Latest / The Bootleg Kev Podcast / #24 - Symba

Transcript

#24 - Symba · The Bootleg Kev Podcast

• 0:00
  Speaker 1: That's the right, ladies and gentlemen, time for that Bootleg
• 0:02
  Speaker 1: cap podcast on this what is this Monday? Man? My
• 0:06
  Speaker 1: Arizona Cardinals one last night. I appreciate everybody who's locked
• 0:09
  Speaker 1: in this week we got a First of all, we've
• 0:14
  Speaker 1: had a crazy couple weeks on the podcast. Want to
• 0:16
  Speaker 1: shout out to everybody who's been supporting us man. The
• 0:18
  Speaker 1: YouTube has been going crazy, all the number has been
• 0:20
  Speaker 1: going crazy. Thank you to everybody who's been checking out
• 0:23
  Speaker 1: our new freestyle series. Trying to figure out whether or
• 0:26
  Speaker 1: not we're gonna like put those straight on Spotify or not.
• 0:28
  Speaker 1: But we launched a freestyle series with Benny the Butcher
• 0:31
  Speaker 1: and Hem from BSF. You could check that out on
• 0:34
  Speaker 1: the YouTube page. If you haven't already go peep that out.
• 0:38
  Speaker 1: Just google Bootleg cav on YouTube. It'll pop up. This
• 0:42
  Speaker 1: week's episode featuring a young MC out of the Bay Area.
• 0:47
  Speaker 1: His name Simba. He signed to Atlantic Super Talented, Dude,
• 0:54
  Speaker 1: Crazy Bars and really just a dope dude to have
• 0:57
  Speaker 1: conversation with. I have a everyone's gonna be really like
• 1:02
  Speaker 1: on this dude's dick in about six months. So shout
• 1:04
  Speaker 1: out to the homie Simba. Man big ups to our sponsors.
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• 1:53
  Speaker 1: keyword bootleg keV receive twenty percent off. Let's just get
• 1:57
  Speaker 1: to the podcast. Had a rough, rough night, so we're
• 2:02
  Speaker 1: just gonna get straight into the episode. Simba episode twenty
• 2:08
  Speaker 1: twenty something. All right, the homie Simba, I promise you.
• 2:12
  Speaker 1: I know a lot of people haven't heard of Symba yet,
• 2:13
  Speaker 1: but Yo, just press play on this conversation and enjoy it.
• 2:16
  Speaker 1: We had a really dope talk. Lots of crazy hip
• 2:19
  Speaker 1: hop debates in this one, lots of back and forth
• 2:23
  Speaker 1: Simba on the Bootleg Cap podcast right now, Yo, man,
• 2:28
  Speaker 1: bootlet Cap podcast. We got the homie from the Bay Area,
• 2:32
  Speaker 1: sir who has very polarizing hip hop opinions. Homie Simba
• 2:36
  Speaker 1: is here. What's adding it with you? Brother? What's up? Man?
• 2:39
  Speaker 1: Feeling great? Thank you for having me man. I'm a
• 2:41
  Speaker 1: big fan of the show. I love that Freddy Gibbs
• 2:44
  Speaker 1: Greg Gibbs episode. Yeah, that episode got sloppy. We drank
• 2:48
  Speaker 1: a whole bottle in nineteen forty two and it was
• 2:50
  Speaker 1: entertaining his shit. Yeah, shout out to Freddy Man because
• 2:54
  Speaker 1: he don't got no filter anyway, and then when he's drunk,
• 2:56
  Speaker 1: it's There was a lot taken out of that interview.
• 2:59
  Speaker 1: We had to take some shit out. I think started
• 3:02
  Speaker 1: with that interview. Freddy might have it going back and
• 3:05
  Speaker 1: forth with three of them, but he might have album
• 3:07
  Speaker 1: of the year, dude, me and you see things in
• 3:10
  Speaker 1: the same way. Okay, Alfredo to me, what's your what's
• 3:15
  Speaker 1: your three that you're going back and forth with? See,
• 3:18
  Speaker 1: Benny just kind of fucked ship up because I had
• 3:21
  Speaker 1: I had Alfredo, I had, uh, Who's what was the
• 3:32
  Speaker 1: fucking album I was listening. I can't even think off
• 3:34
  Speaker 1: the top right now, but I had Alfredo, I had
• 3:37
  Speaker 1: Nas in there, I had I had Big Sean in there.
• 3:46
  Speaker 1: It was one more that I can't think right now
• 3:48
  Speaker 1: at the top of my head. But I had those
• 3:49
  Speaker 1: three for sure. But Bennie album is like, yeah, dope.
• 3:54
  Speaker 1: I did as I did a list earlier in the
• 3:57
  Speaker 1: year before a lot of like Big Sean and Nos dropped,
• 4:01
  Speaker 1: and I had Alfredo's one, and then somewhere in there
• 4:06
  Speaker 1: there was like Pray for Paris from Westside Gun. Yeah.
• 4:10
  Speaker 1: I think Run the Jewels four is dope. Run the
• 4:12
  Speaker 1: Jewels was definitely dope. But since then, I mean, Little
• 4:15
  Speaker 1: Baby My Turn is not an album that I necessarily
• 4:18
  Speaker 1: but you got to give him his respect. That was mine's.
• 4:23
  Speaker 1: You gotta put that up. It was Baby because for me,
• 4:26
  Speaker 1: I've been listening to a Little Baby since he first
• 4:28
  Speaker 1: came out. So to hear the growth, hear the growth,
• 4:31
  Speaker 1: and just not only his tone and voice, but just
• 4:34
  Speaker 1: his lyrics and beat selection and the way he jumping
• 4:37
  Speaker 1: in and out of cadences any subject matter. For sure,
• 4:40
  Speaker 1: I think, Yeah, I think Big Sean Detroit too is
• 4:43
  Speaker 1: up there. For me. I just felt like it was
• 4:45
  Speaker 1: a super vulnerable album. Definitely conways. Shit, it was that
• 4:49
  Speaker 1: time too for some movies. It's been a great year
• 4:51
  Speaker 1: for hip hop, but I think that Alfredo is still
• 4:54
  Speaker 1: number one. I'm with you, I'm with you. It's not
• 4:58
  Speaker 1: too far from Withie. You're You're from the Bay from
• 5:02
  Speaker 1: the but you don't make the music. You're you're a
• 5:06
  Speaker 1: Jedi on the mic man I like to call it
• 5:08
  Speaker 1: certain rappers jedis lenthally You're special. Why why is it
• 5:13
  Speaker 1: that when I hear your music, I don't necessarily hear
• 5:15
  Speaker 1: the Bay Area influence off the rep Great question. I
• 5:22
  Speaker 1: grew up like just Bay Area to the core, you
• 5:27
  Speaker 1: know what I mean, white T shirt, blue jeans, and Nikes,
• 5:30
  Speaker 1: just three times crazy, just listening to all the base
• 5:33
  Speaker 1: shit mac mall right, and I think around the high
• 5:39
  Speaker 1: the era, right when the high Fi era came in,
• 5:41
  Speaker 1: I started traveling a lot like with my parents. My
• 5:44
  Speaker 1: parents was like heavy in the real estate game. And
• 5:47
  Speaker 1: I tell people all the time, I grew up kind
• 5:50
  Speaker 1: of opposite of how most of my friends did. So
• 5:52
  Speaker 1: a lot of my friends they had like struggling upbringings
• 5:56
  Speaker 1: when they was very young. I didn't, right my parents,
• 6:00
  Speaker 1: it's kind of that's your parents on. Yeah, me and
• 6:02
  Speaker 1: Mom's in Vegas, so they had shit going on. Cardinals
• 6:05
  Speaker 1: won that game, by the way. I told us that,
• 6:09
  Speaker 1: but they already had things going on. So we was
• 6:12
  Speaker 1: able to travel a lot. So my parents had homes
• 6:14
  Speaker 1: in like Atlantic City, Las Vegas, and we would just
• 6:17
  Speaker 1: move around and I would notice, like a lot of
• 6:20
  Speaker 1: the songs that I loved back home wasn't being played
• 6:24
  Speaker 1: in these other areas. So I would make friends in Vegas,
• 6:27
  Speaker 1: and make friends in Atlantic City, and make friends in Philly,
• 6:30
  Speaker 1: and I would play these songs and they would be like,
• 6:33
  Speaker 1: what is this, bro? What's this right? You know what
• 6:35
  Speaker 1: I'm saying? And for a minute, I used to feel like, Oh,
• 6:39
  Speaker 1: they don't like to beat or they don't get it,
• 6:41
  Speaker 1: or they don't they think it's it's like a gimmick
• 6:44
  Speaker 1: or something like that. But what it is is we
• 6:46
  Speaker 1: live on like an island, right, So our culture is
• 6:49
  Speaker 1: very just like independent and it's us to the core.
• 6:53
  Speaker 1: So a lot of people don't really know about PEMP culture, right,
• 6:58
  Speaker 1: you know what I mean a lot of people don't
• 6:59
  Speaker 1: really know about bipping and you know what I mean,
• 7:02
  Speaker 1: certain things we do in the bay. So when we
• 7:04
  Speaker 1: talk about these things in the songs and the lyrics,
• 7:07
  Speaker 1: the rest of the world is like, what's that? Like,
• 7:09
  Speaker 1: what is he talking about? Like I don't get what
• 7:11
  Speaker 1: he's saying because it's something they not used to seeing
• 7:14
  Speaker 1: every day. So when I started making music, I started
• 7:18
  Speaker 1: like writing from not like an eye perspective. I feel
• 7:22
  Speaker 1: like a lot of artists where I'm from write from
• 7:24
  Speaker 1: an eye perspective, Like I take the bitch, I do this,
• 7:27
  Speaker 1: I got the whip, I do this. I try to
• 7:29
  Speaker 1: wrap from like a wee perspective to where anybody could
• 7:32
  Speaker 1: see it. So it's like I say, lines to where
• 7:35
  Speaker 1: the bay get it. It's like you think you gonna
• 7:38
  Speaker 1: get the panties if you make a paddic freeze. I
• 7:39
  Speaker 1: could take a bitch to apple Bee. She won't be
• 7:41
  Speaker 1: mad at me, you know what I'm saying. But it's
• 7:43
  Speaker 1: an Applebee's everywhere. Everybody wearing paddics, you know what I mean,
• 7:47
  Speaker 1: Everybody spending money on girls that two for twenty apple
• 7:50
  Speaker 1: Bee is man, you know what I'm saying. So it's
• 7:51
  Speaker 1: just like always try to speak from a perspective of
• 7:54
  Speaker 1: being from the Bay, but where the world could identify
• 7:57
  Speaker 1: with things I'm saying within the music, Yeah, I think
• 8:00
  Speaker 1: that the Bay is Like we were just talking a
• 8:02
  Speaker 1: little bit about this, but I think the Bay is
• 8:04
  Speaker 1: its own. It's it's very There's the only place that
• 8:09
  Speaker 1: I can kind of like on a very much smaller
• 8:12
  Speaker 1: scale is I moved to Tampa, and I when I
• 8:16
  Speaker 1: did radio on Tampa for a few years, and when
• 8:18
  Speaker 1: I went to the club there, I heard some shit
• 8:21
  Speaker 1: called junk music, and it's only in Tampa will that
• 8:27
  Speaker 1: shit get played nowhere else. It's like one hundred like
• 8:31
  Speaker 1: a go go thing. It's like one hundred and five
• 8:33
  Speaker 1: bpms with bells in it. It's like it's like it's
• 8:36
  Speaker 1: some shit. It's called Tampa juk music. And I was like,
• 8:39
  Speaker 1: what what the fuck is this? And I feel like
• 8:42
  Speaker 1: in the Bay it's the biggest example of that as
• 8:46
  Speaker 1: far as like except for you know, the Bay has
• 8:50
  Speaker 1: influenced everybody. I mean no, Like I feel like the
• 8:53
  Speaker 1: Bay does not get there just do. And I say
• 8:55
  Speaker 1: this all the time. I think the Bay has so
• 8:57
  Speaker 1: much influence on hip hop and they don't get their
• 9:00
  Speaker 1: just hip hop shit fashion technology chech. Now of course,
• 9:04
  Speaker 1: of course you know what I mean. Like it's a
• 9:07
  Speaker 1: lot more weed, But I feel like it's just an
• 9:10
  Speaker 1: island and it's like okay, Like you could go to
• 9:14
  Speaker 1: the Bay and they'll be like they'll be like records
• 9:17
  Speaker 1: that go up that aren't even necessarily Bay records that
• 9:21
  Speaker 1: are just so big in that you'll be like, yo,
• 9:23
  Speaker 1: this song was like this was a big record, like
• 9:27
  Speaker 1: what you won't even really know like that. Yeah, you
• 9:31
  Speaker 1: won't even really know this song like that unless you
• 9:33
  Speaker 1: come to the Bay and you see the effect of it.
• 9:35
  Speaker 1: So you're driving through the Bay, you hearing it on
• 9:37
  Speaker 1: the radio, You're seeing people in the car plt you big.
• 9:40
  Speaker 1: You have a big DJ. So I'm sure you've had
• 9:42
  Speaker 1: a lot of DJ gigs up there where you're spinning
• 9:44
  Speaker 1: in the clubs and you hearing the people coming to
• 9:47
  Speaker 1: you telling you to play records that you might not
• 9:49
  Speaker 1: even have, Like what the hell is this? You know?
• 9:51
  Speaker 1: That that happened to me one time, and then I
• 9:53
  Speaker 1: just I had to be like okay, I had to
• 9:55
  Speaker 1: hit a home man and be like, yo, I just
• 9:57
  Speaker 1: need the I just need the folder of like the
• 10:00
  Speaker 1: odd records that I should just have on deck for
• 10:03
  Speaker 1: if I'm ever done. And it was like just crazy
• 10:06
  Speaker 1: shit like Trunk Boys, Cupcake, no feeling shit that you
• 10:11
  Speaker 1: just would never expect, Like I want to say, like
• 10:15
  Speaker 1: baby Boy, that just some like random ship that like
• 10:18
  Speaker 1: you're like, yo, I didn't know this song was a thing,
• 10:20
  Speaker 1: Like I knew about the song, but I don't know
• 10:21
  Speaker 1: anywhere else gave. But nah, I do think that it's like,
• 10:25
  Speaker 1: you know, obviously with the rich history of the Bay
• 10:27
  Speaker 1: is dope that there is, you know, for what you do,
• 10:31
  Speaker 1: there is a dope side of the Bay. There's you know,
• 10:35
  Speaker 1: back in the nineties there was high Row and Souls
• 10:37
  Speaker 1: a mischief and all that. But I think that like
• 10:40
  Speaker 1: you're bringing a lot of people associate Mazi with the
• 10:42
  Speaker 1: bass from Sacramento shut Out to the Feller Feller to
• 10:47
  Speaker 1: shut out Mai shut Out to Sacramento too. But I
• 10:49
  Speaker 1: feel like you're in an a dope position where you're
• 10:53
  Speaker 1: you can make music that that everybody in hip hop respects,
• 10:58
  Speaker 1: and you also happen to be from the Bay. That's
• 11:02
  Speaker 1: a life could go because I think a lot of
• 11:03
  Speaker 1: times a Bay Area artists, we associate them with being
• 11:06
  Speaker 1: from the Bay first, and unfortunately there's some sort of
• 11:09
  Speaker 1: preconceived stigma that comes with that that you might have
• 11:13
  Speaker 1: already made up your mind about that artist, even though
• 11:15
  Speaker 1: you know that's not fair, that's not okay, But I mean,
• 11:18
  Speaker 1: it's is. It is what it is. It's life, you
• 11:21
  Speaker 1: know what I mean. Like we look at things and
• 11:23
  Speaker 1: we judge it. Sometimes like twenty four Ker Golden's got
• 11:25
  Speaker 1: the number one song in the country and I had
• 11:26
  Speaker 1: no idea recently, you wouldn't know he was from the Bay.
• 11:30
  Speaker 1: But it's like he's doing a different type of thing,
• 11:32
  Speaker 1: you know what I mean. Most people, like you said,
• 11:35
  Speaker 1: you know they're from the Bay because you could hear
• 11:36
  Speaker 1: it in the music. You can hear it in the sound,
• 11:38
  Speaker 1: you could hear it, and how they represent themselves certain
• 11:41
  Speaker 1: things they may post on Instagram or where they may be.
• 11:45
  Speaker 1: But there's another level we could take things to. That's
• 11:48
  Speaker 1: a Gez level, Ki Lane level, or now twenty four
• 11:52
  Speaker 1: K level, So where we could take things to another level,
• 11:55
  Speaker 1: to where the world could identify with us and rock
• 11:58
  Speaker 1: with us, and we could speak for the and be
• 12:00
  Speaker 1: a platform for other artists in the Bay. They want
• 12:02
  Speaker 1: to take it to that same level. Yeah, talk about
• 12:06
  Speaker 1: your situation. So I met you probably like two years ago.
• 12:10
  Speaker 1: Came up to the studio with your boy. I forget
• 12:12
  Speaker 1: your boys name. Yeah, oh Lou no lou Me and
• 12:15
  Speaker 1: Lou set up my brother Lewis built and your freestyle.
• 12:19
  Speaker 1: I think Nico, Nico, Nico Blitz. Nico Blitz is who
• 12:23
  Speaker 1: put me on. Yes, he had Nico Blitz And guess
• 12:27
  Speaker 1: what he's actually the most cringe cringiest part of the Bay.
• 12:32
  Speaker 1: Just go on Nico's page and you know whether it's
• 12:34
  Speaker 1: this fool is thiszzing and doing all kinds of ship
• 12:37
  Speaker 1: like he'll throw yee on anything he can. It's unnecessary. Yeah,
• 12:43
  Speaker 1: like yo, faan, like what that is? Why do you there?
• 12:46
  Speaker 1: Nico Blitz? But that's that's how he is in the Bay,
• 12:49
  Speaker 1: Like we're passionate about it's really a coach. We got.
• 12:51
  Speaker 1: I feel like we got everything a culture has except
• 12:55
  Speaker 1: the flag, right, Like we got our own type of food,
• 12:58
  Speaker 1: we got our own language. You know, I'm I mean,
• 13:00
  Speaker 1: the way we moved, the way we dressed, just everything.
• 13:03
  Speaker 1: It's that's our language. We stand on the ye's and
• 13:05
  Speaker 1: the yadata means and you know what I mean. So
• 13:08
  Speaker 1: help me understand, because like you came up in freestyle
• 13:11
  Speaker 1: and that was about two years ago. Yeah, I didn't know.
• 13:14
  Speaker 1: You had just told me that you would, like you
• 13:16
  Speaker 1: were like around during the beginning of the Young California. Yeah. Yeah,
• 13:20
  Speaker 1: so we can get into it. So kind of give me,
• 13:23
  Speaker 1: give me, give me all that your background, like your journey.
• 13:25
  Speaker 1: So basically Brouh, I always been like doing music. I
• 13:29
  Speaker 1: was playing ball and doing music. After high school, I
• 13:33
  Speaker 1: realized I didn't want to go to college, right, it
• 13:36
  Speaker 1: was just like something I didn't want to do. I'm
• 13:38
  Speaker 1: not someone fit for a school setting. So I was like,
• 13:41
  Speaker 1: I'm gonna do music for a time. And I gained
• 13:45
  Speaker 1: like popularity in my community very fast, in like the
• 13:48
  Speaker 1: Pittsburgh Antioch area. So you ever heard of Young Kirt. Yeah,
• 13:53
  Speaker 1: I was like the label that pushed the young Kirt.
• 13:57
  Speaker 1: So it was me, it was Kurt, it was Young
• 13:59
  Speaker 1: d It was a bunch of us, and I was
• 14:01
  Speaker 1: kind of more so playing the executive role and Kurt
• 14:05
  Speaker 1: was the artist, so I had to stopped rapping. I'm
• 14:08
  Speaker 1: being his hype man a certain shows, doing certain meetings
• 14:11
  Speaker 1: and everything like that, to where I was just in
• 14:13
  Speaker 1: executive mode. So we kind of had a falling out
• 14:16
  Speaker 1: and I went back to doing music. That's when I
• 14:18
  Speaker 1: met Amen Nick Knack and everything, and we had came together.
• 14:21
  Speaker 1: I never forget this day. It was at PF Chains
• 14:23
  Speaker 1: in em Reville. It was me a men Charisma starting
• 14:27
  Speaker 1: six Young Murf, Bobby Brackens, and I am suit right
• 14:32
  Speaker 1: p LO two, and we were starting this thing called
• 14:35
  Speaker 1: Young California and it was gonna be like a label
• 14:37
  Speaker 1: where we all collabed and did music and everything. And
• 14:41
  Speaker 1: what happened was about a few weeks to maybe a
• 14:44
  Speaker 1: month later, Beat the Pussy Up just shot the fuck
• 14:49
  Speaker 1: out the fucking world. It just just went out the
• 14:52
  Speaker 1: fucking world. And that brought a lot of exposure to
• 14:55
  Speaker 1: the Bay. It brought a lot of publicity, a lot
• 14:58
  Speaker 1: of publicists started coming out, a lot of these big
• 15:00
  Speaker 1: brands started coming out, and HBK was at the forefront
• 15:04
  Speaker 1: of that because they had the they had that was
• 15:07
  Speaker 1: really a sue record too, by the way, it was
• 15:09
  Speaker 1: a Sue record that Due didn't want to be. He
• 15:13
  Speaker 1: didn't want the record. Sue was like a real lyrical
• 15:16
  Speaker 1: rapper at the time. He was tripping, by the way,
• 15:18
  Speaker 1: like he was a Sue was rapping on Ship like
• 15:21
  Speaker 1: Jay Electronica Exhibit C and shit like that, right, So
• 15:25
  Speaker 1: he didn't want it to be looked at like he
• 15:27
  Speaker 1: was trying to make like a yeah, like a sellout record,
• 15:30
  Speaker 1: So he let Rance take the record. And Rance was
• 15:32
  Speaker 1: a party promoter. So Rance is going to all the
• 15:35
  Speaker 1: parties every fucking night, grabbing the mic, playing this ship
• 15:38
  Speaker 1: over and over and over and over, and it just
• 15:41
  Speaker 1: shoots the fuck up, right, So it brings a lot
• 15:43
  Speaker 1: of attention to the back. Now you got fifty cent
• 15:46
  Speaker 1: getting on the record, t I and g Z and
• 15:48
  Speaker 1: Pleasure P and Chris Brown. Shout out to Jay Valentine
• 15:51
  Speaker 1: who put that together, that that Jay Valentine remix, the
• 15:54
  Speaker 1: one I play, Yeah Yeah, that's my dog shout out
• 15:56
  Speaker 1: Big Broke. So a lot of that had happened, and
• 15:59
  Speaker 1: a lot of the artists under that kind of got
• 16:01
  Speaker 1: lost in the sauce because we just didn't have what
• 16:03
  Speaker 1: HBK had going on, and it was their Tom DeShawn,
• 16:07
  Speaker 1: so HBK took off and I kind of started noticing
• 16:12
  Speaker 1: like they was getting bigger than the Bay, right, And
• 16:15
  Speaker 1: then you started seeing like G come out, Geezy comes
• 16:18
  Speaker 1: and then he's taking everybody on tour, you know what
• 16:21
  Speaker 1: I mean. He's bringing Sue, He's bringing j in, He's
• 16:24
  Speaker 1: bringing Nef to Farrell. So now we're starting to get recognition.
• 16:28
  Speaker 1: But it was certain artists who was getting those looks.
• 16:31
  Speaker 1: That wasn't the people I just named, But they were
• 16:33
  Speaker 1: hitting the ceiling. And I always noticed they would hit
• 16:36
  Speaker 1: this ceiling there, get a record, They go to Petalumadu shows,
• 16:40
  Speaker 1: get a couple of Thiszler posts, do a couple summer gems,
• 16:44
  Speaker 1: and it was over. It was never nothing after that.
• 16:46
  Speaker 1: But Sue and G and everybody they shit was still going.
• 16:50
  Speaker 1: And I noticed it was going because they wasn't just
• 16:52
  Speaker 1: staying in the bay, you know what I mean. They
• 16:55
  Speaker 1: started moving around and doing different things. So at the time,
• 17:00
  Speaker 1: I was like, you know, doing little bass shit, you know,
• 17:04
  Speaker 1: we all do scams and little things that he was
• 17:06
  Speaker 1: doing to get money. Saved up enough money and I
• 17:09
  Speaker 1: moved to LA and the minute I moved here, I
• 17:12
  Speaker 1: realized for the type of music I wanted to make.
• 17:15
  Speaker 1: I wasn't good enough. So I met Phonics who had
• 17:19
  Speaker 1: me around like while he's making no role models for
• 17:22
  Speaker 1: j Cole, I'm going to sessions with hit Maker while
• 17:26
  Speaker 1: he's writing Ray Shrimmer hits and just like all these
• 17:30
  Speaker 1: big ass songs, and I'm like, oh shit, all I
• 17:32
  Speaker 1: can do is rap. I can't write a hook. I
• 17:35
  Speaker 1: don't know how to structure a song. But if you
• 17:37
  Speaker 1: put on the instrumental, I'm a flame thisss motherfucker right.
• 17:42
  Speaker 1: And it wasn't until I met somebody around almost around
• 17:45
  Speaker 1: the time when I met you, the homie d Brooks,
• 17:49
  Speaker 1: who is from Chicago does a lot of work with
• 17:52
  Speaker 1: like Dirk and Herbo and everybody, and he kind of
• 17:55
  Speaker 1: was the first person to put it in perspective for me, Like, bro,
• 18:00
  Speaker 1: a lot of your raps its hooks. You could take
• 18:02
  Speaker 1: this part and make it the hook, you know what
• 18:04
  Speaker 1: I mean. You can move this over here, you could
• 18:06
  Speaker 1: do this. And I started learning how to structure ship.
• 18:09
  Speaker 1: But then the problem I start having was I would
• 18:12
  Speaker 1: hear something and try to duplicate it. So one day
• 18:15
  Speaker 1: I'll be a rapper and the next day I'll hear
• 18:17
  Speaker 1: some future ship going up, and I'm like, this is
• 18:19
  Speaker 1: they won't. I think that's what a lot of people
• 18:23
  Speaker 1: get sucked into. Many are they? I mean that s
• 18:28
  Speaker 1: dope that you admit that, because a lot of artists
• 18:30
  Speaker 1: get wrapped up in that. It's easy to super easy,
• 18:33
  Speaker 1: especially if you consume music as a fan. You're like
• 18:36
  Speaker 1: you waking up every fucking Thursday night at nine p m.
• 18:42
  Speaker 1: Or in the morning, and you're looking at the new
• 18:44
  Speaker 1: fucking music that drops, right, it's very hard not to
• 18:47
  Speaker 1: be influenced by it. And you see this ship. You
• 18:50
  Speaker 1: see it like, Okay, this is what the fuck works? Well, ship,
• 18:53
  Speaker 1: let me try. Let me do this, you know what
• 18:54
  Speaker 1: I mean. And you try it and it don't work.
• 18:57
  Speaker 1: It's not organic. It's not organic, right. So what I
• 19:00
  Speaker 1: realized by doing that I wasn't developing an identity for myself.
• 19:05
  Speaker 1: So I had to sit back, bro, and I really
• 19:07
  Speaker 1: had to think, like, what is it I want to do.
• 19:09
  Speaker 1: It's around the time I had met you in head,
• 19:11
  Speaker 1: when y'all had brought me up there, And that goes
• 19:13
  Speaker 1: to show how real y'all is. As DJ's right, and
• 19:17
  Speaker 1: not even just DJ's just culture curators to bring somebody
• 19:21
  Speaker 1: who's trying to figure it out up there with no record,
• 19:24
  Speaker 1: no nothing. It's just like, shit, the kid can rap.
• 19:26
  Speaker 1: Let him come up here, you know what I mean.
• 19:28
  Speaker 1: So I appreciate that. But around that time I start
• 19:31
  Speaker 1: figuring out, like, what I really do great is rap? Right?
• 19:35
  Speaker 1: And I met my homie cast that you met, my producer.
• 19:39
  Speaker 1: He went out to eat and he had two videos
• 19:42
  Speaker 1: up and me, I had this song out one time
• 19:44
  Speaker 1: where I was singing and another song where I was rapping.
• 19:47
  Speaker 1: And he put them on two phones and he asked
• 19:49
  Speaker 1: me which one are you right? And I said I'm
• 19:52
  Speaker 1: the rapper and he was like, then why are you singing?
• 19:55
  Speaker 1: I'm like, well, this what people told me. This what
• 19:57
  Speaker 1: they like to hear. And he looked at me and
• 19:59
  Speaker 1: he said it, man, don't ever run from rap. Don't
• 20:03
  Speaker 1: ever run from rap. You too good of a rapper
• 20:05
  Speaker 1: to run from rap. And ever since that day, running
• 20:09
  Speaker 1: from rap to me started meaning this's the first time
• 20:12
  Speaker 1: I ever said this publicly, is don't run from responsibilities
• 20:16
  Speaker 1: and principles. Right. I had a responsibility as a rapper,
• 20:20
  Speaker 1: you know what I mean, to be dope and to
• 20:23
  Speaker 1: be great at that. That's the gift I was given,
• 20:25
  Speaker 1: but I'm running away from it to try to chase
• 20:29
  Speaker 1: what other people's things is. So I'm basing my values
• 20:33
  Speaker 1: and my expectations based off of other people. It's getting
• 20:36
  Speaker 1: rather than just living in my own truth of what
• 20:38
  Speaker 1: I am. And a minute I start doing that, bro,
• 20:41
  Speaker 1: it was like shit start clicking. I started realizing, like, Okay,
• 20:44
  Speaker 1: I don't want to be somebody in the streets. Let
• 20:46
  Speaker 1: me make a song about that, you know what I mean.
• 20:48
  Speaker 1: I don't want to be selling drugs and scamming my
• 20:51
  Speaker 1: whole life. Let me make a song about that. And
• 20:53
  Speaker 1: that's how I started developing a consistent message and the
• 20:56
  Speaker 1: identity of what I'm standing on as far as growth
• 20:59
  Speaker 1: and as a man of doing something different than what
• 21:01
  Speaker 1: we all are supposed to do as black men growing
• 21:04
  Speaker 1: up in poverished communities. Wow, man, yeah no, that's I
• 21:07
  Speaker 1: think that. Like what you just said, man, a lot
• 21:09
  Speaker 1: of artists can relate to if they're seeing this. It's
• 21:12
  Speaker 1: like you don't like not everyone's path is the same,
• 21:16
  Speaker 1: and like you can't like you know, if you if
• 21:21
  Speaker 1: you look at who is the best, right, who's been
• 21:24
  Speaker 1: around for ten years, fifteen years? Like if you think
• 21:27
  Speaker 1: of Kendrick Cole. Obviously Drake, Drake can do everything. He's
• 21:29
  Speaker 1: an alien. But like those guys are like superior MC's
• 21:33
  Speaker 1: like you look at them as rappers right first, and
• 21:37
  Speaker 1: then like you said, like I think a lot of artists,
• 21:40
  Speaker 1: they might put some shit out and if it doesn't
• 21:42
  Speaker 1: set the world on fire, it starts to question. They
• 21:45
  Speaker 1: start to question themselves and then they think, oh, well, nah,
• 21:48
  Speaker 1: I got it because I'm not doing what's popping. And
• 21:50
  Speaker 1: it's like and it's very hard to fall in that
• 21:52
  Speaker 1: trap because you gotta think. I know, for me personally,
• 21:56
  Speaker 1: it was hard for me to develop a team. Yeah,
• 21:58
  Speaker 1: so this is the first time in my life, well
• 22:01
  Speaker 1: first time in my rapping career where I've had a
• 22:04
  Speaker 1: consistent team that know what the fuck they're doing. Every
• 22:08
  Speaker 1: time else it's been like me and my friends, and
• 22:10
  Speaker 1: that shit is frustrating, you know what I'm saying. When
• 22:13
  Speaker 1: you in the studio with your homies and you just
• 22:16
  Speaker 1: wrote the ship, just wrote your life on a whole song,
• 22:20
  Speaker 1: and you get in the car and they put on
• 22:21
  Speaker 1: just like Future, you know what I'm saying, or money Man,
• 22:25
  Speaker 1: and it's just like, damn, bro, you don't fuck what
• 22:27
  Speaker 1: I just did. And it's like you ain't got no
• 22:29
  Speaker 1: malice towards money, man, But it started making you think, like, Okay,
• 22:33
  Speaker 1: should I be doing this? You know what I mean?
• 22:35
  Speaker 1: Because this is what my people like? So should I
• 22:37
  Speaker 1: be making it to confuse you? So it's very important
• 22:40
  Speaker 1: to to you know, have those people on you. You
• 22:42
  Speaker 1: said want you to become comfortable in your own skin.
• 22:44
  Speaker 1: That shit don't phase you. Don't phase you, bro, because
• 22:46
  Speaker 1: you really anything in life fact that could be you know.
• 22:50
  Speaker 1: That's why I tell people all the time who go
• 22:51
  Speaker 1: get whack ass car payments that they can't afford and like, yo, man,
• 22:55
  Speaker 1: like wouldn't you rather just have a normal car and
• 22:57
  Speaker 1: to be paid off than string about like they be
• 23:00
  Speaker 1: comfortable in your own skin? Be comfortable, bro. But it's
• 23:03
  Speaker 1: people's expectations. Bro. Were living in a society where also
• 23:07
  Speaker 1: instant gratification society, that's all I was just about to
• 23:10
  Speaker 1: go into. Were living in a society where you're supposed
• 23:12
  Speaker 1: to be a millionaire of twenty five or look like
• 23:15
  Speaker 1: or look like it. Right, So every girl like you
• 23:18
  Speaker 1: broke if you can't take them to roof Chris every night,
• 23:21
  Speaker 1: you ain't you ain't doing it if you can't buy
• 23:23
  Speaker 1: the bitch chanel every night when and all actually reality,
• 23:26
  Speaker 1: this ain't real life. Motherfuckers is on Instagram every day
• 23:29
  Speaker 1: with four hundred thousand up they arm you're not walking
• 23:32
  Speaker 1: around with four hundred thousand dollars every day like this
• 23:35
  Speaker 1: is that's not real life. But it'll make the consumer
• 23:38
  Speaker 1: feel like, oh, I'm not good enough because this is
• 23:40
  Speaker 1: what they doing. They walking around do you're down every day.
• 23:43
  Speaker 1: I think it's even worse now because there's just normal
• 23:46
  Speaker 1: people hitting these eded checks. Lord, bro, just looking like
• 23:52
  Speaker 1: kid they just went to jail. Yeah, the kid who
• 23:54
  Speaker 1: raped about it and put a video out snitching on himself,
• 23:57
  Speaker 1: Like why would you put that out? He really snitch
• 24:01
  Speaker 1: on himself. He's not looking at it like that. He's
• 24:04
  Speaker 1: looking at it from the perspective of this is what
• 24:06
  Speaker 1: I have to do because this will get me some
• 24:09
  Speaker 1: like this will give me a post on. Yeah. No,
• 24:12
  Speaker 1: that's what's crazy. It's like, bro, like you're snitching on
• 24:14
  Speaker 1: yourself yourself. Bro. Yeah, I'll be seeing a lot of
• 24:16
  Speaker 1: these these scamming, scamming rappers like that that kid from Detroit, TJ.
• 24:20
  Speaker 1: Whatever his name is. I'll be like, bro, you be
• 24:22
  Speaker 1: snitching on Like God blessed, nothing's happened to him. But like,
• 24:26
  Speaker 1: I don't know who that is. It's this kid from Detroit.
• 24:29
  Speaker 1: His whole thing is scamming. And I'm like, yo, man,
• 24:31
  Speaker 1: like you're putting a spotlight on yourself. Why if you're active,
• 24:35
  Speaker 1: actively still doing it, like chill out, bro, But yeah,
• 24:38
  Speaker 1: I think that's so you your current situation that with that,
• 24:46
  Speaker 1: how did you end up getting on that? So when
• 24:48
  Speaker 1: I met Cash, I had once I had don't run
• 24:52
  Speaker 1: from rap just in my mind, I went back to
• 24:54
  Speaker 1: the drawing board of living like an up and coming rapper, right,
• 24:59
  Speaker 1: so I always he's been able to take care of
• 25:01
  Speaker 1: myself and pay my bills and shit like that. But
• 25:03
  Speaker 1: I had to go back to the actual art of
• 25:06
  Speaker 1: sitting at the computer and writing a verse right, listening
• 25:09
  Speaker 1: to rock him, studying cadences, studying scheme, studying four bar elements,
• 25:15
  Speaker 1: you know, studying voice inflection, just playing with different things,
• 25:19
  Speaker 1: studying character. When Hoover hit the now, you know you
• 25:22
  Speaker 1: got to, you know, hit him back like that. You
• 25:24
  Speaker 1: got them back like that, You're right, you know what
• 25:25
  Speaker 1: I mean? Like when niggas is playing with their tones
• 25:28
  Speaker 1: and playing with their voices. I had to go back
• 25:31
  Speaker 1: and relearn that, right, right, I had to relearn the art.
• 25:34
  Speaker 1: So I'm watching the art of sixteen bars documentaries every day.
• 25:39
  Speaker 1: So I'm just writing, writing, writing, writ and writing. And
• 25:43
  Speaker 1: I met Casts in September. So from September to March,
• 25:47
  Speaker 1: me and Cast would be in the studio every day
• 25:50
  Speaker 1: and I would write a verse. He'd tell me that
• 25:53
  Speaker 1: ain't it? Write another one that ain't it? You should
• 25:56
  Speaker 1: say it like this, that ain't it. They got to
• 25:58
  Speaker 1: a point where I'm like, this motherfucker hating you know
• 26:02
  Speaker 1: what I'm saying, Like he wants me to sound like
• 26:03
  Speaker 1: how he think it's to sound. But he was, really
• 26:07
  Speaker 1: he was. Even though some of the shit I was
• 26:09
  Speaker 1: writing was dope, he was making me a supreme version
• 26:12
  Speaker 1: of myself to show me, like, you can go deeper,
• 26:15
  Speaker 1: you can go further with this. So around March I
• 26:18
  Speaker 1: started making these songs. I made a song called Trapped.
• 26:21
  Speaker 1: I made a song called Black Jesus in a song
• 26:23
  Speaker 1: called Loco, and I heard I heard the Black Jesus record.
• 26:27
  Speaker 1: Yeah yeah, so Black Jesus, I tell you crazy story
• 26:30
  Speaker 1: about that that are going to That record's not out right. No, no, no,
• 26:33
  Speaker 1: it's not out. So I made these songs in like
• 26:37
  Speaker 1: three days. Okay, Right, So Cas gets a text from
• 26:41
  Speaker 1: Dallas because they're cool just for me, know, industry shitting
• 26:44
  Speaker 1: knowing each other and everything. He gets a text from
• 26:47
  Speaker 1: Dallas like, Yo, I'm having an oxcore party tonight at
• 26:52
  Speaker 1: Warner you know, some artists tell him to come through
• 26:54
  Speaker 1: and play some music, right, So we go up there
• 26:58
  Speaker 1: and the first thing I know, this is like everybody's
• 27:01
  Speaker 1: on the same shit, right. They jumping on the table,
• 27:06
  Speaker 1: they dancing, they pulling the money out, they showing the
• 27:10
  Speaker 1: wadch stage, you know, doing all this. So I'm just
• 27:13
  Speaker 1: in the back of the room and I'm just observing,
• 27:16
  Speaker 1: just not saying nothing, you know what I mean. So
• 27:18
  Speaker 1: Dallas looks at me, He's like, ain't you that kid
• 27:22
  Speaker 1: that be freestyling on Instagram? I'm like, yeah, like you
• 27:25
  Speaker 1: ain't got no music? Like yeah, So I grabbed the
• 27:29
  Speaker 1: dog's court. I play Black Jesus. Darryl Jones stops the
• 27:34
  Speaker 1: song like, what the fuck is this? Shout out to
• 27:37
  Speaker 1: Darryl Jones stops the song. He' like, what the fuck
• 27:40
  Speaker 1: is this? Play this again? I play it again. Dallas
• 27:44
  Speaker 1: pulls me outside. He's like, what's your name. I'm like, Simba.
• 27:46
  Speaker 1: We're talking for a minute. Next day I wake up,
• 27:49
  Speaker 1: Cash texts me Dallas wanted to meet at the office. Right.
• 27:54
  Speaker 1: So it was crazy because everything we've been doing for
• 27:57
  Speaker 1: those eight months before I met Dallas, this was preparation
• 28:01
  Speaker 1: for this meeting. For meeting, yeah, you know what I mean.
• 28:04
  Speaker 1: So I had records ready to go. He asked me
• 28:07
  Speaker 1: the freestyle. I was ready to go on this spot.
• 28:09
  Speaker 1: I knew how to talk in the label. I knew
• 28:11
  Speaker 1: how to speak, I knew when to shut up, you
• 28:13
  Speaker 1: know what I mean. So it was preparation. So I
• 28:16
  Speaker 1: played Dallas about five records. He was like, what you
• 28:19
  Speaker 1: gotta do Thursday? And he's like, what you gotta do Tuesday.
• 28:22
  Speaker 1: I was like shit, he was like, we're going to
• 28:23
  Speaker 1: New York. Like cool, Tuesday, come shoot out to New York.
• 28:30
  Speaker 1: I get off the plane hopping the uber. Dallas tells
• 28:33
  Speaker 1: me to meet him in the studio. I walk in
• 28:35
  Speaker 1: the fucking studio and Meek is in there. I'm like,
• 28:39
  Speaker 1: holy fucking shit. Right So, in this moment, I'm thinking like, okay,
• 28:43
  Speaker 1: they about to try to test me right now, to
• 28:46
  Speaker 1: like you never like, yo, look you gon battle one
• 28:49
  Speaker 1: of these dudes. I'm like this this Meek fucking Meal.
• 28:52
  Speaker 1: You know what I'm saying. This ain't no average Joe.
• 28:57
  Speaker 1: This is Meek fucking Meal. You know what I'm saying.
• 28:59
  Speaker 1: So I'm I'm like, all right, boom, I'm cooling. I
• 29:02
  Speaker 1: sit back. But he's making a song. So I'm just
• 29:05
  Speaker 1: sitting back making a song. So Dallas like, y'all want
• 29:07
  Speaker 1: to play you something? Meek so like simple plug up.
• 29:11
  Speaker 1: So I'm like, oh shit, So I grabbed the ox,
• 29:14
  Speaker 1: play the music. Meek. Look at me like, bro, you
• 29:18
  Speaker 1: just inspired me. Look at me dead, and I like,
• 29:22
  Speaker 1: you just inspired me, Bro, Like I haven't heard nobody
• 29:25
  Speaker 1: rap like this in a long time. You just inspired me.
• 29:28
  Speaker 1: From that day on, I started feeling like I belong.
• 29:33
  Speaker 1: It's nothing nobody could tell me that helps you and
• 29:38
  Speaker 1: your family. And that's a that's a very secure man
• 29:40
  Speaker 1: right there. He cares about his family. You see that
• 29:43
  Speaker 1: ship right there. I don't know what just happening. He
• 29:45
  Speaker 1: got the alarm to make sure his family is fucking straight.
• 29:49
  Speaker 1: Take notes. I don't know what just happened. No, my
• 29:51
  Speaker 1: phone thought we're talking to it anyway. But no, you say, nobody,
• 29:55
  Speaker 1: nobody can tell you shit. Nobody can tell me shit
• 29:57
  Speaker 1: because it's a Moti Platinum artists. In one of my
• 30:03
  Speaker 1: you know, idols, I kind of look at in this
• 30:05
  Speaker 1: shit telling me to my face, I just inspire him,
• 30:09
  Speaker 1: you know. So I'm like, can't nobody tell me shit? Right?
• 30:14
  Speaker 1: The next day I have the meeting. I walk in
• 30:17
  Speaker 1: the meeting and I'm not even knowing who I'm really
• 30:20
  Speaker 1: in the meeting with till the next day. Right, So
• 30:22
  Speaker 1: it's me Dallas, Craig Kalman, Mike Kaiser, and Julie Greenwald, right,
• 30:28
  Speaker 1: Donnie Chase? Whose are my managers? Right now? I know
• 30:32
  Speaker 1: these names, I don't know how big they really are. Like,
• 30:36
  Speaker 1: I know Craig Calmen used to be like a DJ
• 30:38
  Speaker 1: back in the day, and I know Julie Greenwall worked
• 30:41
  Speaker 1: at like Lee or Kohen and all these things. But
• 30:43
  Speaker 1: I didn't know how big they actually were, right the guers,
• 30:48
  Speaker 1: So I play two songs. On the second song, in
• 30:51
  Speaker 1: the middle of the song, Julie stands up and gives
• 30:54
  Speaker 1: me a hug. Stands up and hugs me, and she says,
• 30:59
  Speaker 1: welcome to a lamb. She looked at Dallas. She looked
• 31:02
  Speaker 1: at Mike and she said, don't let him leave till
• 31:04
  Speaker 1: we get this done. Right. So now I'm like, all right,
• 31:09
  Speaker 1: you know cool, But being like I said from the Bay,
• 31:12
  Speaker 1: we don't really know the industry shit like this, so
• 31:14
  Speaker 1: I'm still learning as I go. So I'm like cool,
• 31:17
  Speaker 1: you know cool. And we walked out of the office
• 31:21
  Speaker 1: and Cash is like, she's like, nigga, you know me, Like,
• 31:26
  Speaker 1: do you realize what the fuck just happened? Like nigga
• 31:29
  Speaker 1: Julie Greenwald, just like I don't know who that is.
• 31:33
  Speaker 1: I'm like yeah, like yeah. So we're on the elevator,
• 31:37
  Speaker 1: he's breaking down and she did this she did. I'm like,
• 31:39
  Speaker 1: oh shit, you know what I'm saying though, like I
• 31:42
  Speaker 1: didn't really know all of this. So we leave New York.
• 31:46
  Speaker 1: I get back and from that day on, bro it
• 31:49
  Speaker 1: was just like a week later. I went to the
• 31:52
  Speaker 1: BT Awards. Damn. So sitting I'm sitting five rows back
• 31:58
  Speaker 1: from the stage and I see again right, and he like,
• 32:02
  Speaker 1: what's up. I'm like, oh shit, you know what I'm saying.
• 32:05
  Speaker 1: I just at the time, I got a little money,
• 32:07
  Speaker 1: but I'm I just blew like twenty five hundred on
• 32:09
  Speaker 1: the outfit. You know what I'm saying, I've really got
• 32:12
  Speaker 1: it to be in here like this right now, you
• 32:14
  Speaker 1: know what I'm saying. Because the deal wasn't done yet,
• 32:18
  Speaker 1: so I'm in the bet shit and I'm just just
• 32:21
  Speaker 1: peeping it, bro, and just getting in my in my
• 32:23
  Speaker 1: aura like it's time, like it's game time. And just
• 32:27
  Speaker 1: from that day, Bro, I just started walking in the
• 32:29
  Speaker 1: studio with that confidence and knowing like I'm competing with
• 32:33
  Speaker 1: the best of them, you know what I mean, I'm
• 32:35
  Speaker 1: competing with the top people at this point, and it's
• 32:38
  Speaker 1: all about making that great music. Yeah, I mean, I
• 32:40
  Speaker 1: think the way you just ran through everything, it seemed
• 32:44
  Speaker 1: like it happened quickly. But i mean we're talking when
• 32:46
  Speaker 1: was the Love Ranch record That was like twenty twelve Yeah,
• 32:50
  Speaker 1: years of preparation, eleven twelve years. We're talking like this
• 32:53
  Speaker 1: shit happened. That's almost ten years sex and even beyond
• 32:58
  Speaker 1: that because it was like a rapping in like nine.
• 33:01
  Speaker 1: That shit's crazy, you know what I mean, it's just
• 33:03
  Speaker 1: after high school. I'm like, I'm do it professionally. Yeah,
• 33:06
  Speaker 1: do you feel like how much pressure? Like, because like
• 33:10
  Speaker 1: you said, you're really comfortable in your own skin. But
• 33:12
  Speaker 1: do you feel like any sort of pressure as far
• 33:14
  Speaker 1: as like being like staying staying true to yourself, but
• 33:21
  Speaker 1: also like kind of putting off for the Bay at
• 33:23
  Speaker 1: the same time, I don't feel pressure because I feel
• 33:29
  Speaker 1: like sometimes pressure comes from like not having an overall
• 33:33
  Speaker 1: plan of what you want to do. And I think
• 33:37
  Speaker 1: with you know, being from the Bay and sounding different,
• 33:40
  Speaker 1: my overall plan is to bring something different to the Bay, right.
• 33:44
  Speaker 1: So I'm not saying, uh, I don't listen to s
• 33:48
  Speaker 1: ob Slimmy b go to fuck crazy, you know what
• 33:51
  Speaker 1: I mean? I fuck with I fuck with Slimmy. I'm saying,
• 33:55
  Speaker 1: now we have a lyrical side of that, So now
• 33:58
  Speaker 1: you have a second option. You can do the Slimmys,
• 34:01
  Speaker 1: you could do the nef the Farrells, you could do
• 34:02
  Speaker 1: the forties, because we all do different things. But now
• 34:05
  Speaker 1: we have a symbol, you know what I mean. So
• 34:07
  Speaker 1: if you want lyrical content and you want some you know,
• 34:10
  Speaker 1: more mainstream sounded things, we got this over here. So
• 34:13
  Speaker 1: it's not really to you know, have pressure. It's just
• 34:17
  Speaker 1: more so for me to be able to help people
• 34:19
  Speaker 1: from the Bay who's trying to do the same thing.
• 34:21
  Speaker 1: I'm trying to be that platform for them to be
• 34:24
  Speaker 1: able to come out and do the same thing. Now
• 34:26
  Speaker 1: we had gotten into it over. You put a best
• 34:28
  Speaker 1: Bay Area Rapper of all time lists together? Yeah, sure,
• 34:31
  Speaker 1: that's twenty five. That's twenty five in my opinion. Okay,
• 34:34
  Speaker 1: So who did you have as you're like, top five? Okay,
• 34:37
  Speaker 1: I had shit, I had two short e forty mac dre.
• 34:45
  Speaker 1: Who did I have in there? It was? It was
• 34:48
  Speaker 1: I think I had. I want to say you had
• 34:50
  Speaker 1: somebody that was like pretty high. Who I didn't? Fucking
• 34:52
  Speaker 1: I never even had heard of it. I can't even remember.
• 34:54
  Speaker 1: I don't got the list off the top. I want
• 34:56
  Speaker 1: to say it was a se Bow shout out to
• 34:59
  Speaker 1: ce Bow. I think I had c Bowl in there.
• 35:02
  Speaker 1: Let me see if it's nah, take it down. It
• 35:05
  Speaker 1: was getting too hectic, I bet it was. Yeah, it
• 35:07
  Speaker 1: was getting too hectic. But it was a top five list.
• 35:11
  Speaker 1: And you know, Kevin hit me up because my man G. Yeah,
• 35:15
  Speaker 1: you didn't have. G wasn't on the list. Now I
• 35:18
  Speaker 1: understand Gez is like, you know, not the the Gez
• 35:24
  Speaker 1: is a pop star. I get that, But I think
• 35:27
  Speaker 1: G is a rapper first, and I feel like he's
• 35:30
  Speaker 1: put he's he's done so much to try to push
• 35:33
  Speaker 1: the Bay Area forward, even even as ah. So we
• 35:36
  Speaker 1: got into it because I was like, wait, G, how's
• 35:38
  Speaker 1: G not on this list? In my opinion? Right? How
• 35:41
  Speaker 1: how I looked at the list is based off just
• 35:45
  Speaker 1: Bay Area rap, right, people in the Bay Area that
• 35:50
  Speaker 1: just rap. Right. So G is, like you just said,
• 35:53
  Speaker 1: a pop star. So G is able to have the
• 35:56
  Speaker 1: meet myself and ours, right, So you're looking at it
• 35:59
  Speaker 1: through like the lens of like the Bay Area island. Yes, okay,
• 36:03
  Speaker 1: I'm looking at the people that has to do New
• 36:05
  Speaker 1: Parish and you know, the consistent circuit in the Bay.
• 36:11
  Speaker 1: Andre Nicotina was who I had for the Nicotina He's
• 36:15
  Speaker 1: a Bay Area legend, right, But you never gonna hear
• 36:19
  Speaker 1: Nicotina make a pop record that he's rapping on. He's
• 36:22
  Speaker 1: just gonna stick to his core, you know what I mean.
• 36:24
  Speaker 1: Forty makes big records, you know what I mean? Forty
• 36:27
  Speaker 1: and shortest they out of here. That's bigger than the
• 36:30
  Speaker 1: Bay you know what I mean. Forty can't even talk
• 36:32
  Speaker 1: about that. But just from the perspective of people that
• 36:36
  Speaker 1: was in the Bay and all they had was rap,
• 36:39
  Speaker 1: is what I was basing it off of. So to me,
• 36:41
  Speaker 1: G is bigger than rap. G is somebody that helps
• 36:45
  Speaker 1: lift rap in the bay. So for me to put
• 36:48
  Speaker 1: him on that list, to me was kind of disrespectful
• 36:50
  Speaker 1: because I would put G up there with the Drakes
• 36:53
  Speaker 1: and the you know, the the pop stars, the big
• 36:56
  Speaker 1: He's bigger than that. So that's how I for Who
• 37:00
  Speaker 1: do you like being your like the artist that you are?
• 37:04
  Speaker 1: Who did you like you talked to? You said earlier
• 37:06
  Speaker 1: that you got Drake is like number one? Go yeah?
• 37:10
  Speaker 1: But like who who like growing up? Like? Who was
• 37:12
  Speaker 1: your like go to? I mean, shit, you're obviously a
• 37:14
  Speaker 1: hip hop head. You know. You say you got the
• 37:16
  Speaker 1: Gibbs album number one for the year, which I agree with,
• 37:18
  Speaker 1: But like, what what was like the kind of shit
• 37:19
  Speaker 1: that you kind of grew up listening to that like
• 37:22
  Speaker 1: kind of formed your lyrical your lyrical shiit No, definitely
• 37:28
  Speaker 1: because it wasn't Slimmy Ben. But shout out to Slimmy though,
• 37:32
  Speaker 1: because you know, that's that's why I say, don't run
• 37:34
  Speaker 1: from rap because that's rap. Two? Yeah, for sure, I
• 37:36
  Speaker 1: mean we are rapping, but number one would have to Behole. Yeah.
• 37:41
  Speaker 1: I feel like just even the way I grew up
• 37:44
  Speaker 1: as far as in a family that was rooted in
• 37:47
  Speaker 1: business and him coming into game speaking on ownership and
• 37:51
  Speaker 1: just being a business minded person. I always kind of
• 37:54
  Speaker 1: related to that. Number two, and I'm and I'm not
• 37:59
  Speaker 1: saying these are my top five are the people I
• 38:03
  Speaker 1: listened to the most growing up. Number two would have
• 38:06
  Speaker 1: to be Tupac. Okay, my auntie was like a big
• 38:10
  Speaker 1: Tupac fan. She thought she was gonna marry this motherfucker,
• 38:13
  Speaker 1: you know what I'm saying. She loved Tupac, and she
• 38:16
  Speaker 1: used to force Tupac on me as a kid, like
• 38:19
  Speaker 1: when I was like three. She used to like make
• 38:22
  Speaker 1: me like learn, like try to learn the lyrics and
• 38:25
  Speaker 1: things like that. So Tupac was one. Number three would
• 38:28
  Speaker 1: be Biggie because I'm a big fan on like Cadences.
• 38:33
  Speaker 1: Oh here the best. So when Biggie would hit the
• 38:35
  Speaker 1: windn't the rymies in the system, ain't no telling what
• 38:38
  Speaker 1: fucking or not this something? That's what they be yelling.
• 38:40
  Speaker 1: I was infactuated with how to fuck. He fit words
• 38:44
  Speaker 1: in that, you know what I mean, and he kept
• 38:46
  Speaker 1: it flying and player. So Biggie was one. Four would
• 38:50
  Speaker 1: be DMX I. DMX made a lot of songs that
• 38:54
  Speaker 1: mean a lot to me. Dark and Hell's High and
• 38:57
  Speaker 1: fucking Flesh and my Flesh were like, man, everything, bro,
• 39:01
  Speaker 1: it was like everything, And as a kid, you didn't
• 39:03
  Speaker 1: really go through those things yet I felt them. Moved
• 39:06
  Speaker 1: to the Hard Knock Life tour and left like jay
• 39:10
  Speaker 1: Z did one song and we left because Jay closed
• 39:13
  Speaker 1: that tour out and this was volume two Hove and
• 39:16
  Speaker 1: I was just like I came here for DMX. I
• 39:18
  Speaker 1: was twelve. I was like, let's get the fuck out
• 39:20
  Speaker 1: of here. Beat the line like we came here for X. Yeah,
• 39:23
  Speaker 1: jay Z's queued up there with his fucking he had
• 39:25
  Speaker 1: like a bends on stage and shit, I honestly think
• 39:27
  Speaker 1: X was like on the verge of being like bigger
• 39:31
  Speaker 1: than pok Oh. Yeah, like because he had to and
• 39:34
  Speaker 1: he didn't have his personal demon. Man, he would be
• 39:39
  Speaker 1: up there up there, Yeah, up there, up there. So
• 39:42
  Speaker 1: I got X four and number five for me would
• 39:45
  Speaker 1: have to be fifty for show fifty on some rapping
• 39:49
  Speaker 1: now related to I said before I get that a lot.
• 39:54
  Speaker 1: I said before you said Joah rule over fifty when
• 39:57
  Speaker 1: we talked first, See this is where this that guy
• 39:59
  Speaker 1: Can used said growing up, when I was kicking it
• 40:04
  Speaker 1: with the girls, I would play more jar Rule. So
• 40:11
  Speaker 1: when I kicked it off right and here it was
• 40:14
  Speaker 1: like what I'm like, bro, I'm not saying on the
• 40:16
  Speaker 1: fuck with fifty, I'm saying I just played a lot
• 40:18
  Speaker 1: with Jo that way. I don't recall it that as diplomatic.
• 40:22
  Speaker 1: We're gonna run it back. We're gonna run it back.
• 40:24
  Speaker 1: If I'm like he was, you was Jo roll over fifty? Like, no,
• 40:28
  Speaker 1: it's never over fifty. It's just I listened to Jo
• 40:31
  Speaker 1: Ru a lot more growing up. But then as I
• 40:34
  Speaker 1: got older and got into you know clip, Yeah, no
• 40:37
  Speaker 1: it's good, it's on it's on YouTube. Yeah, we'll find it,
• 40:40
  Speaker 1: we'll put it in there. But as I got older,
• 40:43
  Speaker 1: Fifty related to me more. But as a kid from Melodies,
• 40:47
  Speaker 1: was was catchy as ship I did not. The only
• 40:51
  Speaker 1: was Benni Vennyvich. You don't fuck with three three six,
• 40:55
  Speaker 1: you don't fuck with uh. I was out on all
• 40:57
  Speaker 1: that ship Man. The last Temptation, I like, I'm taking
• 41:03
  Speaker 1: care of the murder inc School. After we wrapped this up,
• 41:06
  Speaker 1: I was hoping I was opening murdered job. I was
• 41:08
  Speaker 1: hoping Murder Inc. Was gonna be whole jow Ruling DMX
• 41:10
  Speaker 1: and then, you know, because they were supposed to be,
• 41:13
  Speaker 1: they did that record together. But yeah, after Venni vetty Vici,
• 41:15
  Speaker 1: when he started doing all that, I was just like,
• 41:17
  Speaker 1: you know what, this ain't for me, bro Josh, it
• 41:19
  Speaker 1: wasn't for me. Bro. No, he had I mean, he
• 41:21
  Speaker 1: had great hit records and like I went to an
• 41:23
  Speaker 1: old school concert a few years ago with my wife
• 41:24
  Speaker 1: and but he lyrics him busy though, like you niggas
• 41:30
  Speaker 1: is pussy punani va. Johnny, your monologue is getting tired,
• 41:32
  Speaker 1: so it's time to rush. So take off that silly chain.
• 41:35
  Speaker 1: Put back on the watch. I'm on fire. Hoghy dipped
• 41:38
  Speaker 1: that octange Lady's coach Bang coach balance back Joe Rule's career.
• 41:44
  Speaker 1: But I'm straight, Bennie vetty Vicci was my ship. Shut
• 41:48
  Speaker 1: out the giant fifty man, I know, you know, and
• 41:50
  Speaker 1: hey issues like I went to I went to a
• 41:53
  Speaker 1: show and it was him and a shanty at Microsoft
• 41:55
  Speaker 1: Theater and I was like, damn, this motherfucker had some joints.
• 41:58
  Speaker 1: For sure, Yeah, big hits, but I might But at
• 42:02
  Speaker 1: the same time, I'm like I was like, I wasn't
• 42:05
  Speaker 1: fucking with it. Like I also like outside of Country Grammar,
• 42:09
  Speaker 1: I didn't. I was also I felt the same way
• 42:11
  Speaker 1: about Nellie No, we're not about to do this. No,
• 42:13
  Speaker 1: because I fucking loved Country Grammars, but Nellyville and all
• 42:17
  Speaker 1: that shit. We didn't like Nellieville. I'm good man. I
• 42:20
  Speaker 1: liked im number one, but like once, look as a kid,
• 42:23
  Speaker 1: once you start, you didn't like Sweat and Soup. Hell
• 42:26
  Speaker 1: no place, fuck No, I don't think anybody like that song.
• 42:33
  Speaker 1: Buy you listen. I like Latinum record. Country Grammar was
• 42:38
  Speaker 1: incredible fire. So the second album wasn't dope. It wasn't
• 42:42
  Speaker 1: for me with with Diliminent juice here for me? Come on, kid,
• 42:46
  Speaker 1: what are we talking about? I'm just saying for me
• 42:49
  Speaker 1: as a kid, I was like, man, it's kind of
• 42:54
  Speaker 1: the same way now, like we can have a conversation
• 42:56
  Speaker 1: about Drake and I can respect it. We don't do this.
• 43:00
  Speaker 1: You're not gonna disrespect right. I think Drake is one
• 43:02
  Speaker 1: of the greatest of all tame. But I can also
• 43:06
  Speaker 1: say that for the most part, as a grown ass man,
• 43:10
  Speaker 1: I am not in my car riding around listening to
• 43:13
  Speaker 1: Drake and as a fucking twelve year old, thirteen year
• 43:16
  Speaker 1: old kid, fourteen year old kid, I was not bumping
• 43:20
  Speaker 1: the new Nelly in my discman, I don't know, man,
• 43:24
  Speaker 1: in my disman, there was fucking because I ride around
• 43:26
  Speaker 1: and listen to Drake. Now I might not listen Drake is.
• 43:30
  Speaker 1: I don't ever want to compare Drake and Nelly because
• 43:32
  Speaker 1: Drake is a far more superior artist. Drake is a
• 43:37
  Speaker 1: listen Drake is one of the greatest of all time.
• 43:40
  Speaker 1: I will say that here, but but Drake lyrically, if
• 43:44
  Speaker 1: you get in my car, you will not hear Drake.
• 43:48
  Speaker 1: And it's you're telling me Drake puts out a new album.
• 43:51
  Speaker 1: You telling me you've never been in the car by
• 43:54
  Speaker 1: yourself and you've never played I ever had. It's it's
• 43:57
  Speaker 1: been a while since I've like, okay, so you never
• 44:00
  Speaker 1: play energy by yourself? That that that whole product, Like
• 44:05
  Speaker 1: I kind of just like I'm listening to like ship
• 44:08
  Speaker 1: that nobody's heard of for the most part. You get
• 44:10
  Speaker 1: my car and it's like you might you might hear
• 44:13
  Speaker 1: like Beanie singal the Truth for some ship, like like
• 44:16
  Speaker 1: you get a mic like like like I respect Drake
• 44:19
  Speaker 1: I respect what he does, but like I mean, I
• 44:24
  Speaker 1: just it's kind of the same thing for me. It
• 44:26
  Speaker 1: just doesn't tickle my fancy for the most part. But
• 44:29
  Speaker 1: there are records like tuscan Leather like, there's like Drake
• 44:31
  Speaker 1: records that Here's why I respect Drake so much. Oh,
• 44:33
  Speaker 1: he's the greatest. Here's the reasons why I respect Drake,
• 44:38
  Speaker 1: the multiple reasons why. But one of the main reasons
• 44:40
  Speaker 1: is Drake never runs from rap. I don't disagree, right,
• 44:45
  Speaker 1: so Drake, except for put when push your t he did?
• 44:48
  Speaker 1: He did? He didn't push won the battle. He ran
• 44:51
  Speaker 1: from RAP at that point list he decided it's getting
• 44:54
  Speaker 1: did he not say things are getting a little too hairy,
• 44:57
  Speaker 1: saying this can affect business? Okay, But did he run
• 45:00
  Speaker 1: from RAP then effectively run from REP? But he didn't.
• 45:04
  Speaker 1: He didn't reply and he said this could affect business.
• 45:07
  Speaker 1: So this is me making a business decision to not rap.
• 45:10
  Speaker 1: He didn't run from REP. He did. Okay, that's the
• 45:13
  Speaker 1: only black eye besides the ghost writer. He didn't run
• 45:15
  Speaker 1: from the rap. He stood on business. With that being said,
• 45:19
  Speaker 1: push the T won the battle? Fine right here, But
• 45:22
  Speaker 1: he did run from RAP though, Okay, he might he
• 45:27
  Speaker 1: stood on business. He's sped walk away from he stood
• 45:30
  Speaker 1: on business in one another way. But he didn't run
• 45:34
  Speaker 1: from reed, walk away from rap. He didn't run from Okay's.
• 45:38
  Speaker 1: He was a light jog. Here's a light jog. Here's
• 45:41
  Speaker 1: what I love Drake. Drake will give you. Drake will
• 45:45
  Speaker 1: give you God's Plan and give you a murder Listen.
• 45:49
  Speaker 1: I will give you a hit record and give you
• 45:52
  Speaker 1: four AM and Calabassiti. So he understands a lot of
• 45:56
  Speaker 1: people found me rapping right, and I can do the
• 45:59
  Speaker 1: big songs, but I'm still gonna give him red Listen.
• 46:03
  Speaker 1: People wouldn't do that, Bro. Drake is an all time
• 46:06
  Speaker 1: great lyrically. He can rap circles around ninety nine percent
• 46:10
  Speaker 1: of all rappers. He's incredible. I give him all that
• 46:13
  Speaker 1: all day. But at the same time, like, I don't know.
• 46:18
  Speaker 1: If Drake makes music for me, that's fair, you know,
• 46:22
  Speaker 1: for you, But I can grab some so you know,
• 46:24
  Speaker 1: if I dig through his album, I'll find some shit
• 46:26
  Speaker 1: that I fuck with. Yeah, And you know, I really
• 46:28
  Speaker 1: like to laughing cry later record. I really like that.
• 46:31
  Speaker 1: I really love this last I only just put out
• 46:34
  Speaker 1: with the Lucy's the old songs. Yeah, well yeah that
• 46:37
  Speaker 1: that shit was. That's the Drake. I like, I'm like, yoh,
• 46:39
  Speaker 1: I remember when this sh was on Soundclass. Yeah, like
• 46:41
  Speaker 1: even for sure, I think Drake is incredible. Like I said,
• 46:44
  Speaker 1: it's just in general, Like if Drake and you know,
• 46:49
  Speaker 1: fucking Conway put an album out on the same day, like,
• 46:52
  Speaker 1: I'm gonna go to the Conway album first because I'm
• 46:55
  Speaker 1: gonna hear the Drake album. I'm on the radio, so
• 46:58
  Speaker 1: like the Drake, I have to listen to the Drake album,
• 47:01
  Speaker 1: like I have to, Like, it's part of my job.
• 47:02
  Speaker 1: He's the biggest artist in the fucking world. But that's
• 47:06
  Speaker 1: why I wasn't riding around listening to Nelly just as
• 47:09
  Speaker 1: a kid. If you went into my CD book, you
• 47:11
  Speaker 1: would not see Nellyville in there. See here's what's crazy.
• 47:14
  Speaker 1: It might be burnt. It was a burn CD. If
• 47:16
  Speaker 1: it was in there, you disrespectful. I definitely was disrespectful. Definitely.
• 47:21
  Speaker 1: How the fuck did you burn a diamond album? The
• 47:23
  Speaker 1: only album of Nelly's had bought was Country Grammar. I
• 47:26
  Speaker 1: thought you said you burnt Country Grammar. No, no, no,
• 47:29
  Speaker 1: I bought Country Grammar the same day I bought three
• 47:31
  Speaker 1: six Mothews. That's fair. If I was in San Diego, Diamond,
• 47:35
  Speaker 1: I was gonna say, how did you burn No Country? Grammars? Incredible? Okay, okay, okay,
• 47:39
  Speaker 1: we're on the same page. Grammar. Here's what's crazy what
• 47:42
  Speaker 1: you just said. If Conway and Drake was to drop
• 47:45
  Speaker 1: album on the same day, I would do the same thing, right,
• 47:47
  Speaker 1: but I would listen to it for different reasons. See,
• 47:49
  Speaker 1: I would listen to Kanye Conway first to get me
• 47:53
  Speaker 1: in my zone, to be able to listen right, to
• 47:56
  Speaker 1: open my ears up. So when I get to the
• 47:59
  Speaker 1: Drake thing, I'm already prepared for what's better I listen.
• 48:02
  Speaker 1: I appreciate Drake's music. I think take Care is the
• 48:06
  Speaker 1: closest thing he has to a classic. I think that
• 48:09
  Speaker 1: I'm still waiting for him to wait a minute, wait
• 48:12
  Speaker 1: a minute. I don't think he has a classic like
• 48:14
  Speaker 1: undeniable classic. I think take cares by the closest, the
• 48:17
  Speaker 1: closest thing he has. Yeah, because it's not a consensus classic.
• 48:22
  Speaker 1: It's a classic to me. Take Care is not a classic.
• 48:25
  Speaker 1: I think it might be to me, but I think
• 48:29
  Speaker 1: it's not a consens like you know, doggy style. No
• 48:32
  Speaker 1: one would tell you Doggy Stoyle isn't a classic take
• 48:35
  Speaker 1: Care people will be like, nah, that wouldn't like there
• 48:39
  Speaker 1: are like like I'm talking, we know the albums Get
• 48:42
  Speaker 1: Richard I Trying is in the rafters? What? And by
• 48:46
  Speaker 1: the way, I have to only wrap to make a
• 48:48
  Speaker 1: classic album. Eminem doesn't have a consensus classic. He doesn't
• 48:53
  Speaker 1: I agree which one, buddy, Eminem? Come on, man, but
• 48:58
  Speaker 1: are we talking fucking Marshall's LP is a consensus hip
• 49:01
  Speaker 1: hop classic? Not at all, sir, I don't know, not
• 49:04
  Speaker 1: at all. No, there was some bullshit on that album.
• 49:08
  Speaker 1: I don't know. I'm a care on this one. But
• 49:10
  Speaker 1: Eminem is one of the great and and by the way,
• 49:13
  Speaker 1: he's got three really good albums that are close to
• 49:16
  Speaker 1: great albums, Marshall Mathers, LP, and Eminem Show. There's arguments
• 49:22
  Speaker 1: to be made that those three albums are classics, but
• 49:24
  Speaker 1: they're not consensus classics. Eminem doesn't have an album better
• 49:28
  Speaker 1: than Give Richard I Trying period. Eminem doesn't have an
• 49:31
  Speaker 1: album better than Doggy Style or Illmatic. Like the consensus
• 49:35
  Speaker 1: classics are the ones where there's just no Drake. I
• 49:40
  Speaker 1: think has two classic ish the take Care Wait, what
• 49:45
  Speaker 1: are the three, Okay, it's they're on the same level.
• 49:52
  Speaker 1: I don't know, I don't know, I don't know. I
• 49:54
  Speaker 1: would take take care of a classic. I would take
• 49:56
  Speaker 1: take to me it's a classic, but it's not like
• 49:59
  Speaker 1: and I'm a hip but just this is why I
• 50:01
  Speaker 1: want to ask this question because I feel like, right
• 50:05
  Speaker 1: we cheat people with the classic where we say people
• 50:08
  Speaker 1: don't have a classic because they may have a song
• 50:10
  Speaker 1: where they're singing no no, no, no, no no no. I
• 50:12
  Speaker 1: don't think so when you're saying, but I feel like
• 50:14
  Speaker 1: a lot of times we do that because, like Drake
• 50:16
  Speaker 1: said in an album before, classic is just ten of
• 50:19
  Speaker 1: E's you know what I'm saying, where he's just saying
• 50:21
  Speaker 1: like like y'all just want me to rap. So there's
• 50:24
  Speaker 1: something not become a hip hop classic because it may
• 50:26
  Speaker 1: have a pop record on it. Naw. You know what
• 50:28
  Speaker 1: I think with Drake's missing from his repertoire is that
• 50:32
  Speaker 1: I think up until Scorpion, Drake had a really hard
• 50:36
  Speaker 1: time of letting us into who he really is. Wait
• 50:40
  Speaker 1: wait wait wait wait, I mean that like through his
• 50:43
  Speaker 1: music and furthermore, Drake has never really taken a stand
• 50:46
  Speaker 1: on any sort of political issues. Or like dance out
• 50:49
  Speaker 1: of his comfort zone when it comes to the content
• 50:51
  Speaker 1: he's rapping about. Is that not fair? That's not fair
• 50:55
  Speaker 1: criticism A lot of only hearing this by the way,
• 50:58
  Speaker 1: let's like, let's listen to this, Like, come on, guys,
• 51:01
  Speaker 1: this is on a classic album drug ballad on this sucks, dick?
• 51:06
  Speaker 1: Did you hear what he just said? So this is
• 51:10
  Speaker 1: this is on a classic album. This shitty ass eminem
• 51:12
  Speaker 1: song is on Marshall Moders this song suck. Did you
• 51:17
  Speaker 1: hear what you just said? What did I say? You
• 51:19
  Speaker 1: just said? Drake never opened up until Scorpio. I mean,
• 51:23
  Speaker 1: like about his pers like he's talking about He's been
• 51:25
  Speaker 1: telling us about his life. He's talking aboutes, he fucked,
• 51:29
  Speaker 1: he's talking about heartbroken. But I'm talking about his mom
• 51:33
  Speaker 1: and his dad's with lace. I know his girlfriend name from,
• 51:36
  Speaker 1: have no idea I know the girlfriends. I don't know.
• 51:39
  Speaker 1: I don't have stayed on. Have no idea what Drake's
• 51:42
  Speaker 1: political leanings are. I don't know how it feels about
• 51:44
  Speaker 1: social issues. I don't know who. Maybe that's okay, that's different.
• 51:48
  Speaker 1: I have no idea who, like, I don't know where.
• 51:50
  Speaker 1: I don't know his opinion on a lot of things
• 51:52
  Speaker 1: outside of he likes fat bitches with the girls with
• 51:55
  Speaker 1: fat asses that used to work in hooters. You know
• 51:57
  Speaker 1: what I'm saying. No, Drake also is the kind of
• 51:59
  Speaker 1: guy I would suspect. Drake also subscribes to a lot
• 52:02
  Speaker 1: of only fans accounts. For sure. Listen, Drake opens up
• 52:05
  Speaker 1: about a lot of things. Does he not how many
• 52:08
  Speaker 1: only fans account subscriptions? Do you think you guys my business?
• 52:10
  Speaker 1: I think Drake's and the dms are only fans, like,
• 52:12
  Speaker 1: yel what's up? Girl? This is Drake? No for real,
• 52:14
  Speaker 1: it is. I just wanted to sad give you this.
• 52:17
  Speaker 1: Fourteen ninety nine one of the three. I think take Care. Yeah,
• 52:22
  Speaker 1: if you're reading, it's too late, you know what. I can't.
• 52:25
  Speaker 1: I know a lot of people say that, but yeah
• 52:27
  Speaker 1: he didn't write and yeah, nothing was the same. Nothing
• 52:30
  Speaker 1: was the same as the two. For me, it's nothing.
• 52:32
  Speaker 1: I think Nothing was the same as his best album.
• 52:34
  Speaker 1: Personally me too, But I think take Care is the one.
• 52:36
  Speaker 1: It's like, there's not one song you can skip, won't
• 52:38
  Speaker 1: take Care. I don't disagree. It's a great album. You
• 52:41
  Speaker 1: can't skip one song on take we can skip I
• 52:43
  Speaker 1: think that's the only I think in the last uh,
• 52:48
  Speaker 1: you know, recently. We'll say the last ten years, twenty twelve,
• 52:53
  Speaker 1: so we'll say the last eight years. I think that
• 52:56
  Speaker 1: the only I'm not saying that there's not other classics,
• 52:58
  Speaker 1: because I do think Freddy gets a Mad Live God classic.
• 53:01
  Speaker 1: But these are classics that like, well, Kendrick has three classes. No, listen,
• 53:06
  Speaker 1: I was gonna say the only consensus, non deniable classic
• 53:09
  Speaker 1: album that's come out is Good Kid, Bad City, because
• 53:12
  Speaker 1: To Pimp a Butterfly is a very controversial album. It's
• 53:15
  Speaker 1: very polarized. I don't disagree with you. I think Kendrick
• 53:18
  Speaker 1: dropped three classics in a row. I mean through the
• 53:20
  Speaker 1: lens of like, nobody is gonna say the Good Kid
• 53:23
  Speaker 1: Mad Good Kid, Mad City is up there with Good Richard.
• 53:25
  Speaker 1: I true to Pimp a Butterfly is one of the
• 53:28
  Speaker 1: most polarizing albums ever. I think it's a classic. I
• 53:31
  Speaker 1: actually think it's probably Kendrick's best album in my opinion.
• 53:35
  Speaker 1: I think Damn, No, that's his worst album in my opinion,
• 53:40
  Speaker 1: But Damn is a classic. In my opinion, he kind
• 53:42
  Speaker 1: of missed both. No, I agree, but Damn is a classic.
• 53:46
  Speaker 1: So for me, just out of those three I put it,
• 53:49
  Speaker 1: I go, you know, either Good Kid, Mad City to
• 53:52
  Speaker 1: Pimp a Butterfly, you can go the way they came out.
• 53:54
  Speaker 1: But I think the only album in the last eight
• 53:58
  Speaker 1: years that we look at and we're like, that is
• 54:01
  Speaker 1: a classic. Nobody can say shit is that album? Now.
• 54:05
  Speaker 1: I have opinions on other projects that I think are classics, okay,
• 54:09
  Speaker 1: but I just mean, like, there's just those albums that
• 54:12
  Speaker 1: you're like, would you say my Twisted Dark Fantasy? Of
• 54:17
  Speaker 1: course that was twenty ten, that was twenty ten. That
• 54:20
  Speaker 1: to me is the best album ever. That was twenty ten.
• 54:23
  Speaker 1: I mean, Connie is my favorite artist. Watched the Throw. No,
• 54:27
  Speaker 1: I don't think that's a classic, not a classic. I
• 54:28
  Speaker 1: think it's a good album. There's some good shit on there.
• 54:31
  Speaker 1: You know, get it, get it, you know. I actually
• 54:33
  Speaker 1: think I think Jesus is a classic. I think Yessus
• 54:37
  Speaker 1: changed sonics and hip hop. I agree. I think at
• 54:40
  Speaker 1: World is a classic. But guess what I'm talking about,
• 54:43
  Speaker 1: Just like you like, there're nobody could say shit about
• 54:46
  Speaker 1: Good Kid, Mad City? No, I agree. I'm saying Damn
• 54:49
  Speaker 1: is my favorite because and me maybe maybe Forest Hills
• 54:54
  Speaker 1: Drive maybe and I don't maybe maybe, but it's an
• 55:00
  Speaker 1: not on the same level as Good Kid Mad City.
• 55:01
  Speaker 1: See what Good Kid like it's so dope because it
• 55:05
  Speaker 1: was like, not only his first introduction, but it was
• 55:08
  Speaker 1: just so classic, right. But for me, as an artist,
• 55:12
  Speaker 1: the psyche of an artist, it's hard to continue to
• 55:15
  Speaker 1: do that, right. So for him to come with something
• 55:18
  Speaker 1: that's polarizing us to Pimp a Butterfly and then Mesh
• 55:22
  Speaker 1: to Pimp a Butterfly and Good Kid Mad City into
• 55:25
  Speaker 1: a damn yeah, damn commercial. As an artist, I have
• 55:28
  Speaker 1: the biggest records. Yeah, Like, that's a plenty, and I
• 55:31
  Speaker 1: don't want to say that there's not other classic albums
• 55:33
  Speaker 1: in that eight year span. I think My Crazy Life
• 55:36
  Speaker 1: by YG is a classic, but I think I think that.
• 55:39
  Speaker 1: I don't know if I definitely think My Crazy I agree,
• 55:43
  Speaker 1: but I don't think people like if you talk to
• 55:44
  Speaker 1: motherfuckers in New York, they might be like, nah, that
• 55:46
  Speaker 1: shit was just all right. I mean, like, yo, these
• 55:49
  Speaker 1: are this a Hall of Fame album. Nobody's gonna say
• 55:51
  Speaker 1: ship when you put that up there on the mantle.
• 55:53
  Speaker 1: No one will say shit if my beautiful dark Twist
• 55:55
  Speaker 1: and fantasies on the back or reasonable doubt or a
• 55:57
  Speaker 1: good kid mad city get rid of that. Yeah. So
• 56:00
  Speaker 1: I mean, look, Eminem's all time great, and I personally,
• 56:03
  Speaker 1: I don't think he's got a consensus classic. I agree
• 56:07
  Speaker 1: he has great albums, but as far as just a
• 56:10
  Speaker 1: classic from top to bottom in my opinion, I don't know. Yeah,
• 56:15
  Speaker 1: I don't know. But without them and I think Eminem
• 56:18
  Speaker 1: Show is my favorite Eminem album. Eminem Show is my
• 56:20
  Speaker 1: favorite Eminem album definitely. I even like the Encore album
• 56:23
  Speaker 1: as well. Though Encore had some ship on it that
• 56:26
  Speaker 1: was like it had some really bad ship, like some
• 56:28
  Speaker 1: of the worst shit I ever heard, But it has
• 56:30
  Speaker 1: some ship that I love, some dope shit. He had
• 56:32
  Speaker 1: something like that that uh that that he just had
• 56:35
  Speaker 1: some ship. I was a really toxic relationship and he
• 56:37
  Speaker 1: had some ship. I was like, yeah, this ship talking
• 56:42
  Speaker 1: to me. All right? So you got this is gonna
• 56:45
  Speaker 1: come out for your two chain single comes out? Yes, sir,
• 56:48
  Speaker 1: I know you have a lot of records you're sitting on. Yes,
• 56:51
  Speaker 1: what is the like, what's next for you? Obviously we
• 56:54
  Speaker 1: got the Change project, the videos out or the Change single. Rather,
• 57:00
  Speaker 1: is this leading into a project that yeah, he don't
• 57:03
  Speaker 1: run from rap, don't run from responsibilities and principles. The
• 57:07
  Speaker 1: name of the houris Don't Run from Rap. No, No,
• 57:10
  Speaker 1: he dropped from rap. He didn't run. Drake didn't run
• 57:13
  Speaker 1: from rap. He ran from Push Your T. He's still
• 57:16
  Speaker 1: on business. He ran to run from Ray. He ran
• 57:18
  Speaker 1: from pushing. Shout out to push your T too, because
• 57:20
  Speaker 1: that's the big homie, one of the greatest of all time. Facts.
• 57:23
  Speaker 1: But shout out to Drake because he didn't run from rap.
• 57:25
  Speaker 1: He's stood on business. But like I was saying, yeah,
• 57:29
  Speaker 1: the project is called Don't Run from Rap. It's coming
• 57:32
  Speaker 1: very soon, very very soon, before the end of the year.
• 57:36
  Speaker 1: I'm very excited about it. I haven't dropped the project
• 57:40
  Speaker 1: since twenty fifteen. Wow. Yeah, so I've been like doing
• 57:45
  Speaker 1: a lot of You've been training, You've been in the gym. Yeah,
• 57:48
  Speaker 1: so this is like the first thing I've dropped in
• 57:51
  Speaker 1: five years, you know, Like, I'm hello excited about it. Bro,
• 57:54
  Speaker 1: can we get a EP with you and Cash? We're
• 57:57
  Speaker 1: gonna do an album. Okay, We're gonna do it out.
• 58:00
  Speaker 1: Miss already in the in the works, and I've heard
• 58:02
  Speaker 1: a lot of records with you two together. That are
• 58:04
  Speaker 1: fucking nuts. Yeah, like we already doing that. Shut out
• 58:07
  Speaker 1: my brother Jason Cash straight out of Carson the Limo's
• 58:10
  Speaker 1: Best You feel me, shut out my boy. But yeah,
• 58:13
  Speaker 1: the project is coming. Got two chains on their money bag.
• 58:19
  Speaker 1: Yo is on there. I got a record with this
• 58:23
  Speaker 1: girl named Ayiannis who's on Atlantic as well. It's actually
• 58:26
  Speaker 1: one of my favorite records on the project. But really, man,
• 58:31
  Speaker 1: my overall plan, bro is kind of what we was
• 58:33
  Speaker 1: talking about before, is to you know, bring a new
• 58:35
  Speaker 1: platform from the bay. I look at my music as
• 58:38
  Speaker 1: like a stepping stone to be able to do bigger things.
• 58:42
  Speaker 1: And you know, the content world is crazy right now.
• 58:44
  Speaker 1: It's crazy. So I talked to a lot of my
• 58:46
  Speaker 1: friends just about, you know, movie ideas we had. We
• 58:49
  Speaker 1: work on a lot of scripts. Me and one of
• 58:51
  Speaker 1: my good friends. We got a script we was talking
• 58:53
  Speaker 1: about called Dad Friends. You know what I mean, just
• 58:56
  Speaker 1: about I don't even want to say it, but it's
• 58:58
  Speaker 1: some dope shit you don't give I'm gonna take. But
• 59:01
  Speaker 1: another one of my friends, we got another movie we're
• 59:03
  Speaker 1: working on called Sugar. Another one of my friends, we
• 59:07
  Speaker 1: was working on a small docu series about a San
• 59:11
  Speaker 1: Francisco cop who started beef in San Francisco, you know
• 59:15
  Speaker 1: what I mean. So it's a lot of these stories
• 59:17
  Speaker 1: from the Bay area. The Hook actually happened a big
• 59:21
  Speaker 1: time beef in San Francisco. So there was a cop
• 59:23
  Speaker 1: who started a rat beef, No, not a rap beef,
• 59:26
  Speaker 1: beef like on purpose, just to some deep shit. Oh,
• 59:31
  Speaker 1: some deep shit. It's some real deep shit. You got
• 59:34
  Speaker 1: stories like the Hook Mitchell story. You know what I mean.
• 59:37
  Speaker 1: A lot of people don't know the PayPal mafia was
• 59:41
  Speaker 1: was started in fucking the Bay. Hey, I feel like
• 59:44
  Speaker 1: the Bay. Everything was started in the Bay. Yeah, like
• 59:46
  Speaker 1: you know what I mean. A lot of these stories
• 59:49
  Speaker 1: don't get told. So being in an era where content
• 59:53
  Speaker 1: is king, where TV shows and YouTube shows and all
• 59:55
  Speaker 1: these things, I want to be someone that highlight these stories.
• 59:58
  Speaker 1: Hey man, that's the way man, have your your eggs
• 1:00:00
  Speaker 1: in all baskets. You said that your parents came from
• 1:00:02
  Speaker 1: real estate background. Do you dole and dabble in the
• 1:00:05
  Speaker 1: real estate game at all? It's tricky. My mom always
• 1:00:08
  Speaker 1: gets me into it. I just got my first crib
• 1:00:10
  Speaker 1: out here in lam You overpaid. No, I actually got
• 1:00:14
  Speaker 1: a good deal, And I don't want to say where
• 1:00:17
  Speaker 1: I live, but it's a cool area. Everything's fucking expensive
• 1:00:20
  Speaker 1: out here. Man. If you dig, bro, you just gotta
• 1:00:23
  Speaker 1: be on the outskirts of the valley. No, I know,
• 1:00:25
  Speaker 1: that's why I'm looking. I'm looking at like to Hunga
• 1:00:27
  Speaker 1: and all kinds of spots. I'm like, damn, when you
• 1:00:30
  Speaker 1: right in the center everything, it gets pricey. But yeah,
• 1:00:34
  Speaker 1: my mom is like heavy like on me about real
• 1:00:36
  Speaker 1: estate all the time. But I'm just somebody that's so
• 1:00:40
  Speaker 1: caught up in my dream. I feel like I can't
• 1:00:42
  Speaker 1: really You've got to put blinders on it. I can't
• 1:00:45
  Speaker 1: put energy to nothing but pursuing what I'm trying to
• 1:00:48
  Speaker 1: do right now because I know this is what's going
• 1:00:50
  Speaker 1: to help me be able to do that later. No
• 1:00:52
  Speaker 1: for sure. And plus the markets at like an all
• 1:00:54
  Speaker 1: time high go down, Yeah, no for sure. Well, look,
• 1:00:57
  Speaker 1: don't run from rap coming before the end of the year, definitely.
• 1:01:00
  Speaker 1: Big Homie with two Chains is out. Shout out the
• 1:01:02
  Speaker 1: two Chains too, man, that's that's the big Homie. Shout out,
• 1:01:05
  Speaker 1: Sleepy Road, shout out Tech, shout out to the whole
• 1:01:07
  Speaker 1: Truth camp and the homies right there Boom Simba makes
• 1:01:11
  Speaker 1: you follow them at the real Simbo on Instagram. Perfect
• 1:01:15
  Speaker 1: mm hm