Latest / The Bootleg Kev Podcast / #16 - MC Eiht

Transcript

#16 - MC Eiht · The Bootleg Kev Podcast

• 0:11
  Speaker 1: That's right, ladies and gentlemen, it is that time. I'm
• 0:14
  Speaker 1: trying to remember what episode we're on, Episode number sixteen,
• 0:19
  Speaker 1: I believe of the bootleg Head Podcast. Is that terrible
• 0:22
  Speaker 1: that I don't even remember what episode we're on? They're
• 0:25
  Speaker 1: flying by though, episode sixteen. That is correct. Welcome to
• 0:31
  Speaker 1: the bootleg Head Podcast. Just want to say shout out
• 0:33
  Speaker 1: to everybody locked in. Man, we are gonna start kind
• 0:38
  Speaker 1: of ramping up the quantity of episodes moving forward. There's
• 0:43
  Speaker 1: a lot of dope stuff on deck. We got an
• 0:45
  Speaker 1: interview with Blast, who's probably the hottest artist out of
• 0:50
  Speaker 1: LA We got an interview with Sada Baby, who's from
• 0:55
  Speaker 1: Detroit and who was so high off of Leen during
• 0:58
  Speaker 1: our interview that I had to cut it short because
• 1:00
  Speaker 1: he was falling asleep and it was kind of pointless. Yeah.
• 1:06
  Speaker 1: Interesting nonetheless, Also, Action Bronson will be on the podcast
• 1:11
  Speaker 1: next week. Bam, bam, He'll be on the podcast. And yeah, man,
• 1:18
  Speaker 1: so much stuff going on. I really just want to
• 1:21
  Speaker 1: shout out to uh. You know, I'm a I'm a
• 1:24
  Speaker 1: I'm a sports gambler and I've just been extremely excited
• 1:28
  Speaker 1: that football's back. I just went to Vegas over the
• 1:32
  Speaker 1: weekend with my best friend David and uh just watched
• 1:36
  Speaker 1: football and got drunk and gambled. It was amazing. It
• 1:41
  Speaker 1: was like literally like it was Euphoriak. But I got
• 1:46
  Speaker 1: a shout out my Arizona Cardinals for winning me a
• 1:48
  Speaker 1: shit ton of money over the weekend. Yeah. I'm trying
• 1:53
  Speaker 1: to think of the new hip hop I'm listening to
• 1:55
  Speaker 1: right now. I don't know if there's anything new but
• 1:57
  Speaker 1: the new Marquel Del Juan and Tony Talk EP that
• 2:01
  Speaker 1: just dropped that is actually off of Ready Set, the label,
• 2:07
  Speaker 1: which people don't know that's my record label. So shout
• 2:09
  Speaker 1: Markel and Tony Chalk. Go support their EP if you
• 2:12
  Speaker 1: don't mind. Also, Berner's new project is out. Yeah, there's
• 2:16
  Speaker 1: some dope new wrapout, so you know, go dibble and dabble.
• 2:21
  Speaker 1: I'm still off that Big Sean and that Conway. Both
• 2:24
  Speaker 1: of those albums are still in full rotation for me.
• 2:26
  Speaker 1: Shout out to Conway, Shout out to Big Sean. Both
• 2:28
  Speaker 1: albums are crazy. This week's episode, we have got a legend,
• 2:34
  Speaker 1: a Compton legend MC eight the og. Now, when I
• 2:38
  Speaker 1: was a kid man, I remember first kind of hearing
• 2:42
  Speaker 1: of MC eight. Obviously, Compton's Most Wanted and his beef
• 2:49
  Speaker 1: with DJ Quick. I remember DJ Quick dissing him on
• 2:54
  Speaker 1: Safe and Sound saying, ei h T should I continue?
• 2:57
  Speaker 1: You left out the G because the G eight in
• 2:59
  Speaker 1: you and as a kid, that was kind of how
• 3:03
  Speaker 1: I first got super familiar with this guy, but a legend,
• 3:09
  Speaker 1: and we had a really dope conversation. He's got a
• 3:11
  Speaker 1: new album that's out right now officially that's Dope. Super
• 3:16
  Speaker 1: Fire features on their Primos, on their Davies Conway Go
• 3:22
  Speaker 1: tap in with his new album. And of course before
• 3:26
  Speaker 1: we get to the interview, got a shout out our sponsors.
• 3:29
  Speaker 1: We do have some of those. Shout out to our
• 3:32
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  Speaker 1: that means you're supporting me. So go on there, go
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• 4:32
  Speaker 1: to our other sponsor, Vapin. All right, shalute, shalute, shalute
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  Speaker 1: to the homies at vapin. Vapin is an amazing company
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  Speaker 1: vapincbd dot com. Let's get to this interview. God damn it, listen.
• 5:07
  Speaker 1: MC eight is on the motherfucking podcast. Let's get to it,
• 5:12
  Speaker 1: Boutlet Cap Podcast number sixteenth. Come on, we're here with
• 5:16
  Speaker 1: the legend right now. Man MC eight was cracking, kid.
• 5:20
  Speaker 1: I'm chilling, bro. I gotta tell you. When I was
• 5:22
  Speaker 1: a kid, I had a big cousin who had all
• 5:25
  Speaker 1: you know, the CD books used to be the shit,
• 5:27
  Speaker 1: right right, get all your shit comped his most wanted shit,
• 5:32
  Speaker 1: and I kind of got introduced, I want to say,
• 5:35
  Speaker 1: as a child, you and quicks Beef was my first
• 5:39
  Speaker 1: introduction to like rap beef. Right. I was probably like,
• 5:43
  Speaker 1: I don't know, like ten or eleven, and uh, you know,
• 5:47
  Speaker 1: you guys had a legendary back and forth. But man,
• 5:50
  Speaker 1: it's it's so dope to talk to you. I've obviously
• 5:52
  Speaker 1: I've been in LA for like three or four years.
• 5:53
  Speaker 1: The first time you met man d Y some d
• 5:56
  Speaker 1: you got your new album that How long have you
• 5:59
  Speaker 1: been working on this new album? Since I've been working
• 6:01
  Speaker 1: on it for about a year and a half, you know,
• 6:05
  Speaker 1: just trying to get the right music together, you know,
• 6:08
  Speaker 1: try to get a couple of features whatever. You know,
• 6:12
  Speaker 1: I don't really be big on features. I just try
• 6:15
  Speaker 1: to do what I do. You know, when I start
• 6:16
  Speaker 1: recording a project, I usually just go into the studio.
• 6:21
  Speaker 1: I get about three four producers, and I just have
• 6:25
  Speaker 1: them just send me beat after beat after beat after beat.
• 6:28
  Speaker 1: So I might record up to sixty songs, right, and
• 6:31
  Speaker 1: then from there, I just you know, being in the
• 6:35
  Speaker 1: game a while and having relationships with certain cats, it
• 6:40
  Speaker 1: enables me to pick up the phone and be like, hey,
• 6:43
  Speaker 1: you know, I need a verse, I need a beat.
• 6:46
  Speaker 1: So always Primo, always New York cats, you know, you know,
• 6:52
  Speaker 1: I kind of you know, extend their hand as far
• 6:55
  Speaker 1: as as far as my, my, my, my, I want
• 7:02
  Speaker 1: to say my contribution to hip hop. It's been so long,
• 7:05
  Speaker 1: so dude, or just you know, send me versus send
• 7:08
  Speaker 1: me beat. So I've been recording this record for about
• 7:11
  Speaker 1: a year and a half, and I try to do
• 7:13
  Speaker 1: a lot of songs, and then I'll out of the
• 7:16
  Speaker 1: sixty songs, I might pick thirty and then I'll send
• 7:19
  Speaker 1: them to Primo, and then Primo will be like yeah no, yeah, no,
• 7:23
  Speaker 1: yeah no. And then from there, I just basically just
• 7:27
  Speaker 1: try to put whatever. It don't even matter on the
• 7:29
  Speaker 1: amount of songs I record. If it's twenty songs, we
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  Speaker 1: put twenty songs out. If it's fifteen, we do fifteen,
• 7:35
  Speaker 1: if it's twelve, if it's twenty seven. I mean, I
• 7:38
  Speaker 1: just try to do a gang of songs, so at
• 7:40
  Speaker 1: least it'll go around the board and have everybody or
• 7:43
  Speaker 1: something a little flavor for everybody. You and a Primo,
• 7:47
  Speaker 1: give me the roots of your guys' relationship because obviously
• 7:51
  Speaker 1: you being from La Primos, you know, originally from Texas,
• 7:54
  Speaker 1: but we are associated with New York. Talk about y'all's
• 7:59
  Speaker 1: relationship and you know where it started. I started rapping
• 8:04
  Speaker 1: the man back in the day days, you know, uh,
• 8:08
  Speaker 1: p Roxeal, Smooth, e Z, ice Cube, Tone, Low School
• 8:13
  Speaker 1: e D So I was being around for a while.
• 8:17
  Speaker 1: So back in my days, record companies was big on
• 8:21
  Speaker 1: promotional tours. You had to go out, you had to
• 8:24
  Speaker 1: go do end store, sign all the graphs. So around
• 8:28
  Speaker 1: the time I first got started, Primo in them had
• 8:32
  Speaker 1: first got started with Gangstar, him and Rest in Peace Guru.
• 8:37
  Speaker 1: I used to see him a lot on the road
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  Speaker 1: promo tours, and one of my first major concerts was
• 8:44
  Speaker 1: with Gangstar at the Celebrity Theater and oh no, there's
• 8:48
  Speaker 1: a Celebrity Theater in Phoenix too. Yeah, it was a
• 8:50
  Speaker 1: Celebrity Theater at Anaheim and my first major show was
• 8:55
  Speaker 1: Low Profile Wow, Above the Law, Okay CMW and Gang
• 9:03
  Speaker 1: Star so that's like such a gigster as West Coast lineup.
• 9:08
  Speaker 1: And then Gangstar and the Gang Star so you know,
• 9:13
  Speaker 1: they was hot with the Manifest record, so I used
• 9:16
  Speaker 1: to bump into him, and a lot of my early gigs,
• 9:18
  Speaker 1: you know, when I start touring was with Gangstar, whether
• 9:21
  Speaker 1: it was Texas or Chicago, Cleveland. Always used to bump
• 9:26
  Speaker 1: into Premo on them, so we got cool like that.
• 9:29
  Speaker 1: And then me being signed to Sony. You know, a
• 9:34
  Speaker 1: lot of my deals in construction, I had to go
• 9:37
  Speaker 1: to New York deal with the suit heeads. So I
• 9:42
  Speaker 1: used to call Primo up every time, you know, Premo
• 9:44
  Speaker 1: on coming into town. He picked me up from the airport.
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  Speaker 1: We go to his crew, just hang out like homies,
• 9:50
  Speaker 1: and we've kept that relationship over the years. You know.
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  Speaker 1: He used to remix my records when I was over
• 9:57
  Speaker 1: at Sony, over at Epic, so we just kept a connection,
• 10:01
  Speaker 1: you know, and Premo used to take me around all
• 10:03
  Speaker 1: the shows, the gigs. You know, I got introduced to
• 10:06
  Speaker 1: nas early and bust the rhymes and Tretch and a
• 10:10
  Speaker 1: lot of them cats Man, we used to just chill.
• 10:12
  Speaker 1: So we've built that rapport over the years as too.
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  Speaker 1: I can hit Primo up man anytime a day, anytime
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  Speaker 1: a day, night, whatever, and it's it's always a given,
• 10:26
  Speaker 1: you know, Premo, I need a beat or sometimes I
• 10:29
  Speaker 1: just want them to listen to shit to make sure
• 10:31
  Speaker 1: I'm on the right track. Because as a producer, goddamn right,
• 10:35
  Speaker 1: he got that ear and being a and you know,
• 10:37
  Speaker 1: producing for everybody from me to Jill Scott, jay Z,
• 10:41
  Speaker 1: jay Z, Christina Biggie, you know, so he's had that,
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  Speaker 1: he's had that track record where he has that good ear.
• 10:47
  Speaker 1: So me and Primo has been knowing each other for
• 10:50
  Speaker 1: a long time and I respect that friendship relationship outside
• 10:55
  Speaker 1: of just the music. You know, somebody you would cross
• 10:57
  Speaker 1: paths with at a concert or show or whatever, that's
• 11:00
  Speaker 1: the best. And yeah, I had one conversation with Primo
• 11:04
  Speaker 1: and it was it was the best. It was like
• 11:07
  Speaker 1: when you meet your idols, Yeah, and it like they
• 11:09
  Speaker 1: don't they don't fuck up, you know, because sometimes you
• 11:12
  Speaker 1: meet somebody who you grow up loving and and then
• 11:14
  Speaker 1: you meet him and or you interviews is like Dann
• 11:18
  Speaker 1: you're disappointed. But with Primo, we just talked hip hop
• 11:21
  Speaker 1: and porn stars and all kinds of wild Yeah, yeah,
• 11:25
  Speaker 1: that's pre Wo. That's Primo. N Primo can talk you
• 11:27
  Speaker 1: around everything, every subject, every anything, you know. And like
• 11:31
  Speaker 1: I said, that's from being as being a diverse human
• 11:34
  Speaker 1: being that Primo is being and a good nigga. He's
• 11:36
  Speaker 1: always been that for sure. Let's go back to kind
• 11:39
  Speaker 1: of how you got started, man, Like obviously being from Compton,
• 11:44
  Speaker 1: being involved in the gang ship. At what point in
• 11:46
  Speaker 1: time did you decide to take hip hop serious and
• 11:52
  Speaker 1: realize that it might be like a way out of
• 11:54
  Speaker 1: the other ship that was going on. Well, you know,
• 11:57
  Speaker 1: like I said, I started in the height of you know,
• 12:00
  Speaker 1: not just saying that, you know, gang Bang still exists
• 12:03
  Speaker 1: and it's still out there whatever, but I started in
• 12:05
  Speaker 1: the height of the area around Iced Tea with Colors
• 12:09
  Speaker 1: and NWA and Easy with boys in the hood and
• 12:13
  Speaker 1: straight out of Compton, and then Ice Tea was six
• 12:15
  Speaker 1: in the morning, King T. You know what I'm saying,
• 12:19
  Speaker 1: shout out to the liquid crew man. King T and
• 12:21
  Speaker 1: Iced Tea are two guys who don't get enough praise
• 12:24
  Speaker 1: for what they did. Definitely my dude, Tila Tela was man.
• 12:28
  Speaker 1: I mean every every record that came out from Tela
• 12:33
  Speaker 1: in that time was just you know, payback some mother
• 12:37
  Speaker 1: and you better bring a gun and all that shit. Man.
• 12:40
  Speaker 1: He was the forefront of what everybody could say was
• 12:43
  Speaker 1: what started Compton hip hop. No disrespect to my nigga,
• 12:46
  Speaker 1: Taddy Ta and mixed Master Spade, but as far as
• 12:49
  Speaker 1: records could went, Tila was that dude. So I was
• 12:54
  Speaker 1: just a young cat, you know, trying to bang in
• 12:56
  Speaker 1: the neighborhood whatever. And Todd was from my neighborhood. Totty
• 13:01
  Speaker 1: t shout out Totty T. Todd came out with a
• 13:04
  Speaker 1: song called the Battle Round. You know, Battle Around was
• 13:07
  Speaker 1: a neighborhood jam, you know, the Daryl Gates police drug
• 13:11
  Speaker 1: sales whatever. So that kind of peaked my interest of
• 13:16
  Speaker 1: getting into the rap game. And then I took a
• 13:20
  Speaker 1: summer vacation, you know, the Mississippi, and my cousin being
• 13:26
  Speaker 1: in Mississippi was more East coast in Cline. So that's
• 13:30
  Speaker 1: when I start hearing rap music. You get me Eric Bing,
• 13:34
  Speaker 1: Rock Him and fucking Utfo and Rock Sanne Shine, Te
• 13:40
  Speaker 1: Treacherous Threeses, Grandmaster Flash, so I'm like, oh, shit like
• 13:44
  Speaker 1: So it piqued my interests to want to take it
• 13:47
  Speaker 1: to a different level as to just going home and
• 13:50
  Speaker 1: rapping about the block, because that's what I did. I
• 13:53
  Speaker 1: wanted to be a Toddy t or Spade. I wanted
• 13:56
  Speaker 1: to rap about tragnu. I want to talk about the
• 14:00
  Speaker 1: the police harassment and who we had beef with and
• 14:04
  Speaker 1: whatever whatever. But then when I got introduced to like
• 14:07
  Speaker 1: I said, rock him and Eric be as president. When
• 14:10
  Speaker 1: you hear shit like that or EPMD, you got to chill.
• 14:14
  Speaker 1: You start going wild, like it's something else to this
• 14:16
  Speaker 1: shit than just speaking on what'd you see exactly. So
• 14:21
  Speaker 1: from that I just took the skills and what I've
• 14:23
  Speaker 1: learned from the East Coast rappers of learning how to
• 14:26
  Speaker 1: put together versus in a perfect song and to rap
• 14:30
  Speaker 1: about shit outside of Compton, you know. So that's what
• 14:35
  Speaker 1: sparked my real interest and want to turn from just
• 14:38
  Speaker 1: a little mixtape or TDK selling talking about we this
• 14:44
  Speaker 1: and we that and we bang or this is our hood,
• 14:47
  Speaker 1: and it wanted me to take it further. The songs
• 14:49
  Speaker 1: like growing up in the Hood or drive by Miss
• 14:52
  Speaker 1: Daisy or to get more you know, personal with the rap.
• 14:56
  Speaker 1: So it started around when I started listening to East
• 15:00
  Speaker 1: Coast Rap. I mean, I mean East Coast Rap was
• 15:02
  Speaker 1: big for me, man, real talk. Yeah, I mean I
• 15:05
  Speaker 1: think that that was always kind of prevalent in your
• 15:07
  Speaker 1: ship like that, because I you know, I mean, even
• 15:11
  Speaker 1: if we can fast forward to now, you know, your
• 15:14
  Speaker 1: first singles got Conway exactly by Primo definitely. But I
• 15:18
  Speaker 1: do think that if you think back to that era
• 15:22
  Speaker 1: of like West Coast hip hop, like how even even
• 15:24
  Speaker 1: Ice Cube, you know, with America's Most Wanted, which I
• 15:27
  Speaker 1: think is his best body of work, was heavily influenced
• 15:30
  Speaker 1: by by by by New York with the Bomb Squad
• 15:35
  Speaker 1: definitely and Chuck d and all that. What at what
• 15:40
  Speaker 1: age did you initially get involved in gang banging? Because
• 15:44
  Speaker 1: I do feel like we, like you said, it's it's
• 15:48
  Speaker 1: still around, but when you were growing up, it was
• 15:51
  Speaker 1: kind of it was it was it was new. I'm
• 15:55
  Speaker 1: just saying it was new to the world exactly right,
• 15:58
  Speaker 1: exactly like the Cripson blood shit was something that was
• 16:03
  Speaker 1: starting to become like a mainstream thing. But now we
• 16:06
  Speaker 1: all know what Cripson bloods are, right. I mean, as
• 16:09
  Speaker 1: a young kid, I was naive to it. I mean
• 16:11
  Speaker 1: I lived in the center of it and didn't know
• 16:13
  Speaker 1: shit about it. As a fucking five six seven year
• 16:17
  Speaker 1: old kid, all I knew was Saturday morning cartoons, riding
• 16:21
  Speaker 1: my bike up and down the street, and not knowing
• 16:23
  Speaker 1: that the dudes right down the block was claiming shit
• 16:26
  Speaker 1: and selling drugs. And I was naive to it. But
• 16:29
  Speaker 1: as you grow and you start seeing and you start
• 16:33
  Speaker 1: adapting to your environment, and you seeing the dudes hanging
• 16:37
  Speaker 1: on the corners and dudes your age riding around and
• 16:40
  Speaker 1: fancy cars and whatever. So my introduction to that was
• 16:45
  Speaker 1: around you know, twelve thirteen years old. What year was
• 16:49
  Speaker 1: this shit? This had to be like eighty five, eighty six.
• 16:53
  Speaker 1: You know, it was treacherous around here. You know, I
• 16:56
  Speaker 1: was go I would go to the bus stop, getting
• 16:58
  Speaker 1: ready to go to school, and then I start getting
• 17:00
  Speaker 1: introduced to nigga sweating you, and shit, I didn't know
• 17:03
  Speaker 1: what the fuck that was about it. I'm sitting at
• 17:05
  Speaker 1: the bus stop getting ready to go to school, and
• 17:07
  Speaker 1: it's like, Nigga, where the fuck are you from and
• 17:09
  Speaker 1: what you're doing over here? And while you got that
• 17:11
  Speaker 1: on and what you're wearing that hat for? And while
• 17:13
  Speaker 1: you got there and I'm looking like, god damn this
• 17:17
  Speaker 1: and that was the reality of it. So and as
• 17:20
  Speaker 1: at that age, it's funny because before that I dealt
• 17:24
  Speaker 1: with none of that. But then once you once you
• 17:29
  Speaker 1: hit that age next, it's just like a common thing.
• 17:32
  Speaker 1: You either getting sweated or you sweating a motherfucker or
• 17:35
  Speaker 1: y'all jumping out on motherfuckers. And that's like I said,
• 17:39
  Speaker 1: it was the product of my environment, is what I
• 17:41
  Speaker 1: adapted to when I was able to understand and know
• 17:46
  Speaker 1: what gang banging was about and trying to grow up
• 17:48
  Speaker 1: in a section and trying to protect your section and
• 17:51
  Speaker 1: represent and it's about you and the homies and whatever.
• 17:55
  Speaker 1: So it was a transition, I think, growing up on
• 17:58
  Speaker 1: the West and being in that environment, because if I
• 18:01
  Speaker 1: probably grew up somewhere else, it had probably been a
• 18:03
  Speaker 1: different thing. Do you think that you're having to deal
• 18:05
  Speaker 1: with that shit where people would bang on you or
• 18:08
  Speaker 1: sweat you, Like you said, like, did that kind of
• 18:10
  Speaker 1: force you to like figure out like I need to
• 18:12
  Speaker 1: I need to have something to say, Well, yeah, I
• 18:15
  Speaker 1: mean you either gonna get down or lay down at
• 18:18
  Speaker 1: that aspect, So it's either you gonna belong you gonna
• 18:22
  Speaker 1: belong to something and represent something, or you gonna be
• 18:25
  Speaker 1: a motherfucker out there who's probably gonna end up at
• 18:29
  Speaker 1: the like belly of the beast because there was no
• 18:32
  Speaker 1: saving I don't give a fuck. You could say you
• 18:34
  Speaker 1: wasn't from nowhere, and then the motherfucker sweat you harder.
• 18:37
  Speaker 1: So it's best to be loan then to not and
• 18:42
  Speaker 1: get caught up in the world of bullshit that you
• 18:44
  Speaker 1: can't handle. So that was my thing about, you know,
• 18:48
  Speaker 1: the gang banging shit and claiming the hood or getting
• 18:52
  Speaker 1: corded in or whatever. It was the sense of feeling
• 18:56
  Speaker 1: like I belonged and represented, you know what I'm saying.
• 18:59
  Speaker 1: And I had fifteen twenty thirty other niggas who was representing,
• 19:05
  Speaker 1: and we all for the protection of whatever, and if
• 19:07
  Speaker 1: niggas didn't like it, then we handle that accordingly to
• 19:10
  Speaker 1: why we did it. But like I said, I think
• 19:12
  Speaker 1: it's it's not a choice. It's being in a situation,
• 19:16
  Speaker 1: in an environment that we grew up in. It's like,
• 19:19
  Speaker 1: that's what you did. Yeah, it's funny because I just
• 19:22
  Speaker 1: had this conversation with somebody. I had a cousin who
• 19:25
  Speaker 1: did like fifteen years in prison, right right. I have
• 19:29
  Speaker 1: two cousins. One of them is half Mexican, half white.
• 19:32
  Speaker 1: He's in the Mexican mafia. My other cousin who actually
• 19:36
  Speaker 1: passed away in prison recently. Not a racist guy, big
• 19:41
  Speaker 1: hip hop head, but literally was in for twenty years
• 19:44
  Speaker 1: and he join the Arian Nation. It's a survival thing.
• 19:48
  Speaker 1: It's like definitely, it's like you know, I remember he
• 19:51
  Speaker 1: got out for a couple of years and I took
• 19:53
  Speaker 1: him to a Bust of Rhymes concert and it was
• 19:55
  Speaker 1: like the best night of his life. But this motherfucker,
• 19:57
  Speaker 1: I like, you gotta wear long sleeve shirts, bruh. But
• 20:00
  Speaker 1: like you said, it's like, yo, it's what your It's like,
• 20:02
  Speaker 1: you gotta adapt. You have to down and lay down.
• 20:05
  Speaker 1: I mean, you have to adapt to certain situations that
• 20:07
  Speaker 1: were put in, especially if you want of those young
• 20:11
  Speaker 1: young men who grow who grew up or got tossed
• 20:15
  Speaker 1: in the situation to where it's either gone. You either
• 20:19
  Speaker 1: a part of this and gonna belong, or you're gonna
• 20:22
  Speaker 1: represent and you're gonna up. You're gonna uphold this ship
• 20:25
  Speaker 1: to the best of your ability, or you're gonna be
• 20:27
  Speaker 1: like I said, You're gonna be a sheep to the Lions.
• 20:29
  Speaker 1: What are your thoughts on on now? Because I do
• 20:32
  Speaker 1: feel like it's just interesting that like there's people who
• 20:36
  Speaker 1: move to l A, like artists who moved to LA
• 20:39
  Speaker 1: and then you know, all of a sudden they're affiliated
• 20:42
  Speaker 1: with certain sets and and and they got big homies
• 20:45
  Speaker 1: and I don't know how like you know, there's like
• 20:49
  Speaker 1: R and B singers and shit that are like banging
• 20:52
  Speaker 1: like hard as fuck, and it's like, wait a minute,
• 20:54
  Speaker 1: like you know, like what are your thoughts on kind
• 20:56
  Speaker 1: of how how gang banging has evolve currently? Because I
• 21:02
  Speaker 1: do feel like there's a lot of there's a lot
• 21:07
  Speaker 1: like like there's a lot of faces to certain you know,
• 21:10
  Speaker 1: sets that are like that aren't from here. You know
• 21:13
  Speaker 1: what I'm saying, Well, I'll take that. I look at
• 21:17
  Speaker 1: that as a lot of people get into situations to
• 21:23
  Speaker 1: where they feel like it's just like if a dude
• 21:29
  Speaker 1: joined the Cup scout so went out and joined the
• 21:31
  Speaker 1: football team or whatever. The aspect of that is to
• 21:36
  Speaker 1: toughen up or make you seem like, you know, you
• 21:39
  Speaker 1: protect it or being something that you ain't. Some dudes
• 21:42
  Speaker 1: have to adapt to that situation. Some dudes have to
• 21:45
  Speaker 1: feel like you know, that's my that's my foundation of
• 21:51
  Speaker 1: what I've seen or what I've wanted to become. If
• 21:56
  Speaker 1: for dudes like me who grew up here and first
• 21:59
  Speaker 1: hand withinessed Gang Banyon and grew up in it, there
• 22:03
  Speaker 1: was a certain way and cold that you belonged or
• 22:06
  Speaker 1: you got put on a neighborhood. You know. The New
• 22:12
  Speaker 1: Days quote of Gang Banyon is to each his own
• 22:16
  Speaker 1: is what I say. It's what is accepted and what
• 22:18
  Speaker 1: ain't accepted from whatever gang feels like. This is what
• 22:23
  Speaker 1: they do. I mean, I don't know. Sometime it might
• 22:26
  Speaker 1: be a popularity contest, or it might be a Hey,
• 22:29
  Speaker 1: I've always wanted to be a part. So is it
• 22:33
  Speaker 1: a backward step to me? I think it is. But
• 22:36
  Speaker 1: like I said, some dudes is to each his own
• 22:38
  Speaker 1: and they feel like that they have to have that
• 22:42
  Speaker 1: background to make them official. You feel me. So I
• 22:46
  Speaker 1: don't really speak on it because then we don't want
• 22:49
  Speaker 1: to get entangled in the situation of telling people that
• 22:52
  Speaker 1: they not original or whatever. Because if you feel that's you,
• 22:55
  Speaker 1: that's you myself. I know the certain codes coming from
• 23:00
  Speaker 1: Compton at twelve thirteen years old, knowing what it took
• 23:04
  Speaker 1: or what what had to be done to be initiated
• 23:08
  Speaker 1: into a game as to nowadays, it's just like, hey,
• 23:12
  Speaker 1: you're down, you down show it's lead and it's all good.
• 23:17
  Speaker 1: So it's different codes, like I said, at different times.
• 23:20
  Speaker 1: I mean, gang banging is commercialized now. Back in my
• 23:23
  Speaker 1: days when we didn't glorify it. I mean, people knew
• 23:27
  Speaker 1: where we were from where we represented, but there was
• 23:29
  Speaker 1: no way in fuck like on the hit yeah it.
• 23:33
  Speaker 1: Like I remember when there was the Crips Versus or
• 23:37
  Speaker 1: the Cripson Blood's album Banging on Wax right, and I
• 23:40
  Speaker 1: was like, wait what, Yeah, it started to become commercialized
• 23:46
  Speaker 1: because record labels looked at it as as a promotional
• 23:52
  Speaker 1: tool to sell references. I mean, honestly, we couldn't do
• 23:56
  Speaker 1: that shit back in my days when I got signed
• 23:58
  Speaker 1: to Sony and I was on Epic Records, the home
• 24:01
  Speaker 1: of Michael Jackson and shar Day, No way in fuck
• 24:04
  Speaker 1: you're finna put bandanas on a video and you're finna
• 24:08
  Speaker 1: be on the record talking about you a crip from
• 24:10
  Speaker 1: so and so. The way we did it is we
• 24:12
  Speaker 1: did it with our color symbolizations. Or niggas will wear
• 24:16
  Speaker 1: blue in their videos. The Bloods will wear red and
• 24:19
  Speaker 1: they videos and we left it at that. Now that
• 24:23
  Speaker 1: record labels see that it's influenced by all shit, So
• 24:28
  Speaker 1: he's saying he is. Now you got a million fans
• 24:32
  Speaker 1: who buy in this product because he representing what. We're
• 24:35
  Speaker 1: not gonna stop that and then claim whatever you want to.
• 24:37
  Speaker 1: You want more blue bandanas, you want more red bandannas,
• 24:41
  Speaker 1: get them. The more the merrier, because it's now commercialized
• 24:45
  Speaker 1: and people ain't scared of the situation no more. Not
• 24:49
  Speaker 1: to say gang banging ain't official, but like I said,
• 24:52
  Speaker 1: back in our days, motherfuckers have security in the lobbies
• 24:56
  Speaker 1: of record labels because they were scared of niggas walking
• 24:58
  Speaker 1: in them. You like, bring all your crew in ship,
• 25:03
  Speaker 1: you get So it's just the way that motherfuckers have
• 25:06
  Speaker 1: monetized it and made it to where we can put
• 25:10
  Speaker 1: it on film, you can claim it, and then there
• 25:13
  Speaker 1: it is. Fuck it long as we making a dollar
• 25:15
  Speaker 1: off of it, we don't. Really, we're not intimidating. Will
• 25:19
  Speaker 1: turn the other cheek, will turn the other cheeks. Yes,
• 25:23
  Speaker 1: I wanted to ask you about something specific that I
• 25:25
  Speaker 1: just wanted to get your take on, and that's the
• 25:27
  Speaker 1: six nine situation. He just was out in l A. Yeah,
• 25:30
  Speaker 1: for like three or four days obviously, just out here
• 25:34
  Speaker 1: being very disrespectful, trolling the ship out of everybody. He
• 25:38
  Speaker 1: pulled up to Nipsey's memorial, you know, at the next
• 25:43
  Speaker 1: Nipsey store. I had heard, Well, first of all, you know,
• 25:50
  Speaker 1: what are your what is your take on like on
• 25:52
  Speaker 1: that specific like like him coming out to l A
• 25:55
  Speaker 1: and kind of just showing out. I know he's got
• 25:57
  Speaker 1: And then I wanted to ask you a follow up?
• 25:59
  Speaker 1: Did I just wanted to get your initials. It's expected
• 26:07
  Speaker 1: for dudes who are looking for the limelight. Promotional tactic
• 26:21
  Speaker 1: and stunts are heavy. Real niggas don't move like bullshit.
• 26:30
  Speaker 1: Real niggas move like real niggas move. So that situation,
• 26:35
  Speaker 1: to me, is all about numbers. It's all about promotion.
• 26:43
  Speaker 1: It's all about controversy, and when you got them three things,
• 26:47
  Speaker 1: you'll stay in a motherfucker's mouth all day. Whether it's
• 26:52
  Speaker 1: good or bad. They don't give a fuck. I've always
• 26:56
  Speaker 1: been told promotion is promotion, whether it's good or bad.
• 27:01
  Speaker 1: Motherfuckers is talking about you. Yeah, there's that cliche, bad
• 27:06
  Speaker 1: press none none. So So look he comes out and
• 27:13
  Speaker 1: he's the talk of the town. Now, nobody's really real
• 27:19
  Speaker 1: niggas are not worried about that situation. You got a
• 27:23
  Speaker 1: lot of motherfucking people who feel that it's disrespectful whatever whatever.
• 27:29
  Speaker 1: But on a real day, he's not gonna do that
• 27:33
  Speaker 1: type of shit knowing that it's real niggas standing ground.
• 27:37
  Speaker 1: I hear at like seven in the morning. Of course
• 27:39
  Speaker 1: you do it. Like I said, it's all publicity, and I,
• 27:42
  Speaker 1: like I said, I don't have nothing to say about dude.
• 27:45
  Speaker 1: Dude do what he do. He try and make his money,
• 27:47
  Speaker 1: that's his thing. It's all about the money. Let's let's
• 27:50
  Speaker 1: face it. It's all about the money with certain cats.
• 27:54
  Speaker 1: It's not about being you know, lawyer or true or whatever.
• 27:58
  Speaker 1: So I don't understand while a lot of motherfuckers are
• 28:01
  Speaker 1: tripping off of the cat because it's all been that
• 28:05
  Speaker 1: gimmeicky situation from the gate. From the gate, So don't
• 28:11
  Speaker 1: be shocked by the antics you give me. It's just
• 28:14
  Speaker 1: like a motherfucker who want to promote a movie and
• 28:17
  Speaker 1: go downtown and sky dive off of the tallest building
• 28:21
  Speaker 1: or tight rope across or anything for promotion. Is to
• 28:24
  Speaker 1: keep a motherfucker's name in people's mouths because the quieted
• 28:29
  Speaker 1: you are and you don't talk about it, motherfucker gonna
• 28:33
  Speaker 1: die away in the wind. So I have to keep
• 28:35
  Speaker 1: my name in the public. So you do certain shit,
• 28:38
  Speaker 1: you do dumb shit. Yeah, I was gonna say, because
• 28:42
  Speaker 1: with someone like him coming to la obviously he's got
• 28:45
  Speaker 1: a lot of security. Of course, I'm not sure if
• 28:49
  Speaker 1: he had, like had to pay for any protection out
• 28:52
  Speaker 1: here or not. But do you think that like a
• 28:58
  Speaker 1: lot of people, I know, I've spoken with a lot
• 29:00
  Speaker 1: of a lot of homies that are are from out here.
• 29:03
  Speaker 1: Who are you know some g's that like like six
• 29:06
  Speaker 1: n kind of like do you think he kind of
• 29:08
  Speaker 1: cracked the street code or maybe just it? I think
• 29:12
  Speaker 1: he's the first person to like do what he's doing openly.
• 29:15
  Speaker 1: There's been other snitches that are of course of course people,
• 29:19
  Speaker 1: but like for him to be so outward with it,
• 29:21
  Speaker 1: do you think he kind of cracked the street code?
• 29:26
  Speaker 1: And and do you think that like there's a way
• 29:29
  Speaker 1: to move forward where because the snitch thing has always
• 29:33
  Speaker 1: been that one code that is the unbreakable thing, right
• 29:38
  Speaker 1: and still successful. He's calling people out like I mean,
• 29:41
  Speaker 1: it's it's it's it's kind of crazy. But but you
• 29:43
  Speaker 1: have to understand the snitch code. The snitch code stands
• 29:48
  Speaker 1: for real niggas, right, it only stands for real niggas.
• 29:52
  Speaker 1: Being glasses alone talked about that, like if you're like
• 29:54
  Speaker 1: a civilian, if you're a if you're not mixed up
• 29:56
  Speaker 1: and ship, you should snitch. And then like if if
• 29:59
  Speaker 1: something happens to you or you're a normal person, call
• 30:02
  Speaker 1: the police. But if you're you know, g Malone, like, Nah,
• 30:06
  Speaker 1: I'm not calling the police. I'm gonna handle my shit
• 30:08
  Speaker 1: the way I handle my shit because because I this
• 30:11
  Speaker 1: is my life, this is exactly your reputation is. Your
• 30:14
  Speaker 1: life is at stake and your word is at stake.
• 30:17
  Speaker 1: But why are people so like adamant to put the
• 30:24
  Speaker 1: snitch jacket on motherfuckers who never was real from the
• 30:30
  Speaker 1: first place. That's where you getting shit confused. Don't give
• 30:35
  Speaker 1: a fuck it. Stop looking at the money, the chains,
• 30:40
  Speaker 1: the fucking streams and all that. Stop looking at that shit.
• 30:45
  Speaker 1: A nigga was never real from the gate, So how
• 30:49
  Speaker 1: can you put the code of you should follow it?
• 30:53
  Speaker 1: Why because a motherfucker was hanging with street niggas and
• 30:57
  Speaker 1: because a motherfucker was rapping what and they allowed that
• 30:59
  Speaker 1: guy him. I mean, if you're gonna pay a motherfucker,
• 31:03
  Speaker 1: then fine, if they gonna you know I and this
• 31:06
  Speaker 1: is coming from the niggas. Hell, Yeah, we're gonna let
• 31:12
  Speaker 1: that nigga hang around us. If he's kicking up one
• 31:15
  Speaker 1: hundred and fifty two hundred grand, we we think we
• 31:18
  Speaker 1: not motherfucker, come hang, we benefiting from that's getting paid. Okay.
• 31:24
  Speaker 1: But you gotta understand when you put a motherfucker in
• 31:31
  Speaker 1: a situation and he's not real from the gate, it's
• 31:35
  Speaker 1: gonna backfire. He's gonna tell on you. I mean, are
• 31:39
  Speaker 1: you shouldn't be You get me, Just like with with
• 31:46
  Speaker 1: with my man George Floyd and the police brutality. Motherfucker's
• 31:51
  Speaker 1: been doing that shit forever, okay, And I get it,
• 31:55
  Speaker 1: and it's fucked up that my boy had to lose
• 31:57
  Speaker 1: his life in that situation. But you shouldn't be surprised.
• 32:04
  Speaker 1: And that's what gets me sometimes is when motherfucker's gone,
• 32:07
  Speaker 1: oh no, I can't believe it. How you can't? This
• 32:11
  Speaker 1: shit just happened last week around the corner, But it
• 32:14
  Speaker 1: wasn't onna film. Mo. Fucker's never been real. Never, let
• 32:20
  Speaker 1: me tell you some and this has been going on
• 32:23
  Speaker 1: since hip hopping money has been around. The more money
• 32:26
  Speaker 1: you got, the more fucking courageous you feel. And that
• 32:30
  Speaker 1: go with every fucking rapper. I don't give a fuck
• 32:33
  Speaker 1: if you're a street rapper, and whether you a real
• 32:36
  Speaker 1: motherfucker or you was the point dexter nigga in the crew.
• 32:41
  Speaker 1: The minute you get bread in your pocket and chains
• 32:44
  Speaker 1: and whatever and you fuck a couple of bitches, you're
• 32:47
  Speaker 1: gonna start feeling like mighty man. I'm untouchable. I'm the
• 32:51
  Speaker 1: hardest nigg on the block. I'm the hardest nigga. But
• 32:53
  Speaker 1: the first time a nigga tests your hardness, you fold.
• 32:57
  Speaker 1: You're gonna tell. So we shouldn't be confused by the
• 33:01
  Speaker 1: fact of what that situation is. You shouldn't. He's not
• 33:08
  Speaker 1: he's not a niggas rapper. He's not my rapper. He's
• 33:12
  Speaker 1: not your rapper, he's not whatever. Now he's like thirteen
• 33:15
  Speaker 1: year old kids who like TikTok. Thank you. Yeah, Okay,
• 33:18
  Speaker 1: don't get it confused, because a lot of motherfuckers are going,
• 33:22
  Speaker 1: so what he told? So what that's your kid in
• 33:25
  Speaker 1: there vouching for him, because let me tell you, if
• 33:28
  Speaker 1: you're a grown ass motherfucker and you banging that shit.
• 33:31
  Speaker 1: Something is physically wrong. Something is physically wrong. Now, I
• 33:36
  Speaker 1: get it. The little girls, the little the strip club
• 33:43
  Speaker 1: girls who dance into his music, and the little kids
• 33:46
  Speaker 1: who like the colorful and the hair, and I get it.
• 33:50
  Speaker 1: I get it. But let's not be confused for a
• 33:54
  Speaker 1: dude like me or a nip or you or whoever.
• 34:00
  Speaker 1: It's not my music, So let's not get confused about
• 34:06
  Speaker 1: who vouches for my men. You give me a lot
• 34:10
  Speaker 1: of youth, a lot of a lot of kids bumped that.
• 34:14
  Speaker 1: And that's where you know, because you pick up your
• 34:17
  Speaker 1: phone as a fifteen year old kid and go bingo.
• 34:23
  Speaker 1: Because me now, as a grown ass man, I'm not
• 34:26
  Speaker 1: picking up my phone going I'm finna download this shit
• 34:29
  Speaker 1: and bumping in my car. Right, it's for the So
• 34:32
  Speaker 1: you you have to you have to understand what the
• 34:35
  Speaker 1: situation is. And that's what I say about that. Disrespectful. Yeah,
• 34:41
  Speaker 1: but you probably should expect that from those type of motherfuckers.
• 34:46
  Speaker 1: You brought out the George Floyd thing you came up
• 34:49
  Speaker 1: in La probably at the peak of like the lapd
• 34:52
  Speaker 1: being just the worst, right, Obviously, what happened with Ronnie
• 34:57
  Speaker 1: King kind of highlighted that on a bigger scale, But
• 35:00
  Speaker 1: there was you know, like you said, that happened so
• 35:02
  Speaker 1: much that people just didn't see. What are some of
• 35:05
  Speaker 1: your experiences growing up in Compton with the police, because
• 35:09
  Speaker 1: I just remember watching uh boys in the hood or
• 35:14
  Speaker 1: was it a menace? It was menace, but the cops
• 35:18
  Speaker 1: were just pieces of ship in there, and I was
• 35:20
  Speaker 1: definitely I mean, but ever since the days I could
• 35:24
  Speaker 1: remember being a young cat growing up in Compton, it
• 35:30
  Speaker 1: was normal. It was normal to the fact that you
• 35:34
  Speaker 1: sort of expected it whenever you saw the police hit
• 35:39
  Speaker 1: your corner. If we were if we were hanging out
• 35:42
  Speaker 1: in the neighborhood at the hood house and chilling and
• 35:45
  Speaker 1: the police hit the block nine times out of ten,
• 35:49
  Speaker 1: and they finna stop. You're finna be sitting on the
• 35:52
  Speaker 1: curve and two or three of you is finna be
• 35:55
  Speaker 1: going to jail for who knows what right? And then
• 35:58
  Speaker 1: you might get punched up, You might get kicked up,
• 36:01
  Speaker 1: you might wompy, won't you get thrown in the car?
• 36:04
  Speaker 1: You go down to the holding tank, they hold you
• 36:07
  Speaker 1: to two three o'clock in the morning, and they let
• 36:09
  Speaker 1: you go it's been going on ever since. You riding
• 36:14
  Speaker 1: down Compton Boulevard and you pass them and they coming
• 36:17
  Speaker 1: out of parking lot of off another street. As soon
• 36:20
  Speaker 1: as you make that eye contact, they finna pull you over.
• 36:24
  Speaker 1: Don't know shit, ain't ran a plate, don't know if
• 36:28
  Speaker 1: you coming from work or school or whatever matter. If
• 36:31
  Speaker 1: you fit the profile of niggas in Compton who gang
• 36:35
  Speaker 1: bang from these neighborhoods, we're gonna pull you over. We're
• 36:40
  Speaker 1: gonna harass jack, fuck you up, do whatever. And it's
• 36:44
  Speaker 1: a daily routine. So we might you might have had
• 36:47
  Speaker 1: a billion complaints, but who gave a fuck? You get me,
• 36:51
  Speaker 1: who gave a fuck Because we were just young niggas
• 36:54
  Speaker 1: in Compton and we were in our own world and
• 36:57
  Speaker 1: nobody gave a fuck outside of Compton what Compton PD
• 37:01
  Speaker 1: did or whatever. It's something that we lived with and
• 37:04
  Speaker 1: we dealt with. Was it wrong? Was it fucked up?
• 37:08
  Speaker 1: Of course, but you just accepted it as the normal.
• 37:11
  Speaker 1: It's normal. It's just as normal as a motherfucker standing
• 37:15
  Speaker 1: outside on this porch and a nigga hitting the block
• 37:17
  Speaker 1: to do a drive by. It happens. Look where we had.
• 37:21
  Speaker 1: It happens, which we got what we in Compton in
• 37:24
  Speaker 1: this small little section and got about thirty different motherfucking gangs,
• 37:28
  Speaker 1: niggas banging on every different street block, Park Avenue corner
• 37:33
  Speaker 1: on top of that selling drugs. Yeah, so police dealt
• 37:39
  Speaker 1: with us, how they dealt with us these everybody banging,
• 37:43
  Speaker 1: everybody selling drugs. So we're gonna go from neighborhood to
• 37:47
  Speaker 1: neighborhood and we just fucking with niggas. That's what it took.
• 37:52
  Speaker 1: Talk about how did you end up becoming involved with
• 37:56
  Speaker 1: Minister Society One of the best, you know, just one
• 38:02
  Speaker 1: of one of my favorite movies ever, but obviously one
• 38:04
  Speaker 1: of the the best, you know, movies that kind of
• 38:07
  Speaker 1: depicted exactly we had just came off of Colors, you know,
• 38:14
  Speaker 1: Ice Tea Colors and whatever, and then Cube did Boys
• 38:18
  Speaker 1: in the Hood. Then they had South Central with Glenn Plummer,
• 38:22
  Speaker 1: and then Tupac had went over and did fucking Juice.
• 38:28
  Speaker 1: So those movies were going around. So you had two
• 38:31
  Speaker 1: young cats out of La the Hughes brothers who wrote
• 38:35
  Speaker 1: this movie. You know, they went to film school all that,
• 38:38
  Speaker 1: they had did a lot of Tupac's videos. Brenda had
• 38:41
  Speaker 1: a baby holler if you hear me a lot of
• 38:43
  Speaker 1: his first videos, the Hughes brothers did, so they got
• 38:47
  Speaker 1: this script. They took it to New Line. New Line
• 38:51
  Speaker 1: liked it. Knewing they had a relationship with Pac. You know,
• 38:57
  Speaker 1: they felt like, okay, y'all pop bingo, there's minutes to
• 39:02
  Speaker 1: Society and uh, you know, shit happened with Pac whatever.
• 39:06
  Speaker 1: He didn't make the film, but it was still a
• 39:09
  Speaker 1: good film. Uh. They called me up like, hey, we
• 39:13
  Speaker 1: was looking for a character. I think they were trying
• 39:15
  Speaker 1: to get Wren to do it too. Soren had read.
• 39:19
  Speaker 1: I read for it. I guess they liked it, you
• 39:23
  Speaker 1: know my reading. They called me back. I didn't really
• 39:27
  Speaker 1: think of it. Like I said, I'm still a niggah
• 39:29
  Speaker 1: in the neighborhood. I think I just dropped music to
• 39:33
  Speaker 1: drive by. So I was still on my banging shit
• 39:37
  Speaker 1: with the music and the records and whatever. So I
• 39:39
  Speaker 1: really didn't think nothing about it. And then movies, I'm like,
• 39:43
  Speaker 1: that's Cube and Tupac shit. And then Reren was n
• 39:47
  Speaker 1: w A, I'm just MC eight from compus most wanted
• 39:51
  Speaker 1: I'm here, you know, So I'm like, the niggas ain't
• 39:53
  Speaker 1: gonna give me no part. And then my motherfucking manager
• 39:56
  Speaker 1: called me one day and say because I was on tour,
• 40:00
  Speaker 1: he called me and said, you gotta come back to
• 40:01
  Speaker 1: La because they gave you the part. And then that's
• 40:04
  Speaker 1: when I met Jada and Tyrant and Lorenz and like
• 40:07
  Speaker 1: I said, Pak was there in the first couple of
• 40:09
  Speaker 1: reasons because he was still in the movie. So it
• 40:12
  Speaker 1: was a good career lifter for me, and for the
• 40:16
  Speaker 1: fact that it dealt with actual shit that was going
• 40:21
  Speaker 1: on in La Compton. So I think that movie kind
• 40:25
  Speaker 1: of generated a following to where it was a good
• 40:30
  Speaker 1: coat classic because it really showed what was going on
• 40:32
  Speaker 1: niggas in the projects or whatever. And then for me,
• 40:36
  Speaker 1: who had been in similar situations, it just kind of
• 40:40
  Speaker 1: it just kind of kind of meshed, you know what
• 40:43
  Speaker 1: I'm saying. Yeah, it's crazy too because obviously your role
• 40:47
  Speaker 1: in that movie was kind of like the down ass
• 40:50
  Speaker 1: big homie. Yeah, the motherfucker who doesn't been there, don't
• 40:54
  Speaker 1: seen it. I dodnet been in and out of jail.
• 40:57
  Speaker 1: I done grew up in the neighborhood, so I know
• 40:59
  Speaker 1: that shit to get in and not into. And it's
• 41:04
  Speaker 1: just like any any niggas neighborhood who grow up and
• 41:06
  Speaker 1: who's claiming the neighborhood. You always got that one motherfucker
• 41:10
  Speaker 1: that's been through a lot of shit and who could
• 41:13
  Speaker 1: tell you a lot of shit about being from the
• 41:15
  Speaker 1: neighborhood and representing and whatnot in the pitfalls of it.
• 41:20
  Speaker 1: So a lot of people don't know Tupac's original like, like,
• 41:24
  Speaker 1: you know, suppose supposed to be involvement in that movie.
• 41:27
  Speaker 1: What was like he was supposed to be in the movie.
• 41:29
  Speaker 1: Originally Tupac was supposed to play Sharif. Okay, so my
• 41:35
  Speaker 1: boy Vonte Sweet ended up playing them. But that's the
• 41:39
  Speaker 1: role that they wanted him to play. And he didn't,
• 41:44
  Speaker 1: you know, POC coming off of Juice and Poetic Justice
• 41:48
  Speaker 1: and then you know his records or whatever, he was
• 41:51
  Speaker 1: a very vocal, you know, up front motherfucker. Pop was
• 41:55
  Speaker 1: wasn't the type of nigga to play the back role
• 41:57
  Speaker 1: or to play to just innocent bystand or the conservative nigga.
• 42:02
  Speaker 1: He was the forefront and he wanted to express that.
• 42:06
  Speaker 1: So he wanted to kind of express why he was
• 42:11
  Speaker 1: being the Muslim kid or the one the voice of reason.
• 42:16
  Speaker 1: He wanted to depict that and show why. And I
• 42:19
  Speaker 1: don't think they wanted to show that, and that's what
• 42:23
  Speaker 1: made the movie for his situation kind of fall apart,
• 42:26
  Speaker 1: because you know, Pak's very adamant. I don't give a fuck.
• 42:29
  Speaker 1: I need motherfuckers to know why I turned into the
• 42:35
  Speaker 1: well I do kill a bunch of niggas or somebody
• 42:38
  Speaker 1: killed my mama and I went chopped they head off
• 42:40
  Speaker 1: of some shit show why I'm this person now? And
• 42:43
  Speaker 1: they didn't want to do it, so it kind of
• 42:45
  Speaker 1: went to a bumping head situation to where you know,
• 42:49
  Speaker 1: everybody know what happened with him and the Huge brothers,
• 42:52
  Speaker 1: and that was the result of the bumping heads at
• 42:55
  Speaker 1: the fucking table. Did you and Poc have a solid relationship?
• 43:00
  Speaker 1: I was cool with Pap. We did a couple of
• 43:01
  Speaker 1: shows together. You know, he used to bang my records
• 43:05
  Speaker 1: when he was, you know, locked up, So we had
• 43:08
  Speaker 1: a relationship to where when we saw each other it
• 43:11
  Speaker 1: was mutual respect. You feel me, yo, You you know
• 43:14
  Speaker 1: what Compton's most wanted music to drive By obviously a
• 43:17
  Speaker 1: West Coast classic. Talk about like, I feel like there
• 43:21
  Speaker 1: was the culture of the drive By shooting back then, right,
• 43:25
  Speaker 1: I feel like that's something that really became prevalent in
• 43:28
  Speaker 1: La and oh definitely was related to directly related to
• 43:31
  Speaker 1: the gang shit that was going on during that time.
• 43:34
  Speaker 1: Do you remember like when that started to become something
• 43:36
  Speaker 1: to really worry about, because I'm assuming it it became
• 43:41
  Speaker 1: like it seemed like at a certain point in time,
• 43:43
  Speaker 1: it was just kind of the normal, right like yeah,
• 43:45
  Speaker 1: like you said earlier, it was kind of between Like
• 43:48
  Speaker 1: for me, I I just know that in between the
• 43:52
  Speaker 1: period of like eighty nine and like ninety three, niggas
• 43:59
  Speaker 1: was game hard, like hard hard like even before then,
• 44:05
  Speaker 1: if you want to say, like eighty seven eighty six,
• 44:09
  Speaker 1: everybody was gang and it was rough gang banging, like
• 44:13
  Speaker 1: it wasn't like, oh okay, now you'll see crips and
• 44:16
  Speaker 1: bloods in the same place, shaking hands, getting money together.
• 44:20
  Speaker 1: And not that niggas wasn't doing it. Back then. You
• 44:23
  Speaker 1: had certain niggas who could do that. You had certain
• 44:26
  Speaker 1: OG's who could maybe pull up in a blood neighborhood
• 44:30
  Speaker 1: and get out and talk to niggas like that. But
• 44:34
  Speaker 1: for me, niggas was on the kill war path back then.
• 44:39
  Speaker 1: So drive bys was real heavy around that time, like shit,
• 44:45
  Speaker 1: maybe every other day niggas was getting smoked. And then
• 44:48
  Speaker 1: everybody had pistols back in. Niggas is breaking in the
• 44:52
  Speaker 1: gun shops and surtpluses instilling. Especially when the raid happened,
• 44:57
  Speaker 1: Niggas is breaking in the surtplus stores and dealing guns.
• 45:00
  Speaker 1: So now everybody weapons, and when everybody got guns, I'm
• 45:07
  Speaker 1: talking about it. Don't even need to motherfucker do a
• 45:09
  Speaker 1: drive by by itself. And I've known a lot of
• 45:12
  Speaker 1: niggas who do it. Fuck it, I think I'm getting
• 45:14
  Speaker 1: in my car at night and going to hit them
• 45:16
  Speaker 1: niggas like it was. It was just not to say
• 45:19
  Speaker 1: it was the thing, but it was happening to where
• 45:23
  Speaker 1: mama's was sleeping on the floors and putting their kids
• 45:26
  Speaker 1: on the floors at night because guaranteed somebody's getting drawn
• 45:31
  Speaker 1: somebody coming through tonight, definitely, And it was a you know,
• 45:37
  Speaker 1: niggas didn't just shoot up innocently. But like I said,
• 45:40
  Speaker 1: drive bys was very heavy around that time. I think too,
• 45:44
  Speaker 1: something from the outside looking in. If someone's watching this
• 45:47
  Speaker 1: that isn't from LA and doesn't understand the way that
• 45:48
  Speaker 1: LA politics work. A lot of people just always associate
• 45:52
  Speaker 1: crips and bloods is beefing right, right, But it's more
• 45:55
  Speaker 1: of a neighborhood thing. Yeah, I mean because there's there's
• 45:59
  Speaker 1: crip sets beef with each other. Yeah, you got crips.
• 46:02
  Speaker 1: And then especially if you have large sets, you know,
• 46:06
  Speaker 1: especially if you have large crip sets who have multiple
• 46:09
  Speaker 1: streets and multiple blocks, so you know, you got crips
• 46:13
  Speaker 1: from this block who might not get along with the
• 46:15
  Speaker 1: crips ten blocks down, even though they're all from the
• 46:19
  Speaker 1: same neighborhood. I mean even even where I represent it from,
• 46:24
  Speaker 1: there were different streets. You had this, you had thick Coradon,
• 46:28
  Speaker 1: you had one hundred and fifty third, you had bar Clay,
• 46:30
  Speaker 1: you had Taper. All these streets are in one neighborhood,
• 46:35
  Speaker 1: but different crews hang on these different streets, so you
• 46:40
  Speaker 1: could have beef with a nigga from across the street
• 46:43
  Speaker 1: who's from your same neighborhood. A lot of that went on.
• 46:46
  Speaker 1: Then you had crips who beefed with crips, you know,
• 46:49
  Speaker 1: crip sets who beef with other crip sets and so on.
• 46:53
  Speaker 1: So how big of a deal was it? Because I know,
• 46:55
  Speaker 1: you know, when Nipsey died, it just it really fucked man,
• 46:58
  Speaker 1: fucked me up. I'm gon Nippur. Since so nine and
• 47:01
  Speaker 1: you know, but when he passed away, big U had
• 47:07
  Speaker 1: kind of helped put together that day of unification where
• 47:09
  Speaker 1: everybody pulled up, you know, on that intersection, and it
• 47:14
  Speaker 1: was like it was I didn't realize the significance of
• 47:19
  Speaker 1: how big of a deal it was that a lot
• 47:21
  Speaker 1: of those people were in the same place in a
• 47:23
  Speaker 1: peaceful manner because a lot of a lot of neighborhoods
• 47:25
  Speaker 1: beef and have been beefing for decades, like and I
• 47:29
  Speaker 1: put it to the motherfucking analysis of the hat Fields
• 47:32
  Speaker 1: and the McCoy's right, you go, you got niggas who
• 47:36
  Speaker 1: was beefing before you was even born. So it's that
• 47:39
  Speaker 1: tradition of beefing. And it's just like, damn y'all was
• 47:43
  Speaker 1: standing in the same spot as them niggas. Y'all ain't
• 47:47
  Speaker 1: killing them niggas for decades, you get me, and vice versa.
• 47:51
  Speaker 1: So that basically Nips pass and sort of represented trying
• 47:58
  Speaker 1: to unify a right niggas on the aspect of not
• 48:03
  Speaker 1: just are you from over here, I'm from over here.
• 48:06
  Speaker 1: Fuck you, fuck you? You know it kind of it
• 48:10
  Speaker 1: kind of led to the to the place of trying
• 48:12
  Speaker 1: to show that niggas don't have to kill niggas just
• 48:18
  Speaker 1: over bullshit. I get it. Y'all represent there, we represent here.
• 48:23
  Speaker 1: But this was a dude who basically tried to fuck
• 48:29
  Speaker 1: with everybody, whether it was crip, whether it was blood,
• 48:32
  Speaker 1: whether you was from the enemy neighborhood from fifteen years ago,
• 48:35
  Speaker 1: or whether whatever. I tried to fuck with everyone. So
• 48:39
  Speaker 1: that's to me what that represent as far as big
• 48:42
  Speaker 1: you and nipping them and him passing and everybody trying
• 48:46
  Speaker 1: to show unification together, it was to show that the
• 48:50
  Speaker 1: outside world sees is just vicious motherfuckers, gang banging ass
• 48:54
  Speaker 1: vicious drive by killing motherfuckers, and it's bigger than that,
• 48:58
  Speaker 1: or it's what it's beyond. So coming together shows people
• 49:03
  Speaker 1: that these motherfuckers that y'all look at as these vicious
• 49:08
  Speaker 1: motherfuckers can can set aside their beasts from long standing.
• 49:12
  Speaker 1: And some niggas might not even know why we beef.
• 49:15
  Speaker 1: You get me. I just started gaging backing, and I
• 49:18
  Speaker 1: know we hate them niggas over there. I'm not old
• 49:21
  Speaker 1: enough to know what we beefing about. But all I
• 49:24
  Speaker 1: know is the minute I started claiming over here, we
• 49:27
  Speaker 1: cross out them niggas and we say fuck them and
• 49:30
  Speaker 1: the funny thing about it is six years ago, I
• 49:34
  Speaker 1: was in the same class as that motherfucker nigga. We
• 49:37
  Speaker 1: was playing kickball together outside and whatever. So it just
• 49:41
  Speaker 1: showed that we can set aside bullshit for a mother
• 49:45
  Speaker 1: for my nigga who was already on that aspect, like
• 49:51
  Speaker 1: I got. I know where I'm from, but I got
• 49:54
  Speaker 1: no problem with you, my nigga. If you ain't got
• 49:56
  Speaker 1: no problem with me. I understand what happened back then,
• 49:59
  Speaker 1: and I would never to live that ship down and
• 50:01
  Speaker 1: I will always know where I come from. But motherfucker,
• 50:05
  Speaker 1: if you want to give me on the song your blood,
• 50:08
  Speaker 1: hell yeah, let's do it right. You want me, you
• 50:10
  Speaker 1: want to beat from me, or want me to come
• 50:12
  Speaker 1: to your video, or we know how to get money,
• 50:14
  Speaker 1: or we can do this together. Man, that's gonna be
• 50:17
  Speaker 1: better for you and me in the long run. You
• 50:19
  Speaker 1: give me talk about a lot of newer rap fans
• 50:24
  Speaker 1: might have just heard you for the first time on
• 50:25
  Speaker 1: Good Kid, Mad City Right, which is one of the
• 50:28
  Speaker 1: greatest hip hop albums ever. Shout out to Kendrick, Shout
• 50:31
  Speaker 1: out to Shout out to Kendrick, Shout out to Kendrick,
• 50:33
  Speaker 1: Shout out the top Dog Dre. Just that that record
• 50:37
  Speaker 1: is like just the way it switches up and then
• 50:39
  Speaker 1: you come in it's like, oh yeah, that was that man.
• 50:42
  Speaker 1: That was probably one of the things that was probably
• 50:44
  Speaker 1: one of the best, you know, guest appearances I've done,
• 50:47
  Speaker 1: or working with Kendrick, because my dude know what he wanted,
• 50:53
  Speaker 1: he ad, he sees his vision, he sees his direction,
• 50:57
  Speaker 1: and he came about it a different approach than what
• 51:00
  Speaker 1: we usually used to as far as West Coast artists
• 51:03
  Speaker 1: who come from that situation, you know, poverty, you know,
• 51:07
  Speaker 1: gang banging. We usually turn out the cmw's, the NWA's,
• 51:13
  Speaker 1: the cubes, the whatever, and he was able to take
• 51:19
  Speaker 1: it to a different level, almost like from the perspective
• 51:22
  Speaker 1: of the kid who grows up in that I grew
• 51:24
  Speaker 1: up everybody know anything around me. Everybody's selling dope, my brother,
• 51:28
  Speaker 1: my uncle mat shit, and I am the straightforward kid.
• 51:32
  Speaker 1: But I'm still here so I get to witness everything.
• 51:36
  Speaker 1: Not that I'm a part of it, because even though
• 51:39
  Speaker 1: I don't have to say it, they gonna protect me
• 51:42
  Speaker 1: or they gonna affiliate me with over here or whatever.
• 51:45
  Speaker 1: But I'm just a kid on the straight path who
• 51:47
  Speaker 1: see the pitfalls and I'm trying to avoid that. So
• 51:51
  Speaker 1: soon as I hooked up with him, he knew what
• 51:53
  Speaker 1: he wanted, he knew where he wanted to go. How
• 51:56
  Speaker 1: I wonder he was telling me, shit, I want you
• 51:58
  Speaker 1: to do this, I want you to do this, I
• 51:59
  Speaker 1: want you to do that, and you gotta respect the
• 52:01
  Speaker 1: motherfucker like that. He didn't come into the game playing
• 52:04
  Speaker 1: with nothing. I'm not gonna play around with this shit.
• 52:06
  Speaker 1: Were you like aware, because obviously at that point in time,
• 52:09
  Speaker 1: Kendrick was definitely buzzing Drea. He a Section eighty already
• 52:12
  Speaker 1: came out. I wasn't aware of Kendrick at all, So
• 52:14
  Speaker 1: you weren't aware of like the magnitude of like, yo,
• 52:17
  Speaker 1: this shit is. I started fucking with Kendrick because my
• 52:23
  Speaker 1: son's sister knew of him, and she called me and
• 52:27
  Speaker 1: said they were trying to get in contact with me.
• 52:30
  Speaker 1: I didn't know anything about Kendrick. I didn't know about
• 52:32
  Speaker 1: Section eighty, none of that of that shit. And it
• 52:34
  Speaker 1: was just like, I mean, my son's sister called me
• 52:38
  Speaker 1: and said, eight, this guy named Kendrick, he's messing with
• 52:42
  Speaker 1: Dre blah blah blah. They want to get you on
• 52:44
  Speaker 1: the song, and I was like, yeah, okay, what was
• 52:47
  Speaker 1: it that did, because you know, there's so many iconograppers
• 52:51
  Speaker 1: from Compton, but I thought it was so dope that
• 52:53
  Speaker 1: he put you on that record because it wasn't like expected,
• 52:57
  Speaker 1: and it was very like I'm pretty sure it wasn't
• 52:59
  Speaker 1: expected from anyone. I remember I saw that. I was like,
• 53:02
  Speaker 1: oh shit, this got MC eight on the fucking album
• 53:06
  Speaker 1: about Copton, like Jesus Christ. Like I said, I didn't even,
• 53:11
  Speaker 1: I didn't even I put nothing to it when I came.
• 53:15
  Speaker 1: When I showed up at the studio, I mean, we
• 53:17
  Speaker 1: recorded the song in Carson, right at the spot. So
• 53:21
  Speaker 1: I just looked at it as my niggas one of
• 53:24
  Speaker 1: these up and coming rappers. He got skills and blah blah.
• 53:28
  Speaker 1: And then I think the minute after I recorded the song,
• 53:33
  Speaker 1: I went home that night and then everything was Kendrick, Kendrick, Kendrick,
• 53:39
  Speaker 1: whoa damn. I'm like, oh, he signed to Dre and
• 53:42
  Speaker 1: kunti wom And then next day, you know, Aftermath hit
• 53:45
  Speaker 1: me and Top Dog and Punch and niggas was like hey,
• 53:49
  Speaker 1: and I was like, they was like, you know, you
• 53:51
  Speaker 1: the only motherfucker who got to be on the record.
• 53:54
  Speaker 1: You Drake, and I think Mary J. That was it.
• 53:58
  Speaker 1: They didn't let anybody else on the record, so I
• 54:00
  Speaker 1: was like, whoa, okay, so good look. That's why I
• 54:03
  Speaker 1: said good looking Drake td all that, because he could
• 54:08
  Speaker 1: have chose anybody, especially with Dre behind him. You know,
• 54:11
  Speaker 1: Dre would be like, I don't want that motherfucker. Wont that.
• 54:15
  Speaker 1: But when they said Dre said fuck it cool. I
• 54:18
  Speaker 1: just looked at it as they looked at it, as
• 54:22
  Speaker 1: I was a nigga coming from Compton who my whole career,
• 54:27
  Speaker 1: I was just one path. I didn't try to go here,
• 54:30
  Speaker 1: hear come here or here. I just stuck to see
• 54:32
  Speaker 1: him w type of shit, the neighborhood whatever. So that
• 54:36
  Speaker 1: song was perfect to try to throw me on. I
• 54:39
  Speaker 1: also feel like it was a dope homage to your
• 54:42
  Speaker 1: career because you're somebody who is very underappreciated in the
• 54:48
  Speaker 1: grand scheme of when we discussed West Coast hip hop.
• 54:51
  Speaker 1: Oh definitely, you're very underrated. Your catalog is you know, fire,
• 54:57
  Speaker 1: and I feel like that was a dope like tip
• 55:00
  Speaker 1: to what you've been doing. I took that from his
• 55:04
  Speaker 1: point of view as well. I looked at it as
• 55:07
  Speaker 1: you know, he respected true West Coast hip hop, and
• 55:13
  Speaker 1: coming from Compton, you know we got Dre. We got
• 55:17
  Speaker 1: you know, quick as there, you know. So I'm like,
• 55:22
  Speaker 1: but I've always stuck to that, you've been I've always
• 55:25
  Speaker 1: been consistent with what I do. So coming from Compton
• 55:30
  Speaker 1: to pay, I'm like, he's already fucking with Dre, you
• 55:33
  Speaker 1: know what I'm saying. So I just looked at it like, yeah,
• 55:36
  Speaker 1: let's get somebody that we feel has always represented the
• 55:40
  Speaker 1: city of Compton, always been consistent and like you said,
• 55:44
  Speaker 1: underrated and don't get that much shine and pay a mont.
• 55:48
  Speaker 1: So I didn't even I didn't even question money or
• 55:51
  Speaker 1: anything when they hit me up. I just went to
• 55:54
  Speaker 1: the studio. I wasn't like, oh, well he signed to Dre,
• 55:57
  Speaker 1: how much y'all going to pay me? And all that.
• 55:59
  Speaker 1: I went to the studio, dropped the verse, shook my
• 56:02
  Speaker 1: nigga hand, and we bounced, and I think I heard
• 56:05
  Speaker 1: from them like three months later, and they was like
• 56:07
  Speaker 1: Dre and aftermath, and I was like, whoa, this is
• 56:10
  Speaker 1: gonna be some big ship fire. So we're gonna do
• 56:15
  Speaker 1: the very first bathroom break in the blutleg Cap podcast
• 56:17
  Speaker 1: history because I'm about to piss on myself. I'm gonna
• 56:20
  Speaker 1: hit this restaurant real quick. Back at it, you know,
• 56:23
  Speaker 1: shout out to you for not smoking Backwoods like everybody else. Right,
• 56:26
  Speaker 1: Oh yeah, man, Backwoods fucked me up. Man, I don't
• 56:29
  Speaker 1: know why niggas got on the backwoods the fucking wave now, yeah,
• 56:34
  Speaker 1: that everybody smoking Backwoods. I'm like, I can't do it, man,
• 56:37
  Speaker 1: I can't. You talked about obviously Dre being involved in
• 56:42
  Speaker 1: Good Kid, Mad City, Dre being the you know, the
• 56:46
  Speaker 1: consensus Compton guy across the country. You know when we
• 56:49
  Speaker 1: think of Compton, like he's probably the first rapper that
• 56:52
  Speaker 1: the world thinks. So did you and Dre ever have
• 56:54
  Speaker 1: any sort of dialogue or like, what was y'all's dynamic
• 56:57
  Speaker 1: coming up? Because obviously you were a factor and he
• 57:01
  Speaker 1: was Dra that guy Dre was. Dre has always has
• 57:05
  Speaker 1: been a cool motherfucker to me. I mean, I've never,
• 57:09
  Speaker 1: you know, had the pleasure outside of fucking with Kendrick,
• 57:13
  Speaker 1: of fucking with Dre big mad respect, because you know,
• 57:17
  Speaker 1: he's one of the he's he's as the best motherfucker
• 57:21
  Speaker 1: as far as what he do. You get me, shaw,
• 57:25
  Speaker 1: anybody who would be you know, gifted with a dre
• 57:30
  Speaker 1: track or just fucking emphasis or just the input of
• 57:34
  Speaker 1: telling you which way to go would be a motherfucking
• 57:38
  Speaker 1: the greatest. But uh, we've always had good report I
• 57:42
  Speaker 1: mean every time I would see him out in public
• 57:45
  Speaker 1: or go to parties or whatever whatever, we've always laughed
• 57:49
  Speaker 1: and chuckled and been cool, you know. So you know,
• 57:53
  Speaker 1: Primo fucked with him a lot, you know, so he
• 57:56
  Speaker 1: Primo would go over and tell him, you know, fucking
• 57:59
  Speaker 1: with eight and we worked and so always good shit,
• 58:02
  Speaker 1: always good shit talk about So the new album is
• 58:06
  Speaker 1: Primo the executive producer. Essentially Primo executive produced record. We
• 58:11
  Speaker 1: did a record two years ago called which Way Is
• 58:14
  Speaker 1: West Right? He executive produced. He you know, had a
• 58:19
  Speaker 1: lot of input, you know, his label. So on this
• 58:23
  Speaker 1: record it was basically the focus on me trying to
• 58:27
  Speaker 1: get you know, ride the wave of trying to you know,
• 58:30
  Speaker 1: continue what I've been doing for shit the last twenty years.
• 58:34
  Speaker 1: So he's been a consultant on the record, you know,
• 58:38
  Speaker 1: Like I said, I sent him all the beats, I
• 58:40
  Speaker 1: sent him all the tracks. He listens to him, you know,
• 58:43
  Speaker 1: gives me advice on what not to do or maybe
• 58:47
  Speaker 1: you need to do this or maybe do this one.
• 58:49
  Speaker 1: On his song, he mixes the song, so he always
• 58:53
  Speaker 1: has an input. When I put out records, I try
• 58:56
  Speaker 1: to include him because, like you said, he's one of
• 58:59
  Speaker 1: the great producers. He's dealt with a lot of different
• 59:02
  Speaker 1: diverse artists, so he has a great ear. So yeah,
• 59:07
  Speaker 1: one of the best years ever. And and it's crazy
• 59:11
  Speaker 1: because working with like I feel like Griselda and what
• 59:15
  Speaker 1: Conway and Westside Gun and Benny are doing right now
• 59:18
  Speaker 1: is like some of my favorite shit going on in
• 59:20
  Speaker 1: hip hop. Like they're doing that traditional shit. Yeah. How
• 59:23
  Speaker 1: do you think a traditional greedy rap and grimy shit? Yeah,
• 59:29
  Speaker 1: that's what you hear when you hear them. Yeah. Now,
• 59:32
  Speaker 1: I was gonna say, like, how how tapped in are
• 59:34
  Speaker 1: you with the new ship that's happening, because obviously I
• 59:37
  Speaker 1: listened to a lot. Like I said, I got sixteen
• 59:39
  Speaker 1: year old son, right shout out. Karan plays football quarterback.
• 59:45
  Speaker 1: He always he Now he be up on all y'all shit, right,
• 59:49
  Speaker 1: I tell him I'm going to bootleg cav Oh my god,
• 59:52
  Speaker 1: I got to go take me. So he's a sixteen
• 59:56
  Speaker 1: year old kid, so he's up on all the new ship.
• 59:58
  Speaker 1: I mean, what a young boy, little Dirk fucking g
• 1:00:06
  Speaker 1: Herbo right right, he listens to it all and he
• 1:00:10
  Speaker 1: loves it. Yo' It's dope too because you actually you
• 1:00:13
  Speaker 1: d m me your ship. Not a lot of artists
• 1:00:17
  Speaker 1: are like on top of their ship, like I was like,
• 1:00:19
  Speaker 1: oh ship, of course, Like I'm one motherfucker who And
• 1:00:24
  Speaker 1: I know a lot of people don't do it because
• 1:00:26
  Speaker 1: they bought people on the side. And I even got people,
• 1:00:29
  Speaker 1: you know, sometimes you got to get people on your
• 1:00:31
  Speaker 1: team that and whatever. But I'm a type of motherfucker
• 1:00:35
  Speaker 1: that I hit you up personally. I don't I don't
• 1:00:38
  Speaker 1: play that all. You know, it's just somebody running your
• 1:00:40
  Speaker 1: page or I handle all my ship. I answer all
• 1:00:45
  Speaker 1: my fans, I deal with you know. That's how I
• 1:00:48
  Speaker 1: stay working. I mean, I do a million verses a
• 1:00:52
  Speaker 1: week because I'm able to connect with motherfuckers. I don't
• 1:00:56
  Speaker 1: just be like, oh, I got my cousin running my
• 1:00:59
  Speaker 1: page and whatever. Dude, send me emails, respond, dude, send
• 1:01:03
  Speaker 1: me dms if it's business or even sometimes motherfuckers just
• 1:01:07
  Speaker 1: want to say hey, y'all. Get a lot of motherfuckers
• 1:01:10
  Speaker 1: that just be like, man, I just wanted to tell
• 1:01:12
  Speaker 1: you you you the shit or I love your shit,
• 1:01:15
  Speaker 1: and I'll respond right back jeh or cool or good
• 1:01:18
  Speaker 1: looking or whatever. And I ain't trying to hold a
• 1:01:21
  Speaker 1: conversation with you. But I have the enough respect for
• 1:01:25
  Speaker 1: fans to at least give them that, you know what
• 1:01:28
  Speaker 1: I'm saying, a lot of dudes, I get it. They
• 1:01:30
  Speaker 1: don't want to deal with motherfuckers. You know, I'm too big,
• 1:01:34
  Speaker 1: I don't want to respond whatever, whatever. But me, I
• 1:01:37
  Speaker 1: don't give a fuck how big you are. You gotta
• 1:01:39
  Speaker 1: connect with the motherfuckers that're spending their money. Yeah, that's
• 1:01:43
  Speaker 1: They're the reason why you have a man. Come on, man,
• 1:01:46
  Speaker 1: you gotta connect with the motherfuckers whether and I get it.
• 1:01:50
  Speaker 1: Some motherfuckers be irritating too, Definitely. Some motherfuckers be irritating.
• 1:01:54
  Speaker 1: They ask the stupidest questions and just shit, and you
• 1:01:57
  Speaker 1: have to sit there sometime and be like, but I
• 1:02:01
  Speaker 1: still deal with it. It's it's the situation that I
• 1:02:04
  Speaker 1: put myself in, so to speak. I had to tell
• 1:02:08
  Speaker 1: I had to gift to right and and whatever and
• 1:02:10
  Speaker 1: make records and whatever. And with that, you were you're
• 1:02:13
  Speaker 1: gain fans. Let me ask you something. You're you're beef
• 1:02:18
  Speaker 1: with Quick, which I know you've talked about to the
• 1:02:22
  Speaker 1: Death Right. Anybody who wants to kind of dive into that.
• 1:02:26
  Speaker 1: There's plenty of content out there of you talking about
• 1:02:28
  Speaker 1: what happened. Do you think that you and and Quick's
• 1:02:34
  Speaker 1: beef resulted in because every time something like that happens,
• 1:02:39
  Speaker 1: people choose sides like do you think it it resulted
• 1:02:42
  Speaker 1: in you losing any opportunities or like you losing out
• 1:02:46
  Speaker 1: on anything because people might have like chosen up or
• 1:02:50
  Speaker 1: perceived you a certain way during that during that period.
• 1:02:54
  Speaker 1: I've never looked at it like that because I've always
• 1:02:56
  Speaker 1: looked at myself as the underground kid. I've never looked
• 1:03:01
  Speaker 1: at myself as the kid that the motherfuckers would want
• 1:03:05
  Speaker 1: to come to period. And I always accepted that and
• 1:03:09
  Speaker 1: erased it. I never felt like, oh shit, this motherfucker
• 1:03:15
  Speaker 1: getting this and I ain't getting it. I've never felt that, never,
• 1:03:18
  Speaker 1: because at the end of the day, I can make
• 1:03:23
  Speaker 1: some money. I love to write and do hip hop.
• 1:03:28
  Speaker 1: My bills is paid, boom, my kids ain't starving and
• 1:03:33
  Speaker 1: ain't struggling and don't have fucking holy shoes and looking
• 1:03:39
  Speaker 1: for a handout. I'm fine. I've had opportunities that came
• 1:03:45
  Speaker 1: along that fit me. I mean, I had the Boys
• 1:03:48
  Speaker 1: in the Hood soundtrack, I had Minister so Society and
• 1:03:51
  Speaker 1: a role Thicker than Water with mac Tin came along.
• 1:03:56
  Speaker 1: Forgot about that. I was nominated for a Grammy with
• 1:04:01
  Speaker 1: with Kendrick for the song should have won that Grammy. Yeah, yeah,
• 1:04:06
  Speaker 1: but you get but you get it, you know. But
• 1:04:09
  Speaker 1: I've always embraced my position in hip hop and I'm cool. Well,
• 1:04:16
  Speaker 1: when you when you with anything right, when you look
• 1:04:18
  Speaker 1: at other people and you try to judge your own
• 1:04:21
  Speaker 1: happiness based on what other people are doing, that's where
• 1:04:24
  Speaker 1: you get fucked up. Man. That's how motherfuckers become depressed
• 1:04:27
  Speaker 1: and they become on sure them, you come up if
• 1:04:29
  Speaker 1: you do that. If I start going damn, how come
• 1:04:32
  Speaker 1: I ain't like Snoop or how come Snoops rapped the
• 1:04:36
  Speaker 1: same ship I was rapping, Or how come I'm not
• 1:04:39
  Speaker 1: like Kendrick or Quick, or I've never done that because
• 1:04:42
  Speaker 1: I never felt like that when you heard uh, man,
• 1:04:47
  Speaker 1: I'm not gonna lie. Some of those Quick records were
• 1:04:49
  Speaker 1: vicious on some on some rapping ship, like when He's
• 1:04:53
  Speaker 1: the one line that stuck out to me when I
• 1:04:55
  Speaker 1: was the E. I h T Now should I continue?
• 1:04:57
  Speaker 1: You left out the G because the G EIGHTN you
• 1:05:00
  Speaker 1: you heard that? What was were you like, man, fuck
• 1:05:02
  Speaker 1: this for? Were you like it's hip hop? Were you like, yo,
• 1:05:05
  Speaker 1: that was a nice bar you have to come with
• 1:05:06
  Speaker 1: good lines and hip hop. Did you at least like
• 1:05:09
  Speaker 1: respect his like like, I don't think when you beefing
• 1:05:13
  Speaker 1: with cats that you look at him as far as
• 1:05:16
  Speaker 1: oh whatever, you know? But I was never like, oh,
• 1:05:22
  Speaker 1: I'm finna just blow the fuck up because a motherfucker
• 1:05:25
  Speaker 1: I looked at it this hip hop banter. Could you
• 1:05:27
  Speaker 1: at least acknowledge like, okay, quick, I got something for you,
• 1:05:31
  Speaker 1: or like, yeah, that line was kind of That was
• 1:05:33
  Speaker 1: a cool line. I've always felt like in a hip
• 1:05:37
  Speaker 1: hop perspective, I've always felt that's just like a motherfucker
• 1:05:40
  Speaker 1: saying that I don't think I'm number one, I'm number
• 1:05:45
  Speaker 1: two or number two. You always give yourself the credit
• 1:05:48
  Speaker 1: of whatever. So in a hip hop world, because I
• 1:05:53
  Speaker 1: never took shit on record personally, so yeah, good line.
• 1:05:56
  Speaker 1: When niggas would be like, oh that was womty womb
• 1:05:59
  Speaker 1: I said from hip hop respective yeah, it was a
• 1:06:00
  Speaker 1: good line. I mean just like motherfuckers would say, oh,
• 1:06:04
  Speaker 1: what you said was all killer or whatever whatever, and
• 1:06:07
  Speaker 1: I say, it's all in the aspect of trying to
• 1:06:09
  Speaker 1: be clever. When you trying to dis some motherfucker, you
• 1:06:12
  Speaker 1: can't dis some motherfuck on the weak shit. I tell
• 1:06:14
  Speaker 1: niggas today, I've been dissed by some of the best niggas.
• 1:06:17
  Speaker 1: So if you're gonna dis me, you at least got
• 1:06:19
  Speaker 1: to come with something correct. Don't come with no weak shit,
• 1:06:22
  Speaker 1: because then what's the point, right, that's facts? Man. Yeah,
• 1:06:26
  Speaker 1: Now we're just people just make Instagram videos about each other.
• 1:06:29
  Speaker 1: I mean, shit, motherfucker make an Instagram video or do
• 1:06:31
  Speaker 1: some dumb shit or whatever. But like I said, we
• 1:06:35
  Speaker 1: came from the class of writing was everything. Man, your
• 1:06:41
  Speaker 1: pen game. Man, you're a fuck about to beat man,
• 1:06:43
  Speaker 1: you gotta write some shit because let's face, a lot
• 1:06:45
  Speaker 1: of niggas had some whack ass motherfucking tracks back in
• 1:06:48
  Speaker 1: the days too, but they fucking penmanshit was just great.
• 1:06:52
  Speaker 1: Like you'd be like, God, damn man, how do he
• 1:06:55
  Speaker 1: come up with that shit? So we prided ourselves on writing,
• 1:06:59
  Speaker 1: so you had to come up with clever ship who
• 1:07:01
  Speaker 1: else on the new album? Outside we know Conway Primo,
• 1:07:04
  Speaker 1: who else? Conway Primo, Dave East Uh, Tahaled is on
• 1:07:10
  Speaker 1: the new album Havoc, my deepest on the new album,
• 1:07:16
  Speaker 1: Uh Corrupt, Uh Noble from the Outlaws, Uh Cocaine, Coe
• 1:07:24
  Speaker 1: Yup Mouth, Mitchie Slick shout out to San Diego man.
• 1:07:29
  Speaker 1: Who else we got my girl Cherrell, Terry Chill from
• 1:07:32
  Speaker 1: CEM dub who else is on the record? Be Real?
• 1:07:38
  Speaker 1: A lot of legends on this. Yeah, that's what I
• 1:07:40
  Speaker 1: try to do, a mix, you know, Conway, Dave East, Uh,
• 1:07:45
  Speaker 1: and then I, you know, go back to people I admired, Havoc, Corrupt,
• 1:07:50
  Speaker 1: fucking Noble, be Real. Me and be Real have done songs,
• 1:07:55
  Speaker 1: you know, as far as back to prelude to a
• 1:07:57
  Speaker 1: come up on the Cypress Hill record, and then me
• 1:08:00
  Speaker 1: and mugs used to fuck around soul assassins whatever. So again,
• 1:08:04
  Speaker 1: be Real. I feel like there's like a class of
• 1:08:06
  Speaker 1: just West Coast guys who don't get enough acknowledgment. B
• 1:08:09
  Speaker 1: Real is one of them. You're one of them, Spice One,
• 1:08:11
  Speaker 1: Like there's a lot of guys. Yeah, definitely Spice One.
• 1:08:14
  Speaker 1: Brother Lynch hung shout out, Brother Lynch, shout out to Uh.
• 1:08:17
  Speaker 1: We talked about King t earlier Exactly, there's a lot
• 1:08:20
  Speaker 1: of the licks alcohol alcohol. It's a lot of underground
• 1:08:24
  Speaker 1: heroes here as far as West Coast is concerned. And
• 1:08:27
  Speaker 1: you know, not to take away from nothing from Dre
• 1:08:31
  Speaker 1: or Snoop or Cube because that helps us as far
• 1:08:34
  Speaker 1: as the West Coast is concerned. People stayed with the
• 1:08:37
  Speaker 1: identity of WEG Coast. But we've had a lot of
• 1:08:40
  Speaker 1: We've had a lot of motherfuckers also too. Like even
• 1:08:43
  Speaker 1: in the in the two early two thousands, there was
• 1:08:45
  Speaker 1: just like a whole other offshoot of underground hip hop
• 1:08:47
  Speaker 1: coming out of LA that wasn't like dilated people's exactly,
• 1:08:51
  Speaker 1: Jurassic five, Uh shout out to uh Plant Planet Asia, Roscoe,
• 1:08:58
  Speaker 1: Cali Agents. There was like there was like a whole dope.
• 1:09:02
  Speaker 1: I just remember, like I call it the fat beat shit,
• 1:09:05
  Speaker 1: right right right, Yeah, the fat Beat shit. Yeah. We
• 1:09:08
  Speaker 1: had a lot of But like I said, we don't
• 1:09:10
  Speaker 1: get a lot of recognition over in the West Coast,
• 1:09:14
  Speaker 1: which is sad, but we have cats who will still
• 1:09:18
  Speaker 1: love hip hop. Yeah, and they still no matter where
• 1:09:21
  Speaker 1: you are on that totem pole, just keep fucking climbing.
• 1:09:25
  Speaker 1: That's how I look at it. Fuck it if you old,
• 1:09:27
  Speaker 1: if you ain't old enough and you get no back
• 1:09:29
  Speaker 1: spasms and shit, and your legs ain't cramping up, fucking
• 1:09:33
  Speaker 1: keep climbing the pole and shit. Because there's a lot
• 1:09:35
  Speaker 1: of good music that's being offered. Would you ever do
• 1:09:37
  Speaker 1: another compious most wanted album? Yeah? I did a conscience
• 1:09:40
  Speaker 1: most one. Me and Chill did a record. We put
• 1:09:43
  Speaker 1: it out independently. Last I want to say September. It's
• 1:09:47
  Speaker 1: called Gangster Business. Okay, if you ain't heard about it,
• 1:09:50
  Speaker 1: go peep it out. Some nice songs on there for sure.
• 1:09:53
  Speaker 1: Just trying to warn people back up to getting back
• 1:09:56
  Speaker 1: out there. So you've been active, man, Like I remember
• 1:09:58
  Speaker 1: the premo shit, and then I mean how many? How
• 1:10:01
  Speaker 1: many songs are on this album? Twenty twenty is a
• 1:10:03
  Speaker 1: little twenty piece. I got a record I just dropped
• 1:10:06
  Speaker 1: in February called Official. It's a double album, twenty seven songs.
• 1:10:12
  Speaker 1: So that's got a song on there with exhibiting problem
• 1:10:15
  Speaker 1: called Profiles. I've just been working, man, I've been working,
• 1:10:19
  Speaker 1: just trying to stay working, stay active. We know what
• 1:10:21
  Speaker 1: the coronavirus bullshit. They shut a lot of shit down,
• 1:10:24
  Speaker 1: but it's the perfect time for cats. Like myself to
• 1:10:29
  Speaker 1: stay active and working. You know, we wasn't big on
• 1:10:32
  Speaker 1: touring anyway and whatever, So this is the perfect time
• 1:10:36
  Speaker 1: to be reintroduced to some of those younger fans or
• 1:10:40
  Speaker 1: some of the people who just appreciate good hip hop
• 1:10:42
  Speaker 1: fucking music. You give me and the album comes out
• 1:10:44
  Speaker 1: win September nineteenth eighteenth. Lessons lessens, the album, lessens the album.
• 1:10:52
  Speaker 1: The single Hancho should be touching down next week. Videos
• 1:10:55
  Speaker 1: done you shout video videos done to Hancho with Conway
• 1:11:00
  Speaker 1: and we shot a video to the song called Cordy
• 1:11:03
  Speaker 1: and with Davies. Shout out to Davis Man and shout
• 1:11:07
  Speaker 1: hey man, I appreciate you for pulling up and go
• 1:11:12
  Speaker 1: get the album official. Perfect