Latest / The Bootleg Kev Podcast / #573 - Jermaine Dupri On Magic City, Dr.Dre Beef, Writing Usher's 'Confessions' & The Emancipation of Mimi

Transcript

#573 - Jermaine Dupri On Magic City, Dr.Dre Beef, Writing Usher's 'Confessions' & The Emancipation of Mimi · The Bootleg Kev Podcast

• 0:00
  Speaker 1: All right, man, boo black Cat podcast, bout black Cap show.
• 0:02
  Speaker 1: We are here with the legend one of the greatest
• 0:05
  Speaker 1: of all time. I was just doing a podcast earlier
• 0:07
  Speaker 1: today and we were talking about the greatest producers of
• 0:09
  Speaker 1: all time, and I had to say, you man, you
• 0:13
  Speaker 1: want them dog you Yeah. JD's here, Jermaine Duprix. What's
• 0:18
  Speaker 1: going on, man? You got this Magic City documentary? Yeah?
• 0:21
  Speaker 2: Yeah, So the Magic City documentary drops August fifteenth on Stars,
• 0:25
  Speaker 2: and we was doing the Magic City documentary, I had
• 0:30
  Speaker 2: on music along with it. Then I get a new
• 0:32
  Speaker 2: deal Social Death at Hive, and I decided to do soundtrack,
• 0:37
  Speaker 2: and it missed me trying to do the soundtrack Stars,
• 0:41
  Speaker 2: just like we won't really do soundtracks for documentaries. And
• 0:45
  Speaker 2: I had already got my wheels roll, and so I
• 0:47
  Speaker 2: was just like, you know what, I'm gonna just make
• 0:48
  Speaker 2: this a JEMAINEI pre album inspired by the Magic City documentary.
• 0:52
  Speaker 2: So on August fifteenth, I'm gonna drop a new JERMAINI
• 0:56
  Speaker 2: pre album that's inspired by the documentary with a lot
• 0:59
  Speaker 2: of you know, with all Atlanta artists.
• 1:02
  Speaker 1: Life in fourteen seventy two was ninety eight ninety nine, Yes,
• 1:07
  Speaker 1: ninety eight. Now is that? I mean, are you rapping
• 1:13
  Speaker 1: back in? Are you are? You're producing and you're just
• 1:15
  Speaker 1: putting people together?
• 1:15
  Speaker 2: Yeah, I'm just producing, okay, okay, putting records together. I
• 1:19
  Speaker 2: mean I want to make sure that, like one, I
• 1:21
  Speaker 2: never did this before. I never produced half of the
• 1:23
  Speaker 2: artist that's on the album, right, And then like you know,
• 1:27
  Speaker 2: I had a backdrop like this, so so conceptually it's
• 1:30
  Speaker 2: just you know, one GERMAINI pre album has Life in
• 1:34
  Speaker 2: fourteen seventy two has a concept instructions had a concept
• 1:36
  Speaker 2: just when it's the Magic City, you know right?
• 1:40
  Speaker 1: Yeah? No, I mean both both conceptual for sure. Yeah.
• 1:43
  Speaker 1: Do you ever go back and visit that.
• 1:45
  Speaker 3: Album Life in fourteen seventy two.
• 1:48
  Speaker 1: I bought that motherfucker from the warehouse.
• 1:49
  Speaker 3: Yeah.
• 1:50
  Speaker 2: I was working with my man Books on shot of
• 1:53
  Speaker 2: the books Books from Chicago.
• 1:54
  Speaker 1: Yeah, that's my dog. I see him almost every day
• 1:57
  Speaker 1: in Burbank run say.
• 2:00
  Speaker 3: So Books Books, you know me and Books.
• 2:02
  Speaker 2: Books helped me a couple of songs on this album,
• 2:06
  Speaker 2: and we was going through samples and he sent me
• 2:08
  Speaker 2: the sample of of me Bratt and Crazy Bomb and
• 2:13
  Speaker 2: he was like, man, it's time for you to bring
• 2:15
  Speaker 2: this back and I'm just like, bring it back and
• 2:18
  Speaker 2: he's like, what made you sample that? And for him,
• 2:21
  Speaker 2: you know books, he's a sample for Sanatic right now.
• 2:24
  Speaker 2: For him to say ask me about a sample, it
• 2:29
  Speaker 2: just you know, that's the only time we talked about
• 2:30
  Speaker 2: it was crazy because I wouldn't even like, I was
• 2:33
  Speaker 2: just looking for records that I just you know, I
• 2:34
  Speaker 2: wouldn't even I don't know what I was doing. I
• 2:37
  Speaker 2: just was trying to find stuff that I thought sounded good, right,
• 2:40
  Speaker 2: But to see that they resonate and he brought it
• 2:42
  Speaker 2: back to twenty twenty five, They're like, yo, you should
• 2:44
  Speaker 2: we should make a record off this again.
• 2:46
  Speaker 1: It's crazy, That's what That's probably my favorite, Like Mariah
• 2:50
  Speaker 1: hip hop song was the Sweetheart record. Yeah, that record
• 2:53
  Speaker 1: was crazy, Yo, So who were you? I know we
• 2:57
  Speaker 1: talked a little bit about it that BT weekend. But
• 3:00
  Speaker 1: it's the goal with this album to try to bring
• 3:04
  Speaker 1: two generations because there's a lot of people who, strangely,
• 3:07
  Speaker 1: you haven't worked with that. I think a lot of
• 3:09
  Speaker 1: people would have expected you to already have worked with.
• 3:11
  Speaker 3: Everybody on this album.
• 3:13
  Speaker 2: For the most part, I haven't worked with I don't
• 3:14
  Speaker 2: have records with Quavo in my discography t I change chains,
• 3:19
  Speaker 2: trow so, I mean se low.
• 3:24
  Speaker 3: Man, you name it, a big boy kill. I don't
• 3:28
  Speaker 3: have I don't have records.
• 3:29
  Speaker 1: That's so crazy.
• 3:30
  Speaker 3: Yeah, yeah, I don't have records with them.
• 3:32
  Speaker 1: Was like, was that because you know, in the Soco
• 3:35
  Speaker 1: Deaf Days, you guys were just like so because you
• 3:39
  Speaker 1: had you had your crew, right, obviously you're working with Usher,
• 3:42
  Speaker 1: you working with Mariyah later on, but the Soco Deaf Days,
• 3:46
  Speaker 1: I feel like, you know, you were like so locked
• 3:49
  Speaker 1: in on developing the brat, developing bow Wow. That was it?
• 3:52
  Speaker 1: Like at that time there was there's so many different
• 3:54
  Speaker 1: movements happening in Atlanta at the same time.
• 3:57
  Speaker 2: No, I think it's just like, you know, one, I'm
• 3:59
  Speaker 2: not producer that like be trying to get on everybody's albums.
• 4:03
  Speaker 2: I always try to produce my own artists, And I
• 4:05
  Speaker 2: think that's what really, that's really how it happens. Like
• 4:08
  Speaker 2: a lot of producers they always be waiting on Who's who,
• 4:11
  Speaker 2: you know. I mean, I used to have this list
• 4:13
  Speaker 2: called Who's Looking lists, and producers used to be like, oh,
• 4:16
  Speaker 2: scramble and try to get on Nick's albums or whatever.
• 4:18
  Speaker 2: I've never been I never was doing that. I always,
• 4:22
  Speaker 2: like you said, I was trying to find my own artists.
• 4:24
  Speaker 2: So and I always felt like, you know, the producers
• 4:28
  Speaker 2: in Atlanta, I feel like they are good and the
• 4:30
  Speaker 2: artists is like they artists really go with them.
• 4:33
  Speaker 3: So like artists that was signed to the Dungeon family.
• 4:36
  Speaker 1: Yeah, yeah, organized noise, It all made sense.
• 4:38
  Speaker 2: I never thought that them guys didn't need me, you
• 4:41
  Speaker 2: know what I'm saying. That's how I can I addwer
• 4:43
  Speaker 2: this this sy y'all need me. And I feel like
• 4:45
  Speaker 2: when you go into a situation like that where it's
• 4:50
  Speaker 2: already some people that really can do it, you you're
• 4:53
  Speaker 2: making your job that much harder because like the world
• 4:56
  Speaker 2: gonna look at it like, why y'all get JD?
• 4:58
  Speaker 3: Y'all need him over?
• 5:00
  Speaker 2: Like that would have made me have to work harder.
• 5:01
  Speaker 2: So I mean, same thing with t I. He had
• 5:05
  Speaker 2: he had his crew, you know what I mean. So
• 5:06
  Speaker 2: it's each person had their own thing. I never was like, hey, hey,
• 5:10
  Speaker 2: I I wasn't doing that. That's I think that's why
• 5:12
  Speaker 2: it happened like that.
• 5:13
  Speaker 1: Yeah, not for sure. Do you feel like because you know,
• 5:19
  Speaker 1: I think two albums that you worked on that are
• 5:22
  Speaker 1: important and it just time pieces too. I mean, obviously,
• 5:25
  Speaker 1: the Mariah anniversary of the emancipation of Me Me just happened.
• 5:29
  Speaker 1: And in Confessions, which one of those albums do you
• 5:33
  Speaker 1: feel like holds like the And it's probably picked between
• 5:38
  Speaker 1: your two kids, But if you had to pick one
• 5:39
  Speaker 1: of those albums that holds the strongest place in your heart,
• 5:42
  Speaker 1: in your legacy, can you pick one of those two?
• 5:48
  Speaker 2: You'll always be my baby? I mean, well, no what
• 5:50
  Speaker 2: I'm sorry mascurpation of movie. And I say that because
• 5:58
  Speaker 2: during the mancurpation of Me Me, I was so hot
• 6:05
  Speaker 2: that I blocked myself from having another number one record
• 6:11
  Speaker 2: like I was I had I had, I had number
• 6:13
  Speaker 2: one and number two and number three on the Hot
• 6:15
  Speaker 2: one hundred for the first time in like I mean
• 6:18
  Speaker 2: records Shake It Off, We Belong Together and and baw
• 6:24
  Speaker 2: Wo and Sierra Crazy right, so so so that like
• 6:28
  Speaker 2: that period of time, like I never had that with
• 6:31
  Speaker 2: any other album, you know what I mean? And I
• 6:33
  Speaker 2: and I and and We Belong Together was so big
• 6:37
  Speaker 2: and like you were so big that it kept shaking
• 6:41
  Speaker 2: Off from getting into number one because Shake It Off
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  Speaker 2: could have easily went in there, but I was blocking
• 6:46
  Speaker 2: it with two other records.
• 6:48
  Speaker 1: That's so crazy to think about, like you're like, you're
• 6:50
  Speaker 1: competing against yourself.
• 6:52
  Speaker 2: But I mean, I never you know, I mean I never.
• 6:54
  Speaker 2: I never even thought that I could ever do that,
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  Speaker 2: Like to have number one, number two, and number three
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  Speaker 2: on Billboard.
• 6:59
  Speaker 1: I don't like anybody. Yeah, that's almost like an unfathomable
• 7:02
  Speaker 1: like dream to think of. And you you dreaming having.
• 7:05
  Speaker 3: A number one, yea.
• 7:07
  Speaker 2: To have one, two, and three at the same times crazy.
• 7:09
  Speaker 2: I actually made I've made T shirts. Now you're talking
• 7:11
  Speaker 2: about T shirt. I made a T shirt. I had
• 7:13
  Speaker 2: a hat I called people like y'a need a hat
• 7:15
  Speaker 2: that was funny because I was I was telling Mariah.
• 7:17
  Speaker 3: I went to see Mariah.
• 7:18
  Speaker 2: I think I went to h M the Childs and
• 7:21
  Speaker 2: we had number one, and I had I had a
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  Speaker 2: shirt on that said number one, number two, number three
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  Speaker 2: or something like that, and I had somebody make it
• 7:29
  Speaker 2: tied die like spray painting all that type.
• 7:31
  Speaker 3: I was. I was going crazy because I couldn't believe.
• 7:33
  Speaker 1: It when you produce superstars like that, because we know
• 7:39
  Speaker 1: there's beat makers, we know that there's people who said
• 7:42
  Speaker 1: loops these days, there's there's so many different ways that
• 7:44
  Speaker 1: people can can quote unquote get a producer back, but
• 7:48
  Speaker 1: to like truly executive producer album, to truly be in
• 7:51
  Speaker 1: the studio and guide people, especially people with the reputation
• 7:57
  Speaker 1: of Mariah and Usher. These are legends, right like what
• 8:00
  Speaker 1: what where does your mind? Where did your mind have
• 8:03
  Speaker 1: to be to be in the studio with the Mariah
• 8:05
  Speaker 1: Carey and tell her, yo, you got to sing that
• 8:07
  Speaker 1: again this way? Or you or do you even or
• 8:09
  Speaker 1: does it even get to that point?
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  Speaker 3: Yeah, they're very religives to that blood.
• 8:14
  Speaker 2: I mean, I think I think I know how to
• 8:16
  Speaker 2: not say something that makes them say something, you know
• 8:20
  Speaker 2: what I mean? And I I can't say I learned this,
• 8:23
  Speaker 2: but it happened when I was winning. I went in
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  Speaker 2: studio with Aretha Franklin, and I guess I was so
• 8:29
  Speaker 2: I I won't even say excited. Aretha Franklin, can't you
• 8:32
  Speaker 2: know what I mean? So it's like I wasn't excited.
• 8:34
  Speaker 2: I wasn't so excited. I didn't want to say nothing.
• 8:36
  Speaker 2: I was in the Studioretha Franklin. Then what you can
• 8:39
  Speaker 2: tell Ritha Franklin, like you think she gonna hit.
• 8:41
  Speaker 3: A bad note. Okay, try it out. Maybe let's see
• 8:44
  Speaker 3: maybe that's going.
• 8:45
  Speaker 1: What can I tell you about singing?
• 8:47
  Speaker 3: Yeah?
• 8:47
  Speaker 2: Right, So so she was in there singing and she
• 8:50
  Speaker 2: had did it. She did it past like twice and
• 8:53
  Speaker 2: I ain't never really say nothing. I was like, let's
• 8:54
  Speaker 2: do you want to do I kept saying, you sure
• 8:56
  Speaker 2: you want to do it again? Like sounds good to me?
• 8:59
  Speaker 2: Like she got back on the mic and she's like,
• 9:01
  Speaker 2: listen boy, that's the first time I met her.
• 9:04
  Speaker 3: So she called me.
• 9:05
  Speaker 2: She was like, listen boy, I would have not flown
• 9:07
  Speaker 2: you to Detroit for you to just look at me
• 9:11
  Speaker 2: and listen to me saying she was like, if you're
• 9:13
  Speaker 2: gonna if you're gonna be the producer produced me and I.
• 9:16
  Speaker 3: Was like, oh ship, Like okay, all right.
• 9:21
  Speaker 2: And from that that session, it made me start realizing
• 9:24
  Speaker 2: like how important it was for me to say something
• 9:27
  Speaker 2: and how important it was for me not to say something.
• 9:29
  Speaker 2: So with Mariah, I just throw it in the air
• 9:32
  Speaker 2: sometimes like what we belong together? I kept saying, you know,
• 9:39
  Speaker 2: you know they want you to you know, you know
• 9:40
  Speaker 2: they want you to hit the I know that, damn right.
• 9:43
  Speaker 3: And she's like, I'm gonna do that. When I get
• 9:45
  Speaker 3: back to New York, I'm like, all right, well you know.
• 9:48
  Speaker 2: Right, you know they want you to do that right
• 9:50
  Speaker 2: and not saying nothing, so like hopefully it registered not
• 9:54
  Speaker 2: like don't really like pushing it. So I just learned
• 9:56
  Speaker 2: how to like take my ego out give the artists
• 9:59
  Speaker 2: they wronged. They make sure the artist is most comfortable.
• 10:02
  Speaker 2: That's the thing. If artists is comfortable, they compositily be
• 10:04
  Speaker 2: in the studio. They'll give me exactly what I want.
• 10:06
  Speaker 1: The results will be there. Can you talk to me
• 10:10
  Speaker 1: about One of my favorite songs on Confessions was Throwback,
• 10:16
  Speaker 1: which Just Blaze you brought like the just just Blaze
• 10:21
  Speaker 1: is on it.
• 10:21
  Speaker 3: He did the beata.
• 10:23
  Speaker 1: What was that like? Was that like a session where
• 10:26
  Speaker 1: he's there because he obviously had vocals on the song,
• 10:29
  Speaker 1: Like now, I.
• 10:29
  Speaker 2: Wasn't even in that session. That's that's what That's what
• 10:32
  Speaker 2: Jada and Just Blaze I think. I mean, you know
• 10:35
  Speaker 2: that the Confessions album was a collective of like the
• 10:40
  Speaker 2: ANA at the time was Mark Pitt's.
• 10:43
  Speaker 1: Pitts shout out the Mark Pitts.
• 10:44
  Speaker 3: It was.
• 10:44
  Speaker 2: It was just a good collective of people just pulling
• 10:47
  Speaker 2: their parts and doing what they had to do and
• 10:51
  Speaker 2: that record just you know, I actually think that that
• 10:56
  Speaker 2: song was actually made before I made Confessions, because Ush's
• 11:01
  Speaker 2: album was gonna be called Real Talk, and I think
• 11:03
  Speaker 2: that they talk they say something about that in the
• 11:05
  Speaker 2: beginning of that song.
• 11:06
  Speaker 1: Yeah, yeah, I think. I think I think just Place
• 11:08
  Speaker 1: does say that.
• 11:09
  Speaker 2: Yeah, that was the name of that was gonna be
• 11:11
  Speaker 2: the name of that album. It was gonna be called
• 11:12
  Speaker 2: Real Talk. So yeah, they made that song before I
• 11:15
  Speaker 2: actually made a confession.
• 11:18
  Speaker 1: What do you prefer? Do you prefer the remix or
• 11:20
  Speaker 1: the original of Jagged Edges Let's Get Married?
• 11:28
  Speaker 3: Mmm?
• 11:31
  Speaker 2: I mean, I guess I've learned to prefer the remix,
• 11:34
  Speaker 2: but I really was heavy on the original. But I
• 11:38
  Speaker 2: really started realizing people some people ain't even never heard
• 11:41
  Speaker 2: your original.
• 11:42
  Speaker 1: You know a lot of people haven't heard the originally.
• 11:44
  Speaker 3: Yeah. Yeah, which makes it tough for me when I'm
• 11:46
  Speaker 3: doing remixes.
• 11:46
  Speaker 2: Because that, like, you know, for you to make a
• 11:49
  Speaker 2: remix that's better than the original, or make it where
• 11:52
  Speaker 2: people don't even hear the original, it makes it tough
• 11:56
  Speaker 2: for when people try to come and try to get
• 11:57
  Speaker 2: remixes from you, like they want you to do that
• 11:59
  Speaker 2: same magic and I don't know, you know, I don't
• 12:02
  Speaker 2: Actually I can't put a finger on exactly what was
• 12:06
  Speaker 2: done to make that remix that much.
• 12:08
  Speaker 3: Better because it's the same vocals.
• 12:10
  Speaker 1: As the beat it and it's that that run verse.
• 12:14
  Speaker 3: What I mean, all the elements. But you know, it's
• 12:18
  Speaker 3: just tough.
• 12:18
  Speaker 2: And but by the way, I'm glad that that remix
• 12:21
  Speaker 2: did what it did because it was actually they were
• 12:23
  Speaker 2: mad at me because I did.
• 12:24
  Speaker 3: The Sleeping in My Bed remix for Drew Hill.
• 12:26
  Speaker 2: So they thought that I had gave their competitors a
• 12:28
  Speaker 2: better record than I had ever given them.
• 12:31
  Speaker 3: So you know, to hear you.
• 12:33
  Speaker 2: Talk about let's get married, I feel accomplished and.
• 12:36
  Speaker 1: You and that, and then you can tell them like, see, guys.
• 12:38
  Speaker 2: No, I never said that, but I did say that.
• 12:40
  Speaker 2: That's what I was saying at the beginning. When I
• 12:42
  Speaker 2: say I'm like, ahha, I did it, That's what I.
• 12:46
  Speaker 3: Pretty much meant.
• 12:47
  Speaker 1: That's that's funny because you had to. I mean, back then,
• 12:50
  Speaker 1: I feel like all the groups probably had like a
• 12:52
  Speaker 1: light rivalry going. It was like one twelve Hill.
• 12:55
  Speaker 3: Yeah, yeah, so I ain't get the chance. I ain't.
• 12:58
  Speaker 2: Well, I did work with one twelve like on their
• 13:00
  Speaker 2: third album, but in the midst of it, oh, I
• 13:02
  Speaker 2: didn't get a chance to work with them. And that's
• 13:04
  Speaker 2: reason why I feel like because it was so much
• 13:06
  Speaker 2: of the battle.
• 13:08
  Speaker 1: Yeah, damn, I forgot you that they sleeping in my
• 13:11
  Speaker 1: speaking of man, I feel like remixes are just kind
• 13:14
  Speaker 1: of like I feel like it's a thing in the
• 13:16
  Speaker 1: past and true I mean true remixes, Like people will
• 13:18
  Speaker 1: get new verses, but when you turn on a remix
• 13:21
  Speaker 1: and it's different, the beats different, it feels like a
• 13:23
  Speaker 1: new song.
• 13:24
  Speaker 2: Yeah, but you know what that is is But one
• 13:26
  Speaker 2: is because a lot of people don't listen to radio.
• 13:29
  Speaker 3: A lot of people don't understand.
• 13:33
  Speaker 2: Shot value in music period, right, People just and they
• 13:38
  Speaker 2: think that remixes, like you know, just like I said,
• 13:40
  Speaker 2: they think that you and they don't people not telling
• 13:43
  Speaker 2: them what the value of a remix actually does. The
• 13:45
  Speaker 2: remix actually used to be for you to get records
• 13:49
  Speaker 2: in spaces that they want. The original couldn't get you in.
• 13:52
  Speaker 2: So if you take the if you take Drew Hill
• 13:54
  Speaker 2: and Jagged Edge, both.
• 13:55
  Speaker 1: Slow versions, they might get played like Urban Ac yeah RC.
• 13:59
  Speaker 3: Stage yeah yeah.
• 14:00
  Speaker 2: But when I did, like says the lessons a perfect example,
• 14:04
  Speaker 2: when I did Let's Get Married remixed, Jagged Edge was
• 14:07
  Speaker 2: never on Power on those six in La. Never, not
• 14:10
  Speaker 2: one time. When that remix came out, Jagged Edge became
• 14:14
  Speaker 2: a Power on th six main stage.
• 14:17
  Speaker 1: And that song still is on the West coast. That
• 14:20
  Speaker 1: is a huge gold record.
• 14:22
  Speaker 2: I actually feel like that remix actually kind of destroyed
• 14:25
  Speaker 2: the Jagged Edge sound mentally, because from there Jagged started
• 14:32
  Speaker 2: seeing a different success right because they got on bigger
• 14:35
  Speaker 2: radio stations, Power on those six KML these stations and
• 14:38
  Speaker 2: they start calling them to do radio shows and they
• 14:40
  Speaker 2: start doing this so.
• 14:41
  Speaker 3: Everything out after that.
• 14:42
  Speaker 2: They was like, we want to make up tempo records
• 14:44
  Speaker 2: and I'm like what, So then I had to go
• 14:46
  Speaker 2: back in the studio and made so Then after that
• 14:50
  Speaker 2: I came right back with the party at with Nelly.
• 14:52
  Speaker 2: And that was the reason that we did that was
• 14:54
  Speaker 2: because he was trying to follow Let's.
• 14:55
  Speaker 1: Get like, yeah, we need some more of this, we
• 14:57
  Speaker 1: gotta come. Yeah where the party at? Man crazy. It's
• 15:03
  Speaker 1: funny too, because you know, I just saw that Jay
• 15:06
  Speaker 1: was they were in La doing press, and you know,
• 15:11
  Speaker 1: it's the one thing that kind of sucks about today's
• 15:14
  Speaker 1: music landscape, is it feels like groups are either they're
• 15:18
  Speaker 1: just dead or they're just they're just not as common
• 15:20
  Speaker 1: because I mean, people don't want to split up the bread,
• 15:23
  Speaker 1: and the ain't as much bread as there used to be.
• 15:25
  Speaker 3: Like people just don't kick it the same, you know
• 15:27
  Speaker 3: what I mean.
• 15:27
  Speaker 2: Like groups used to be like childhood child school friends,
• 15:32
  Speaker 2: you know what I mean, that did talent shows and
• 15:34
  Speaker 2: they had went through a lot of things before they
• 15:36
  Speaker 2: ever got to the industry.
• 15:38
  Speaker 3: So what the industry could break them?
• 15:40
  Speaker 2: Now if a group was to come together, they just
• 15:42
  Speaker 2: gonna come together based on them watching something on TikTok.
• 15:45
  Speaker 2: They don't have no outside workings or things that they're
• 15:48
  Speaker 2: going through. So I think that that's where, you know,
• 15:51
  Speaker 2: that's where it's at a little bit. It's harder because
• 15:53
  Speaker 2: kids ain't really like outside like that, just hanging outside
• 15:56
  Speaker 2: kicking it.
• 15:57
  Speaker 1: What you're you know. One of the uh vintage sounding
• 16:02
  Speaker 1: R and B albums that I loved recently was the
• 16:04
  Speaker 1: album you did with Division. I felt like you brought
• 16:09
  Speaker 1: a sound that has been missing back and now you're
• 16:14
  Speaker 1: working with them officially because they left Ovo and now
• 16:18
  Speaker 1: they're with you. Shouts to Division, Uh great, great, great, dudes,
• 16:24
  Speaker 1: Man what what what is like what inspires you to
• 16:27
  Speaker 1: be like, all right, because you've broken so many artists.
• 16:30
  Speaker 1: I mean, as an executive, you're putting together a whole
• 16:33
  Speaker 1: new album, you gotta documentary coming out, But what is
• 16:36
  Speaker 1: it about those guys in particular that inspired you to
• 16:39
  Speaker 1: be like, yeah, no, like I want to do this again.
• 16:42
  Speaker 1: I want to I want to work with you officially.
• 16:43
  Speaker 2: Because they want they want to be responsible for putting
• 16:48
  Speaker 2: R and B music back in a space that they
• 16:50
  Speaker 2: felt like R and.
• 16:51
  Speaker 3: B music has removed been removed from. And I.
• 16:55
  Speaker 2: Believe in that spirit, like, if you know it, the
• 16:59
  Speaker 2: only way it's gonna get back is by people that
• 17:01
  Speaker 2: want to be that want to put it back in
• 17:03
  Speaker 2: that space. They ain't gonna get back by person just
• 17:04
  Speaker 2: saying I make R and B music. You gotta want
• 17:07
  Speaker 2: to take that responsibility. You gotta want to do certain songs,
• 17:09
  Speaker 2: you gotta want to do certain things that probably don't
• 17:12
  Speaker 2: go with the normal what's happening. So I'm into that,
• 17:17
  Speaker 2: you know what I mean. It's just because I've made
• 17:19
  Speaker 2: such big R and B records, I just feel like
• 17:21
  Speaker 2: it's part of my duty to, you know, at least
• 17:24
  Speaker 2: acknowledge those that want to do that.
• 17:26
  Speaker 1: Yeah, for sure. Talk to me because you were a
• 17:30
  Speaker 1: part of two of the biggest I mean the two
• 17:33
  Speaker 1: biggest I would say child hip hop successes ever, bow
• 17:39
  Speaker 1: Wow and Criss Cross. What were the difference between those
• 17:42
  Speaker 1: two situations Because Chriss Cross they changed fashion for real
• 17:46
  Speaker 1: for a sec like it was like kids was really
• 17:48
  Speaker 1: rocking clothes backwards and shit.
• 17:49
  Speaker 3: Yeah.
• 17:50
  Speaker 1: But then there's like bow Wow's Mister one or sixth
• 17:52
  Speaker 1: in Park and you know, has a whole other like
• 17:55
  Speaker 1: level of like stardom, like Mike movies all this shit.
• 17:58
  Speaker 1: Like what was what was kind of like those two
• 18:00
  Speaker 1: individual experiences.
• 18:01
  Speaker 2: Well, Crisscross weren't actually musicians. You know, I found these
• 18:04
  Speaker 2: kids and they was just kids. I actually turned them
• 18:08
  Speaker 2: into rappers. They weren't rapping before I met them. They
• 18:11
  Speaker 2: didn't never make a demo, they never wanted to be rappers.
• 18:15
  Speaker 2: Bow Wow was an actual rapper. He that wanted to
• 18:18
  Speaker 2: be rapper. He was talking, you know, he's he's the
• 18:23
  Speaker 2: kid on Snoop Dogg album and say my name is
• 18:27
  Speaker 2: Snoop hi Yeah, yeah, yeah, that's that's bow Wow. And
• 18:31
  Speaker 2: he was six years old on the Snoop Dogg album.
• 18:34
  Speaker 2: So he's been and I'm a motherfucking gangster. He's been,
• 18:39
  Speaker 2: you know what I mean, He's been in that space
• 18:41
  Speaker 2: since he was six years old, so you know, he
• 18:44
  Speaker 2: actually was more or less like a hip hop kid,
• 18:48
  Speaker 2: and Chris Cross was just like they was made to
• 18:50
  Speaker 2: be hip hop kids who actually became real, real hip
• 18:52
  Speaker 2: hop kids.
• 18:53
  Speaker 3: But that wasn't the bloodline that they came from.
• 18:55
  Speaker 1: That makes sense. That makes sense. Talk to me about
• 18:58
  Speaker 1: the time. You know, I vividly remember there's this time
• 19:01
  Speaker 1: where you and doctor Dre have this back and forth.
• 19:05
  Speaker 3: Yeah, it wasn't even know back and forth. I think
• 19:06
  Speaker 3: it was like one time.
• 19:07
  Speaker 1: Well, yeah, I want to say, because then Eminem gets
• 19:10
  Speaker 1: in on it, everybody gets in on that was I
• 19:12
  Speaker 1: want to say it was on Obi Trice's album. Am
• 19:14
  Speaker 1: I right wrong?
• 19:15
  Speaker 3: I think it was.
• 19:17
  Speaker 2: It might have been a Obi Trice's album, but it
• 19:18
  Speaker 2: was also Ono mixtapes. Yeah, I mean everybody was saying something.
• 19:22
  Speaker 1: But everybody was saying something. It felt like a lot
• 19:24
  Speaker 1: of people were like just like piling on the JD.
• 19:27
  Speaker 1: You know what I'm saying, what what for you? Like?
• 19:30
  Speaker 1: Did you did you? And Dre ever? And like how
• 19:32
  Speaker 1: did the hatchet get buried in that situation.
• 19:35
  Speaker 2: Because I mean, I always respect Dre, you know what
• 19:37
  Speaker 2: I mean? And here I think that, you know, I
• 19:41
  Speaker 2: think Doctor Dre's hip hop, you know what I mean?
• 19:43
  Speaker 2: And hip hop is is defend your your turf, regardless
• 19:48
  Speaker 2: of how you think.
• 19:49
  Speaker 3: Somebody feel about you or whatever. It is. Same thing
• 19:51
  Speaker 3: with me.
• 19:51
  Speaker 2: I hated it because I like Doctor Dre so much
• 19:54
  Speaker 2: like Doctor Dre's the greatest hit. It started with a
• 19:56
  Speaker 2: magazine article, right, It started with a magazine article me
• 19:59
  Speaker 2: just saying, like defending myself.
• 20:01
  Speaker 3: Same thing.
• 20:02
  Speaker 2: Like it was, like, so if we put you in
• 20:04
  Speaker 2: Doctor Dre in separate rooms, who gonna come out with
• 20:06
  Speaker 2: a song first?
• 20:07
  Speaker 1: Me?
• 20:08
  Speaker 3: I'm gonna come out with a full song.
• 20:10
  Speaker 2: That's what I do, right, And you know, Drey didn't
• 20:15
  Speaker 2: like that, and like that, I said that I'm not this.
• 20:18
  Speaker 2: That's not a this, by the way, It's just I
• 20:19
  Speaker 2: guess what I feel like, you know. And as time
• 20:22
  Speaker 2: went on, I think it's crazy because a lot of
• 20:25
  Speaker 2: things I say, it be stuff that people have not
• 20:28
  Speaker 2: started to pay attention to. Right, People weren't paying attention
• 20:33
  Speaker 2: to Snoop writing Doctor Dre raps or eminem writing Doctor
• 20:37
  Speaker 2: Dre raps.
• 20:38
  Speaker 3: So somebody else writing Doctor Dre.
• 20:39
  Speaker 2: People weren't paying no attention to peoples, just like glorifying what
• 20:43
  Speaker 2: they thought the person was. And I was trying to
• 20:45
  Speaker 2: break this down to people back then, like, yo, listen,
• 20:48
  Speaker 2: I make beats, I write raps, I write songs. I'm
• 20:53
  Speaker 2: gonna go in there. If you tell me go in
• 20:54
  Speaker 2: there and make a song, I'm gonna write the whole song.
• 20:56
  Speaker 2: Might not be great, right, but I'm gonna finish the
• 20:59
  Speaker 2: whole song. I'm gonna record it too. I'm a single hook.
• 21:01
  Speaker 2: If it was singing hook, I'm gonna scratch someone. Do
• 21:03
  Speaker 2: whatever I gotta do, you know. And I was just
• 21:07
  Speaker 2: trying to let people know how skilled I am.
• 21:11
  Speaker 3: That's all of this. It's you know what I mean.
• 21:12
  Speaker 3: It's not like this.
• 21:13
  Speaker 1: You gotta but take yourself up.
• 21:15
  Speaker 3: Nobody else did nobody want me to big myself up.
• 21:17
  Speaker 3: That's what it was.
• 21:18
  Speaker 2: So then Eminem said, you know, all you could do
• 21:20
  Speaker 2: is make kid rappers and that, and I say this.
• 21:23
  Speaker 2: I said this the other day about this, and like,
• 21:25
  Speaker 2: one of the things that people don't give me credit
• 21:27
  Speaker 2: for is I'm the person who ushered young rappers into
• 21:31
  Speaker 2: the rap game.
• 21:32
  Speaker 3: For sure, it's not really. You know, Chris cross first
• 21:35
  Speaker 3: album sold eight million copies.
• 21:37
  Speaker 2: Bow Wow, Beware a Dog is at four million now crazy?
• 21:44
  Speaker 1: Yeah, No, I mean I think that not only did
• 21:45
  Speaker 1: you you know what you you did that. And that's
• 21:48
  Speaker 1: the thing is you and Dre have so many similarities
• 21:50
  Speaker 1: in terms of your trees.
• 21:53
  Speaker 3: Yeah, but me and Dre we we we we you
• 21:55
  Speaker 3: know what I mean.
• 21:55
  Speaker 2: We had a conversation about it, and I told him
• 21:57
  Speaker 2: like I told him, like, yo, you know, I ain't
• 21:59
  Speaker 2: want to beef with you.
• 22:00
  Speaker 3: I was about no beef. And I've told you know
• 22:02
  Speaker 3: I love him.
• 22:03
  Speaker 2: I love Doctor Dre music, everything he do. We became
• 22:06
  Speaker 2: good friends. He let me have a party in his
• 22:08
  Speaker 2: house one night.
• 22:08
  Speaker 1: Did you and Eminem ever talk?
• 22:10
  Speaker 2: No, we ain't ever talk because I mean, like I said,
• 22:12
  Speaker 2: I think, I don't. I don't think. I think Eminem
• 22:17
  Speaker 2: was just doing what Crewman was supposed to do if
• 22:20
  Speaker 2: it was gonna get ugly. Eminem was the person that
• 22:24
  Speaker 2: was supposed to step up. He was he was the
• 22:26
  Speaker 2: rap god, right, so that's what was supposed to happen.
• 22:28
  Speaker 2: I never really paid no attention to it.
• 22:29
  Speaker 3: I just like, this ain't really nothing you do realize that,
• 22:32
  Speaker 3: like eminem, if I go in the studio with you,
• 22:35
  Speaker 3: I'm gonna make a song before you, like.
• 22:38
  Speaker 1: I feel you know what I'm saying, Like I'm gonna
• 22:41
  Speaker 1: make the beat, I'm gonna I'm gonna do it all.
• 22:43
  Speaker 3: Yeah, that's just how I feel, you know what I mean?
• 22:45
  Speaker 1: Can you talk to me about what it's like man
• 22:47
  Speaker 1: working with you know? Ninety eight ninety nine Hove, this
• 22:51
  Speaker 1: is you know money, ain't the thing is one of
• 22:56
  Speaker 1: the earlier records that I feel like got jay Z
• 22:58
  Speaker 1: real radio play too? What was what was that?
• 23:02
  Speaker 3: Like?
• 23:03
  Speaker 1: Video? Crazy? Racers crazy? But what What's what's jay Z
• 23:06
  Speaker 1: like back then? Like like like what? Because you always
• 23:09
  Speaker 1: hear he was one of the first guys who was
• 23:10
  Speaker 1: writing nothing down.
• 23:11
  Speaker 3: Yeah it was.
• 23:13
  Speaker 2: He didn't write the rap for more than anything on
• 23:15
  Speaker 2: no paper that I saw. I he actually wrote the
• 23:19
  Speaker 2: rap in the car while we was driving back to
• 23:21
  Speaker 2: my house.
• 23:22
  Speaker 3: I ain't even hit the beat. What jay Z does
• 23:24
  Speaker 3: is a little.
• 23:25
  Speaker 2: Bit disturbing for me as a songwriter because I I
• 23:31
  Speaker 2: could do the same thing. Well, I don't write it
• 23:32
  Speaker 2: on paper. I do that now, but I have to
• 23:36
  Speaker 2: voice it and him and Big never I'm setting the
• 23:40
  Speaker 2: studio one night with Big when we was doing My
• 23:43
  Speaker 2: Way album and Biggie was writing a rap for Little Kim,
• 23:48
  Speaker 2: and Biggie had ceas go to Branson.
• 23:51
  Speaker 3: He used to be the spot up in Harlem, and
• 23:54
  Speaker 3: he brought back what's some jaws with some what the
• 23:59
  Speaker 3: what's the jaw called? We gonna call them jaws? Yeah.
• 24:03
  Speaker 2: Yeah, he brought back a jaw full of weed and
• 24:07
  Speaker 2: he told he told, roll up, sees rolled up by
• 24:12
  Speaker 2: ten blunts, right, and he's smoking phillies and so it's
• 24:15
  Speaker 2: all Phi like just for him, just for Big. And
• 24:20
  Speaker 2: he sat there and he smoked at least five blunts
• 24:23
  Speaker 2: in front of me within like twenty minutes by himself
• 24:30
  Speaker 2: Boa and then something ready, and I'm like, what.
• 24:34
  Speaker 3: The fuck you mean? You ready?
• 24:37
  Speaker 2: And but he had to beat playing. Jay Z didn't
• 24:40
  Speaker 2: even hit the beat. We was in the car with
• 24:42
  Speaker 2: the idea. I just told him what the idea was.
• 24:45
  Speaker 2: Big at least was sitting there.
• 24:46
  Speaker 1: With his beat playing beat. He's smoking the beat playing
• 24:49
  Speaker 1: beats playing.
• 24:50
  Speaker 2: So I'm like, okay, that's what I can do. But
• 24:52
  Speaker 2: I still I still have to hear myself say it right.
• 24:57
  Speaker 2: Neither one of these guys is like vocally vocals out loud.
• 25:01
  Speaker 2: The big goes in there and does this one past.
• 25:04
  Speaker 1: One take, one take, and this is a reference for
• 25:06
  Speaker 1: little Kid.
• 25:07
  Speaker 2: Yeah, and I'm like, this is unbelievable. And by the
• 25:11
  Speaker 2: way this is and by I seen Biggie do this before.
• 25:15
  Speaker 2: Jay did it with money and a thing with me.
• 25:16
  Speaker 2: For me, I was just like, I gotta And it's
• 25:20
  Speaker 2: crazy because we as individual people, we all have this
• 25:23
  Speaker 2: same We all know how to do this because we
• 25:26
  Speaker 2: all memorize songs that we like without seeing lyrics facts, you.
• 25:30
  Speaker 3: Know what I mean.
• 25:31
  Speaker 2: So if you like something, you memorize the lyrics. You
• 25:34
  Speaker 2: know what I mean, But you have to be able
• 25:36
  Speaker 2: to like it in your head before you hear it.
• 25:38
  Speaker 2: That's all it is. So I learned. I did exact
• 25:41
  Speaker 2: same thing with Confessions.
• 25:42
  Speaker 3: I wrote the.
• 25:43
  Speaker 2: Song with no paper, driving down third and I saw
• 25:48
  Speaker 2: a Beverly Son in the front of me. And that's
• 25:49
  Speaker 2: why I say that in the song. Like every time
• 25:51
  Speaker 2: I was in LA I was with my ex girlfriend.
• 25:53
  Speaker 2: Every time be case you tell you, hey, I'm not
• 25:55
  Speaker 2: I'm working. No, I was out doing my work thinking
• 25:58
  Speaker 2: about you getting hurt handed hand in the Beverly Center,
• 26:01
  Speaker 2: like man not giving a damn who sees me all
• 26:03
  Speaker 2: of these lines? I wouldn't even wrote it like that
• 26:05
  Speaker 2: if I wouldn't have been in LA.
• 26:07
  Speaker 1: You were in a car and you were just just
• 26:10
  Speaker 1: seeing it, Like I was just looking at what was
• 26:12
  Speaker 1: around me. So when when you're doing that and you're
• 26:16
  Speaker 1: in the car, how do you are you doing voice notes?
• 26:21
  Speaker 3: Not that's what I'm saying. I wasn't. That's what I'm
• 26:22
  Speaker 3: trying to tell you.
• 26:23
  Speaker 2: I wasn't even I did exactly what they was doing.
• 26:25
  Speaker 2: You just have to be coming. You just memorized you
• 26:29
  Speaker 2: saying it in your head.
• 26:30
  Speaker 1: So are you going to the studio? Meet? Like?
• 26:32
  Speaker 3: Are you on the way? I wanted to go to that.
• 26:33
  Speaker 3: I wanted to go.
• 26:34
  Speaker 2: I had left the studio because I had a writer's block,
• 26:37
  Speaker 2: And that's the only reason I got in the car,
• 26:39
  Speaker 2: playing the beats playing. I got in the car, I
• 26:41
  Speaker 2: was like, I can't really come up with nothing. So
• 26:43
  Speaker 2: I start driving down the street on my way to Malibu,
• 26:47
  Speaker 2: and I'm going, like I said, I'm driving and I'm
• 26:49
  Speaker 2: thinking about like I started just starting to think about
• 26:52
  Speaker 2: all kinds of things.
• 26:53
  Speaker 1: There were confessions out in the air.
• 26:55
  Speaker 2: No, okay, I had this conversation with my friend about
• 27:01
  Speaker 2: all Bad and we're talking about like he had a situation,
• 27:04
  Speaker 2: when everything that he was telling me about the situation
• 27:07
  Speaker 2: just sounded completely bad, like you doing all this with
• 27:11
  Speaker 2: the side girl and you got a girl and this
• 27:15
  Speaker 2: is not gonna end. Well, this is gonna be all bad.
• 27:17
  Speaker 2: And that's what I basically start saying that the song
• 27:19
  Speaker 2: was gonna be so. But I also felt like, this
• 27:24
  Speaker 2: is us.
• 27:24
  Speaker 3: Your third album.
• 27:25
  Speaker 2: We gotta find something else to talk about, right, So
• 27:28
  Speaker 2: I'm just looking for I'm just trying to, like I
• 27:30
  Speaker 2: feel like when I was in La too. I'm in
• 27:32
  Speaker 2: La and I'm feeling like this ain't way I write
• 27:34
  Speaker 2: at I need to be in Atlanta. So I'm already
• 27:37
  Speaker 2: feeling like this. I'm in a space right here. I'm
• 27:39
  Speaker 2: uncomfortable and I get writer's block. So I'm just driving
• 27:43
  Speaker 2: and I start trying to say, Okay, well what would
• 27:45
  Speaker 2: Kaisin do?
• 27:47
  Speaker 1: Oh fucking unusual suspects? Man.
• 27:49
  Speaker 2: Yeah, ka started looking around and start like saying like
• 27:54
  Speaker 2: Yellow Tech Bootleg camp was at the house, and then
• 27:58
  Speaker 2: you know what I mean, you just start saying what
• 28:00
  Speaker 2: you see, right, And I was like, let me try this,
• 28:03
  Speaker 2: And that's what I just started doing I just looked
• 28:05
  Speaker 2: at the Beverly Center and I was like, every time
• 28:06
  Speaker 2: I was in La.
• 28:10
  Speaker 1: Confessions, that's crazy. It's funny because as you being the
• 28:16
  Speaker 1: guy who writes the song, and then the narrative that
• 28:19
  Speaker 1: comes out of the song that it's about Usher's relationship
• 28:23
  Speaker 1: with Chili. Is that like, that's it's crazy, right because
• 28:27
  Speaker 1: it's it's it's like one hundred percent.
• 28:29
  Speaker 2: Has nothing to do with people still fully believe that
• 28:32
  Speaker 2: that's the Oh. I got an argument with her about it.
• 28:34
  Speaker 2: She thought I deliberately did this on World about her.
• 28:37
  Speaker 3: I'm like, yo, this don't have nothing to do with you.
• 28:40
  Speaker 1: Ki sated Chili, but don't know why.
• 28:43
  Speaker 3: Like by the way, me saying that, nobody wants to
• 28:45
  Speaker 3: believe it.
• 28:46
  Speaker 2: They all want to believe that the story was about her,
• 28:50
  Speaker 2: and you know, she was a character in my story
• 28:53
  Speaker 2: writing like she was the girl that he was talking
• 28:57
  Speaker 2: to because that was his girlfriend. But the entire story
• 29:00
  Speaker 2: of it was all music video.
• 29:02
  Speaker 1: It didn't help, by the way, Yeah music that was
• 29:04
  Speaker 1: the actress. The actress that was casting was I was.
• 29:07
  Speaker 3: Yeah, that that'll make it a little believable for sure.
• 29:12
  Speaker 1: For you man talk about Magic City uh, you know,
• 29:15
  Speaker 1: shouts to mister Magic shots to you know, it's it's
• 29:18
  Speaker 1: a it's a it's a cultural just milestone and hip
• 29:22
  Speaker 1: hop man. And you know, I think about the careers
• 29:27
  Speaker 1: that have been made out of that place and and
• 29:28
  Speaker 1: just it's you know, so much significance to what it
• 29:32
  Speaker 1: means in a certain era of hip hop and just
• 29:35
  Speaker 1: Atlanta in general. Why is it? Why do you think
• 29:38
  Speaker 1: it's what's so important to help tell that story.
• 29:41
  Speaker 2: Because like you you know, you being in l A
• 29:44
  Speaker 2: and I feel like one of the things that's missing
• 29:48
  Speaker 2: from the Atlanta hip hop cloth is that the culture
• 29:53
  Speaker 2: of Atlanta is never really talked about. Right the artist
• 29:56
  Speaker 2: has talked about, Well, what happens in the city is
• 29:59
  Speaker 2: never really talked about. And the thing that happens most
• 30:03
  Speaker 2: in the city is strip clubs, and it's looked down upon, right,
• 30:06
  Speaker 2: It's looked down upon, like it's degrading women and this,
• 30:09
  Speaker 2: that and the third.
• 30:09
  Speaker 3: So I feel like the right light hadn't.
• 30:12
  Speaker 2: Been shined on it to make sure that people lose
• 30:16
  Speaker 2: that space. Right, Like, even like gang banging in la
• 30:19
  Speaker 2: I feel like at some point in time people probably
• 30:21
  Speaker 2: thought gang bang was the worst thing that ever happened
• 30:24
  Speaker 2: in America, but then it became life, and it became
• 30:28
  Speaker 2: something that you just have to deal with and the
• 30:30
  Speaker 2: rest of the world has to deal with it. And
• 30:32
  Speaker 2: it is what it is. When you go to la
• 30:33
  Speaker 2: it's what it is. You go to a neighborhood, this
• 30:35
  Speaker 2: is what's happening. You gotta it's an automatic thing for
• 30:38
  Speaker 2: you to say this a blood neighborhood, that it's a
• 30:41
  Speaker 2: cript neighborhood. I just wanted people to be like the
• 30:44
  Speaker 2: same thing, like when you come to Atlanta, don't be
• 30:47
  Speaker 2: shy to talk about the strip clubs because so much
• 30:49
  Speaker 2: has happened in Blue Flame, the Gentlemen's club Nikkis, you know,
• 30:54
  Speaker 2: and like Nikkis Little Nikkis is where Tupac shot the police,
• 30:59
  Speaker 2: right and crazy like, but that's the image that the
• 31:02
  Speaker 2: club has as opposed to, like, yeah, as opposed to
• 31:06
  Speaker 2: being a place where we would go to and.
• 31:08
  Speaker 3: Have a good time.
• 31:09
  Speaker 2: And I just feel like it's time for you know,
• 31:11
  Speaker 2: Atlanta hasn't only have one movie in this whole cultural explosion,
• 31:15
  Speaker 2: which was at l and atl didn't really dive into
• 31:19
  Speaker 2: the culture of Atlanta besides the skating ring. And that's
• 31:22
  Speaker 2: by the way, that's cultural as well. But we got
• 31:24
  Speaker 2: other things that that Atlanta holds onto. That's why did
• 31:28
  Speaker 2: Freaknick as well?
• 31:30
  Speaker 1: What an era. It's crazy because I saw I saw recently,
• 31:33
  Speaker 1: like didn't a girl get mad that she was in
• 31:37
  Speaker 1: the documentary in Freaknik? Yeah? No, she was just she
• 31:42
  Speaker 1: was she like a lawyer now or something.
• 31:44
  Speaker 2: She was she I mean, she was. She was one
• 31:47
  Speaker 2: of the girls that said she had a bad experience, right,
• 31:50
  Speaker 2: you know, and and you know like even that, we
• 31:52
  Speaker 2: can't we can't, we can't hide that because everybody's experience
• 31:57
  Speaker 2: at at at Freaknick was different.
• 32:00
  Speaker 1: Right, yo was there? I think about Usher as an artist.
• 32:06
  Speaker 1: I don't think a lot of people know like when
• 32:07
  Speaker 1: he was a kid, he was around Dungeon family a lot.
• 32:11
  Speaker 3: Uh yeah.
• 32:11
  Speaker 2: I mean, well he signed in the face, so anything
• 32:13
  Speaker 2: that was going on face he was, they was probably
• 32:15
  Speaker 2: putting him in.
• 32:16
  Speaker 1: I think about like my way and as a as
• 32:20
  Speaker 1: a young kid, because I was probably nine or ten,
• 32:25
  Speaker 1: and that was the first song that I just remember,
• 32:29
  Speaker 1: like you couldn't turn on the radio without hearing that record,
• 32:35
  Speaker 1: and that was in that was in Phoenix, you know,
• 32:37
  Speaker 1: KKF R Phoenix, And I just remember that song was
• 32:40
  Speaker 1: just like I remember, I bought the single because I
• 32:42
  Speaker 1: couldn't afford get the album in the single days did
• 32:46
  Speaker 1: you have, like you have any idea, man, that that this,
• 32:49
  Speaker 1: this relationship with you and USh would be Like, I mean,
• 32:53
  Speaker 1: it's it's really it's really a one of a kind
• 32:57
  Speaker 1: dynamic you guys have when it comes to the history
• 32:59
  Speaker 1: that's been made, especially when it comes to just overpowering
• 33:03
  Speaker 1: a genre, like in the way that you guys' records
• 33:06
  Speaker 1: has studid test of time and the amount of you know,
• 33:10
  Speaker 1: hits on the board. Man, it's it's unprecedented. I don't
• 33:13
  Speaker 1: feel like we've seen anything like it since at least.
• 33:16
  Speaker 2: Yeah, I mean I think you know, when we first
• 33:17
  Speaker 2: started working together, we wanted to I wanted to be
• 33:20
  Speaker 2: his Quincy, you know what I mean, That's what I wanted.
• 33:22
  Speaker 2: We wanted to be Michael Jackson, Quincy Jones, USh and JD.
• 33:26
  Speaker 2: That's that's that. That was what we.
• 33:28
  Speaker 3: Had in our mind.
• 33:29
  Speaker 2: You know, we didn't know who he's gonna go there,
• 33:31
  Speaker 2: Like even when you hear you say my Way was
• 33:34
  Speaker 2: getting played like that. You know, that's the first album
• 33:36
  Speaker 2: that I ever produced the R and B singer Male
• 33:39
  Speaker 2: ever I never I ain't even had no experience to
• 33:42
  Speaker 2: do it, so I didn't even know what I was doing.
• 33:43
  Speaker 2: I just was doing it and going off my gut, right,
• 33:47
  Speaker 2: So to see that it was successful and hit people
• 33:49
  Speaker 2: was playing and all that, it's like, you know, that
• 33:53
  Speaker 2: still gets me excited because I didn't know what I
• 33:54
  Speaker 2: was doing.
• 33:55
  Speaker 1: Did you and Chris ever work like anything?
• 33:58
  Speaker 3: Why did Shorty like mine for bow?
• 34:00
  Speaker 1: But that's it, that's about. It was that something that
• 34:03
  Speaker 1: just for whatever reason, just because I feel like you
• 34:05
  Speaker 1: and Chris Brown, I mean, fuck man, it feels like
• 34:08
  Speaker 1: the kind of collaboration that's like twenty years overdue at
• 34:11
  Speaker 1: this point.
• 34:11
  Speaker 3: Yeah.
• 34:12
  Speaker 2: I mean for a minute that I stayed away from
• 34:15
  Speaker 2: being in that space because I'm very competitive and I'm
• 34:18
  Speaker 2: very true to my artists, and I felt like, you know,
• 34:20
  Speaker 2: him and ushers, they competition, little competition.
• 34:24
  Speaker 1: So the hypothetical verses that always just thrown out.
• 34:27
  Speaker 3: There, always out there.
• 34:28
  Speaker 2: So I'm just like, you know, the thing that Chris
• 34:30
  Speaker 2: don't have that usher got is me m you know
• 34:33
  Speaker 2: what I mean?
• 34:33
  Speaker 1: And you still feel that way.
• 34:34
  Speaker 2: Yeah, so, but but I'm past the point of like
• 34:40
  Speaker 2: how I felt about not working with him. I would
• 34:42
  Speaker 2: work with Chris Now do and give Chris Brown his
• 34:45
  Speaker 2: own space?
• 34:46
  Speaker 3: And you know, would you have.
• 34:47
  Speaker 1: To get the green light from Usher? Would you ask
• 34:49
  Speaker 1: him like, hey, No.
• 34:50
  Speaker 2: I mean, I'm sure it might be something, but I'm
• 34:52
  Speaker 2: saying I wouldn't even go into that space because, like
• 34:54
  Speaker 2: I said, I know what records I give Usher.
• 34:56
  Speaker 3: We don't.
• 34:57
  Speaker 2: We don't do this enough where I know what Usher
• 34:59
  Speaker 2: sounds is. I would have to find with what Jamainey
• 35:02
  Speaker 2: pre Chris Brown records sound like. I wouldn't get Chris
• 35:05
  Speaker 2: Brown or Usher song. That wouldn't be my goal.
• 35:08
  Speaker 1: That makes sense, It makes sense. Talk to me, what's
• 35:12
  Speaker 1: the collaboration on this Magic City project that you're most
• 35:15
  Speaker 1: excited about that you were most excited to make it happen?
• 35:21
  Speaker 2: The idea of me putting new and older artists on
• 35:25
  Speaker 2: the record together and it being accepted because that breaks
• 35:29
  Speaker 2: the monotony of people acting like this person ain't relevant
• 35:33
  Speaker 2: and like, I actually think that that kills that word
• 35:36
  Speaker 2: because relevancy and rap and hip hop is only based
• 35:42
  Speaker 2: on who you paying attention to, right, I'd be saying
• 35:44
  Speaker 2: people say Jermainey pre He ain't not relevant? Okay, Money
• 35:48
  Speaker 2: Long record was on the radio more than anybody else's
• 35:51
  Speaker 2: record last year. So what does that mean for me?
• 35:54
  Speaker 3: Right?
• 35:55
  Speaker 2: And that's just because you wasn't paying all attention to
• 35:57
  Speaker 2: it and you ain't hear me talk on the record, so.
• 35:58
  Speaker 1: You ain't Yeah, you didn't hear yourself. Yeah, because I
• 36:00
  Speaker 1: think most people in their head, they think of JD
• 36:03
  Speaker 1: as like you're gonna say you're.
• 36:04
  Speaker 3: Yeah, you know what I'm saying.
• 36:05
  Speaker 2: So if that's what I'm saying, relevance comes from you
• 36:09
  Speaker 2: paying attention to it. And I feel like that's where
• 36:11
  Speaker 2: you know, it's gotten blown out of proportion in hip
• 36:15
  Speaker 2: hop because people just use it like you ain't even relevant.
• 36:19
  Speaker 1: And that means I feel like there's certain people that
• 36:20
  Speaker 1: are always relevant. I think you're one of those people.
• 36:22
  Speaker 1: I think Snoops one of those people with nobody.
• 36:24
  Speaker 3: Says always relevant.
• 36:26
  Speaker 1: Snoop Dogg would be relevant until he's in the dirt.
• 36:28
  Speaker 1: You know what I'm saying.
• 36:28
  Speaker 2: And that's what I'm saying. Relevant Ultimately, it's just you
• 36:31
  Speaker 2: being in the mix. It ain't got to do with like,
• 36:34
  Speaker 2: you know what I mean. So I think that I
• 36:36
  Speaker 2: feel like that's the most That's the thing that I'm
• 36:38
  Speaker 2: really excited about because me asking the artists to be
• 36:41
  Speaker 2: on these records. I haven't had anyone yet, be like, man,
• 36:44
  Speaker 2: I ain't don't want.
• 36:44
  Speaker 3: To do no song with that.
• 36:45
  Speaker 2: I'm actually asking the artists who they want on this,
• 36:48
  Speaker 2: Like who would they want to do?
• 36:49
  Speaker 1: You got Belly Gang on the album. Yeah, yeah, he's tough, yo.
• 36:55
  Speaker 1: The days of I think I think of yourself. I
• 36:58
  Speaker 1: think we talked just Blaze a little bit. He would
• 37:01
  Speaker 1: talk on records obviously, I mean Diddy, Swiss Beats. Those
• 37:07
  Speaker 1: days are gone. It's all about the producer tag now. Yeah,
• 37:12
  Speaker 1: what Like it's interesting because you know metro Boom is
• 37:15
  Speaker 1: so big that tag like he don't got to get
• 37:18
  Speaker 1: But I miss the days where you would like know
• 37:20
  Speaker 1: the producer's voice, like I'd be like, oh shit, it's
• 37:24
  Speaker 1: a JD record. This shit's crazy.
• 37:26
  Speaker 3: I get on it, and I stopped doing it because
• 37:29
  Speaker 3: I got.
• 37:29
  Speaker 1: Bored, Like you won't bust that out at all.
• 37:33
  Speaker 2: I mean no, I've been doing it a lot, but
• 37:35
  Speaker 2: you know, like I got bored, Like I get tired
• 37:37
  Speaker 2: of him, y'all. I mean I get tired of you
• 37:38
  Speaker 2: even saying y'all know what this is like even on
• 37:40
  Speaker 2: this album right now, I'm producing every song and every
• 37:44
  Speaker 2: artist that come in there, and they're like, yo, I
• 37:46
  Speaker 2: know it ain't no hit till you put that.
• 37:48
  Speaker 3: Y'all know what this is is.
• 37:48
  Speaker 2: I'm sitting over there, sitting there like I wouldn't gonna
• 37:51
  Speaker 2: do it on this song, right, And then if I
• 37:53
  Speaker 2: don't do it on they song, they feel like I
• 37:55
  Speaker 2: ain't need I ain't trying to break they song. I'm
• 37:58
  Speaker 2: trying to break somebody else song. So it's just like,
• 38:00
  Speaker 2: I mean, it's.
• 38:01
  Speaker 3: Just gets annoying to me.
• 38:02
  Speaker 1: After while, who was in the thought process of being
• 38:05
  Speaker 1: on walking to Atlanta that didn't make it that you
• 38:08
  Speaker 1: were like, yo, who are some of the names that
• 38:10
  Speaker 1: were getting floated around like just outcast? Just outcast? And
• 38:14
  Speaker 1: did that almost happen?
• 38:16
  Speaker 3: No?
• 38:16
  Speaker 2: Well yeah, but it wasn't Welcome to Atlanta. I didn't
• 38:19
  Speaker 2: have Welcome to Atlanta until I watched Ludacris video and
• 38:23
  Speaker 2: did the same thing, the Kains Ofsose thing again, because
• 38:26
  Speaker 2: Ludacris is upside down in his video and it's a
• 38:29
  Speaker 2: floor mat under him that says welcome to Atlanta, and
• 38:32
  Speaker 2: he's rapping under that.
• 38:33
  Speaker 3: So I saw the floor.
• 38:34
  Speaker 2: Mat, and I saw Ludacris and I was like, that's
• 38:37
  Speaker 2: the song. I need to do it, And I called
• 38:39
  Speaker 2: him and I told him that, and then it just
• 38:41
  Speaker 2: automatically happened.
• 38:43
  Speaker 1: That's fucking crazy, guys, are so say? Is that like
• 38:47
  Speaker 1: a big That's.
• 38:49
  Speaker 2: My favorite That's one of my favorite movies. I just
• 38:52
  Speaker 2: feel like that's like to write a movie like that.
• 38:57
  Speaker 2: And then you start you, I start doing you start
• 39:00
  Speaker 2: using it as a method.
• 39:01
  Speaker 3: I start using it about you know, it's a method
• 39:03
  Speaker 3: of life. Period. It's just crazy.
• 39:05
  Speaker 1: Yeah, So when when is everything coming out?
• 39:08
  Speaker 2: August fifteenth is supposed to be. You know, the documentary
• 39:12
  Speaker 2: definitely drops August fifteenth. I'm trying to get these records,
• 39:16
  Speaker 2: you know, get their early records done, and make sure
• 39:18
  Speaker 2: that happens on that date. If it don't, it's because
• 39:21
  Speaker 2: you know, I didn't get everybody I wanted, and I
• 39:23
  Speaker 2: can't put out the record without me getting everybody I want.
• 39:26
  Speaker 1: So you're almost done. Yeah, I'm just waiting for some
• 39:28
  Speaker 1: features to get over there over the fish.
• 39:30
  Speaker 3: I just got to go get them. That's the difference.
• 39:31
  Speaker 2: I gotta go actually physically go get thee Are are.
• 39:35
  Speaker 1: You executive producing anybody's albums right now?
• 39:41
  Speaker 2: Well, I'm working on Ari Lennox. I got Ari lynx
• 39:44
  Speaker 2: next single. Like we said, division signed a bunch of
• 39:49
  Speaker 2: new artists. I have a bunch of calls because.
• 39:53
  Speaker 1: Just when you're signing new artists, is it to Social Death.
• 39:55
  Speaker 2: Yeah, so I got a new deal Social Death High basically,
• 40:00
  Speaker 2: and yeah, so I'm signed to do artists I'm doing,
• 40:04
  Speaker 2: you know, still doing what I do.
• 40:06
  Speaker 1: Man shouts and so so deaf. I think I told
• 40:08
  Speaker 1: you I told this to BT. Funk Devi is one of
• 40:10
  Speaker 1: my favorite albums ever. Female snoop Dogg. Yeah, y'all nailed that.
• 40:14
  Speaker 1: That was like the female Doggi style. Bro. And she's
• 40:16
  Speaker 1: from the Midwest and you're from Atlanta, but y'all nailed
• 40:20
  Speaker 1: the sound.
• 40:21
  Speaker 2: Like I mean, it's crazy because people we all talking
• 40:23
  Speaker 2: about that yesterday. I think that people just connected so
• 40:26
  Speaker 2: many different things to it because Funk the five was
• 40:30
  Speaker 2: actually not George Clinton. It's between the Sheets, but we
• 40:35
  Speaker 2: replayed it so a maga sound keyboard ish right, and
• 40:39
  Speaker 2: Draydam was using keyboards. So I think that that people
• 40:41
  Speaker 2: just connected it two but it wasn't like Between the
• 40:45
  Speaker 2: Sheets is the same record that Big Papa is, but.
• 40:48
  Speaker 3: It don't sound funked out like right funk the five.
• 40:51
  Speaker 1: So yeah, there it is, man. But look August fifteenth,
• 40:54
  Speaker 1: the documentary's out. Yeah, shouts to Magic City and then
• 40:58
  Speaker 1: hopefully the album will be.
• 41:00
  Speaker 3: It's coming, It's coming on.
• 41:01
  Speaker 1: You know.
• 41:01
  Speaker 2: I'm you know, we got, we got. I just shot
• 41:03
  Speaker 2: the new video use Magicity Money and the single actually drops.
• 41:10
  Speaker 2: The new single will drop next frome J Money, Sean
• 41:15
  Speaker 2: Paul from the Young Bloods.
• 41:16
  Speaker 1: You Never Heard of Week Sean Paul versus My Life.
• 41:18
  Speaker 3: Banna Bee and h bank Roll nine fire.
• 41:22
  Speaker 1: Last question, your thoughts on producer's using artificial intelligence. There's this, uh,
• 41:28
  Speaker 1: this controversy with Timbling going on right now. Is it
• 41:30
  Speaker 1: is like, what are your thoughts on the AI thing?
• 41:32
  Speaker 1: And is it anything that you would do?
• 41:33
  Speaker 2: I don't even think about it because I feel like
• 41:35
  Speaker 2: it's like it creates a laziness to me, you know
• 41:38
  Speaker 2: what I mean. If you're gonna rely on somebody else
• 41:40
  Speaker 2: to make your beats, it almost go back to like
• 41:43
  Speaker 2: what we're talking about with the Doctor Drake conversation. I'm
• 41:45
  Speaker 2: gonna feel like I felt back then, like anybody that
• 41:49
  Speaker 2: do that, I'm not gonna be like you can't battle
• 41:51
  Speaker 2: me with no AI.
• 41:52
  Speaker 1: Yeah, it's just yeah, man, it just feels like the
• 41:56
  Speaker 1: AI shit's getting icky.
• 41:57
  Speaker 3: I'll just say, and I will say this, shout out
• 42:00
  Speaker 3: to YouTube because they just did something today saying that
• 42:03
  Speaker 3: is you are a content creator and you're using AI
• 42:07
  Speaker 3: voices and AI things to create content on YouTube, you
• 42:10
  Speaker 3: will not get paid. So shout out to YouTube.
• 42:13
  Speaker 1: Yeah, that you got to use your real voice. Yeah,
• 42:16
  Speaker 1: and they're gonna push dope shit into the into the algorithm.
• 42:19
  Speaker 1: Yeah yeah, because there's so many of these dormant YouTube
• 42:22
  Speaker 1: pages where they'll just type in a script and it's
• 42:25
  Speaker 1: they're fucking printing money off there.
• 42:26
  Speaker 2: They're gonna shut that down. So I mean, I'm proud
• 42:29
  Speaker 2: to see people pushing.
• 42:30
  Speaker 1: Back on Yeah for sure. Well listen, JD Man, you're
• 42:32
  Speaker 1: a fucking legend, one of the greatest of all time.
• 42:34
  Speaker 3: Thank you.
• 42:35
  Speaker 1: I cannot wait to hear the album. I cannot wait
• 42:38
  Speaker 1: to watch the documentary on Stars August fifteenth. Yes, sir,
• 42:43
  Speaker 1: there it is Man three Yeah, boom fire