Transcription complète de REPLAY: Conversations On Knowing When To Shut Up

focus, like, you know, anything else, but that's simple. 00:03:29 Speaker 3: Yeah. I'm sorry. I said, musically, you have the same respect phone, but culturally. 00:03:38 Speaker 1: I mean, one of them is not about the culture of things. 00:03:42 Speaker 3: Okay. 00:03:43 Speaker 2: One of them is just about making something relatable to humans. Making something digestible to humans. Like pop mainstream music is just making something digestible to humans. Hip hop is not that. It's like the least digestible it is, the more hip hop it is. 00:04:05 Speaker 1: Right. 00:04:06 Speaker 2: It's using language that only we understand mannerisms that we only deem appropriate. 00:04:12 Speaker 1: You get what I'm saying? You get more props for that. 00:04:17 Speaker 2: Versus pop, the idea is to deliver something digestible to the masses. And fast forward, here we are six years later, and it's created this ridiculous. 00:04:36 Speaker 1: Thing off of something that really felt natural. 00:04:40 Speaker 2: And it made me think, Trap, why the fuck is it a problem with me sharing this information. 00:04:50 Speaker 3: I be feeling like as if, like ever since like we started like saying like, that's when I really realized the fact that, that, that, that so many people were being declared hip hop as like a badge of honor like that. You know what I'm saying? Like that. I mean, like, I don't know. That's what I realized. That's why I never understood. Like, if he isn't hip hop, what's so bad about that though? I can never, I can't understand it though. But that's when I realized it's a bad genre. It's something that people want to make sure that they are coined as being. You know what I'm saying? Especially if they doing it, I guess. But I don't know. I can't quote. 00:05:31 Speaker 1: Is it? 00:05:31 Speaker 3: Okay. 00:05:32 Speaker 1: I watch people in the scene every day. 00:05:37 Speaker 4: Yeah. 00:05:38 Speaker 2: I was talking to my homies and they were asking me about other rappers being gang members. 00:05:44 Speaker 1: And I'm like, bro, I don't respect you as a gang member. 00:05:48 Speaker 2: If you became a rapper before a gang member, or if you using rapping, like if you use, you know, getting put on a gang as, like if you get put on a gang. 00:06:05 Speaker 4: For career advancement. 00:06:06 Speaker 3: Yes. 00:06:07 Speaker 1: I don't respect it. 00:06:09 Speaker 3: Sure. 00:06:12 Speaker 2: And I was listening, like, and I'm looking at certain people and I'm like, That bothers y'all? Why do y'all care what I think then? If this concept bothers people so much of what I think, I. 00:06:30 Speaker 1: Don't fucking get it. 00:06:33 Speaker 4: It's two things happening at once. For the artists, it's the same with any other genre. If you were in the early 1960s and you said, oh, you're not rock and roll. That would be. 00:06:48 Speaker 3: Terrible. 00:06:48 Speaker 4: Or like, oh, you're not metal. You're just a guitar player. Still something in the 80s. Whatever you're trying to do with be a part of, that's kind of a requisite for that. Drake isn't in the business of marketing pop music On purpose. 00:07:15 Speaker 3: You know what I mean? 00:07:18 Speaker 4: He doesn't package himself like Taylor Swift. 00:07:21 Speaker 3: You don't think so? No. 00:07:25 Speaker 4: I think that's what happens. I don't think it's what he does on purpose. 00:07:27 Speaker 3: No. 00:07:28 Speaker 4: I mean, he would have just signed to whoever the fuck. He signed to cash money. 00:07:35 Speaker 3: You know? 00:07:36 Speaker 4: And fans, it's like, say you got a girlfriend. You love her to death. She's a big girl. You like big girls. Big girls are your thing. Somebody goes, man, your girlfriend's fat. You're going to get all bent out of shape about it. Even though big girls are your thing. 00:07:52 Speaker 1: So why are we not disabled about it? 00:07:54 Speaker 4: That's because people establish a relationship in their minds because they're delusional fucking nutjobs with these artists. 00:08:04 Speaker 3: Any artist. 00:08:04 Speaker 4: Whoever they're a fan of. They're fanatics. They're fanatical maniacs. 00:08:07 Speaker 3: They're weird. 00:08:08 Speaker 4: That's why they cry when persons die and they've never met them in a day in their life. And you insult them. It's like insulting a loved one. They can't handle it. 00:08:16 Speaker 2: I just, I'm just thinking like, I'm just thinking like, like, in my mind, he packaged himself that way. He pretty much stayed away from things that would be specifically, you know, relevant to just how we grow up and made general concepts for everybody. 00:08:37 Speaker 1: So how did he package it any different? 00:08:38 Speaker 4: I think, as I said, like he, most of what he did was with more hip-hop artists in collaboration. I mean, he was on a hip-hop label. 00:08:52 Speaker 1: But wouldn't that be because they rap and he raps? Like, see, like, to me, he's a pioneer in the pop rap category. 00:09:03 Speaker 3: Sure. 00:09:03 Speaker 2: He's one of the earliest people we remember having huge success in the pop rap category. 00:09:10 Speaker 1: Now it was kind of standard. You see a ton of people. 00:09:14 Speaker 4: But when you're the first... You can't just come out and declare it. You know what I mean? You kind of got to hide your way in and then it just happens. 00:09:29 Speaker 1: No silence, GL. My brother Pete in the house. I got my brother Trap, my brother Steve in the house. 00:09:36 Speaker 3: What's going on? 00:09:37 Speaker 1: Gatekeeper's pod. We'll probably launch him. It's fire. 00:09:44 Speaker 2: So we did a collab episode. Make sure y'all check out the gatekeepers pod as well. We really going to get into it. 00:09:51 Speaker 1: OK. So to me, even though he actually decided to package himself. Absolutely. a pop rapper, right? I'm not disagreeing. 00:10:02 Speaker 2: He definitely made a purpose to sign to Cash Money Records, but at that time, even

Young Money Cash Money was kind of a pop label. You know, this is Lil Wayne in the prime of his career as he ascends to pop status. 00:10:20 Speaker 3: When you say pop in terms of popularity? 00:10:24 Speaker 1: At that time. Because post-Carter III, like, Wayne was out of here. 00:10:28 Speaker 3: Yeah, I agree. 00:10:31 Speaker 1: Even the label at that. 00:10:32 Speaker 2: Time started to sign acts like Kevin Rudolph and Jay Sean. They started signing pop acts. 00:10:40 Speaker 3: I mean, if you look at it, though, Nicky, Drake, you said Wayne at the time. 00:10:48 Speaker 1: Tiger. 00:10:49 Speaker 3: Tiger. They was kind of going towards. 00:10:53 Speaker 1: Like a pop rap style thing. 00:10:55 Speaker 3: Yeah, they was kind of reaching towards that area right there. 00:10:58 Speaker 6: It definitely was. 00:10:59 Speaker 7: What was Tyga's first single? 00:11:02 Speaker 1: It was a pop song. 00:11:03 Speaker 3: The Cherry in the Lime? The opening song. That's how I discovered it, yeah. Was he on Cashmere? No, no. 00:11:11 Speaker 1: Travi put him out. 00:11:13 Speaker 2: Travi helped him put it out. 00:11:15 Speaker 3: Shout out to Travi. 00:11:16 Speaker 1: Jim Class Heroes? Yeah, that's his cousin. 00:11:19 Speaker 3: Okay, okay. That makes sense. So he makes. 00:11:22 Speaker 2: You get what I'm saying? He makes his pop song. And now he's rapping on certain things. But remember, Rack City was a movement. That song, his first hit outside of... He was featured on the Chris Brown hit, Deuces, right? Which is an R & B song. And he puts out this pop song, right? With Travi, right? 00:11:45 Speaker 1: Which means he was looking towards a pop lane, right? 00:11:48 Speaker 3: But then. 00:11:49 Speaker 2: The West Coast develops this kind of style of music, right, which goes on to become ratchet music, which is birthed out of the ashes of what would be jerk music, right? And here's this thing called ratchet music. Shout out to Ty and YG. They're some of the earliest Joe Moses as far as foundating what would become ratchet music. And he goes to Mustard and gets Rack City, which becomes his first solo hit record. So then he becomes a part of this kind of hip hop phenomenon, right? Like no different than drill or G-funk or boom bap, right? It's something that comes from the mud. And then here's how he defines, you know, his records to a degree, right? To make it nasty and all of these things that fit this movement, but that do kind of border, you know, a level of mainstream music. but he's a forefather piece in it to. 00:12:47 Speaker 1: The mainstream world. 00:12:50 Speaker 2: A lot of people's first introduction into Ratchet music was Rack City. Everybody didn't hear Tooted and Booted. Rack City was huge. 00:13:02 Speaker 3: That's kind of like Cheap Keep. 00:13:05 Speaker 1: Yes. 00:13:05 Speaker 3: He brought up Drill. When people really dive into the Drill thing, They always say, nah, Chief wasn't the first one doing it. No. 00:13:14 Speaker

6: He's the pioneer. 00:13:16 Speaker 3: He's the pioneer. I can't call Tiger the pioneer of Ratchet and Ratchet, bro. 00:13:22 Speaker 1: No, no, no. The first Ratchet national hit record is Tooted and Booted. 00:13:27 Speaker 3: Yep, that's the first one I heard. 00:13:29 Speaker 1: As far as our style being that thing. 00:13:32 Speaker 2: And Tooted and Booted, remember it comes out in 2008 or 2009? 00:13:37 Speaker 1: I remember that. 00:13:39 Speaker 3: I remember that. It was nine. And then it blew up in 2010? Yep. 00:13:42 Speaker 1: Like nationally? 00:13:47 Speaker 2: Like I'm looking at rappers and I'm supposed to buy into their ideas. 00:13:53 Speaker 1: And then I'm like, yeah, I don't really buy it. Like, are we making a mistake? 00:13:57 Speaker 2: Like if somebody says they're from Queens and then trap that person in you know, is out representing Queens. Is it up to Queens to say, hey, this person authentically isn't by Queens? 00:14:09 Speaker 3: I'll sit here and give you a perfect example right now. Sure. So Prodigy first came out. You know what I'm saying? Not the first time Marv D came out. The second time Marv D came out. You know what I'm saying? He wasn't really concerned. We didn't know. When they hit it from the back, we wasn't. It was Marv D, whatever. They didn't really break like that. But when that second album broke, you know what I'm saying? Everybody that saw them at first, he was from Queensbridge. He was all in the bridge. Everything, you know what I'm saying? Everything was Queensbridge. But then as the album came out, though, you know what I'm saying? Everybody in the Whispers went around like, nah, you know he's not from Queensbridge. You know he's from Hempstead, right? You know what I'm saying? But it was almost to the point where they. 00:14:57 Speaker 3: Queensbridge accepted him, though. So can't nobody say he wasn't from Queensbridge then. You know what I'm saying? Like, most people from outside of New York or Queens assume right now that he's from Queensbridge. 00:15:10 Speaker 1: Did he ever claim Queensbridge? 00:15:12 Speaker 3: Yeah. He used to say the bridge. He used to say all that. 00:15:16 Speaker 1: He used to say QB. 00:15:17 Speaker 3: He used to say QB, all that. Like, he was the standard. They gave him it. They gave him the straight to be able to do that up until I think he came out with that book. Like, he was Queen's Bridge up until he came out with that book. And he came out with the book, and everybody started messing with him, though. But before that, though, like, he was. 00:15:34 Speaker 2: Able to— What was the problem with the book that made people stop? 00:15:37 Speaker 3: I forgot what happened. I think he was just putting out too much information that people feel like they shouldn't have put out. They shouldn't have put out or something like that. I can't tell you exactly what it was. A lot of people was upset by the book, by certain things that was said in the book, certain things that was revealed. People didn't like that. You know what I'm saying? Yeah. I think it was like a dude named Mike Lawrence, something like that, was the one who probably got mad. 00:16:00 Speaker 1: Yeah. 00:16:01 Speaker 3: But it was definitely because of the book, though. I forgot what was exactly. 00:16:03 Speaker 1: When he passed away, everything kind of. 00:16:05 Speaker 6: No, no. 00:16:06 Speaker 3: No, man. When he passed away, remember they put the mural up, they put the mural up for him in Queensbridge, and they was messing that. Every time they put it up, they were messing up. It was the Queensbridge people doing that shit. Oh, he was mad. He was mad. 00:16:20 Speaker 8: Yeah. 00:16:22 Speaker 2: So here's a better question. Hip hop community across this country. 00:16:27 Speaker 3: Right. 00:16:28 Speaker 2: All these places that birth that, you know, that give you that unique look into that level of street urban culture. Are we making a mistake when we allow people to represent because then they don't carry the same burden of culture or the sense of accountability that comes with it? It's like it's one thing to hear young thug say some ignorant shit. 00:16:53 Speaker 1: Right about Mike Brown. 00:16:55 Speaker 5: Right. 00:16:55 Speaker 1: Which is cool. 00:16:56 Speaker 3: Right. 00:16:56 Speaker 1: Because then guess what? 00:16:58 Speaker 2: Young Thug can get pressed by his mother, his family, his sisters, anybody that. 00:17:02 Speaker 1: Grew up with him. 00:17:04 Speaker 2: He's within the arm's reach to press about saying something ignorant and his people that he respects and love. So then he's going to have to double back. Like, man, I was tripping. You know, I'm a donate. I'm a do blah, blah, blah, blah. 00:17:16 Speaker 5: Right. 00:17:16 Speaker 1: Because at the end of the day, you still one of us. 00:17:19 Speaker 3: Right. 00:17:20 Speaker 2: Versus somebody who's not one of us. And we allow them to claim the fame. Like prime example, right? Like, like even in that book, like say with, with, with, with P right. Where it's like, maybe somebody from the bridge sees that different. 00:17:36 Speaker 1: You get what I'm saying? Maybe they're like, okay, let me not bring this up. 00:17:40 Speaker 2: Or if they do bring it up, they're able to be held accountable different because they connected versus you build some relationships. Like I was thinking about this, like it's been multiple cases in LA. 00:17:52 Speaker 3: Right? 00:17:53 Speaker 2: Like, here's a prime example. Big U was going through the same thing with James Harden. 00:17:57 Speaker 3: Right? 00:17:57 Speaker 2: And I'm not sure if this is the truth, but let's just work with the story. The story is James Harden and a couple NBA players were shooting dice with Adrian Bronner. Bronner beats him out a bunch of money using some trick dice. 00:18:11 Speaker 1: We call them tees. Tees dice. 00:18:14 Speaker 2: They realize they got beat and they go to Big U.

They say, hey, man, instead of going to the police, they go to Big U. Man, we. 00:18:21 Speaker 1: Man, this dude cheated us out our money. 00:18:24 Speaker 3: Blah, blah, blah. 00:18:24 Speaker 1: We need to get this money back. 00:18:25 Speaker 2: He said, okay, I'll do it for you, but it's going to be this percentage because I got to go through all this shit. They make a deal. He get them their money back, charge his fee for doing the work. 00:18:34 Speaker 1: You know what I mean? 00:18:36 Speaker 2: And it's some extra money that's supposed to be through to him to teach Adrian. 00:18:41 Speaker 1: Bronner a lesson. Right? 00:18:44 Speaker 3: So then. 00:18:46 Speaker 2: Now, here is this case that pops up, right? And we've talked about this case a couple times, right? 00:18:51 Speaker 1: I know it's bullshit. I know the person that's at the center of the case. 00:18:55 Speaker 2: I know how that person wanted to use big U street credibility to actually. 00:19:01 Speaker 1: Do bad business a lot of times. You know what I mean? 00:19:06 Speaker 3: And. 00:19:06 Speaker 2: Now when the feds get him, he lies and says Big U is shaking him down. 00:19:10 Speaker 1: And that's the truth. 00:19:11 Speaker 2: So to anybody who listened to this podcast, if you think for two seconds they got the right person with Big U, you're wrong. 00:19:18 Speaker 3: They don't. 00:19:19 Speaker 2: Big U actually is being railroaded at this level for this particular charges. He is not the leader of a RICO organization. The person that they said he's shaking down, that's not true. This person hired him so he could do bad business in his name. And he was already doing bad business in the name of Big U and Rollin' 60s. 00:19:39 Speaker 1: And that's a fact because I know who it is. 00:19:42 Speaker 9: Right? 00:19:42 Speaker 2: But then is Big you wrong because he does lend his street credibility to people that simple. 00:19:52 Speaker 1: What'd you think Pete? 00:19:54 Speaker 4: Was he getting paid for it? 00:19:56 Speaker 1: Sure. 00:19:56 Speaker 4: Then no, I mean, this is an all starter to me. 00:20:02 Speaker 3: I don't see what we've been talking about. 00:20:04 Speaker 1: Well, here's, here's my issue, Pete. 00:20:07 Speaker 2: It's a cultural conversation when I loan somebody the culture. And then they don't really have enough respect or they're not put in position to be able to be accountable for things they're saying. 00:20:22 Speaker 4: Why is he not the victim of predatory production? Because everybody works with him, makes money off him, and then leaves him out to look like an idiot, like he's, you know, perpetrating an image and da-da-da-da-da-da-da. No one didn't make money off of him. 00:20:37 Speaker 2: No, and he resolved a lot of conflicts, but I'm saying my fear for Big U and kind of this has been my argument towards all of people that grew up in street urban culture. 00:20:49 Speaker 3: I don't give a damn. 00:20:50 Speaker 4: I'll talk about Drake just then because you said culture. 00:20:54 Speaker 1: Oh, no, Drake is different. 00:20:58 Speaker 4: Everybody made money off of him. 00:21:00 Speaker 3: No, no, I wouldn't. 00:21:01 Speaker 1: Them loaning him. Well, even honestly, they wasn't even trying to loan it to him. 00:21:07 Speaker 2: But for the sake of every artist that did give him credibility, they did do well, right? But I don't think I'm even... Well, sure, we can even take him into account. So then when they start to say some silly shit that doesn't fit, or like in James Harden's situation, or at least based off of this story, here's trouble for somebody. Because they don't understand the rest of the things that come with that type of relationship. Like it's like, shout out to the homie that hit me about Chris Sean Chang. Cause it's a bunch of people lying. Like Chris Sean, Chris Sean definitely got a change to forgive me. I mean, like I ain't trying to be on you, but a nigga hit me asking me about him. 00:21:52 Speaker 1: I just ignored him. Like nigga, I'm not getting nobody changed back. 00:21:57 Speaker 2: Them days over of me looking out for niggas and bartering deals with people from the culture to, to try to help somebody. 00:22:05 Speaker 1: Enough people. 00:22:06 Speaker 2: To me, my issue with Chris Sean is when you own that 20 V1 and you say that little shit, you say. 00:22:13 Speaker 5: Right. 00:22:14 Speaker 1: You say that little shit, you say. 00:22:17 Speaker 3: Right. 00:22:17 Speaker 2: You say that little dumb ass shit, you say you don't have enough respect for the culture in the first place. 00:22:23 Speaker 3: Right. 00:22:24 Speaker 2: So why the fuck am I going to go get your fucking chain back? Why the shit should I go get your fucking chain back? Why I'm finna go talk to these Santana block niggas and be like, for what? 00:22:36 Speaker 1: Like, I used to do that shit when I was young. 00:22:38 Speaker 2: When I first got in the business in 06, 07, niggas be getting robbed out this motherfucker left and right, and I go get their chain. 00:22:44 Speaker 3: How many chains you would say you got back? 00:22:46 Speaker 1: Four. 00:22:48 Speaker 3: Four? You know exactly the amount. You know exactly the amount. 00:22:50 Speaker 2: I knew exactly how many chains I got back, and I knew how many I could have got back, which was seven. 00:22:54 Speaker 7: That's one chain too many. 00:22:56 Speaker 4: Quit feeding trap the questions in advance. 00:22:59 Speaker 3: I'm just saying. I didn't know he was going to have a death threat. No, I'm just kidding. 00:23:06 Speaker 7: So glasses, wouldn't that be similar to, I remember you explained this, but running the risk of putting somebody on from the hood that isn't necessarily directly from the hood represents something they're not directly from and they have no historical ties to. It's kind of the same similarity. You're letting the outsider in. claim something, be put onto something, represent something

that they don't know. Like it's something foreign to them and they want to be down because it looks cool, but they have no history. They don't have no family over here. They don't know nobody over here. They don't got no mutual friends over here, but they just, you know, they walked the neighborhood a couple of times. They seen something and they want to be, they want to be a part of something. So I think it kind of there's a similarity there that I do feel like there is some responsibility that we hold when you're lending somebody something that's really precious. We're talking about language, an entire culture, the way somebody dresses, everything. They don't know how to respect it because that's just not how they were brought up. 00:24:15 Speaker 1: But that's my point. 00:24:16 Speaker 2: Like, I remember having this argument with one of my oldest friends. My homeboy, Moto, rest in peace, Jermaine, called him psycho from the neighborhood. And I've been knowing Moto. We call him Moto, psycho, same person. I've been knowing him since we were nine and eight. This is before I got put on at 15. He was already from the neighborhood. He was already a member fucking up. You know, his life was different. His mom went through all kinds of trauma. Dad wasn't around. His uncles was in the street. So he came from a completely, his mom wasn't a registered nurse that sold dope and went to jail. His mom was really outside fucking up. You know, his dad, you know, again, it was a different thing. 00:25:02 Speaker 1: Right. 00:25:03 Speaker 2: But most of the stuff that I knew about growing up in the life he gave me, and then the older homies started teaching me. And as I came into my own, I remember him bringing a guy to the neighborhood. And this guy was from East Coast originally. He was from 7'6. 00:25:22 Speaker 1: And he was about 22. 00:25:23 Speaker 2: He was like a year or two older than me. I think I was 21. 00:25:26 Speaker 3: He was 23. 00:25:26 Speaker 2: And he was like, hey, G, I want you to put this nigga on. And I'm like, who, this grown nigga right here? 00:25:34 Speaker 1: He like, yeah. And I'm like, nah, because I'm not putting this nigga on, bro. This nigga grown. Why the fuck would I put him on? I'm like, where you from? He was like, well, I was from East Coast. And he was from a gang already? 00:25:45 Speaker 3: What are you doing to get kicked out of there? 00:25:49 Speaker 2: No, you know, that don't got nothing to do with it, G. Of course it got something to do with it, but he moved. Shout out to Psycho, rest in peace. He moved, Moto moved over there and became a friend with this person. So naturally, when you grow up how we all grow up in this street urban culture, we build different with each other. Like, we really, we take a liking to you, we fuck with you. And so he wanted them to be from the neighborhood. And I remember, like, no, I'm not putting him on. So they put this motherfucker on anyway, some other people. And then they gave him the name Gangsta 7. 00:26:25 Speaker 1: So he named after the neighborhood. 00:26:28 Speaker 2: And I remember thinking to myself, like, what in the fuck is going on? Why the fuck would y'all do this? And everybody was like, gee, you know, same shit. 00:26:35 Speaker 1: Man, chill, man. You always asking smart-ass questions. 00:26:38 Speaker 3: Shit. 00:26:38 Speaker 1: You know what I'm thinking? Man, nigga, just from the hood, just on me. No, cuz not. And, you know, at this point, I didn't came into my own. I'm fighting shit. I'm shooting. I'm on all this shit. Nigga, this nigga not. You know what I mean? 00:26:50 Speaker 2: And I didn't want to have a problem with him, so I treated him as close as I could to a nigga I don't know that's actually now acting like. 00:26:58 Speaker 1: We've been knowing him. 00:27:00 Speaker 2: But sure as shit, when shit fall apart, for my generation, this asshole is at the center of it. 00:27:07 Speaker 7: Mm-hmm. 00:27:08 Speaker 1: He done told on everybody. He done went to jail. I thought he died. I thought he stabbed and got himself killed. And then he alive, he called me, tried to call me, talking to me. I'm like, nigga, he told, nigga, I'm not. 00:27:21 Speaker 2: Never talking to you. Cause in no capacity, bro. I'm not, I'm still mad. Moto died. I'm still mad at Moto. 00:27:29 Speaker 1: Like if Moto has one strike on his record with me, is bringing this nigga around and trying to get me to court him on. 00:27:35 Speaker 2: I want to put him in a fucking hospital the first day I met him. Why this grown ass? He should have his life together. 00:27:40 Speaker 1: What are you doing? 00:27:41 Speaker 2: You trying to come over here and make money or something? You don't got to be from the set to make money. You could just come fuck with us. But why do you want to get put on the hood? 00:27:49 Speaker 1: Why would Moto convince you and him and Moto the same age? How could this grown man come convince your grown ass to come join another gang? It didn't work out the first time, Trill. It didn't work out the first time. 00:28:00 Speaker 3: That's why you here. 00:28:02 Speaker 1: It didn't work out. If it worked out, you'd be from where you're from. 00:28:06 Speaker 5: Did you ever figure out the situation about what happened with him in the East Coast? 00:28:11 Speaker 3: No. 00:28:12 Speaker 4: That's even worse. 00:28:13 Speaker 3: It makes it worse. 00:28:14 Speaker 1: You have to be unsavory, bro. 00:28:16 Speaker 4: Are there other examples of outsiders where it went well? Because there's a larger list of examples of insiders that were probably improperly vetted as well that we've gone through on the show in the past. 00:28:27 Speaker 2: But I'm saying it's not that shit don't go bad. 00:28:31 Speaker 1: It for sure is going to go bad with that. 00:28:33 Speaker 2: First off, who the fuck joins a gang if you don't even know these people? 00:28:39 Speaker 1: Do you know how fucking fucked up?

00:28:41 Speaker 2: It's already crazy to be from a gang because now you're committing your life and saying, hey, you know what? The law is not going to be the standard of how I'm going to conduct myself. I'm going to make my own rules. That's already crazy. That's like hip-hop. I'm going to just do what I want to do. I'm going to wear my... I ain't going to have no shoelaces in my shoes. 00:28:59 Speaker 3: What? 00:29:00 Speaker 1: You know what I mean? 00:29:00 Speaker 2: So, like, it's one thing when niggas didn't have shoelaces, so niggas take the shoelaces out and make that shit look cool. It's different when you ain't got a bunch of money and you wear this shit. That's another thing when you ground down. You actually got the money for your shoelaces and you actually take the shoes out. You are special. So, it's one thing for us already in the culture, we already got an issue because we bonding together based off of trauma to some degree, based off of poverty, based off of having this is all we got to stick together. 00:29:32 Speaker 1: You know what I mean? That's different. 00:29:34 Speaker 2: But who the fuck comes find a bunch of strangers to act like this is all they got? 00:29:38 Speaker 1: No, nigga, you just left. all you had to come over here to some strangers. You don't have us. You know what I'm saying, chap? You don't have... Nigga, who... Why would you come over. 00:29:49 Speaker 2: You know somebody gonna shoot you over this shit. 00:29:51 Speaker 9: Mm-hmm. 00:29:53 Speaker 1: Why the fuck would you come from wherever you was at to a bunch of strangers that you don't know what they did to represent them? That's like a motherfucker that crossed from Mexico that come here when they're 25 and join the military. 00:30:09 Speaker 3: What are you fighting for? They might do that, though. I get it. I get it. 00:30:15 Speaker 1: Like, Pete, if it got you instant citizenship. 00:30:17 Speaker 3: Yeah. I'm fighting that I want. 00:30:19 Speaker 2: To be a citizen. But you, how do you find this patriotism? You don't even know these motherfuckers. Who the fuck are these motherfuckers? Who are these people? 00:30:32 Speaker 4: It's people who, people like that want to be legends, you know, in their own minds. 00:30:37 Speaker 5: But I think acceptance is like the biggest thing with all people, like from all walks of life, whether it's a union at work, whether it's the military, whether it's a fraternity in college, whether it's the in crowd at. 00:30:48 Speaker 3: Work during lunchtime. 00:30:50 Speaker 5: I think we have a yearning to belong to something. And there isn't really too many regulations on that. I mean, had he been from your neighborhood, he probably would have been trying to get down with y'all at the same age you got down with them. You know, I think people just have a natural yearning to want to belong to something, be it good or bad. 00:31:09 Speaker 4: People will formulate a relationship with an idea in their own minds.

00:31:15 Speaker 1: Is YMCA between our neighborhoods, bro? It's YMCA's. It's boys' clubs. Other gangs. 00:31:23 Speaker 3: Maybe Crippin' is more cooler than that. 00:31:25 Speaker 1: Well, why not go join the 970s? 00:31:27 Speaker 3: Go join the chess club. 00:31:32 Speaker 2: Between 76 and 117th Street, that's a lot of streets. You done passed up a lot of Cripps to get there. You know, like gang banging on the east side ain't like gang banging on the west side. 00:31:46 Speaker 1: Y'all hear these stories. Shout out to all the homies from 6-0 and 8-Trey. They gangs be big as Watts. 00:31:51 Speaker 4: 8-Trey's so big, I'm in it. 00:31:55 Speaker 1: Straight up, right now. 00:31:56 Speaker 4: No, literally, I've been to 8-Trey neighborhood over here in Memphis. I saw it last week and made me laugh. 00:32:02 Speaker 3: In Memphis? Yeah. 00:32:03 Speaker 1: But 8-Trey in South Central, Los Angeles. 00:32:06 Speaker 5: Is that one of the things that came into consideration? Like, why would he come all the way from over there? If it was somebody that was maybe from maybe 10 blocks away from you that was just from a different neighborhood? 00:32:16 Speaker 3: Would it have had any different standing? 00:32:18 Speaker 1: Was it the age and the distance? D, all the above. D, all the above. 00:32:25 Speaker 2: Because it's like, it's homies that's, it's homies we got down. 00:32:30 Speaker 1: With from Mona Park, right? Mona Park, the next hood over. 00:32:33 Speaker 3: Right? 00:32:34 Speaker 1: Mona Park is the next hood over. 00:32:37 Speaker 3: Right? 00:32:38 Speaker 1: Cool. You don't got to be from the set if you from Mona Park. If you from on the park, you don't got to be from the set. You from on the park. So you are home anyway. So you will get treated. Kendrick's first cousin. 00:32:53 Speaker 3: Right. 00:32:54 Speaker 1: Who's my man? Baby pet dog. Rest in peace. 00:32:57 Speaker 2: He didn't have to get put on a seven. He niggas let him hustle. He became probably my closest friend. 00:33:03 Speaker 1: You my man. You don't got to be from the set to be the homie. 00:33:07 Speaker 2: But you know how different you got to be, cuz, to come somewhere as 23-year-old. You done already flunked out of somebody else's gangbang program to then enroll. 00:33:16 Speaker 1: In this program. These are strangers. You don't even know these people, cuz. 00:33:19 Speaker 3: How? 00:33:21 Speaker 1: And I feel like that's what's happening in hip-hop. 00:33:25 Speaker 3: That makes sense to me now that you said that. 00:33:27 Speaker 5: Because just imagine if somebody tried to go to the Marines and they didn't cut it. Then they tried to go to the Army. You'd be looking at them like, wait a minute, you wasn't good enough for this program to But you want to be a part of this program. 00:33:38 Speaker 1: You get dishonorably discharged from the Marine Corps. I'm going to go be with the Army. Wait a minute, bro. 00:33:48 Speaker 4: There's no good vetting in gangs. 00:33:49 Speaker 3: That's the problem. 00:33:50 Speaker 4: If you get fired from Wells Fargo for stealing out of the cash register, they're going to ask a question. 00:33:57 Speaker 3: It's going to be on the record. Like, hold up. Let's call your full-time lawyer. 00:34:02 Speaker 2: What I realized, Pete, it's not just gangs. It's street urban culture in general. Even in hip-hop, we don't do that shit. 00:34:09 Speaker 5: But don't y'all got references in gangs? Like, if I was trying to join a gang, I couldn't give y'all, like, three references? 00:34:13 Speaker 3: Like, Lex? He brought a reference through, though. He came through with a reference. 00:34:18 Speaker 1: His nigga was a real deal. His nigga put me on. 00:34:23 Speaker 3: Yeah. 00:34:24 Speaker 1: It made me feel cheap. 00:34:26 Speaker 5: Hold up. 00:34:27 Speaker 1: Psych, cuz. You just putting anybody on. Am I anybody? Man, G, come on with all that smart shit, cuz. 00:34:36 Speaker 3: Smarty low kick then. Smarty low kick then. 00:34:39 Speaker 2: Oh, the fuck cuz, Art. You brought me here because I'm a gem to the set. I am a diamond to the set. I am a fucking emerald. 00:34:48 Speaker 1: Who the fuck is he? I've been knowing you my whole life. You met this motherfucker because you moved in these apartments. And we finna fuck this motherfucker. 00:34:58 Speaker 3: Hip hop is the same fucking way, bro. 00:35:01 Speaker 2: Hip hop is the same fucking way. And everybody mad because I'm vetting it. Like, man, y'all niggas vetting it. Gatekeeper niggas think y'all vetting it. Somebody got to vet this shit. I'm vetting Crippen, too. And that's kind of my problem when I'm saying, I don't know when to shut up, bro. Because I'm looking at niggas. Like, I saw a nigga talking about he sell crack. It was a story, and he sell crack. I'm like, nigga, you did not sell crack. 00:35:22 Speaker 3: Nigga, I would have knew that. 00:35:23 Speaker 2: Nigga, you can't be no gangbang in L.A. or a D-boy in L.A., and I don't know who you is. If you was doing anything. 00:35:30 Speaker 1: Decent, L.A. 's small, bro. It's like... LA, like black LA, until you get to like West LA, you know, you get to West LA or East LA, it's different. Maybe even in the beach. And honestly, I know D-Boys and gangbangers in the beach. 00:35:47 Speaker 3: In the beach? 00:35:48 Speaker 1: Long Beach. 00:35:49 Speaker 2: I'm saying West LA, it could be some niggas I don't know. That's kind of far. You know, poor, poor far trail is 22 minutes. 00:35:57 Speaker 1: That's far. 00:35:59 Speaker 2: West LA, like 22 minutes. That's like 18, what is it, about 18 miles from Watts Peak? 00:36:04 Speaker 4: To what? 00:36:05 Speaker 1: To West L.A.? West L.A. from the 7th. 00:36:07 Speaker 4: Probably something like that. Straight line. 00:36:12 Speaker 1: 18 miles. That's far. 00:36:14 Speaker 2: I don't know what's going on. 6-0 is 9 miles. 00:36:17 Speaker 3: I know. 00:36:18 Speaker 1: I don't know every detail, but I know.

00:36:22 Speaker 7: So any problem, that's a long way to go back and forth. 00:36:27 Speaker 3: How many degrees of separation would that be? 00:36:29 Speaker 5: If you call somebody on the West side about somebody you didn't know, How many phone calls would you have to make until somebody finally won? 00:36:39 Speaker 4: It's amazing. 00:36:40 Speaker 10: In the South LA, greater Black community, everybody knows everybody. Everybody, for some reason, went to three elementary schools, two churches, and four basketball teams and knows every fucking body, I swear to Christ, from the fucking 710 to La Brea. 00:36:57 Speaker 4: It's unbelievable how everybody knows everybody. 00:37:00 Speaker 1: You're right. It is. It's one degree. 00:37:02 Speaker 4: It's crazy. 00:37:03 Speaker 3: It's crazy. 00:37:04 Speaker 2: And that's how long I've been gangbanging and I've been around the culture. 00:37:08 Speaker 1: It's one degree of separation. If I got to make two phone calls, you're a nobody. 00:37:14 Speaker 2: You probably just live there. And I don't mean you live there because Joey and Deuce just live there. They're not necessarily like troopers, but that's still one phone call. Oh yeah, Joey and Deuce are hamming themselves. 00:37:26 Speaker 1: There's not a second call. 00:37:30 Speaker 4: Everyone knows it's so tight that on the first call, there's a consensus that neither of the two people on the phone know who that guy is. Then they don't know he's not from here. 00:37:40 Speaker 1: He a fraud. He ain't lying. 00:37:41 Speaker 4: He's obviously not from here. 00:37:43 Speaker 3: The two of us don't know. 00:37:44 Speaker 4: So it's impossible he'd be from here. Yeah. 00:37:48 Speaker 2: So it's like, I feel like that's what's wrong with all street urban cultures. 00:37:53 Speaker 1: It's not enough vetting. 00:37:55 Speaker 2: Like, it's funny because, like, when we get to white people versus the street urban culture, Man, they'll let a motherfucker make them all kind of money, but they like, you're not going to be made, though. 00:38:05 Speaker 3: What was your man's name? What was the Jewish dude's name? Yes. 00:38:08 Speaker 1: Sam Rothstein. His character. 00:38:10 Speaker 3: Sam Rothstein. That one? Yep. Sam Rothstein. 00:38:13 Speaker 1: Whatever his character was built on. 00:38:14 Speaker 6: Lucky Luciano. 00:38:15 Speaker 3: Wasn't Lucky Luciano a Jew, too? Yeah. I think Lucky was a Jew, too. 00:38:19 Speaker 4: No, Lucky wasn't. 00:38:20 Speaker 3: You're talking about Dutch. Who was it? Dutch. 00:38:22 Speaker 5: Dutch. 00:38:22 Speaker 3: Dutch. Dutch Schultz. Schultz and Schultz. My Alaskan, my Alaskan. 00:38:28 Speaker 1: You could make money for us. You with us, but you ain't made. 00:38:32 Speaker 6: Yeah. 00:38:34 Speaker 1: And see, to me, that's how, like, I can respect that. 00:38:37 Speaker 2: Like, people talk so much shit, right? They be like, black gangs. Man, black gangs is easy. They, I mean, they not, like, you might

have to be held accountable for some shit you say. Man, you go fuck around and the Mexican gangs, they tax the whole neighborhood. Tortilla lady got to pay. Everybody got to pay. Homies got to pay. Y'all all with us. That's the program. They like the government. Black guys is cool. They like, nah, you ain't got to have no money. You just a homie. And I'm like, bro, that's what they trying to do with hip hop. They trying to make it cut wherever it's like. 00:39:17 Speaker 1: Oh yeah, he hip hop too. You hear him rapping? Rappity pap. No, no, no, no. 00:39:24 Speaker 3: No, no. 00:39:25 Speaker 1: You did the same bullshit? 00:39:27 Speaker 3: No. 00:39:28 Speaker 2: And if it means you can't be in this soul, fucking what? I eat Mexican food every fucking day. I'm not Mexican. 00:39:35 Speaker 1: I love Creole food. 00:39:36 Speaker 3: I eat. 00:39:36 Speaker 1: I know how to make some of it. I'm not Creole. 00:39:40 Speaker 3: Who told you you know how to make it? 00:39:42 Speaker 1: I'm just telling you, I know. I got some even original recipes. It don't make me Creole. Pizza Italian. That's my man. I love Italian food. I'm not Italian. 00:39:51 Speaker 2: I don't care if I go over there and I learn how to make spaghetti in the old ways. They can show me how to make the pasta from scratch and all the old techniques. It just means I know how to make authentic Italian pasta. 00:40:03 Speaker 6: That's it. 00:40:03 Speaker 1: It doesn't make me Italian. 00:40:06 Speaker 5: No, but I think that's a microcosm of what goes on. 00:40:09 Speaker 3: We don't appreciate the original recipes. 00:40:12 Speaker 5: And I was watching the Joe interview with Nas and Nas talked about being at Park Jams. Like that information is indispensable at this time. Like somebody that was at Park Jams is still rapping today. And people trying to fry it out. Like, no, we need grandma's recipes. Grandma taught mama how to cook. Mama teaches daughter how to cook. Daughter teaches her daughter. 00:40:35 Speaker 3: How to cook. 00:40:36 Speaker 5: That's how family and tradition goes on. We don't push grandma and be like, oh, you're 72. We're going to use the air fryer. We don't want to hear what you got to say. We're going to make the turkey and the mac. We don't want your mac and cheese, I think, no more. We want easy mac. We want easy mac. We want easy mac. 00:40:52 Speaker 3: Yeah. We want easy mac. Yeah, I agree with Trill. 00:40:57 Speaker 7: Like, even, like, the fact that we kind of treat. 00:41:00 Speaker 3: This shit like it's a relic. 00:41:02 Speaker 1: Like, I know that record. 00:41:04 Speaker 7: Yeah, it was created in the Bronx. 00:41:06 Speaker 3: I mean, okay. That was 50 years ago. So what? 00:41:09 Speaker 7: It's kind of like, yeah, it was a thing of the past. 00:41:12 Speaker 3: We're here now. It's evolved. 00:41:14 Speaker 7: That word is very tricky, but that's kind of the thing now. 00:41:18 Speaker 3: It's evolved. The 80s was this. The 90s was that. The 2000s was this. 00:41:23 Speaker 7: Even the way we pigeonhole things to kind of like specific eras instead of it being basically what the entirety of what the culture is. 00:41:32 Speaker 3: It's like, okay. 00:41:34 Speaker 7: I get it, but it's very lazy kind of thing. 00:41:38 Speaker 5: Yeah, I mean, culturally, we've always done like a three-man weave. You could pick any point in the history of hip-hop. It's going to be a new nigga doing his thing, a nigga that been there for a little bit doing his thing, a nigga that been there for a while doing his thing. We could pick any year, and it's going to be like that. If we went to 87, it's going to be someone that was considered a veteran. Like Houdini was still doing decent at the time. Run DMC was doing decent at the time. But then you had L.A. 00:42:03 Speaker 3: Was a vet in 87. 00:42:05 Speaker 1: Moe D from the 70s. 00:42:06 Speaker 5: Yeah, like some of the people were vets in the 80s, but then you still had newer dudes like the G-Raps, the Canes, the Slick Ricks, the KRS-Ones. And you can go anytime in hip hop and you're going to see that going on. I feel like right now is the time where people get mad about older people doing it. It's like, look, Bruce Springsteen dropped the album in the 2020s. Dolly Parton dropped the album in the 2020s. That doesn't hinder the ability of a young country artist to grow. Bruce Springsteen doesn't hinder the ability for a young rock artist to grow. What it does is, look, it's someone that was 20 when Bruce Springsteen first came out. And they love Bruce Springsteen. So they want to continue to hear Bruce Springsteen. I was raised off Nas music. Nas taught me shit. And at the age of 40, Nas is what, 52? Nas still teaches me shit. And I'm not saying I can't learn anything from a 22-year-old nigga. I just don't really have that much interest in learning something from a 22-year-old. But there's someone out there that's nine that a 22-year-old can teach them something. Because Nas is only 12 years older than me. So when he was 21, I'm nine. So someone else could have that same relationship with the new artist. I'm not hindering that fact. A 22-year-old may not have something specifically for me. It doesn't mean he has something to offer, doesn't have anything to offer. He has a worldview of his own. He grew up in the 2000s. I was a grown man in the 2000s, but his perspective, like these dudes grew up on the internet. 00:43:36 Speaker 3: I remember going outside, getting my. 00:43:38 Speaker 5: Knees dirty, paws, getting in fights, going to different neighborhoods, and you had to get four or five people to go to their swimming pool over there because you didn't want to get beat up or jumped. These kids don't understand that. They on Call of Duty. They playing all these video games. They not even going to parks. They're not even approaching women. We had to stick up, put gum in our mouth. Our outfit had to be, you had to put some Carmex on your lips. You

might have needed a wingman to walk up and get a girl's name. And hope she gave you her number. And then you had to call and hope her dad didn't pick up, her brother didn't pick up, or her nosy mother didn't pick up. 00:44:14 Speaker 3: These kids don't understand that. 00:44:16 Speaker 5: And this music that still speaks to those trials and tribulations that we went That's why it's always going to be appropriate for people from all age groups to be able to make any music, not just rap. It's because it's R & B singers that have been married, like Tamiya. Tamiya has been married for 30 years. It's other women that have been married for 30 years that want to hear R & B from a woman talking about that. They may not have the same experience of a summer walker that got three, four baby dads that break up with a nigga every six months. 00:44:45 Speaker 3: That music may not speak to them. You know what I mean? I feel like hip hop... Oh, it speaks to them. Let it slide. Let it slide. No, I agree. 00:44:55 Speaker 1: I think you're the same. 00:44:56 Speaker 5: 100%. 00:44:57 Speaker 4: Me and my phone are going to die. 00:45:00 Speaker 1: Okay, okay. 00:45:01 Speaker 2: Yeah, I just was thinking about that, and it's like, I'm coming to a crossroads of like, damn, man, should I really be on motherfuckers, Lex? 00:45:13 Speaker 1: Should I really be like, I still got so much fight, Lex. 00:45:21 Speaker 2: I'll be ready to fight for this shit. 00:45:23 Speaker 1: Like, nah, fuck that. Nah, nigga. Nah, he not. 00:45:27 Speaker 3: Nope. Nope. 00:45:30 Speaker 1: Even if I see niggas be lying about they street background, he be like, I'm from here. 00:45:33 Speaker 3: No, you not. 00:45:34 Speaker 1: No, you not. No, you not. 00:45:37 Speaker 3: Like, I hate. 00:45:39 Speaker 1: And it's so crazy because people have convinced themselves the only way you can make it out of Southern California as a rapper is being a gang member. 00:45:49 Speaker 6: Or associative. 00:45:50 Speaker 2: With gangs like bro there's all kind i keep giving y'all the gym. 00:45:55 Speaker 3: No y'all did that y'all did that the west coast did that. 00:45:58 Speaker 5: Y'all can't blame nobody but yourselves y'all did that how because y'all don't give that same love to niggas that's not gang affiliated like who wasn't showing freestyle fellowship that same love y'all showed other niggas. 00:46:14 Speaker 1: Y'all was not showing- Hold on, hold on. 00:46:17 Speaker 5: Y'all wasn't showing Luke Pack that same love. Self Scientific didn't get that same love. 00:46:21 Speaker 6: Y'all like debauchery. 00:46:23 Speaker 3: Fat lips is what's going to do it. Fat lips. What about Ice Cube? 00:46:26 Speaker 5: Y'all love that. What about Ice Cube? Y'all love smacking a bandana over their mouth, rolling slow. What about Ice Cube? Yeah, stand next to Easy. What about Ice Cube? 00:46:37 Speaker 7: He was still rapping about ignorance. 00:46:39 Speaker 2: Ice Cube was rapping about debauchery? 00:46:43 Speaker 5: He was rapping about revolution, but it was wrapped up in the veil of debauchery. 00:46:49 Speaker 7: We understood what debauchery is. 00:46:52 Speaker 9: Ice Cube danced to the anonymity of honors, though. Ice Cube always kind of left that fog of mystery there as to whether he. 00:47:07 Speaker 4: To me anyway, I was always like, is he a rapper or is he not? And it was never really made clear. And I feel like he was content to let it not be clear. Entirely benefit from it not being clear. 00:47:20 Speaker 5: I mean, Ice Cube walked that fine line where like, I'm a revolutionary, but I still drink a 40 with you and I might slap your bitch if she act up in the gas station. 00:47:30 Speaker 3: He walked that fine line. He kept it very street urban culture, though, too. You know what I'm saying? He'll let you know what was going on in the projects. You know what I'm saying? 00:47:40 Speaker 4: He didn't do, like, do East Coast and quasi-claim that he was straight out of Compton. 00:47:47 Speaker 3: Who sent him? Cube, though. Like, Cube is a deity in the hood. 00:47:50 Speaker 5: If you go to any black barbershop and you ask anybody over the age of 50, they top five rappers, they're going to say Ice Cube. 00:47:57 Speaker 3: That's a fact. 00:47:57 Speaker 4: He didn't say, I'm straight out of Hobart or something. He said, I'm straight out of Compton. 00:48:02 Speaker 2: But remember Compton wasn't nothing at that time to people he's the real. 00:48:08 Speaker 4: One he said I'm straight out of Compton but Compton was the. 00:48:11 Speaker 2: Connecting point that was his job as an entertainer because that was the myth of NWA the clique niggas with attitude were out of Compton so it wasn't like he got it's not like if somebody lies today and say they from Compton now you're trying to claim the fame he created the fame. 00:48:31 Speaker 3: Yeah, and when he said he was straight out of Compton. 00:48:34 Speaker 4: So was all of Compton falsely writing his weight? 00:48:38 Speaker 1: No, if you're from Compton. 00:48:41 Speaker 3: He's saying he made it cool to say he was from Compton, basically. 00:48:46 Speaker 4: Yeah, yeah, yeah. 00:48:48 Speaker 3: It was a net. It was very evil at the time. I thought it was dope. 00:48:52 Speaker 1: It's like Prodigy. Well, it's different because Prodigy, the bridge was already. 00:48:57 Speaker 6: The bridge was already going on. 00:48:58 Speaker 3: The bridge was already going on. 00:48:59 Speaker 1: The bridge was already going on. 00:49:01 Speaker 3: The revamping of the bridge, though, he played a big part in the revamping of the bridge. It was Nas came out before. I think the following year, it was Maude Deep. You know what I'm saying? Like that, though. So it was the bridge pumping. But he was standing next. 00:49:14 Speaker 5: To Havoc and a bunch of everybody else that was from Queensbridge, though. 00:49:18 Speaker 3: You know what I'm saying? 00:49:18 Speaker 1: Before that- Hell?

00:49:21 Speaker 3: No, that's what I was saying. I said that right there. I don't think they did, though. Lex, Lex would probably know. I don't think they was talking on Queensbridge on Juvenile Hell. That's why I was saying that before. Lex, were they talking about Queensbridge on Juvenile Hell, Lex? 00:49:32 Speaker 6: Not that I remember. 00:49:34 Speaker 3: Not that I'm not, right? Nah. That's what I said. Get it from the back and go to the steer. The heaven is all QB. 00:49:41 Speaker 6: Can I ask y'all a question, though? Can I ask y'all a question? 00:49:44 Speaker 3: Yeah, bro. 00:49:45 Speaker 6: This sounds wild. 00:49:46 Speaker 3: Whatever. 00:49:47 Speaker 6: That sounds wild. 00:49:48 Speaker 3: Well, listen. 00:49:50 Speaker 6: What's the significance of a 50-year-old rapper that went to Park Jams? I still live in Queens. Because, no, no, no, no. Because in Queens, where I come from, in Queens, The punk jams is Rochdale. 00:50:08 Speaker 3: Southside. That's a fact. 00:50:10 Speaker 8: You went to a punk jam over there in Queens, which no one traveled over to that. 00:50:16 Speaker 3: You bugger. You know why? No, no, no. Let me say this real quick. No, that's what I'm saying, though. No, no, no, no. This is in Queensbridge. Remember, this is in Long Island City also. So it wasn't just Queensbridge in there. It was Queensbridge. It was a bunch of projects in there. Queensbridge, Ravenswood, Astoria Projects. You know what I'm saying? They all meeting up right there underneath the bridge. You know what I'm saying? Right there underneath the bridge and doing a party right there, B. So it wasn't just, yeah. So when Lex sits here and tells y'all that he never went over there, no, it wasn't nobody from Southside going over there. Like he said, Southside got based, and they over there, Roy Wilkins or something like that, doing something. You know what I'm saying? It's a form. 00:51:04 Speaker 6: Where are the tapes? 00:51:05 Speaker 3: I think that's the important part. Where's the proof? Proof of what? 00:51:09 Speaker 11: Southside had the tape circulating all over New York. Going down the East Coast. So we're in a park jam. 00:51:22 Speaker 3: Oh, he's bugging right now. Queensborough definitely has. We bugging. 00:51:27 Speaker 5: Lex, I think the importance of that is, like, just hearing, you know, someone that isn't from Queens may not understand that. 00:51:34 Speaker 3: They would think, oh, if Queensborough's having a park jam, everybody from Queens is there. And y'all like, no. 00:51:39 Speaker 5: We had our own shit in Southside. you know, Corona had their own shit going on. 00:51:43 Speaker 3: You know what I mean? And I think that's the importance of a 50-year-old. 00:51:47 Speaker 6: So if I have a block party, so if I have a block party, right? 00:51:51 Speaker 1: No, that's not it. 00:51:52 Speaker 8: And three people come out. And three people come out. And the kid can stay from the window. 00:51:57 Speaker 7: Block parties and parties. 00:51:59 Speaker 1: Back up, Lex. You don't got to be on your mic, Lex. 00:52:02 Speaker 6: You got to be on your mic. 00:52:04 Speaker 5: No, you're not. You're not good right there. But you got to do something within that, though. 00:52:08 Speaker 3: Not with Lex. 00:52:09 Speaker 1: Lex, right here. 00:52:11 Speaker 5: He's good. He's like an old school dude on the radio. But Lex, that's the importance of it, is he's getting to tell a distinct story about a distinct part of Queens that may not exist in 20 years. 00:52:23 Speaker 3: You know what I mean? 00:52:24 Speaker 5: When my kids grow up, there may not be a Queens Bridge, but oh, the biggest project in. 00:52:28 Speaker 3: America used to be- The world. The world. 00:52:32 Speaker 5: Yeah, and that old guy on stage with the tuxedo rapping with that orchestra, he's from there. He's talking about these things that never go on anymore. And he's talking about a description of what it was like being out there. And I think that's the beauty of it. Because a park jam in Queensbridge may not look how a park jam on Southside looked. Or how a park jam in Harlem looked. Or how a park jam in Mount Vernon or Yonkers or New Rochelle. 00:52:57 Speaker 3: That's the beauty of it. 00:53:01 Speaker 1: If you had a permit, you didn't have a party. 00:53:03 Speaker 3: They said queens have permits. That's why the police weren't shutting y'all down. What's going on, Lex? We were still in it. 00:53:12 Speaker 8: See, what I'm trying to convey to you is that just because you have a party, that doesn't mean. 00:53:15 Speaker 6: It's a party. 00:53:17 Speaker 3: Huh? So how's it a party? Hold on, you're just trying to do something. He tried to do some old wizardry shit. What the hell was that? You couldn't put syrup on it. 00:53:26 Speaker 6: You couldn't put syrup on it. 00:53:28 Speaker 3: You shouldn't have made pancakes. 00:53:30 Speaker 6: Let me just say this then. 00:53:32 Speaker 3: Let me just say this. 00:53:35 Speaker 8: Grandmaster Vic comes from the Southside Park Jams. 00:53:41 Speaker 6: He elevates the park there. He's a legend. 00:53:46 Speaker 8: The Lost Boys come from the Southside Park Jams. 00:53:51 Speaker 6: Parts of Onyx come from the Southside Park Jam. 00:53:56 Speaker 3: Oh, you're talking so much later on. 00:54:00 Speaker 8: Wait, but what I'm saying is that there were grown men, me as a child, not understanding the Park Jam. 00:54:06 Speaker 3: Sure. 00:54:07 Speaker 6: And not having a whole different perspective. 00:54:10 Speaker 8: Just because you're 50 and you were eating. 00:54:13 Speaker 1: A bag of wise chips. 00:54:16 Speaker 6: And you were walking in the area. That doesn't mean you could really articulate and understand what was going on. 00:54:23 Speaker 8: After I'm finished again, the last thing I'm going to say is this, though. 00:54:28 Speaker 6: Who are the Park Jams? 00:54:30 Speaker 8: Because to mention that you had Park Jams, you have to

have significant people who come from it, who make it special. 00:54:38 Speaker 6: Who comes from the Queensbridge Park Jams? 00:54:42 Speaker 1: Are you out your mind, man? 00:54:44 Speaker 6: Wait, wait, wait. 00:54:45 Speaker 3: Are you out your mind? 00:54:47 Speaker 6: What street you from? 00:54:50 Speaker 1: 117th Street. 00:54:50 Speaker 6: Did you have block parties? 00:54:52 Speaker 3: No. 00:54:53 Speaker 8: Did you have any type of gatherings, like alley parties? I mean, I know you got alleys back. 00:54:57 Speaker 1: You go to the projects. 00:54:58 Speaker 3: Alley parties? 00:55:00 Speaker 6: You got house parties? 00:55:01 Speaker 3: Alley parties is crazy. 00:55:03 Speaker 1: Yeah, we got some house parties. 00:55:04 Speaker 8: Does anyone that had, like, a frequent party, like you went to every. 00:55:11 Speaker 6: Four times a month. I mean, four times a year. Five times a year. 00:55:15 Speaker 3: Anyone? 00:55:16 Speaker 6: Projects. 00:55:17 Speaker 2: We would always go to the parties and the projects. Imperial Chords, Jordan Downs, shit like that. They would party a little bit more. 00:55:22 Speaker 8: So was there no DJ that was like kind of making that happen? 00:55:26 Speaker 6: Like sort of like on some African Rambada stuff. Like it was only, he made it happen. Not the DJ. 00:55:33 Speaker 3: Not the DJ, no. 00:55:34 Speaker 6: What about an MC of your father? 00:55:37 Speaker 3: Coolio. 00:55:38 Speaker 8: So Coolio is the king. You know Coolio's doing something down there. Let's go down there and see what's going down. 00:55:42 Speaker 3: Right? 00:55:45 Speaker 1: Yes or no, but yeah, go ahead. 00:55:46 Speaker 8: So if I'm from the hood, and I just come back from a trip, and you see me, I run into you. You know Coolio's doing what he's doing. No doubt, I see you there. If you're sitting in a different part of Cali, yo, Julio's doing his thing. 00:56:02 Speaker 6: No doubt, I'll be there. Me and my crew, we're all going to go. That's what we're doing. Queens, bitch, don't have shit like that. 00:56:08 Speaker 3: Those niggas lying. They're fucking like that. 00:56:11 Speaker 6: Hold on, hold on. 00:56:12 Speaker 3: My point is this. 00:56:13 Speaker 8: My point is, you can't mention something you haven't even do at a high level. 00:56:20 Speaker 3: What are you talking about right now? 00:56:21 Speaker 7: Would this have anything to do with your irrational fears? 00:56:24 Speaker 8: It happens to me that some of the truth said that Well, he's 50, and he went to a park jam. 00:56:30 Speaker 6: It means something. That means nothing when you went to a. 00:56:33 Speaker 1: No, it do mean something. 00:56:34 Speaker 6: Well, hold on. It means nothing when you went to an insignificant park jam. 00:56:39 Speaker 3: How was an insignificant park jam, bro? 00:56:41 Speaker 1: It was insane. 00:56:42 Speaker 3: Are you crazy? You're saying the park jam that was underneath the 59th Street Bridge was insignificant, B? 00:56:50 Speaker 6: Why are you saying. 00:56:52 Speaker 5: It like that? That's what Shan was rapping about, B. What are you talking about? How do you know it was insignificant? You wasn't there. 00:57:00 Speaker 1: That's what the whole song, the bridge was about, was the park jam. 00:57:04 Speaker 4: If it was significant, he would have been there. 00:57:06 Speaker 6: That's his point. 00:57:08 Speaker 3: No, he was scared to go to park jams. He didn't go to one of the Bronx. He didn't want the Bronx River and saw Bam Rock. 00:57:17 Speaker 1: He didn't know it was going to be so valuable later. 00:57:19 Speaker 3: You ain't been to none of the significant parks in the South Bronx. In your life, not against the game. Get it to yourself, Lex. 00:57:27 Speaker 6: Get it to yourself, dude. I'm not going to talk about how filthy the Bronx was. I'm not going to talk about it. 00:57:34 Speaker 3: James Insignificant as well. Excuse me, excuse me. 00:57:37 Speaker 5: All listeners for the pod right now, just understand Lex speaks for himself. 00:57:41 Speaker 3: Please understand. No, no, no, no, no, no. Not on that one right there. We're not doing this. 00:57:49 Speaker 6: We're not doing Bronx. We're doing music that They don't even make. Wait, wait, I have to go. I have to go. Two barrels over. I've had another two barrels over. 00:57:58 Speaker 3: But Lex, there was a time. 00:58:00 Speaker 6: I didn't possibly get robbed and knifed in my back. 00:58:03 Speaker 1: Nobody's going to rob you. 00:58:06 Speaker 6: No, glasses. The women had gashes. 00:58:08 Speaker 11: And, you know, they had buck 50s before it was even known. 00:58:12 Speaker 6: It was filthy. 00:58:17 Speaker 3: Again, Lex speaks for himself. 00:58:19 Speaker 6: Go to the Bronx! 00:58:21 Speaker 10: I would like to make it known that this is the greatest segment in the history of this show. 00:58:27 Speaker 4: And you can cut that audio and use that to promote this segment of this episode. 00:58:32 Speaker 6: Peter, Peter, Peter, you know what they were doing to the boys in the Bronx in the 80s? 00:58:38 Speaker 3: Oh, no. Yeah. 00:58:39 Speaker 6: Let's get to that. 00:58:40 Speaker 1: Yeah, let's go. 00:58:41 Speaker 6: We're not going to talk about that. 00:58:43 Speaker 3: Off the mic, please. Off the mic. 00:58:45 Speaker 1: Oh, and hit him with the reverb. 00:58:47 Speaker 6: You might get your bomber started. You might get robbed from your jungle. I don't know why you would wear a jewelry to a project. But if you did, you thought you were somebody, they'd let you know you got robbed. Get things done. Fuck the Bronx. Okay. 00:59:05 Speaker 2: Good looking out for tuning in to the No Ceilings Podcast. Please do us a favor and subscribe. 00:59:10 Speaker 1: Rate, comment, and share. 00:59:11 Speaker 2: This episode was recorded right here on the West Coast of the USA and produced by the Black Effect Podcast Network and iHeartRadio. 00:59:19 Speaker 3: Yeah.