. Staten Island was a little white, but....
• 32:20
  Speaker 6: It's all right, it was a little white.
• 32:25
  Speaker 1: Long Island.
• 32:26
  Speaker 2: It was a little white.
• 32:28
  Speaker 1: But yeah. We was all up in there. Because you
• 32:31
  Speaker 1: got some Italians and you got some other people, you
• 32:34
  Speaker 1: got other people, you got other people, but we was
• 32:37
  Speaker 1: all up in there. Trust me. So that's when I
• 32:41
  Speaker 1: know that the Caribbean music is not gonna be easy
• 32:46
  Speaker 1: to get rid of.
• 32:47
  Speaker 2: Definitely.
• 32:48
  Speaker 1: Jamaican music is not going to be like pop music.
• 32:51
  Speaker 1: It's not going to be like, you know, it's not
• 32:53
  Speaker 1: going to be the big music, but it's going to
• 32:55
  Speaker 1: always be the music that's stuck in the ears of
• 32:57
  Speaker 1: the people.
• 32:58
  Speaker 2: I wanted to always ask you too, son, because you
• 32:59
  Speaker 2: did a record... Flow Natural.
• 33:02
  Speaker 1: Yeah.
• 33:03
  Speaker 2: With Tito.
• 33:04
  Speaker 1: Yeah.
• 33:04
  Speaker 2: And that was a big record.
• 33:06
  Speaker 1: Yeah. It was a big record.
• 33:07
  Speaker 2: Big record.
• 33:08
  Speaker 1: For the reggaeton.
• 33:09
  Speaker 2: Yes.
• 33:09
  Speaker 1: And it's still a big record.
• 33:10
  Speaker 2: Of course. Yeah.
• 33:12
  Speaker 1: Of course. I don't understand it. It's still up there.
• 33:15
  Speaker 2: Still a big, big record.
• 33:16
  Speaker 1: Still a big record.
• 33:17
  Speaker 6: You think we need more collaborations like that so reggae
• 33:20
  Speaker 6: could actually get in a better place like for nowadays?
• 33:23
  Speaker 6: Because reggaeton is so big right now.
• 33:26
  Speaker 3: Yeah.
• 33:27
  Speaker 1: But I don't think we need anything. I think we
• 33:32
  Speaker 1: have it. I think it's just for them to collaborate
• 33:35
  Speaker 1: with us the right way. Because the music is reggaeton
• 33:39
  Speaker 1: for God's sake. The music name is what?
• 33:45
  Speaker 3: Reggaeton.
• 33:46
  Speaker 1: Say it again.
• 33:47
  Speaker 2: Reggaeton.
• 33:48
  Speaker 6: You can't even say it without saying Reggaeton.
• 33:50
  Speaker 2: Got you.
• 33:51
  Speaker 5: But Beanie, you got to remember, when he says collaborations,
• 33:54
  Speaker 5: come on, man. You did a record with Janet Jackson.
• 33:57
  Speaker 2: Yeah.
• 33:57
  Speaker 4: Come on, that's not an everyday collab, brother.
• 34:00
  Speaker 1: No, that's not an everyday collab.
• 34:01
  Speaker 4: Now, what was that like?
• 34:02
  Speaker 1: No, that was beautiful. That was all Jermaine Dupri.
• 34:06
  Speaker 2: Jake, my man.
• 34:07
  Speaker 6: Now here we're trying to say I got beef with
• 34:08
  Speaker 6: Jermaine Dupri. Shout out to my man, Jermaine Dupri. Shout
• 34:11
  Speaker 6: out to my man, Jermaine Dupri.
• 34:13
  Speaker 3: How was that?
• 34:14
  Speaker 4: Like making a record? Because you did records with pretty
• 34:16
  Speaker 4: big names.
• 34:17
  Speaker 1: Yeah, but that was beautiful with Janet Jackson. Because Janet
• 34:21
  Speaker 1: Jackson has always been my artist. Like always. It's Michael
• 34:24
  Speaker 1: Jackson's sister.
• 34:26
  Speaker 3: For sure.
• 34:27
  Speaker 2: Thanks.
• 34:27
  Speaker 1: Michael Jackson is my star.
• 34:29
  Speaker 4: So what was the process of being in the studio
• 34:31
  Speaker 4: with her?
• 34:32
  Speaker 1: It was beautiful. The process was... Chairman Dupree was, I think,
• 34:38
  Speaker 1: the president of Virgin Records at the time.
• 34:40
  Speaker 2: Right.
• 34:40
  Speaker 1: So he was the one that called in the shot.
• 34:43
  Speaker 1: So he think that if me and Janet have a
• 34:45
  Speaker 1: song together, it will be beautiful. So he called up Neptune's,
• 34:53
  Speaker 1: you know how it goes.
• 34:55
  Speaker 2: Pharrell always in the loop. Pharrell always in the loop.
• 34:58
  Speaker 1: He was the one that made the first song. So,
• 35:01
  Speaker 1: you know, companies don't think about another person, they put
• 35:06
  Speaker 1: you to the person that made the magic.
• 35:10
  Speaker 2: If it ain't broke, don't fix it.
• 35:11
  Speaker 1: They're like, there you go.
• 35:12
  Speaker 2: There you go.
• 35:12
  Speaker 1: So yeah, that's what they did. And then Jeremy Dupree
• 35:16
  Speaker 1: put me together with Janet Jackson, and it works.
• 35:21
  Speaker 5: Yeah, because when you look at your career, you'll be
• 35:23
  Speaker 5: in a sound clash. We know you get in a
• 35:25
  Speaker 5: sound clash with Ninja Man or whoever the fuck you
• 35:28
  Speaker 5: put in front of this man, right? But at the
• 35:31
  Speaker 5: same time, you're going to hear him on top radio.
• 35:34
  Speaker 3: You know what I mean?
• 35:35
  Speaker 4: So how do you feel?
• 35:36
  Speaker 5: Because I know once I win a Grammy and have
• 35:38
  Speaker 5: as much albums you have, and you got like two,
• 35:40
  Speaker 5: three hundred hits, maybe two thousand.
• 35:42
  Speaker 3: You got all these hits.
• 35:44
  Speaker 5: When I come to a clash and somebody want to battle,
• 35:46
  Speaker 5: I'm like, what the fuck?
• 35:48
  Speaker 3: How do you feel?
• 35:49
  Speaker 4: Was you cocky like, I'm the fucking top guy?
• 35:51
  Speaker 1: No, I never feel cocky. You see, boasting is, anybody
• 35:57
  Speaker 1: who boasts becomes a base. So you boast in everything
• 36:00
  Speaker 1: that you do, you stop right there at your boasting.
• 36:02
  Speaker 1: Because when your boasting stops, you finish. Because people don't
• 36:06
  Speaker 1: like hype. Once you hype and you hype and your
• 36:09
  Speaker 1: hype is done, you're done. You're a wannabe, and I
• 36:13
  Speaker 1: never want to be a wannabe. I never think about that.
• 36:17
  Speaker 1: I never want to be that. I never want to
• 36:19
  Speaker 1: do that, like never ever in my life. So what
• 36:22
  Speaker 1: I did, I came to the world, and I give
• 36:26
  Speaker 1: the world what I got. Then I go back to Jamaica,
• 36:29
  Speaker 1: and I give Jamaica what they want. So I was
• 36:32
  Speaker 1: just coming off a world tour, like tour the world,
• 36:34
  Speaker 1: and I go back to Jamaica and say, why go
• 36:36
  Speaker 1: on Jamaica? And they're going to say, eh. Boy, I
• 36:39
  Speaker 1: want to run off the mountain. Back at it again. Boy,
• 36:43
  Speaker 1: I need to run off the mountain and back at
• 36:45
  Speaker 1: it again. Then I leave and I go on the
• 36:47
  Speaker 1: road to another country.
• 36:47
  Speaker 4: Yeah, because you never thought you was big. He never thought, yo,
• 36:50
  Speaker 4: I'm big. I don't got a sound class with these motherfuckers.
• 36:52
  Speaker 2: No.
• 36:52
  Speaker 1: See, the problem is it's not think like a star.
• 36:56
  Speaker 1: It's being a star.
• 36:57
  Speaker 2: You are a star. Got you.
• 36:59
  Speaker 1: So, you are a star in every genre. So, whether
• 37:04
  Speaker 1: it's dancehall, whether it's international, No care what you do.
• 37:09
  Speaker 1: Some people at Jamaica say, yo, you don't know Big
• 37:11
  Speaker 1: A is like, they're the one that's going out there.
• 37:14
  Speaker 1: They're the one that's fooling stadiums. They're the one that's
• 37:17
  Speaker 1: fooling arena. What are you telling me?
• 37:20
  Speaker 3: You stupid.
• 37:23
  Speaker 1: You know, I'm here doing what I'm doing because I
• 37:26
  Speaker 1: love what I'm doing. I'm not doing it because, yeah,
• 37:30
  Speaker 1: Beanie's a star. I becomes a star. Watch me now.
• 37:33
  Speaker 1: I come from dance hall, like flat dance hall, like
• 37:36
  Speaker 1: where dance hall is coming from. before there was any
• 37:38
  Speaker 1: stage shows and big band and all of that. I'm
• 37:41
  Speaker 1: coming from dance hall, dance hall. Now I supposed to
• 37:44
  Speaker 1: come to Jamaica and then go to a dance hall
• 37:48
  Speaker 1: and the vibe's nice and I'm not supposed to hold
• 37:50
  Speaker 1: the mic. I was supposed to just like, hmm, a
• 37:53
  Speaker 1: big under. No, that's never me.
• 37:56
  Speaker 2: Got you. You gonna go grab that mic and turn up?
• 38:00
  Speaker 1: Well, if I feel like. So you can't tell me
• 38:04
  Speaker 1: my feelings. I come to America, yes, I want to
• 38:07
  Speaker 1: go to a club, you got to give me some money.
• 38:09
  Speaker 1: What are you talking about? I got to Jamaica, that's
• 38:12
  Speaker 1: where I live.
• 38:13
  Speaker 2: Got you.
• 38:14
  Speaker 3: For sure.
• 38:15
  Speaker 1: There's a difference.
• 38:17
  Speaker 4: Now, how do you come up with 24 albums though?
• 38:20
  Speaker 5: I mean, you know, somebody has like five albums, six albums,
• 38:24
  Speaker 5: maybe 10, that's a good career. Maybe even three albums,
• 38:28
  Speaker 5: but 24 albums, like what gives you that drive?
• 38:32
  Speaker 1: No, it's not what gives me that drive. I vice
• 38:37
  Speaker 1: for producers. I vice for that producer, I vice for
• 38:41
  Speaker 1: that producer, and then they got 10 songs because I
• 38:46
  Speaker 1: like the beat. I don't collect no money. Because I
• 38:49
  Speaker 1: think Jammie's put out two albums with us. Face to
• 38:53
  Speaker 1: Face with me and Bon Tickler, and I think he
• 38:55
  Speaker 1: put out the next album with me and Mike Carver
• 38:58
  Speaker 1: or something like that. I don't know, I'm telling a lie.
• 39:01
  Speaker 1: So this is how the albums come together.
• 39:04
  Speaker 3: You know?
• 39:05
  Speaker 1: Somebody have half an album with me, they put out
• 39:07
  Speaker 1: half an album with the next person and put it out.
• 39:10
  Speaker 1: That's how it comes, because you have something named compilation album.
• 39:16
  Speaker 1: So they compile some songs together and you don't even.
• 39:20
  Speaker 2: Make a compilation. Yeah, the bunch of people put it together.
• 39:23
  Speaker 1: Yeah, so they go boop and put it together. You know?
• 39:26
  Speaker 1: And then VP, everything called. Sometimes they put out the songs,
• 39:30
  Speaker 1: put the songs in together. Like you have 24 number
• 39:33
  Speaker 1: one and one album. Then they put out the next
• 39:36
  Speaker 1: one with 60 number one and one album. And yeah,
• 39:40
  Speaker 1: it's wicked. But that's how it goes. You work towards
• 39:45
  Speaker 1: making that. But I got like, To be honest, I
• 39:49
  Speaker 1: got 18 studio albums that I make for myself. The
• 39:54
  Speaker 1: rest of it is just compilation and put together.
• 39:57
  Speaker 2: Got you.
• 39:57
  Speaker 1: Yeah.
• 39:58
  Speaker 6: What record made you leave the studio and say, oh yeah,
• 40:02
  Speaker 6: I'm never going to be broke again?
• 40:05
  Speaker 3: So many.
• 40:08
  Speaker 6: But which one you made that you were like, oh yeah,
• 40:10
  Speaker 6: I'm never going to be broke again?
• 40:12
  Speaker 1: There's a lot. I remember when I make Royal Dance,
• 40:16
  Speaker 1: I say that. I remember when I make Romy, I
• 40:18
  Speaker 1: say that. I remember when I make Girls M Sugar,
• 40:21
  Speaker 1: I say that. I remember when I make Sim Sim,
• 40:23
  Speaker 1: I say that.
• 40:25
  Speaker 2: I'm never going to be broken.
• 40:27
  Speaker 3: He got a lot, man. He got a lot. Music
• 40:30
  Speaker 3: is different.
• 40:32
  Speaker 1: It's not like what you think music is going to
• 40:35
  Speaker 1: be and where music is going to take you. I
• 40:39
  Speaker 1: didn't have companies to back me all my life. See,
• 40:42
  Speaker 1: I'm a Jamaican that live in Jamaica. And I'm a
• 40:45
  Speaker 1: Jamaican that believe in people. Sometimes people take this advantage.
• 40:50
  Speaker 1: And then a lot of my management do that too.
• 40:52
  Speaker 1: Because sometimes you feel like, yeah, you got that and
• 40:55
  Speaker 1: this is it. And then when you find out, that's
• 40:58
  Speaker 1: not it.
• 41:00
  Speaker 3: Right.
• 41:00
  Speaker 1: Because sometimes you got to twing it for yourself and
• 41:04
  Speaker 1: twang it and go like, boom. Get rid of that person.
• 41:08
  Speaker 1: And get rid of somebody who's there for you, who's
• 41:11
  Speaker 1: got your back. And sometimes when you feed that person
• 41:14
  Speaker 1: got you back, that person never got you back.
• 41:17
  Speaker 2: Yeah. Crazy.
• 41:18
  Speaker 1: So, you know, sometimes you got to know. But I'll
• 41:22
  Speaker 1: be rich forever.
• 41:23
  Speaker 2: Got you.
• 41:24
  Speaker 1: This is my right.
• 41:25
  Speaker 2: Of course. Of course. Of course. Now, we live and learn.
• 41:28
  Speaker 2: You trust certain people and you just find out like, damn.
• 41:30
  Speaker 1: You find out like, damn. I thought they were going
• 41:34
  Speaker 1: to be better. But now I'm good. I'm in a
• 41:38
  Speaker 1: comfortable place. Right. I am nice. I got my wife
• 41:42
  Speaker 1: with me.
• 41:42
  Speaker 2: She's- Shout out to wifey.
• 41:45
  Speaker 3: Shout out to wifey.
• 41:47
  Speaker 2: She's my rock. She was in here cleaning you up before.
• 41:50
  Speaker 2: She's like, hold up, nigga. You ain't looking.
• 41:51
  Speaker 1: That's right. She's there.
• 41:52
  Speaker 2: I respect her.
• 41:53
  Speaker 3: I respect the dedication that she put in the thing.
• 41:56
  Speaker 3: Because for the.
• 42:08
  Speaker 1: She got her own life, she live her own life,
• 42:10
  Speaker 1: she did her own thing. All the time I know her,
• 42:13
  Speaker 1: I know her for over 22 years, over 22 years
• 42:16
  Speaker 1: I know her for. And she always be that person,
• 42:21
  Speaker 1: always stand firm for herself. And for she to come
• 42:25
  Speaker 1: here now and be with me, standing here behind me,
• 42:30
  Speaker 1: pushing this thing and know that yes, this is what
• 42:32
  Speaker 1: we're gonna do. Now, not saying that I didn't got myself.
• 42:39
  Speaker 6: But we all need some motivation. We all need motivation.
• 42:43
  Speaker 6: We all need some motivation.
• 42:44
  Speaker 1: That said, I didn't get what I said, but every
• 42:46
  Speaker 1: king need a strong queen.
• 42:48
  Speaker 3: That's right.
• 42:48
  Speaker 2: You better believe it.
• 42:49
  Speaker 4: Shelter wifey, she's in the building.
• 42:51
  Speaker 2: Yeah, blessings.
• 42:52
  Speaker 1: Come here.
• 42:53
  Speaker 4: Now, we looking forward towards more music.
• 42:55
  Speaker 3: Yeah.
• 42:56
  Speaker 1: Now, I got this new album. It's called Eminence.
• 43:00
  Speaker 4: Let's talk about that.
• 43:01
  Speaker 3: Yeah.
• 43:01
  Speaker 1: And this album is not an easy album.
• 43:06
  Speaker 2: It reached number one in everything, though. It reached number one.
• 43:09
  Speaker 1: Yeah, it reached number one in everything. Going all genre,
• 43:12
  Speaker 1: all genre, number one.
• 43:14
  Speaker 2: Yes, yes. Everything.
• 43:16
  Speaker 1: This album is wicked. Trust me, it's wicked.
• 43:18
  Speaker 4: Make sure y'all go get that.
• 43:20
  Speaker 3: Yeah, you have.
• 43:21
  Speaker 1: To go get it. Because, you know, we got some
• 43:23
  Speaker 1: big stars in the album. We got Snoop on the album.
• 43:25
  Speaker 1: We got T.I. on the album. We got Ashanti. And
• 43:29
  Speaker 1: I went back for Maya.
• 43:32
  Speaker 2: You went back for Maya?
• 43:33
  Speaker 1: What? She's on the album with- Fire.
• 43:36
  Speaker 3: Definitely.
• 43:36
  Speaker 2: We definitely get that. Fire. Yeah, man.
• 43:38
  Speaker 1: We went back from Maya. And then we got... I
• 43:42
  Speaker 1: got one song with me and Snoop and eight people.
• 43:45
  Speaker 1: I think Elephant Man is in that song. And we
• 43:49
  Speaker 1: have a lot of females on that song.
• 43:54
  Speaker 2: Elephant Man and a lot of females.
• 43:55
  Speaker 1: A lot of females. Got you. That song is beautiful.
• 43:58
  Speaker 1: That song is beautiful.
• 44:00
  Speaker 3: It's good because people got to.
• 44:01
  Speaker 4: People got to.
• 44:03
  Speaker 3: know it's out.
• 44:03
  Speaker 5: So it's like now before we used to have just
• 44:06
  Speaker 5: radio and God willing, now we got podcast and streaming.
• 44:10
  Speaker 5: So now this the new wave and we got you
• 44:11
  Speaker 5: on here. So we know the numbers going.
• 44:13
  Speaker 3: To go crazy. Yeah.
• 44:14
  Speaker 1: This album is everywhere. This album is everywhere. Anywhere you
• 44:17
  Speaker 1: want to stream a song from, go stream it. I'd
• 44:19
  Speaker 1: rather you stream it more than go somewhere where you
• 44:24
  Speaker 1: can find it for free.
• 44:25
  Speaker 6: What was the motivation behind this project here, man?
• 44:29
  Speaker 1: Well, the motivation is to show people that I'm still here.
• 44:32
  Speaker 1: I'm not going nowhere.
• 44:33
  Speaker 2: Got you.
• 44:33
  Speaker 1: What you talking about?
• 44:35
  Speaker 2: Got you.
• 44:35
  Speaker 3: What you talking about?
• 44:37
  Speaker 2: He love music.
• 44:37
  Speaker 3: That's right. Murda, guy with 18 albums lives in the studio.
• 44:39
  Speaker 3: He got a studio in the....
• 44:45
  Speaker 5: In the crib, studio on the tour bus. He got
• 44:48
  Speaker 5: a portable studio. He loves music, bro. And that's what
• 44:53
  Speaker 5: we love. You know, like we said, reggae music is
• 44:56
  Speaker 5: always going to be.
• 44:57
  Speaker 4: A part of the culture.
• 44:57
  Speaker 1: You're always going to tour.
• 44:59
  Speaker 4: What's one of your.
• 45:01
  Speaker 5: Craziest tour stories? Like, when was your craziest tour? Tell
• 45:04
  Speaker 5: me one of your craziest tours you've been on.
• 45:06
  Speaker 1: All right.
• 45:06
  Speaker 2: No. Wifey here, leave the girl stuff out, man.
• 45:10
  Speaker 4: I just want to know all the legendaries.
• 45:16
  Speaker 2: She said I'm used to it.
• 45:18
  Speaker 1: No, no, no. My first tour. Because I started tour
• 45:23
  Speaker 1: very early. I become a star in 1992. No, I
• 45:25
  Speaker 1: become a star in 1993. 1992, I get my first
• 45:27
  Speaker 1: number one song. 1993, I get the artist of the year. And,
• 45:38
  Speaker 1: you know, all of that ting.
• 45:40
  Speaker 2: Did the money start hitting too then?
• 45:41
  Speaker 6: Because it'd be funny, sometimes everything else would be.
• 45:43
  Speaker 1: Coming except for the money. No, the money been coming
• 45:45
  Speaker 1: in since before I get my first number. You said
• 45:47
  Speaker 1: he was 10 years old when the money came in.
• 45:49
  Speaker 4: You said he was eight years old taking care of him.
• 45:51
  Speaker 6: I'm just making sure. Because sometimes it be like that though.
• 45:54
  Speaker 6: You'd be surprised. You know, I'm quite sure you know
• 45:57
  Speaker 6: some artists that had it. Just definitely Jamaican arts that
• 45:59
  Speaker 6: has the success, right? We're here and they be real popular,
• 46:02
  Speaker 6: but the money don't be there like that, how you
• 46:04
  Speaker 6: might think.
• 46:05
  Speaker 1: All right, you see, my life take a turn in
• 46:07
  Speaker 1: teenage time because, you know, you live in the wrong place.
• 46:11
  Speaker 1: You end up in the wrong company and, you know,
• 46:13
  Speaker 1: you end up doing, yeah.
• 46:15
  Speaker 2: Doing bad deals, yes.
• 46:16
  Speaker 1: Yeah, they're not bad deals, it's just, yeah, bad things happen. Yeah, yeah. Yeah,
• 46:22
  Speaker 1: you know, yeah, you know how shit goes. So, you know,
• 46:27
  Speaker 1: I decide, You know, you don't make up your mind
• 46:31
  Speaker 1: until you've been in a situation that you as the
• 46:34
  Speaker 1: only person can get yourself out of.
• 46:39
  Speaker 2: Yeah.
• 46:39
  Speaker 1: When you're locked up, then you realize that life is
• 46:44
  Speaker 1: messed up. Then you know that you got to get
• 46:48
  Speaker 1: yourself out of this situation. So from that, I realized
• 46:52
  Speaker 1: that I have to become the star. This not gonna work.
• 46:57
  Speaker 1: This is how I get booed because I push myself
• 46:59
  Speaker 1: on stage and try to get myself up there to
• 47:02
  Speaker 1: make people know that.
• 47:03
  Speaker 2: And you wasn't even ready like that.
• 47:04
  Speaker 1: Yeah, it wasn't my time.
• 47:06
  Speaker 2: Got you. Got you.
• 47:08
  Speaker 1: Because God don't sleep. God is like, you can't do
• 47:11
  Speaker 1: so much wicked things. Boy, come here.
• 47:14
  Speaker 3: Come here.
• 47:15
  Speaker 1: What are you doing? He's in and send me back
• 47:18
  Speaker 1: in the room and go like, yeah, I got to
• 47:23
  Speaker 1: do this better. And I do this better. And then
• 47:27
  Speaker 1: I met a lot of artists that motivate me differently.
• 47:33
  Speaker 1: I have to give love to Laila Sarr because she's
• 47:36
  Speaker 1: one of them who motivate me different without even talking
• 47:39
  Speaker 1: to me or telling me anything. Just watching her, doing
• 47:42
  Speaker 1: what she do and knowing where she coming from and
• 47:45
  Speaker 1: how strong she is and things. She's one of them
• 47:49
  Speaker 1: who motivate me strong. That's why she'll always be my
• 47:51
  Speaker 1: female artist at all times. She doesn't know the reason why.
• 47:55
  Speaker 1: I'm just saying that now so people can understand. Because
• 47:59
  Speaker 1: I learn from people without people teaching me. I don't
• 48:03
  Speaker 1: have to be taught. I teach myself. You see?
• 48:08
  Speaker 2: But you can just sit back and observe.
• 48:09
  Speaker 1: Yeah, you sit back and observe and you watch and
• 48:12
  Speaker 1: you learn. You say, okay, I'm going to go that way.
• 48:16
  Speaker 1: And when you move in that way, in that direction,
• 48:19
  Speaker 1: It work for you. Then you adapt and adjust, adjust
• 48:22
  Speaker 1: and adapt. And then you make it becomes you. Once
• 48:27
  Speaker 1: you make it becomes you, there's nothing nobody can tell you.
• 48:31
  Speaker 2: Right.
• 48:32
  Speaker 1: You just swim through it. All the fight, you just
• 48:36
  Speaker 1: swim through it. I become a star. Here come Bounty Killer. Hey, boy,
• 48:41
  Speaker 1: you're for dead, baby. Swim through it. What am I
• 48:50
  Speaker 1: going to do? I'm not going to follow you and become,
• 48:52
  Speaker 1: because listen, the King say, which is Selassie, he said
• 48:57
  Speaker 1: one thing in life, you can't follow a fool and
• 48:59
  Speaker 1: become an idiot. You can't follow a fool and become
• 49:04
  Speaker 1: an idiot. You got to be smart.
• 49:06
  Speaker 3: Follow a fool and become an idiot. Makes sense.
• 49:09
  Speaker 1: You cannot do that. So I'm like, what? What are
• 49:13
  Speaker 1: you saying? So I realized that if I follow you,
• 49:17
  Speaker 1: then I becomes an idiot because I'm gonna lose all
• 49:21
  Speaker 1: the blessing that I supposed to get by running up
• 49:25
  Speaker 1: on you, following up on you and this and that.
• 49:27
  Speaker 1: When I supposed to run up on you, you're not
• 49:29
  Speaker 1: gonna expect it. So when I caught him in the
• 49:33
  Speaker 1: right part, the right place, it was Tone Love 22nd anniversary.
• 49:39
  Speaker 1: And he was on stage feeling like he's.
• 49:41
  Speaker 2: I think I remember that one too.
• 49:43
  Speaker 1: Feeling like he was- It was footage of that.
• 49:44
  Speaker 2: It's footage of that though, right? Yeah. You and Bouncy
• 49:47
  Speaker 2: Killick going to Nashville. Feeling like he's king. Yes, I
• 49:49
  Speaker 2: remember that.
• 49:50
  Speaker 1: And then I ran up on stage and then he
• 49:52
  Speaker 1: realized that. Okay.
• 49:54
  Speaker 2: I'm not here to play. You shut him down.
• 49:56
  Speaker 3: You shut him down.
• 49:57
  Speaker 4: I'm not here to play.
• 49:59
  Speaker 1: This is trouble.
• 50:00
  Speaker 6: I need y'all to bring up that footage too with
• 50:03
  Speaker 6: Beanie Man and Bouncy.
• 50:04
  Speaker 1: On stage, man.
• 50:05
  Speaker 2: He got in trouble.
• 50:06
  Speaker 1: Yeah, he got in trouble. And then- The Christmas after that,
• 50:12
  Speaker 1: he run up on my stage and feel like he's
• 50:15
  Speaker 1: going to get me in trouble. But I was waiting
• 50:18
  Speaker 1: for him. I was like, where are you? I've been
• 50:21
  Speaker 1: waiting for you for so long. And he come up
• 50:24
  Speaker 1: and say, you know what, I want to hold you
• 50:26
  Speaker 1: and cut you like a rose. I've been laughing. Because,
• 50:30
  Speaker 1: you see, that's when they know that you're prepared. When
• 50:33
  Speaker 1: somebody come to frighten you, And you was like, ha.
• 50:37
  Speaker 3: You got to be ready in the clash.
• 50:39
  Speaker 4: It's just like battle rap.
• 50:40
  Speaker 2: Got to be ready.
• 50:41
  Speaker 5: You know the sound clashes? We used to watch them
• 50:43
  Speaker 5: all the time. So you got to be ready.
• 50:44
  Speaker 2: You got to be ready.
• 50:46
  Speaker 1: And I was ready.
• 50:47
  Speaker 3: Yeah.
• 50:48
  Speaker 1: Trust me, I was ready. And after that, I changed
• 50:51
  Speaker 1: the narrative. I stopped the warrior. It's not going to
• 50:57
  Speaker 1: take me nowhere. It's just making me famous in Jamaica
• 51:01
  Speaker 1: and in the diaspora. where Jamaican and Caribbean people live.
• 51:07
  Speaker 1: I don't want to be there. So I went, give
• 51:10
  Speaker 1: me the girl, let me do it. Give thanks to
• 51:13
  Speaker 1: Dave Kelly. Oh my God.
• 51:14
  Speaker 2: That used to be my joint right there.
• 51:16
  Speaker 1: That's when I changed the old narrative. And I go like....
• 51:22
  Speaker 4: Hit records.
• 51:23
  Speaker 1: And then I make hits after hits after hits after hits.
• 51:27
  Speaker 2: I know you're responsible for a lot of babies out
• 51:28
  Speaker 2: here too.
• 51:29
  Speaker 6: Yeah, I know. All right, Kyle, just making sure you
• 51:35
  Speaker 6: know that, my brother. You know I got to ask
• 51:38
  Speaker 6: you this, because there's so many different good eras of
• 51:42
  Speaker 6: reggae music.
• 51:43
  Speaker 5: Instead of top five, who's your top ten male artists
• 51:46
  Speaker 5: and your top ten female?
• 51:47
  Speaker 1: My top ten male artists?
• 51:49
  Speaker 2: Okay.
• 51:50
  Speaker 1: Number one would be Shabba Rankin. Super Cat, Chaka Dimas.
• 51:56
  Speaker 1: They got to give my elders the honor.
• 52:00
  Speaker 2: Of course.
• 52:00
  Speaker 1: Do not try to take that from me. Fanta Killah.
• 52:06
  Speaker 2: Even though you had to mash them up, you still
• 52:07
  Speaker 2: get Bounty Killer.
• 52:08
  Speaker 1: We mash up each other.
• 52:09
  Speaker 2: Of course, man. It's all good.
• 52:10
  Speaker 1: It's all good. Him punch me, punch him, punch me.
• 52:13
  Speaker 1: Of course, of course, of course. You see?
• 52:15
  Speaker 2: Bounty Killer remix, one of my songs back in the day.
• 52:18
  Speaker 3: Shout out to Bounty.
• 52:19
  Speaker 1: Yeah, it's a win-win thing. It's a win-win. Me win,
• 52:21
  Speaker 1: him win.
• 52:22
  Speaker 3: That's right, that's right, that's right.
• 52:24
  Speaker 1: I think we bring each other.
• 52:25
  Speaker 2: Mm-hmm.
• 52:26
  Speaker 1: Because without me, there wouldn't be no Bunty the same way.
• 52:29
  Speaker 1: I wouldn't say without Bunty there would be no me.
• 52:32
  Speaker 2: Because I love somebody.
• 52:34
  Speaker 6: I still was who I was, I'm just saying. But
• 52:37
  Speaker 6: he played a part in your careers, man. What are
• 52:41
  Speaker 6: you talking about?
• 52:42
  Speaker 3: That's right.
• 52:43
  Speaker 1: I'm going to reach out to Mike Cabell. That's my DJ.
• 52:51
  Speaker 1: Because I respect Mike Cabell because... of his style, it's not,
• 52:58
  Speaker 1: I don't understand. We fought one time when I was
• 53:02
  Speaker 1: a kid, he was a kid. And yeah, we knocked face.
• 53:08
  Speaker 1: Back in the days. But Kabe is my DJ, I
• 53:11
  Speaker 1: respect him. So, I have to give it up for
• 53:16
  Speaker 1: Bojo Manton. Yeah, he's my DJ. I have to give
• 53:21
  Speaker 1: it up for Capitan. He's why I'm a DJ. Even
• 53:26
  Speaker 1: though we war sometimes.
• 53:28
  Speaker 2: I'm very, very.
• 53:28
  Speaker 1: Even though we war sometimes. Yeah. But I'm a DJ.
• 53:33
  Speaker 1: I'm a DJ.
• 53:34
  Speaker 2: That's right.
• 53:35
  Speaker 3: That's right. That's right.
• 53:37
  Speaker 1: So can I sneak in two more before I reach them?
• 53:40
  Speaker 3: Yeah, yeah.
• 53:40
  Speaker 2: Of course, man. Of course.
• 53:41
  Speaker 1: Because I have to sneak in Sizzler too right there.
• 53:44
  Speaker 2: Right there.
• 53:45
  Speaker 1: I have to do that. But I don't know. I'm
• 53:48
  Speaker 1: a DJ. These are my new artists.
• 53:52
  Speaker 2: I knew I did.
• 53:53
  Speaker 3: Because it's different artists.
• 53:54
  Speaker 2: Okay.
• 53:55
  Speaker 1: I do a number DJ. Popcorn, I'm a DJ. Sorry
• 53:58
  Speaker 1: about the popcorn. Yeah. Alkaline, I'm a DJ. And I
• 54:04
  Speaker 1: do respect business segment. Yeah. I respect the other ones too,
• 54:09
  Speaker 1: but you said my top ten.
• 54:11
  Speaker 2: Got you. Yes, of course.
• 54:12
  Speaker 3: Now you go female. I know you said Lady Saw.
• 54:15
  Speaker 1: I go Lady Saw. I go Sister Nancy. Yeah, I
• 54:20
  Speaker 1: leave her out.
• 54:20
  Speaker 3: Yeah, you got to put sister in there.
• 54:22
  Speaker 1: What are you talking about? It's my first crush. She's
• 54:28
  Speaker 1: a big woman. I'm a little kid and I'm like,
• 54:31
  Speaker 1: it's like Michael Jackson and Diana Ross. Okay, that was
• 54:35
  Speaker 1: a crush for us.
• 54:37
  Speaker 4: That's a good comparison.
• 54:39
  Speaker 1: Yeah, so you see what I'm saying. Sister Nancy, she's
• 54:43
  Speaker 1: my female DJ. Queen Afrika. She's one of them because
• 54:49
  Speaker 1: I know her from she was coming up and before
• 54:51
  Speaker 1: she becomes an artist that she is. I love her
• 54:54
  Speaker 1: for her work ethics and I love her for her
• 54:57
  Speaker 1: strength and I love her for the strongness that she
• 54:59
  Speaker 1: has as an artist. I respect her as a stage performer.
• 55:03
  Speaker 1: I respect her as a recording artist.
• 55:05
  Speaker 2: Okay.
• 55:06
  Speaker 1: God rest her soul, Sister Charmaine. She was the baddest
• 55:10
  Speaker 1: of the artists, the female artists than before. She was
• 55:16
  Speaker 1: the weakest thing. Like, But no female couldn't talk to Charlie.
• 55:21
  Speaker 1: She was the wickedest thing. I respect her, God rest
• 55:23
  Speaker 1: her soul, and let's get to this now. Let's get
• 55:28
  Speaker 1: to Yutana.
• 55:30
  Speaker 3: Okay?
• 55:31
  Speaker 1: Let's get to, what's her, yeah, Sensia.
• 55:38
  Speaker 2: I love her. Sensia, she's poppin' right now.
• 55:40
  Speaker 1: I love Sensia.
• 55:40
  Speaker 2: They love her right now. They love her right now, yes.
• 55:43
  Speaker 1: I love Sensia, I love her, I love her. Sung
• 55:47
  Speaker 1: together a couple songs.
• 55:48
  Speaker 2: We did like two songs together. That's dope. That's dope.
• 55:51
  Speaker 1: And yeah, I love her. I love her work. I
• 55:53
  Speaker 1: text too and she's wicked. I really do love her.
• 55:57
  Speaker 2: Yeah.
• 55:58
  Speaker 1: I love Jada Kingdom because she's body lyricist. Yes.
• 56:02
  Speaker 2: I love.
• 56:05
  Speaker 1: Miss Moore. I love you 100%. Trust me, I love that.
• 56:11
  Speaker 1: And you know, there's a few more female artists that
• 56:14
  Speaker 1: I want to say but it's going to go over 10.
• 56:17
  Speaker 2: So.
• 56:18
  Speaker 3: No, keep going.
• 56:19
  Speaker 4: We got time.
• 56:19
  Speaker 2: Shout out to all the females, man. Shout out to
• 56:21
  Speaker 2: all of them, man.
• 56:22
  Speaker 1: Yeah, I just want to say, all the female artists,
• 56:25
  Speaker 1: all female artists, I love you. There are a lot
• 56:28
  Speaker 1: of artists now, body artists, she named Sita. She bought,
• 56:31
  Speaker 1: she bought, she bought, she bought, she bought, she bought,
• 56:33
  Speaker 1: she bought out of this world.
• 56:34
  Speaker 2: Shout out to her.
• 56:35
  Speaker 1: Yeah, man. She bought out of this world. She's wicked.
• 56:40
  Speaker 1: And I just want to tell all the females, just
• 56:43
  Speaker 1: continue to do the work.
• 56:45
  Speaker 3: Mm-hmm.
• 56:45
  Speaker 1: Because, We got more females now in the business than ever.
• 56:50
  Speaker 4: You think so?
• 56:51
  Speaker 1: Yeah, right.
• 56:52
  Speaker 5: I feel like an earlier era of reggae music, it
• 56:56
  Speaker 5: felt like it was more artists than.
• 56:57
  Speaker 3: There is now.
• 56:58
  Speaker 1: No, talk about female artists.
• 57:00
  Speaker 3: Oh, just female.
• 57:01
  Speaker 1: Yeah, like female artists.
• 57:02
  Speaker 6: There's a whole lot of female artists now.
• 57:05
  Speaker 1: One time you have Alty and Donna. You have Oregon.
• 57:10
  Speaker 1: You have Sophia and you have No, you can't count
• 57:18
  Speaker 1: the female artists one time.
• 57:20
  Speaker 2: Okay.
• 57:20
  Speaker 1: Nowadays, after today.
• 57:21
  Speaker 2: There was so many now.
• 57:23
  Speaker 1: You got more than 25 female artists that is mashing
• 57:26
  Speaker 1: up the place right now.
• 57:27
  Speaker 2: For real, yes.
• 57:29
  Speaker 1: Spice.
• 57:31
  Speaker 2: Yeah. Killing shit right now.
• 57:32
  Speaker 1: She's wicked. Yeah, she's wicked. She's not my favorite female artist,
• 57:39
  Speaker 1: but Gracie is my artist. Spice. She's not my favorite.
• 57:44
  Speaker 1: My favorite artist is Lady Sark. I just told you that.
• 57:48
  Speaker 1: But I love Spice. Spice is wicked. I love her
• 57:52
  Speaker 1: performance and I love a few songs that she sing.
• 57:56
  Speaker 1: And yeah.
• 57:56
  Speaker 2: And she know how to promote. She keep in tone
• 57:58
  Speaker 2: with the social media nowadays and everything. She know how
• 58:02
  Speaker 2: to market herself right now, too.
• 58:03
  Speaker 4: To me, you know, it's always the music. Like, I
• 58:05
  Speaker 4: remember the song, I forget, cool forget, cool forget. Sing
• 58:07
  Speaker 4: that again.
• 58:08
  Speaker 1: You're talking about Shelly Turner.
• 58:12
  Speaker 3: So I just, I be remembering.
• 58:13
  Speaker 1: No, Shelly Turner is wicked. Shelly Turner is wicked. Shelly
• 58:16
  Speaker 1: Turner is wicked.
• 58:16
  Speaker 4: So that's how long the music stayed on.
• 58:18
  Speaker 1: But you see, Shelly Turner is from New York.
• 58:22
  Speaker 2: Oh, good.
• 58:23
  Speaker 1: And not because she's from New York, she's not supposed
• 58:26
  Speaker 1: to get respected.
• 58:26
  Speaker 2: It sounds like that's what you're about to say.
• 58:30
  Speaker 1: No, no, I did not say that. I don't want
• 58:33
  Speaker 1: nobody to say that. But I'm Jamaican. Do you get
• 58:38
  Speaker 1: what I'm saying? Shelly Tenday is Jamaican, but I know
• 58:41
  Speaker 1: her from New York.
• 58:42
  Speaker 2: What?
• 58:42
  Speaker 1: So I have her as a foreign artist. Do you understand?
• 58:48
  Speaker 2: She's a foreign artist.
• 58:49
  Speaker 1: Yeah, as a Jamaican, we have her as a foreign artist.
• 58:51
  Speaker 2: Okay, I got you.
• 58:52
  Speaker 1: So every time she come to Jamaica, she come for visit.
• 58:54
  Speaker 1: But she make some bad song and she's a bad, bad, bad,
• 58:57
  Speaker 1: bad DJ.
• 58:58
  Speaker 2: Got you. Yeah.
• 58:59
  Speaker 1: Don't get it twisted. Sometimes Jamaica say something, some people
• 59:03
  Speaker 1: feel like, yeah, we're trying to disrespect.
• 59:06
  Speaker 6: Sometimes they do sound like that.
• 59:09
  Speaker 2: He said, yeah, she dope. Yeah. But she from New York.
• 59:12
  Speaker 1: Yeah. But she... We don't... All right. We don't have
• 59:16
  Speaker 1: the artists. We have Boston, America, Jamaican artists. You see? Shiley,
• 59:20
  Speaker 1: he come from Jamaica.
• 59:22
  Speaker 2: Right.
• 59:23
  Speaker 1: But he grew up in New York. And he bust
• 59:27
  Speaker 1: from New York. So we have him as a foreign artist.
• 59:31
  Speaker 1: So when you come and say, hey, I'm an alien.
• 59:34
  Speaker 1: I'm a legal alien. I'm a Jamaican in New York.
• 59:40
  Speaker 1: So he's telling you that I'm Jamaican, but I'm in
• 59:42
  Speaker 1: New York. He could come from Jamaica, Queens.
• 59:47
  Speaker 3: Jamaica, Queens. He said Jamaica, Queens. That's my man.
• 59:53
  Speaker 1: He could come from Jamaica, Queens. Got you.
• 59:55
  Speaker 3: Got you.
• 59:56
  Speaker 1: Well, I know him from Jamaica. I know him from
• 59:58
  Speaker 1: Sound System time.
• 59:59
  Speaker 2: Got you.
• 59:59
  Speaker 1: So I know that he is from Jamaica.
• 1:00:01
  Speaker 2: All right.
• 1:00:01
  Speaker 3: Got you.
• 1:00:01
  Speaker 1: You get what I'm saying?
• 1:00:02
  Speaker 2: Okay.
• 1:00:03
  Speaker 1: All right.
• 1:00:03
  Speaker 2: He just moved out here early.
• 1:00:04
  Speaker 6: Yeah.
• 1:00:05
  Speaker 2: Got you.
• 1:00:06
  Speaker 1: There you go.
• 1:00:06
  Speaker 2: So he's still a foreigner now.
• 1:00:07
  Speaker 1: He's still a foreigner.
• 1:00:10
  Speaker 4: So now, so save me a murder scenario, because you
• 1:00:13
  Speaker 4: ride around with a chef.
• 1:00:14
  Speaker 3: We don't got a chef.
• 1:00:15
  Speaker 2: Yeah.
• 1:00:15
  Speaker 3: You know what I'm saying? We don't got a chef.
• 1:00:18
  Speaker 1: You got to have a chef, though.
• 1:00:19
  Speaker 5: So me in London, me and murders with you, we
• 1:00:22
  Speaker 5: in London, what would you tell your chef to make
• 1:00:24
  Speaker 5: us when we there?
• 1:00:26
  Speaker 1: Well, it depends on what you want. Because my chef
• 1:00:30
  Speaker 1: can make a wicked brown stew chicken, or a wicked
• 1:00:33
  Speaker 1: brown stew fish, or a If you want some oxtail,
• 1:00:37
  Speaker 1: you can get that too. If you want some curry goat,
• 1:00:39
  Speaker 1: you can get it too. My chef cook anything. Not
• 1:00:42
  Speaker 1: that I eat anything. But they will cook anything if
• 1:00:47
  Speaker 1: you want it.
• 1:00:48
  Speaker 4: In the morning, I can sell fish.
• 1:00:49
  Speaker 1: Yes, the only thing you can't cook in my pot
• 1:00:51
  Speaker 1: is pork.
• 1:00:52
  Speaker 2: That's right, no pork. Yeah, no pork. I'm with you
• 1:00:54
  Speaker 2: with that.
• 1:00:55
  Speaker 1: I don't care if you're a black man and you're
• 1:00:57
  Speaker 1: saying black men are supposed to eat pork. I don't
• 1:00:59
  Speaker 1: believe in that philosophy. That's stupid. I don't eat pork.
• 1:01:04
  Speaker 2: No pork, man.
• 1:01:04
  Speaker 3: Turkey bacon there.
• 1:01:05
  Speaker 2: He's like, are you going to do turkey bacon there?
• 1:01:07
  Speaker 3: That's not pork.
• 1:01:09
  Speaker 2: I know, I know.
• 1:01:10
  Speaker 1: See, that's what choked me out. The bacon part.
• 1:01:16
  Speaker 2: The bacon part?
• 1:01:17
  Speaker 1: Turkey bacon. Bacon is from pork. That's all I know.
• 1:01:22
  Speaker 2: So you're trying to say, where is this turkey bacon
• 1:01:24
  Speaker 2: coming from? That's what I'm talking about.
• 1:01:26
  Speaker 6: Because I only do turkey bacon, but you're trying to
• 1:01:28
  Speaker 6: say even that's bullshit?
• 1:01:29
  Speaker 2: You're trying to say that's bullshit, Vini?
• 1:01:31
  Speaker 1: I'm not trying to say. I'm just saying.
• 1:01:34
  Speaker 6: Where the fuck is the turkey bacon from?
• 1:01:36
  Speaker 1: Where the bacon come from from the turkey?
• 1:01:38
  Speaker 3: He's making sense, though. Turkey bacon. This is what I'm saying.
• 1:01:43
  Speaker 1: I'm not going to do that. Because somebody, I ain't
• 1:01:47
  Speaker 1: tell somebody that I eat turkey bacon. Somebody's going to
• 1:01:49
  Speaker 1: take the turkey off and leave the bacon. He said,
• 1:01:53
  Speaker 1: you say you eat bacon. That's nothing.
• 1:01:57
  Speaker 2: We got to get to the bottom of that, man.
• 1:02:00
  Speaker 1: See, we're going to find out where the bacon come from.
• 1:02:03
  Speaker 1: Why isn't that turkey slice?
• 1:02:06
  Speaker 2: You ain't lying. Something ain't right over there.
• 1:02:08
  Speaker 4: You know what I want to ask both of y'all?
• 1:02:09
  Speaker 5: What pisses y'all off the most when you go to
• 1:02:11
  Speaker 5: the Jamaican food store? Because I'm going to tell you
• 1:02:13
  Speaker 5: what gets me pissed. There's never no festival.
• 1:02:17
  Speaker 1: That's true.
• 1:02:18
  Speaker 2: You know what? You right.
• 1:02:19
  Speaker 3: Why the fuck is there never no festival?
• 1:02:20
  Speaker 1: No, because you go to the wrong restaurant.
• 1:02:22
  Speaker 2: You at the wrong spot?
• 1:02:23
  Speaker 1: You can't go to the wrong spot.
• 1:02:25
  Speaker 3: You can't get no festival?
• 1:02:26
  Speaker 1: Man, you can't go to the wrong spot and get festival.
• 1:02:29
  Speaker 1: You got to go to the place where they sell
• 1:02:30
  Speaker 1: fried fish. and bombings, then you get festival. You can't
• 1:02:35
  Speaker 1: go to the place that they make rice and peas
• 1:02:38
  Speaker 1: and everything else, you're going to get vegetable, or you're
• 1:02:41
  Speaker 1: going to get some plantains. Boy, you ain't going to
• 1:02:43
  Speaker 1: get no? Thank you. You got to go to the
• 1:02:48
  Speaker 1: right place.
• 1:02:48
  Speaker 4: That's the only thing that get me tight, bro.
• 1:02:50
  Speaker 6: It was a song, right, when I was in third grade,
• 1:02:52
  Speaker 6: a kid used to sing a lot. I was telling
• 1:02:54
  Speaker 6: my man that really I fell in love with Jamaican music.
• 1:02:56
  Speaker 6: Something like, police can't kick Police can't come. Police can't
• 1:03:01
  Speaker 6: throw you in the lockup. I'm going to tell you
• 1:03:04
  Speaker 6: what police can't do. Let's see a foreign house here,
• 1:03:08
  Speaker 6: original Jamaican.
• 1:03:09
  Speaker 1: I am Constable Brown. They call me boy blue.
• 1:03:12
  Speaker 6: Yes, I make a warrant to arrest you.
• 1:03:15
  Speaker 2: Make a black and.
• 1:03:16
  Speaker 3: Blue, yes.
• 1:03:18
  Speaker 1: I got sure what police can't do. And that song
• 1:03:22
  Speaker 1: is a counteraction. What do you mean? Yeah, it was
• 1:03:25
  Speaker 1: a counteraction for, what is his name again? Echo Minor song.
• 1:03:30
  Speaker 1: What the hell the police can do? What the hell
• 1:03:33
  Speaker 1: the police can do? Get after me, feed me, close you.
• 1:03:37
  Speaker 1: Give you everything you have to comfort you. It was
• 1:03:41
  Speaker 1: a counteraction to that.
• 1:03:43
  Speaker 3: Oh, okay, got you.
• 1:03:44
  Speaker 1: Because he turned on me until it was black and blue,
• 1:03:46
  Speaker 1: and she called the police. Oh, okay, that was a
• 1:03:49
  Speaker 1: real story. Yes, and I said, what the hell the
• 1:03:50
  Speaker 1: police can do? So I love when they come back
• 1:03:53
  Speaker 1: and say, I'll go show what police can do. Police
• 1:03:55
  Speaker 1: can do. I am concerned, bro, they've called me boy, bro.
• 1:03:58
  Speaker 1: I have you, I want to arrest you.
• 1:04:01
  Speaker 2: To arrest you.
• 1:04:02
  Speaker 1: Yes, yes.
• 1:04:02
  Speaker 6: Police can kick, police can cough, police can throw you.
• 1:04:06
  Speaker 2: In the locker.
• 1:04:06
  Speaker 1: You know the wickedest thing? I'm just remembering. You see
• 1:04:09
  Speaker 1: that rhythm? The same rhythm that I do. That's the
• 1:04:17
  Speaker 1: first time that rhythm making now. I'm just remembering it.
• 1:04:21
  Speaker 1: I am concept. The dude got the whole.
• 1:04:23
  Speaker 2: Yeah, that's.
• 1:04:24
  Speaker 1: Okay.
• 1:04:35
  Speaker 2: He said, I think I done thiefed a man's song, man.
• 1:04:40
  Speaker 1: I'm just remembering that. That's where the bass line come from.
• 1:04:45
  Speaker 2: Look at that.
• 1:04:45
  Speaker 5: And that's why I say, that's why it's so dope
• 1:04:48
  Speaker 5: because it's like, it's a part of rap culture.
• 1:04:51
  Speaker 3: Like, rest in peace Biggie.
• 1:04:52
  Speaker 5: They had, you know, Jamaican music in their songs.
• 1:04:54
  Speaker 2: It's definitely part of the culture.
• 1:04:56
  Speaker 5: Snoop, when you have a Snoop album in his songs.
• 1:04:59
  Speaker 5: And then when you really think about it, like, Like,
• 1:05:01
  Speaker 5: songs like Rikers Island. Before I even knew what Rikers
• 1:05:05
  Speaker 5: Island was, I was hearing, you know what I'm saying,
• 1:05:08
  Speaker 5: Rikers Island.
• 1:05:09
  Speaker 4: Until I went to Rikers.
• 1:05:10
  Speaker 3: I knew what it was, you know what I'm saying?
• 1:05:14
  Speaker 3: I wasn't on Rikers when that came out.
• 1:05:17
  Speaker 4: But it's a part of the, you know, the culture.
• 1:05:19
  Speaker 3: The culture, not for real. The culture is good.
• 1:05:22
  Speaker 2: Real talk.
• 1:05:23
  Speaker 1: That's crazy.
• 1:05:24
  Speaker 3: That's what I'm.
• 1:05:27
  Speaker 1: Saying.
• 1:05:30
  Speaker 3: That's crazy.
• 1:05:32
  Speaker 1: Yes, he was in a party.
• 1:05:34
  Speaker 4: And then later on, you think about that when you
• 1:05:37
  Speaker 4: hit Rikers.
• 1:05:38
  Speaker 1: If you don't know, now you know, nigga.
• 1:05:41
  Speaker 2: Yeah. Real talk.
• 1:05:45
  Speaker 1: That's music. That's music for you. And, you know, nothing
• 1:05:49
  Speaker 1: going to change. Nothing going to change the vibe of
• 1:05:51
  Speaker 1: the music. The duration music. What I don't like in
• 1:05:56
  Speaker 1: music now is clashes. Because the clashes is phone in
• 1:06:02
  Speaker 1: the head. These brothers are clashing in the phone.
• 1:06:08
  Speaker 2: There's no more link-ups.
• 1:06:10
  Speaker 1: There's no more face-to-face.
• 1:06:11
  Speaker 2: Yeah, there's no more in-person. Everything is B.A. beefing over
• 1:06:13
  Speaker 2: the phone. Beefing over the phone, yeah.
• 1:06:15
  Speaker 1: I know what you mean.
• 1:06:15
  Speaker 2: I know what you mean.
• 1:06:17
  Speaker 1: A man singing a song, an X-Men singer song. Man
• 1:06:19
  Speaker 1: singer say, the new song will come out. They're a
• 1:06:22
  Speaker 1: stupid clash. Because if you got five songs out together,
• 1:06:26
  Speaker 1: you're supposed to meet on the stage together. Get together
• 1:06:30
  Speaker 1: and keep a show.
• 1:06:31
  Speaker 2: Yes.
• 1:06:32
  Speaker 1: Because people is listening to those songs.
• 1:06:34
  Speaker 2: Yes.
• 1:06:34
  Speaker 1: And they want to see you clashing. Because these are
• 1:06:36
  Speaker 1: some artists that people are listening to and they love.
• 1:06:41
  Speaker 1: You got to make a move, dog. Keep the culture alive.
• 1:06:47
  Speaker 3: Yes.
• 1:06:47
  Speaker 2: Definitely.
• 1:06:48
  Speaker 1: Stop killing it.
• 1:06:49
  Speaker 2: Definitely, man.
• 1:06:50
  Speaker 1: Because you're going to die before the culture. Because the
• 1:06:52
  Speaker 1: culture is bigger than you are.
• 1:06:54
  Speaker 2: Crazy.
• 1:06:55
  Speaker 3: Yeah.
• 1:06:55
  Speaker 1: So, please, keep it alive. So, why you were singing
• 1:06:58
  Speaker 1: a song about him and he's singing a song about you.
• 1:07:05
  Speaker 1: I still not kick him nine feet.
• 1:07:07
  Speaker 6: That don't make much sense.
• 1:07:12
  Speaker 1: That don't make much sense to me. That's why, you see,
• 1:07:16
  Speaker 1: I just stop because people want to sing song and
• 1:07:19
  Speaker 1: sing song with me and sing song and sing song
• 1:07:21
  Speaker 1: with me. I don't play them games. I will come
• 1:07:23
  Speaker 1: and look for you where you at. I will drive
• 1:07:27
  Speaker 1: up on you. I will walk up on you. And
• 1:07:30
  Speaker 1: I will ride up on you. Because I need to
• 1:07:33
  Speaker 1: see you face to face to make you know that
• 1:07:37
  Speaker 1: I deal with lyrics to lyrics, microphone to microphone, stage
• 1:07:41
  Speaker 1: to stage. And this is what I'm talking about. It's
• 1:07:44
  Speaker 1: not about badness or who's badder than who. Because music
• 1:07:47
  Speaker 1: is not about badness and who can kill who and
• 1:07:49
  Speaker 1: who can shoot who. It's all about lyrics to lyrics,
• 1:07:54
  Speaker 1: mic to mic. And I believe in that. And that's
• 1:07:58
  Speaker 1: where I'm coming from. And I don't believe that you
• 1:08:01
  Speaker 1: should change the whole entire culture because You can. Don't
• 1:08:07
  Speaker 1: do it. Please.
• 1:08:09
  Speaker 2: Stop.
• 1:08:11
  Speaker 5: Y'all heard that from the living legend Beanie Man. It's
• 1:08:15
  Speaker 5: the Real Report Show. Make sure y'all like, share, and subscribe.
• 1:08:19
  Speaker 5: Nothing but legends coming up here.
• 1:08:21
  Speaker 4: Make some noise, y'all.
• 1:08:21
  Speaker 2: You know the vibes.
• 1:08:23
  Speaker 1: Legend.
• 1:08:24
  Speaker 2: Legend.
• 1:08:24
  Speaker 3: Hold up.
• 1:08:27
  Speaker 2: We got gifts. We got some gifts for the legend.
• 1:08:29
  Speaker 3: Hold up.
• 1:08:30
  Speaker 1: Okay.
• 1:08:30
  Speaker 4: Shout out to the Unit Dispo.
• 1:08:32
  Speaker 2: We got a dispensary, though. This is straight from the
• 1:08:34
  Speaker 2: Unit Dispo.
• 1:08:35
  Speaker 4: That's a gift.
• 1:08:37
  Speaker 2: Definitely, man. Yeah, the Unit Dispo. 24601 Jericho Turnpike.
• 1:08:44
  Speaker 4: The Unit Dispo.
• 1:08:45
  Speaker 2: We come with some gifts. Yes, sir.
• 1:08:48
  Speaker 3: Yes, sir.
• 1:08:49
  Speaker 4: Thanks for being on the show, man. Make some noise, y'all.
• 1:08:54
  Speaker 2: Hold up, y'all. We got an album out right now
• 1:08:56
  Speaker 2: that we need y'all to go get.
• 1:08:58
  Speaker 1: Eminence.
• 1:08:58
  Speaker 2: Go get it now.
• 1:09:00
  Speaker 6: Now.
• 1:09:00
  Speaker 2: Go get that now.
• 1:09:03
  Speaker 3: Legend.
• 1:09:03
  Speaker 2: Dancehall Legend.
• 1:09:07
  Speaker 6: And we need the reggaeton artists to start paying some
• 1:09:11
  Speaker 6: homage to the reggaeton artists.
• 1:09:12
  Speaker 2: Let's go, y'all. Let's bring it all back. Let's bring
• 1:09:14
  Speaker 2: it together, baby. Let's bring it together. Woo!