Fullständig transkription av Busta Rhymes talks honoring J. Dilla’s legacy on ‘Dillagence 2’ + tells CLASSIC ‘90s stories of Biggie, Jay-Z, Q-Tip & more

ship. That bother of your face was out boy ed. 00:07:22 Speaker 5: He ain't playing so bus He came in here, not that you don't always, but you came in here on no bullshit came in here, honest. You came in here pure by your responses, because sometimes we on bullshit. But today you I feel like you're in a rare space. What do you think buster rhymes means to the world of hip hop in the game, if it's all said and done, What do you think you have committed contributed to the game? What do you think what do you want us to the pure form to say your bust and Moms represented this. 00:08:05 Speaker 1: I don't know yet because I got a lot of shit left to do. I ain't nowhere near that way of thinking yet. Yeah, but I want you to think like that for the question. I know you know, for the question without question, I don't think what I have contributed in what I've done can be questioned. I'm the greatest, one of the greatest to ever do this shit, and I mean that because I've been able to substantially and consistently defend that type of talk action. You know what I'm saying. It don't matter if we rhyming on records with each other, it don't matter if we're on the stage, It don't matter whatever it is. 00:08:46 Speaker 2: There's no. 00:08:48 Speaker 1: Inconsistency in that specific area of what the observation has been on a general consensus level. 00:08:55 Speaker 2: Ain't. 00:08:55 Speaker 1: No nigga could tell anybody in any conversation that us rhymes don't get busy. It ain't one of the best to do it when it come to getting busy. So you know this ain't even me being on no stroke my own ego ship. This is just facts, the facts, Yo. Yeah, you know what I'm saying. And I think I think that's that that ship is. It speaks directly to all of us though there ain't. I don't know how many motherfuckers we're gonna be able to say that twenty five and thirty year runs and it's. 00:09:28 Speaker 2: Still the ship. No, that's the fact that ship ain't. 00:09:31 Speaker 1: I don't know how many of that we're gonna really see. 00:09:35 Speaker 2: How we I'm really afraid, like, how we how we been? 00:09:39 Speaker 5: No no, no, I ain't gotta go no no, no, that's the really ship I don't even listen. I'm gonna tell y'all something that's gonna get me, and I'm gonna say this to you. 00:09:48 Speaker 2: I'm touching the third round. 00:09:50 Speaker 5: I'm about to say some ship that's gonna get me in trouble, and you're still gonna say yes. Bust the Rhymes did a video with the elephant chasing him on purpose because he wanted that look. I went to Summer Jam the other day. It looked like bringing brothers and balling them bareley circus. 00:10:10 Speaker 2: I mean, I've been hearing this. I've been hearing this, man. I said, this is where jay Z brought out Michael Jackson. 00:10:18 Speaker 5: This is put Buster Rhymes and nas and and Benjamin's Rock. It's ship the future hippop. Oh my lord, God bless him. I need some future kings and queens to come out because this is land mindset is. I don't know what to tell you. I'm sorry. I know I shouldn't say this because I encourage everybody. I encourage the youth, but this is a real shit show going on. 00:10:52 Speaker 6: Joe. 00:10:56 Speaker 5: I encouraged the youth, but your absolutely correct. I can't look at a young artist, well, not too many that I could say in twenty five years, thirty years, they're gonna be doing it. 00:11:09 Speaker 1: I mean there's a feud though, Like I gotta give it up the cold, I give it up to Kendrick, I give it up to They're not young. 00:11:17 Speaker 5: I mean they're younger than us. They're not gonna siter young no more. That's not the shit, yo. 00:11:21 Speaker 2: I see, I feel you. 00:11:23 Speaker 5: No, I'm not talking about dumb them niggas already owe g's to them, young niggas, right, right, you understand what I'm saying. They already forty thirty eight like they they o g's right. I'm talking about the you to them. We have a major problem in hip hop. You know what I've learned, The things that really matter, you can't rush them facts. 00:11:46 Speaker 4: You can't rush the source, you can't rush the music, you can't rush relationships. 00:11:51 Speaker 2: And you definitely can't rush great to killer. 00:11:54 Speaker 5: That's why eighteen hundred to Killer stands out. The name goes all the way back to the eighteen hundred when the Beckman family started making tequila, and that patience, that attention to the craft has been passed down through more than eleven generations. 00:12:10 Speaker 4: That's legacy. Sometimes you just gotta let something cook. Jan Beckman Vidal, aged eighteen hundred and nao longer than he even had to, because he knew it wasn't ready yet. 00:12:21 Speaker 2: I respect that. 00:12:22 Speaker 5: Don't put it out just because you can put it out. Put it out when it's right. 00:12:26 Speaker 2: That applies to a. 00:12:27 Speaker 5: Record, a conversation move they're making, and clearly a bottle of tequila. 00:12:33 Speaker 4: Once you get it right, you share it with your people. That's always been part of the store. Good tequila, good conversation, and the people around you. 00:12:41 Speaker 5: Really appreciate folks passion, hard work. Those words are written on every bottle of eighteen hundred and honestly, that's the foundation for anything bill to last. 00:12:53 Speaker 4: So take your time with what you're creating, and when the moment is right, share it with your people. 00:12:58 Speaker 2: Eighteen hundred tequila. 00:13:00 Speaker 4: Good stuff takes time and the best of men to be shared with your people. 00:13:05 Speaker 5: Shah Heine b Ree, you've been covering hip hop since day am. I exaggerated mind a line by saying that on do you get scared when you go to those events and you see the youth? If we're talking about hip hop, coach, you don't have to touch the third rail. We're talking about hip hop culture. The coach we understand, and I'm not just talking as an old Nicks nothing right to

remain signed. 00:13:29 Speaker 2: The shot, you know what it is. 00:13:30 Speaker 6: Though, It's like a lot of these kids because I was doing a lot of stuff with Rolling Loud when it first started, right, So. 00:13:39 Speaker 5: It's like a lot of these kids. 00:13:40 Speaker 6: They had a viral head and all of a sudden they got booked for. 00:13:46 Speaker 5: The show, like they say, Okay, we're gonna put you in front of fifty thousand people. 00:13:50 Speaker 2: It's no work up, like they don't have like the minor leagues. 00:13:53 Speaker 4: For It's like it's no the locks and meds on one twenty fifth Street in the cipher, like they never. 00:13:59 Speaker 2: Even Joe and be in. 00:14:03 Speaker 4: The journey is much shorter that you go straight from your room, ain't there ain't no developments, It ain't no artist development, no more real ship. 00:14:12 Speaker 5: I was at I don't know if it was called how Can I Be? Down in Washington, D C. 00:14:19 Speaker 2: That's when it started first start and it made it this Puerto Rico ass and I was in. 00:14:27 Speaker 5: They do how can I be down at Howard University And I'm sitting there and I'm watching all the Legends, Heavy D, Public Enemy, everybody talking on a panel. All I heard in the crowd was there's this new group. It's called the fucking Leaders of the New School. Everybody is before Flow Joe. Just everybody was like, YoY y'all think y'all performed at a church that night and some ship. But it's like everybody had to go. It was mandatory to go. Obviously y'all worked on the stage show. Obviously y'all put effort into it. When y'all fucking body and that. You know, I can't just say there's no artist development. You gotta develop yourself. If that's the case, bust around the greatest hit you Saint up all time. 00:15:18 Speaker 2: Because he developed himself. 00:15:21 Speaker 4: Had you had your crew, you had the same passion and drive, and you did listen to people. 00:15:28 Speaker 2: Of course you was developing yourself, but. 00:15:30 Speaker 4: You was listening. You was, he was, He was, He was listening to hip hop into the culture. Now, they don't, they don't give a fuck. They don't, they don't they think they know everything. One hit song. They don't gotta listen to you me or bit they get out of it. That's the fact, and that's just how I go that's the fact we listened to the pie and then we watched how the game went and try to add some of your own ship. But of course following protocol of hip hop. Now they they own they old fucking. 00:16:00 Speaker 1: Manuscript of what they do, and there's a there's a there's a difference between then and now too. 00:16:07 Speaker 2: It's like the mentality to want to learn, it ain't the same. 00:16:13 Speaker 1: Like I used to literally get my whip and drive to Cane's crib in Jamaica Estates and just hang out at his house and just watch. Sometimes it wouldn't even be no conversation. You're just seeing them chilling in the crib. And I was fortunate enough to be welcomed by those those those dons, and they peak times like seeing the cars in the garage and seeing the jewelry laid out and the first and the fits get prepared before they went to the fucking roseland to go do a show or studio fifty four. Paris used to let me come to his crib. Showed me that this nigga had a real estate portfolio. This nigga had one crib where his wife and his kids was at that was uncharted territory. Niggas couldn't pull up it. This is the house where niggas could pull up blow tree, make music. This dos crib, This doss affects crib. This is where Schumer management was at. Like niggas just had real estate, So you would I would look at this shit and be like, the nigga are like four fucking gold albums on the wall and you're doing all of this ship. 00:17:19 Speaker 2: I need to learn how to do this shit. 00:17:21 Speaker 1: I want to learn how to own these properties, and I want to I want to have my jewelry laid out in my my my cars, and my family situated like these motherfuckers, and they gave you the answers. See, that's the thing. It's like, first of all, the mentality is different. I definitely I had Chuck d Bro. Motherfucker gave me my name Buster Rhymes Bro. He gave us the name leaders of New School. We had to earn the shit, you know. We had to battle motherfuckers that wanted the same name. 00:17:55 Speaker 2: Mm hmm. 00:17:56 Speaker 1: Everything had to come with how much you willing to sacrifice and are we doing. 00:18:03 Speaker 2: The wrong things? 00:18:04 Speaker 5: Oh geez, not taking the young dudes and bringing them in our sessions and hanging out with them and ship like that. 00:18:12 Speaker 1: I think it's a combination of that. Fortunately, some of them you foard a few apples. That's what I was going to say, Like, I still have the opportunity of being around them artists because a lot of them they be in the studio. I'm in a studio every day. They in a different floor, working in a different room. They see me in elevated hear I'm in there. They want to pull up, come on in. If I ain't in the middle of some ship, come in the room, sit down, press play. I'm a press play. Then they get into the conversations, and you know, a lot of the times we got. 00:18:43 Speaker 2: So much experience through just stories. 00:18:46 Speaker 1: These motherfuckers ain't gonna never hear just fro much a conversation that just might take a direction neither one of us expected it was gonna take the direction of we get to talking about some ship at the tunnel, we get to talking about some shit that happened at Quad. I know some of the legendary stories at Quad. Kids they being disbeliefed, like they be in the building. They don't even know. 00:19:11 Speaker 5: That that's the building. 00:19:15 Speaker 2: I know. It was like when we talk and they get to hear it. 00:19:19 Speaker 1: Sometimes those conversations make them little motherfuckers get quiet and they want to listen and they want to learn, and they

want to pull up again. And then you know, I encourage new MC's to the point where I clearly don't want nothing from no artists, Like I'm not interested in signing no artists no more. I'm not interested in none of that. I don't want the responsibility or the headache or the entitlement mentality that a lot of artists come with. I'm just not in that space. It's a lot less fun when you start taking on with these other personalities. So it makes it even more pleasurable for me when I get to share the duel. And then I can give you a friendly of a minder that I bust your ass. If you want to get on this record with me and we're gonna you're gonna have to work. You're gonna have to earn it because I ain't gonna dumb it down because you the youngin or I ain't gonnadumb it down because we just had a dope conversation. 00:20:16 Speaker 2: You still got to earn it. But you could pull up and you could get this work. 00:20:21 Speaker 1: Just know, come with your toolbox, motherfucker, and sharpen your shit up and let's get the work. But again, the mentality is different. So like Jada's saying, a lot of these motherfuckers sometimes just the mentality ain't well need to be, but it come with time. So you don't even like, I don't really try to judge a critique because you know, we wisdom little knuckle ass niggas that ain't want to listen sometimes too. 00:20:47 Speaker 2: Yeah, but I listen to all, like even to this day. 00:20:51 Speaker 5: If I'm driving now Manhattan and I see Melly Mall on the corner, I'm pulling the shit over and so making the movie for him. We was raised I see Slick. If I see any of the legends, I'm jumping out that with saluting them on a whole different So you got to understand, we gave our life to hip hop. I know you gave your life to hip hop as a fan, but we went god hip hop, family dirt. 00:21:14 Speaker 2: That's the fact. That's just the truth. That's a fact. 00:21:17 Speaker 5: Every time I turn around, fucking bust a rounds over here, over there. Next week, I'm going to roommate. I've almost got the thing off. 00:21:29 Speaker 4: Now, I see you shall no countries I never even heard them. 00:21:36 Speaker 2: Today is very. 00:21:37 Speaker 5: Beautiful because I think Buster realizes Buster has a very expensive lifestyle, and Buster realizes that it takes like gas to fuel of car. Like to live the way Buster Rob lives, you have to make a lot of money. So means you have to work even when you don't technically need it. Because this man, this man, and he got a lot of bills, and so he won't stop working because he knows. Yo, that's lessons. Lessons don't stop. Some days I look at the motherfucker he's doing this ship with the fucking ship hat like, Yo, lessons don't stop. I'm like, Yo, the motherfucking working. But you also in the studio, everybody, what is the studio bill like for you? For a yearly studio? I don't he gotta be part ownership and something. 00:22:30 Speaker 1: Yeah you have some type of deal with Yeah, yeah, you could do

that professional studio own the room a few years. 00:22:38 Speaker 2: So much if you didn't. More than everybody fucking in the history, I definitely gotta junk. Got to let you in some of that. 00:22:46 Speaker 4: I got jerk for studios. We all did, Yeah, but we don't even know that all of them years right, that's a fact. Shelling out all of that bread. 00:22:54 Speaker 2: You know it, that's a fact. Listen, I'm helping your studio. We let's let's figure some of the figures. Mother motherfucking because I've always. 00:23:03 Speaker 5: Said to myself said, damn, studio got as you marry like you know he you got your own studio up and your he's in midtown. 00:23:19 Speaker 2: Mann't in the biggest. I got my own studios in the crypt too. But I'm not You can't. You can't have people. 00:23:29 Speaker 4: I don't want the same company at the student my suffl can't come to my doing my students. 00:23:39 Speaker 2: Off a law man, I ain't doing that. Come on, dog you in the house that guess like. 00:23:47 Speaker 5: Square ball, spongeboll, square pants. Ship can't get the first of all, we need an escape with I don't want wives. 00:24:00 Speaker 4: And he was saying this't you you don't want. 00:24:05 Speaker 7: Old need the people guys talking ship about James talking this ship about just you know you need that. 00:24:15 Speaker 2: You cannot do it in the house like that if you can salute, but you need this. We need this student queen. 00:24:29 Speaker 1: Your queen is inaccessible. Your kids, all of that they creep this Day studio. That's it. That's it is factual, actual, factual. Now, how did you get you caught the beach from dinner before he passed? 00:24:48 Speaker 5: Or y'all was supposed to under this guy Rizzy break, I got to take the. 00:24:52 Speaker 2: Back with the story. Now we're gonna wait till you get back. 00:25:02 Speaker 1: Yo. 00:25:02 Speaker 2: You know what's crazy, man? 00:25:03 Speaker 5: It's hip hop. 00:25:04 Speaker 2: Fans will argue about anything. 00:25:07 Speaker 5: I'm talking best rapperlive, best era, best album, but nobody gets started on best verse. Don't even get me started on best verse. 00:25:16 Speaker 2: That's a fact. 00:25:17 Speaker 4: And now Sprite got y'all debating something new. It's called the Spright Living track List. Fifty records that really shape the culture. 00:25:26 Speaker 2: That's crazy. 00:25:26 Speaker 5: Were talking legends, we talking icons, and yet new artists carrying the torch right now, present day. 00:25:33 Speaker 4: But it ain't just songs though, it's the stories behind them, the lyrics, the moments, what those records meant when they hit. Yo. 00:25:40 Speaker 5: Go check out the full Sprite Living track lists and get into the stories behind your favorite bars. 00:25:46 Speaker 4: I like that at livingtrack List dot genius dot com. 00:25:51 Speaker 2: This is the sprit Living track List. Obey your thirst. 00:25:59 Speaker 5: Y'all, it's a little Story, tram Fire, The Two, The Old Man, Bathroom Break. I gotta take it to Jay Diller. 00:26:08 Speaker 2: Right about to switch my question if they get to your question, how did you get the beats? How did this start? How was it? You know what I mean? 00:26:19 Speaker 4: Was you supposed to do something before he passed? Because I know y'all used to always those is your gush? 00:26:26 Speaker 2: Yeah. 00:26:27 Speaker 1: He always would give me like these beat CDs of twenty five beats, and like they would be short, you know what I'm saying, and be super short, like twenty seconds, thirty seconds. Every now and then you might get a beat that would your peat song length time. Yeah, but it would always be twenty five. It never really exceeded twenty five beats. So he initially created these volumes. It was like volume one through five. You got one hundred and twenty five beats right there. But the crazy shit is he would start having me come to his crib when he moved to la because Dylan's from Detroit. But when Dyla started to get ill with the sickness that he was dealing with, it was loopis. And I got to salute Commons so much for this because Common and Diller were super cool and super close to and common. He actually helped move Dilla to LA with his moms my dukes so he could be closer to the specialists for his treatments. I was living in LA at the time because Dila passed in six This is his twenty anniversary of his transition, and I was working twenty. 00:27:49 Speaker 2: Twenty years. It's crazy. I remember hearing that shit like Yo, Jay Dillon is. 00:27:54 Speaker 1: That's cool And it's an ill divine alignment with just the time and event everything. Because I started with Dylan in ninety six. He gave me my first two beats on my first solo album, that's thirty this year. He did the title track on the Genesis album, which turns twenty five this year. 00:28:14 Speaker 2: Wow. 00:28:15 Speaker 1: He did a couple beats on Big Bang album and that turned twenty on the day the next one, the Chip June thirteenth. We dropped that in two thousand and six, the year that dealer passed. So that's the last project he contributed to while he was alive. And crazy, shit is they airing the Grammys in twenty twenty seven on his born day. Wow shit, So this diala diligenous two album happening is a combination of moments of when he put beats in my hand personally, and then shit that I was gifted with from people that was in the same circle, because it just kind of became the thing that I was like a custodian of Della's beats and his music. 00:29:07 Speaker 2: So anybody got something left it, don't he makes sense. 00:29:09 Speaker 1: And then they just kind of like, you know, put it with the rest of the shit because you got the diesel archive of Dilla's production from him personally. And then my Dukes was very instrumental in that. But back to Common, Common moved in and lived with Dila with my Dukes in La while he was getting his treatments, and it's so beautiful to watch, even though it was

torturing to watch. But as Dilla was getting sick, his moms kind of stepped in and became his engineer. So like he had two beat machines on the table in the closet. All his albums that he would sample from was set up in alphabetical order from the ceiling to the floor. 00:29:53 Speaker 2: So whenever he told his moms to go pull. 00:29:56 Speaker 1: A record, you know exactly where to go and pull it and give it to him, and then whatever beat machine he wanted to work on. She would be the one behind that shit, plugging that shit in like his engineer, and then he would just get busy. And this is the dilla that used to amaze me because del ain't do too much talking. We would joke and laughing shit, but he was He was on that machine until he was ready to press play. 00:30:24 Speaker 2: For you being able to sit there and watch this man go through. 00:30:31 Speaker 1: Having me on Some Village, Some Village's Fantastic Voyage Volume two album, which I think that album is almost thirty years old at this point. He always included me and shit he was doing. So it wasn't just him giving me shit. He always reached out to me to ask me to spit on this, or just do an intro on this project or shit like that. So that's how the accumulation of the dell of beats happened, you know what I'm saying. That's that's that's how the stash grew. 00:31:09 Speaker 4: Right. 00:31:11 Speaker 1: It's ill because in addition, that happened a lot of this Dealer music. T three is the remaining the last member of Slum Village that's alive. So bat ten, who was a Slum Village passed away. I mean Elzi, it was a part of slum Village, but I'm talking about the original. 00:31:29 Speaker 2: Who's the only ones left. 00:31:31 Speaker 1: It's only T three, Dyla's gone, bat ten is going, and then it was T three. T three is here, but and he's he's actually on the album all right, so you know, and big up to Mick DJ Mick formerly DJ mic Boogie. He kind of was the one that inspired me to do the first Diligence project nineteen years ago in seven when we just put it out to just tribute Dealer's life and the moms call me in November. I was finishing another album and Dylan moms called me in November and was like, yo us. You know we always do Dial a day and Dial of month in February because he's born February seventh. He passed February tenth, and I never was able to be a part of those because of schedule conflict. You know a lot of the times that January be slow and February shit pick up crazy Grammy's the fucking all He's doing nothing in January. Yes, I can't sit down in February. So it's always been a scheduling conflict. So I haven't been to one of them since he transitioned. So Moms was like, I need you to just think of something that we could do special for Dial a day and Dial a month. And I always do records with him, like Dyala's on every album that I've ever made solo except two. So I figured to just do a record for two three songs. You know that ain't nothing outside of what I normally

do the Rep Dealer and carry on his legacy. 00:33:02 Speaker 2: So I said, I'm gonna just do this album. 00:33:06 Speaker 1: But I didn't realize outside of the twenty anniversary that all of these other things that was in the divine alignment was happening. It was like as the months as me and Mom Dukes is talking and the music was coming together, it just was like. 00:33:21 Speaker 2: Oh shit, oh shit, oh shit, oh shit, and. 00:33:26 Speaker 1: It was just it was just weird, like but obviously, ain't nothing coincident coincidental about destiny, you know what I'm saying. 00:33:35 Speaker 2: So I just looked at this whole shit is. 00:33:38 Speaker 1: This is a real divine timing moment and we're gonna fucking ride this waves so crazy. The Rep Dealer and Rep this incredible music, and he's one of my favorite producers. So it's like when I rhyme on his shit, he brings something else oute of me, different from when I'm round on a lot of other producers. 00:33:55 Speaker 2: Shit. 00:33:56 Speaker 5: I know the feeling whenever I rhyme with like a digging into crates. Remember, yeah, I rhyme a whole different way. It's I just don't under I just go back at the fat yo, the gang set. It's just like Diamond to be like, Yo, here go to beat and I just rhyme d I T C fatal sh don't know other way. 00:34:16 Speaker 2: And if you hear me on that, you might be like, damn, this nigga used to rap once upon a time. 00:34:22 Speaker 5: Sh It is like because the motherfuckers just fitting balls and so you gotta be on your ship. 00:34:28 Speaker 2: But I feel the same way certain producers. 00:34:32 Speaker 5: You know, when I when I moved down to Miami and started working with cooland Dre, I felt like, you know, I felt like I could do different things. 00:34:41 Speaker 1: Big up to Cool and Dre two. I were brothers. Love them bro bros for real, man. That's how I feel with you, Tip two, though, you know what I'm saying you. Every time I got on that motherfucker production, that shit just turned me into like five animals at once. 00:34:56 Speaker 2: To ship. 00:34:57 Speaker 1: You know what I'm saying, I just black when I hear his ship, it just he just it's something about that pocket that his ship sits in when he do his beast and the wait wait them kick slapping him, sna slapping him, fucking baseline. They just him and dealing with do ship that you gotta go to the store to get that specific ship. 00:35:17 Speaker 2: You want to know what's crazy? 00:35:19 Speaker 5: The last verse that Bust the rhymes call me, you know, selective with his with his compliments and all that, Like you gotta really impress Buster brobs my nigga, Like he's not a regular got it? You know that nigga's like the sin say or something. What's the ship? He said, Summer Tuma Collary. He's a Suma Tuma colary. You're not getting away. Look at your man's in them looking ah yo, let me tell you somebody anyway, yo, son, you put your foot in that ass. It was a fucking q Tip joint that he did for Lud with me, him and Rick Ross. Oh yeah, you know what I man, He said, LL sent me there to listen to the album and Q Tip went like this, I need you right, I said, right way. He was like this right now, now you put me on the spot of all spots. He was like, come on, give me that Joe Crack ship this. I'm like, I had to spit that verse right there for the q Q tip. 00:36:26 Speaker 2: That ship was that. Shi was kind of on that's tip though. It was like nervous, you know. 00:36:32 Speaker 5: I was like, Yo, this fucking if we follow the Bible hairpot correct right, we over here living this culture. This is fucking cue tip And I'm like, Yo, maybe he thinks I don't write my rhyms, my nigga like something. 00:36:49 Speaker 2: I don't know what the driving me. I'm up in there like. 00:36:53 Speaker 1: He liked to make sure that you were called through his ship because he needed the sound. 00:36:59 Speaker 2: He needed this sound the way he wanted to sound. 00:37:02 Speaker 1: We worked on the Tribe last Tribe album before Fife Pass, God Bust, The Fight, We Love You, We miss you, bro Oh, we love you Fight Day. We could not He wouldn't send us no beat. When I tell you, Jack White had to come to Q tip crib Andre three thousand is in Q tip crib me ty Libs Kwali. Only person that ain't come to the q tip crib during that album was Elton John on the Solid Wall of Sound. 00:37:33 Speaker 2: John Nigga got Elton John to do something. 00:37:40 Speaker 3: Hey, like. 00:37:46 Speaker 2: The last I'm trying to tell you. 00:37:51 Speaker 5: Anybody in the universe of planning history of ship, he I seen him clear, Samposh, you just cannot if the artist is you heard this artist Claire? 00:38:03 Speaker 2: He was out of here? 00:38:03 Speaker 1: Yah? 00:38:04 Speaker 5: Yeah yeah, Now Yo, any sample any artists that you ever heard? 00:38:09 Speaker 3: Yo? 00:38:09 Speaker 5: They don't clear? Are he clearing? I asked him a couple of times, like, Yo, how do you sample that? 00:38:14 Speaker 2: How do you get that? 00:38:16 Speaker 3: Yo? 00:38:16 Speaker 5: That Michael Jackson? 00:38:17 Speaker 6: Are you? 00:38:18 Speaker 2: Did you? 00:38:18 Speaker 5: Tip? I don't know if it's nice Guy records, I don't know what the fuck is that? The motherfucker he get it clear like it is. 00:38:30 Speaker 2: Nobody's telling Q tip No, I'm not telling them, No. 00:38:34 Speaker 1: Yeah, Tip different Tip introduced us all the to Dyler. That's that's how I meant dealer through Q Tip. That's how Dayla heard about dealing through Q Tip. Like Q Tip is a very interesting conduit to all of this ship on the East Coast, believe it or not, when they come to this hip hop ship. Nah, a lot of the motherfuckers q tip introduced or elevated or contributed to the evolution for the better once you got next to him and started to work and just be around the vibe. But just q tip really is like the pure one of the fathers of the ship. We became. You know what I'm saying, Yeah, I gotta I got us. 00:39:21

Speaker 5: You know, we had mony love came here one time. I never looked at it like that, and she was like, you know, we always felt like we were your big brothers or or your uncles. I'm like, what are you talking about. She was like, you know, Chris Lighty put you on. She was like, that was his first label. We were like, yeah, that's our little brother. I'm like, she said, we didn't even know you and we was rooting for you, Like yeah, like that's nuts. 00:39:49 Speaker 2: It's crazy. 00:39:50 Speaker 5: So you never see the dynamic of who needs the who who needs who's the family tree, who's the thing? But you you all right, you Tip. I don't know if we got one hundred three thousand without a Q tip. 00:40:03 Speaker 2: I just don't know. 00:40:03 Speaker 5: I don't want to be putting ship in people's mouth, but I'm just telling you that all Q tip inspired a lot of wop I was gonna. 00:40:12 Speaker 2: Say, I don't know. We got Andre three thousand and his mother don't need to followed. 00:40:22 Speaker 5: Special guy, you know myself. Special is the reason why he stop five. 00:40:28 Speaker 2: Jada is crazy. Oh no, Jada crazy. They try to play with him the other day. I was pissy drunk at my party. He thought. He says, damn man, you listen to everything Joe. 00:40:37 Speaker 5: Oh, yes, I do. And I told him today, nice and sober. I said, you said, a nigga, tell you hit. 00:40:42 Speaker 2: Him back with it? Motherfucker? Do how to give you a quick back? Right quick? 00:40:54 Speaker 5: That ship return the center? Bo Oh shit, okay, we cool, I said, I said, I thought we were shoump. I answer was so shocked you because I definitely thought you was out of it. For you to hear the whole thing you, I think it was lie. 00:41:10 Speaker 2: He wasn't even judge now he was captain. Everybody thought he was just. 00:41:17 Speaker 5: Unfortunately for everybody, I actually have a god given gift. Unfortunately for everybody, I got a gift where they all talking and it may look like I don't hear nothing, and lady, I go home and I hear the trainer, I hear the girl in the back. I hear everything everybody says, and I'll be like, motherfucker. 00:41:46 Speaker 2: You try to play yo. 00:41:47 Speaker 5: This is just like I play rewind on motherfuckers like I just go like this. It happens to me my whole life. I hear everything. 00:41:58 Speaker 2: If I was getting who was that? Who's now some nigga charge you? You know what I'm saying, and you hit him back with. 00:42:07 Speaker 5: Past got try you like that with Iris Finch right, and you hit that nigga back return and said that the comedian of all commit and he's funny. We need to get every sperience back on the show. He said, some slick ship to Jada. Jada hit him back in half a second. You know the battleship with the ping pong with the ball that ship like that, nigga said. 00:42:29 Speaker 3: I said, oh. 00:42:32 Speaker 2: He one of them guys. You don't want to talk like that. 00:42:35 Speaker 3: Now. 00:42:35 Speaker 2: Bus, you know, bus reacts different. Bus smacked the ship at No, I don't do that, your bus. What you don't do that? Don't do that. You're not doing that no more. Now I don't do that, no more. You don't do that. 00:42:48 Speaker 5: Oh my god, return and send the bus to rhymes. I was with you too many times in the middle of side area. No, I'm talking about Yugoslavia, nigga poland some. 00:43:07 Speaker 2: Who the fuck you talking to us? 00:43:09 Speaker 4: US ship is legal because he walked around people just touching him, throwing shiit on. You gotta write to smack the ship out of somebody out that they just touch you or any You know what I mean. 00:43:21 Speaker 2: We human beings. We said you can distouch. Let me tell you something. I learned how to slap five through buster uns. Oh nah, his daths is legend. You know times it can't be Black and Blue. 00:43:33 Speaker 4: Biggy told me before I met him, get your hand back me and looting ps like we he talking about he's gonna come in. He's gonna show you man love. He's gonna smack this ship out of you. Why he's laughing like I would have a big He can't in compo. 00:43:50 Speaker 3: Ship. 00:43:51 Speaker 5: Your ship's got that, you know when your nigga slapped you father and you gotta flack and blue. That happened to me one hundred times. I had to learn the hallway after maybe one on one hundred and fifty Black and Blue. I started like your boss would substitute you general yo, coming shait what like yo, yo, Boss. I think for a period of time I actually was preparing you for your buss share headshake Yo, like this. It even broke my hand a million times. God, jur your route this this, I'm like, yo, my God, like y'all, boss, your character. 00:44:26 Speaker 8: Man. 00:44:26 Speaker 5: Sometimes people love you for your music and energy, everything you bring to the table, all the legendary. You're the greatest performing hip hop history. Whoever I was thinking about this in the middle of this, whoever performed before you, before you. 00:44:40 Speaker 4: Ever, anybody on the headline, the headline of all headline. 00:44:46 Speaker 5: You see question, You're not here. You're not fusting the question. I'm not saying fuck up? Who fuck the place up? Before you went on and you test Sliffer, you said we gotta go, Oh oh, we gotta go. 00:45:01 Speaker 2: What artists fuck toward the paint off? 00:45:06 Speaker 5: That motherfucking you was like, all we got, we gotta rip this ship down to the highest of levels. 00:45:14 Speaker 2: That's a good question, and no, nobody, that's a really good question. 00:45:20 Speaker 1: I do I have like like faint memories of feeling like we needed to Like I do remember there's been some moments I just can't remember who the groups was Off the top of my head, but I remember there's been conversations with and I love to go out and watch you doing. I want to see the energy that the crowd is given. I want to see what we're up against and I want to and I just need to

know how we need to deal with the situation after when it's our time to get on, or before whoever we're getting on. There's been times me and Spliff actually sat in the dressing room after we would go back from watching somebody set and we would make adjustments, scratch it to a come open the laptop. 00:46:09 Speaker 2: Bro. 00:46:11 Speaker 1: We might not have included these joints in this settlers today, we put them ships in there today. 00:46:16 Speaker 2: That motherfucker tore the paint off the wall. 00:46:19 Speaker 5: We gotta deal with this different cause we assume, we assume you ripping down everything. So we're not like we just said he's the greatest. But there has had to be somebody that went before you, and you. 00:46:31 Speaker 1: Was like, that's the fact I just can't remember off the top of my head. That's effects, that's effects doing the Leader's day. 00:46:43 Speaker 2: I'm sticking it. I'm sticking it. 00:46:49 Speaker 5: That's effects story. 00:46:51 Speaker 2: Can I hear it? Can I hear it? 00:46:53 Speaker 4: Gets a little bit sad. We had one of them festivals bay every I think somewhere it's one of them crazy ships where they had the budget is one hundred billion. 00:47:06 Speaker 2: Nigga had me by ice Cube gotsaffects and the locks and that sh vegas that that should in Vegas was disgusting kind of ships. 00:47:13 Speaker 4: Yeah, so we ripped and it was, you know, fans of hip hop. I wanted to dry off, roll up and go enjoyed, Go enjoy my heretic friends. 00:47:25 Speaker 5: Yeah. 00:47:25 Speaker 2: So I'm in my trailer, trying off, switching my T shirts, getting a new T shirt, getting in my sense. She was ready to go watch ice Cube's next I'm getting a knock on my door. Dots effects manage. She just must know I'm a nice guy and knock on the door. I don't know, Jayla, how you doing. I'm such and such a man's dots effects. Nice to meet you. 00:47:52 Speaker 5: Man this that ask you something? 00:47:55 Speaker 2: Can I talk to you for a minute? Now? Step out me all right? We keep make get a little quick. You know what I'm saying. I want to catch ice Cube. 00:48:03 Speaker 5: No disrespectful. 00:48:06 Speaker 2: Yea, you know. 00:48:09 Speaker 4: They got the song with ice Cube. Don't check rigging the record so here, that's one of my favorite soldiers. You know, he never performed, he never performed it with him. You don't let him perform me. Now, I'm like, how could I be the mentor of? 00:48:28 Speaker 8: Like? 00:48:28 Speaker 2: When did you see? 00:48:30 Speaker 3: How? 00:48:30 Speaker 2: You see me fixing? Now she's explained in it or he is he did it again? You lost it? He was up there ripping and paint and shit did with the fourth fourth? He make me mixing? I left it it, lady, I gotta go, but the whole shit and she wanted them because they was dead. He never called her it. I said, I'm sorry, I feel sad with it. I can't What do you want me to do? That was like she put in. You know I performed. 00:49:01 Speaker 5: I

performed a couple of times with Chris Brown, but I do get a little jealous because I go to all his concerts and when he played at another round, I'm like. 00:49:11 Speaker 2: Over there, what when you did New York at versus? Yeah, I wasn't. 00:49:16 Speaker 5: I wasn't picking the side. I'm not gonna lie. I wasn't picking the locks. I wasn't picking dip set. I was minding my business in the crowd when that New York came on. I almost jumped on that fucking stage just I got how have I to take away? You don't know how that when he talking about the MC and you nigga, Oh my guy. If it wasn't that environment, I would have fucking went like the loo leave it. They niggas when they jump on it, you know how they jumping the ring niggas like a mascot. 00:49:50 Speaker 2: Yo. 00:49:52 Speaker 5: I was like, well, arrest the way he threw that ship boom boom. I said, oh the crowd start. I said, maybe I need to run on it. 00:50:01 Speaker 1: But I couldn't. I couldn't do it, you know, you know I was. I was new true that the energy in that fucking building that night. Brother, you took that. That was a Jesus Christ moment that you took it to, you know, I mean kiss, that was a Jesus Christ moment, bro. 00:50:20 Speaker 2: And I don't know. Sometimes it confuses me. 00:50:23 Speaker 1: While you you must got like a different type of money now, you really must have a different type of bag. Like sometimes me and Swiss to be on the phone, we talk about kiss, like how many of these amazing moments that he's gonna have? And he refuses to make an album and capitalize on it. That's a different type of money. You know, it's my birthday, business partner. Nothing fell off the truck. I'm looking for something, suns it for the nose. That truck is coming you nothing for the note, little fencing or something. 00:51:03 Speaker 2: Nothing. You got a little fency something something something. 00:51:14 Speaker 5: Maybe you got a trim for something for the trem fire us. 00:51:18 Speaker 3: Yo. 00:51:18 Speaker 5: Man, this guy here, hey, guys sitting on so much money. I've given him plays where I'm like, Yo, did my cralls. I'm chilling crack. 00:51:35 Speaker 9: Yo. 00:51:35 Speaker 2: There's somebody you don't want that you don't want me to go in there and negotiate it. Were cool? You know, when the time comes, I'm like, Jesus, write this guy. He got some patience. 00:51:49 Speaker 1: Ja Ja clock is different Jada kiss clock is a different clock, and he hit all the time. You know, you know, but that's a that's an incredible thing to be able to function in that capacity. And this point about a life man. Niggas doing what they want when they want. We fucking still on the tenth decible on the volume, nom louder than a motherfucker, moving and shaking, shaking these rooms up and enjoying it on our terms now and that ship that that's the joy of this whole ship for us. Now you feel me. It's fucking showing. They ask the busses don't stop, niggas, so we don't stop. 00:52:33 Speaker 2: That's our feel. 00:52:37 Speaker 10: Joe and Jada show dot time we got new merch fresh off the press. Go get it big out of big bow Joe and jadasshow dot time you can get these little cold for a T shirt with the hoodies at it's. 00:52:53 Speaker 5: My favorite right there, I need an extra large showing jadashow dot com, go there and get it. 00:53:07 Speaker 2: Going on a tour with this album, you just you're already on tall yeah, yeah, yeah, lifetime. 00:53:13 Speaker 1: Gar I gotta designate a specific experience for this talk and we're definitely gone. All of that is in the works to start later on this year and go until as long as we could take this ship. 00:53:27 Speaker 5: I saw you going on tour, well, he said, you on tour with nas this this that one show man. 00:53:34 Speaker 4: You gotta start reading it when you slow down reading the show with the roots and nos one show. And it happened though many I know you went on going to said damn, I mna have just re week something. It's just still wasn't even likeness because I ain't able to make that ship. 00:53:56 Speaker 2: You're not even gonna make the show, gonna be in Barbados. Was at another show like Baby Baby, Don't you know? But sometimes I get jealous of the Jada Kiss shows because they look like a lot of fun. He show up in the Brooklyn block and start ripping that ship. I don't even know what. They don't allow me to do ship like that, Kisch, Sure they do. Just drive your car the pull up park and get out. 00:54:31 Speaker 4: And the man I did, I wasn't even supposed to beat it, you know. That was my man's just like I'm going to rip I was to get a chair and sitting. I was actually going to see DDA. I went there to look at DTA especially let they saw me on the other side. 00:54:48 Speaker 2: Of the stupid and threw me to mic like a volleyboy. 00:54:51 Speaker 5: Yoh, that wasn't where you Where was you at when you heard that? I got it made For the first time I could tell you where I was at. Yeah, I was let I got it made. He was already out right. Nah, that came up before leaders. What oh god, leaders came up before you. Yeah, holy ship, I'm a baby. I swear to God, all of them ships was detrimental for me. 00:55:22 Speaker 2: I told you. 00:55:22 Speaker 4: They leaders performed in Yo at Commerce High School and X open up for him when X this was extra just a wiole. 00:55:31 Speaker 2: So it was great, but we didn't get to see him perform that ch so X opened up. I remember that. 00:55:38 Speaker 4: Just a dedicase of the bt A after just ripped the pain. He couldn't believe they was beat it like it wasn't no. 00:55:48 Speaker 2: AI or the Gramar, none of that. But we thought it was like false word of the fly. It was fake leaders of the new schools coming to Wyo. That ship was crazy. He ripped it, pain on came off. I remember that I was in school young Jaya wasn't even Jay. I was Ja. 00:56:07 Speaker 5: That is a different type, you know that that time. Like I said, like I told you, I was

hip hop, trying to get on giving niggas my demo. I say, I gave my demo. I gave Flow Joe to Russell Simmons, And how can I be down? He let the streets here, No, yeah, he probably listen. Kidnapped Redman one day, not literally one day. Redman came to perform uptown and I jumped in his truck, was like, Yo, he didn't even know who I was. I was like, Yo, check this out. B I got, I got my album. You're gonna listen to this. You know it's still with that nigga's that's what you got to did today. All they gonna do is hit send and send it to Egypt. 00:56:58 Speaker 2: You know what you know? 00:56:59 Speaker 4: With that, it's a different kind of dedication and a different You had to stand outside in front of Hot ninety seven and all of you had to beg. 00:57:08 Speaker 2: You got a better one for you. 00:57:11 Speaker 5: When I came out on Relativity with Flow Joe, I told you, I mean, it might have been the cheapest budget you ever seen in the history of man. Card I said, y'all want you to make these giant posters. Giant posters. They the original Flow Joe posters. The Fat Gangster was some big black and white shit like this. So they made the posters and I went everywhere with the tax crew with glue mega every day. We looked like nine to eleven every night we hit in Queens, Brooklyn, Bronce, throwing up our own posters with glue. 00:57:48 Speaker 2: This shit wasn't even like tape or nothing. 00:57:51 Speaker 5: It was glue all night, then to go home in the morning and sleep to make sure I'm at every train station at two thirty when everybody got out of school, giving niggas a thing, going you on Fat Joe the gangst I was giving niggas hand in hand combat one twenty fifth Fordham Road. Yo on fat Joe. You heard the song flow Joe on Picks ninety six, So Yo, this is me Yo's nigga. Like this shit was a wheel back in the day. This shit was like if you wasn't if you wasn't outside working, working, working, working, working, working, working, working, working, it just wasn't happening. I don't know too many one you hit one somebody who just put one out the park like that with no work that we didn't see. 00:58:43 Speaker 2: Rob Base might be one of those. 00:58:45 Speaker 4: Now. 00:58:45 Speaker 5: Rob Base to them where he's from, Lincoln Projects on one thirty second, But his first shit just rung off. Chris. 00:58:52 Speaker 2: He used to be at the Mike and Dave block parties on Park Avenue. 00:58:58 Speaker 5: Yeah, I knew of my. 00:59:01 Speaker 2: Did they sew it? His first thing? He just came out of that's out of nowhere. He's back the fucking time. No, that's for life. You know the ball that they. 00:59:12 Speaker 5: Didn't happen to me. Bus They think I'm a liar. They think I'm a liar. They discredited me. I happen to work in the Boatdega across the street from rob Basis Projects. So I seen them get in the first limo. I seen them with the Nike dat the dancer. I seen all that ship as the fat Puerto Rican kid from the store across the street and make the

sandwiches him and mixed blood Green living the mixed blood Green would come every day dusted. 00:59:46 Speaker 2: He buy forty els. 00:59:47 Speaker 5: Now, y'all the fuck Might Tyon up a fuck nigga with the Jerry Cow juice, like, yeah, come on, sure enough he for my ticon mitxed blood Green the gold on. At least he's he's the first I think that survived. 01:00:04 Speaker 2: Might not. 01:00:04 Speaker 5: No, Mike Tyson fucking Nigga's up in ten seconds, he survived that real fight. 01:00:11 Speaker 2: Yeah uh before he was on all kinds of drugs, Mike, and he went the distance. Yo, what's that ship on this ship? Anchor? What's that ship? 01:00:21 Speaker 3: Yo? 01:00:22 Speaker 2: What's that ship on the ship? 01:00:23 Speaker 5: But anchor Nigga, Mike Tyson was hitting that nigga with that anchor. He was on so much drugs he wouldn't go down. Mike Tyson said, Yo, the nigga just kept popping back up, popping back. 01:00:35 Speaker 2: He couldn't stop them like this. He was. He was on big time drugs. That is what I'm saying. 01:00:41 Speaker 4: All the real ones out there were keeping it eighteen hundred. 01:00:45 Speaker 5: So, you know, just saying the obvious ship like with b ig You know, I know they said all the time, but you went to school the same school as b I G. 01:00:57 Speaker 2: Jay z HERV got he nah no cost in host with us. 01:01:04 Speaker 1: Yeah, it was just me, Big and Hope and a testament to what we're all talking about with the work that had to get put in because there wasn't on social media and there wasn't none of this other shit. You had to actually make sure that you were delivering on a pristine, pristine enough level for motherfuckers to feel like they needed to be the first niggas to put other niggas on about you. So that word of mouth shit was that was the way to get the fucking buss popping. So Me and Whope was rymen in school. 01:01:42 Speaker 2: Big. 01:01:42 Speaker 1: I never saw Big Rhymen school Bigger hustle a little weed in there in school, but I never seen them rom in school. When I knew Big was Romen was when we did a bunch of Niggas on Heavy D album and Big was on that, and then Big jumped on cardying bullshit, and I still didn't realize that it was Big from school. One day, I'm going to get a fucking check from what's that burn fucking Pudell, going to get a check from Burt Puddell, some futurestic Urt fucking Pudel, Right, yeah, And Big was getting a check from over there. 01:02:31 Speaker 2: I think I was going back to Brooklyn and Big got in a whip with us and we dropped him off at. 01:02:37 Speaker 1: His crib, and I thought this motherfucker was insane for this because Big had the double cassette you remember them, JVC double cassette big boxes, And at that time, it was the bootlegging shit happening crazy, you know what I'm saying. Everybody would be outside you see a nigga boot legging and ship it was getting We're gonna. 01:02:58 Speaker 2: Get dealt with. So Big he was dubbing his album. 01:03:04 Speaker 1: And giving them shits away, and he had a line from his block from Fulton to his crib like a like a drug spot, and he giving this shit away, giving this shit away. And I was, I'm sitting there and watching him do this in amazement, and I almost just was trying to understand, what the fuck was you up to? 01:03:28 Speaker 2: What was he up to? 01:03:29 Speaker 1: Before I even asked him, here go Big, I'm like, what you're doing. What you're giving away your albums for for free, nigga, you ain't trying to make no money. And nigga say, oh, bus I want the nigga that's not playing my shit to look like he fucking crazy for not playing my ship. That was the most genius shit a motherfucker ever said to me marketing and promoting his own shit. He liked, the shit gonna get bootleg anyway, so let me control the bootlegging. I don't even wanting no money because as long as every single person is playing my shit, the nigga that ain't playing it is going to look crazy. 01:04:09 Speaker 2: Bus I said, this is this is it. I never could bring myself to bootleg and my own shit. 01:04:16 Speaker 8: Nah. 01:04:16 Speaker 5: I used to beat the mark I used to beat them all up. I mean I went to one twenty fifth. I tell a story all the time, but everybody don't got the story. I went over there, Tupac was fucking up all the bootlegs, pounding the niggas out. 01:04:29 Speaker 2: That nigga try to fight him with a sword. 01:04:31 Speaker 5: He took it from me, boy Daylight, I got the cold Tupox. 01:04:36 Speaker 2: I'm bigg as sean why I. 01:04:39 Speaker 4: Had a meeting with Jimmy Ive and I had all of that. He putting the bag up behind it. It's one of them serious meats. Fly back my shit at bootleg me. I'm finding this nigg shout out to DJ school Duke turn out to be my men. 01:04:58 Speaker 2: I find him. 01:05:00 Speaker 4: I many risk it all him. Jimmy ipeen in them gave it to me. I think that's it this up. I mean you beating niggas up the label. 01:05:09 Speaker 2: Who gave it to me? 01:05:11 Speaker 4: That was the end of the bootlegy. They gave it to me where you get the Sorry to tell you they me gave me that. 01:05:19 Speaker 2: I ain't gonna do about it. That ship is crazy. 01:05:23 Speaker 9: I get off in the white man for the big punk, got no white man for the postal work, and go back there clear old fucking buildings. 01:05:34 Speaker 5: You know, it was so much ship that went down behind Bootleg and like, motherfucker's really that. 01:05:40 Speaker 4: Ship you out there putting hands and feet on these niggas at the table. Meanwhile, somebody from the show was the layed gave it to that crazy just like your slave one day gave Slay. 01:05:52 Speaker 3: I asked you. 01:05:53 Speaker 2: I told Slay, I see your slave. How you had them. 01:05:58 Speaker 5: Easy every time you edited the album, every time you mixed the master day and you you know the white guys get mastered your ship. 01:06:05 Speaker 2: Yeah, fifteen hundred gave me the album the second you

walked out the door. 01:06:10 Speaker 5: Yo, Yo, you know when you gonna sit down and mastering where this shit looked expensive, and you got like a white dude, he knows and he got the ship. Nigga case they was like, bro, and I'd be lucky if I got there and Clue wasn't walking out before. Like the editing niggas was giving them the fucking albums ahead of time. That's how you heard all the mixtapes, and they had all that shit ahead of time. But there's no way to save. 01:06:37 Speaker 2: That anybody ever kill one of them. 01:06:40 Speaker 5: Nah, them niggas got away with it. Big one, the only nigga I seen put an apple on. The engineers had Battery Studio and pulled out the hammer, told them don't move, and the kid was kids stood with the apple on his head and he starts sweat man. The nigga looked like Menopaul niggat like a hot flash. Poor little kid man. I was terrified because you know, Puna had a thing for them guns. And I'm like, yo, pun yo pun. Tony Sunshine is fixing the apple on the nigga's head, so I'm like, yo, pun your pun. He goes. The kid dives under the ship. I'm like, oh my god. It was like one of the movie guns the blank. Never, not Chris Lighty, not a motherfucking human in the world could ever get Battery Studios to take Fat Joe's money again. 01:07:47 Speaker 2: They never entertained. Yo. 01:07:50 Speaker 5: Well you know it's been three years. Don't come here, don't cot them niggas. But Tony Sunshine a big pumber. Fucking me up. I go to hotels. They be like fun lit up the whole uh you know, you know when you don't smoke the ship, the whole burn down the whole floor. 01:08:06 Speaker 2: You know, on purpose. They came. 01:08:09 Speaker 5: He was burning. 01:08:09 Speaker 2: These guys were like these guys. I remember, I went, oh, we was in the Manji and Oriental. 01:08:20 Speaker 5: I'm talking about spots where I was spending cash money like Manji and Oriental, and I ain't up in Miami. I bucked that ship out for a month straight. This this that one day I came there, had my bags at the front. I said, you know what happened? They used to park my Rose Royce in the front. Mister Joe. This because I'm generous. I like to give tips every day. I'm just mister Joe. You can't come here no more. What happened your friend Tony Sunshun? The man gave him a Cole Hamburger smack flames out the man all the way in the biggest office. They said, you can't be here, no nigga. About ten years later, I went to the man she had to thinking it was at They was like, so, I said, you can't stay here. 01:09:04 Speaker 2: I mean he was just sitting there. 01:09:05 Speaker 5: They took it off. 01:09:07 Speaker 2: They took your bad No, he took it off. I'm talking about twenty some years ago. 01:09:11 Speaker 5: But these guys was doing shit, fucking up places that I had. 01:09:15 Speaker 2: The juice sitting like yah. 01:09:17 Speaker 5: I was like, oh no, he's niggas have my beast back from me, Like, no, sir, you can't come back in here like they're going to jail if you walk in this belt. 01:09:28 Speaker 4: How often do y'all practice because y'all got one of the illes setups, scratch your talk and tell you some ship and the crowd can't. He can tell your bus we about to go into the mop right, Yadyr stage dynamics. 01:09:42 Speaker 2: Is it keeps getting bettered with age and time. How he's doing that ship? Yeah, but y'all if you watch the show from the crowd, that nigga bus. 01:10:00 Speaker 4: Observer, they all gotta they all playing a part in it. And it's the most craziest ship I ever seen from the listening from the whole ship. And you've got ya gotta be ya, gotta huddle up a lot of times a week or month, or ya gotta be adding and doing shit that ain't just because you knew each other for on them. 01:10:28 Speaker 5: Y'all gotta you got some ship you do that steal boss. You got to get together practice this and that. Yeah, we do that when it's to study and learn the words to the new songs. Other than that now, because we've been doing certain ship for years. 01:10:44 Speaker 1: It became muscle memory. Yeah, it definitely became muscle memory. But the ship is sometimes too. We might do some ship that we ain't realize the mistake and it turned into yeah because the cameraman is filming. So when we get the ship back, it's like we look at it and we catch oh, ship, we just did that. We ain't need to look at each other when we did that, because it's like, we'll do ship because we know where the drop is gonna happen in the record. You know the beat on drop Hick. You know that's the snag gonna slap here so after like Newts when you do the drops in the beat. So we'll sometimes do ship just to amplify what's getting ready to happen at this part of the song. But if we don't plan what we're gonna do, the ship look dope. You trying to be able to do it again. Yeah, the mistakes sometimes or the moments you ain't think of, but they happened in sync. That ship will definitely get added to this. I watched y'all be so disrespectful. I watched left start doing ship. 01:11:42 Speaker 2: He nig. 01:11:49 Speaker 1: Yo. 01:11:50 Speaker 5: I know when your own one you always don't one, but I'll see ship doing the sideways. Hat'll yeah, and then the music comes down and you be like, let me tell you, you never argue with scratch to it. 01:12:07 Speaker 2: You can't. No, no, you argue with scratch it all. You actually argue. Were family, we brothers, we're gonna, we're gonna. 01:12:17 Speaker 5: Every time I got a DJ like that way, it went to the symmetric flow that you could talk to him through the cheek bone to them anywhere that ship like this, they quick every DJ I ever had like that that. 01:12:32 Speaker 2: Well, you talk through the cheek boats. 01:12:37 Speaker 4: I try to let it talk through the cheek boats is the second dog anytime out of the DJ self flash, self inflicted, Yeah, have a self inflicted flash. 01:12:48 Speaker 5: I my my, my DJ man one of my favorite DJs of all about it. But DJ Somatic,

you live in Atlanta, what's some semantic God loves you? He told me he was going to the church blessed somebody. That man might have broke my heart. Forty thousand A where we had that ship gum drop you can just look. We was like, oh my god, that ship was so perfectly he would drop that when we killed some shit in like South Africa, Chris bround every It was just disgusted. And the man come back right when I said, oh my god, I got it. Quitting brother going to church. 01:13:32 Speaker 2: Yeah that Shawn. 01:13:33 Speaker 5: The woman wants me in church. Yo, Yo, you might have shopping big. I'm like so bad at he's the church. I said, we said God touched you. He said God. 01:13:44 Speaker 2: I said, I don't know. Guess God. 01:13:51 Speaker 5: Was about to say no, no no no no no no no no no. I had I had people. I really was gonna hurt on another level. And then they come and they go, hey, he got baptized. He's who got And I'm like, he's a god and they be like, yeah, you know the guy who got baptized. 01:14:13 Speaker 2: He's Now when you find that chemistry, that ship is hard to replace. That at him go. That chemistry is when when you find that man chemistry. 01:14:25 Speaker 5: That's what I'm trying to say, Like, if I'm busting bums, I'm never arguing with Yo, I ain't got nothing to say to that man. Else cuts even my DJ now I love stint. He's the sentiment. 01:14:39 Speaker 3: It just spin it. 01:14:41 Speaker 2: Oh my god, you watch what you say. He might quit on stage, so we I don't even play with him. I'm telling you. 01:14:49 Speaker 5: One day, were in the car, He's driving and we're like, y'all make her up, make it right. The niggas stops the car in the middle of the highway seventy miles and the highway. 01:15:04 Speaker 2: Why don't want to you drive? I'm no, sorry, You're doing great? 01:15:11 Speaker 8: Yo. 01:15:13 Speaker 2: Hard you want to I'm like, yo, he get that that man? Sensitive. 01:15:21 Speaker 5: We not bothering Spin for nothing, been Spin getting away with anything in the world, like and so because we got that chemistry. Once you get that chemistry, you know, splif he had a health scare, what was that for you? 01:15:38 Speaker 2: Because like, oh my god, man, I don't even like to think that way. 01:15:42 Speaker 1: Bre Spliff, Spliff and Scratch like them them brothers is literally like probably the longest consistent friendship and brotherhood that I've had throughout my entire life. So it's like, when it comes to health issues, it's super scary to fucking deal with, like the thought of that, you know what I'm saying, especially the type of shit that's Splifted dealt with, you know what I'm saying. So it really helped you, Like the shit you might have probably used to complain about a fucking shit that would get on your nerves and shit, you damn it, don't even give a fuck about none of that, and that same energy get redirected into beefing over making sure you're doing whatever you can to be as healthy as you could be because obviously God don't know, you know, almost another five seconds tomorrow, aeene promise. So niggas got a really everybody got these shortcomings. But but there gotta be some prioritized fucking effort towards balancing out the bullshit and making sure that we're gonna be here because we got a lot of shit. 01:16:58 Speaker 2: Left to do. Well, skipping my little in the building craft. 01:17:11 Speaker 5: As to stay with stuff to the cameras. Come in, Man, you gotta hop on the legendary. You'll be on the legendary. Get on up street if you know when out signed you to the Terroce squad out there, them niggas right skipped to my little Kate. 01:17:28 Speaker 2: Throw on the back court. 01:17:30 Speaker 3: Man. 01:17:31 Speaker 2: You say, Starberry, your son, it wasn't gonna let me play with any other teams. Yes, son's doing Yeah what what your son? 01:17:41 Speaker 3: Man? 01:17:41 Speaker 2: So he's doing work. I had a surreal moment last night and tears of joy. 01:17:46 Speaker 5: My son was playing in RockA Park. 01:17:48 Speaker 2: Wow. Wow, he's one of the top high school players in the nationally good and so the top twenty four players in high school played in RockA. What position he plays? Slam game? It's not congrats. 01:18:04 Speaker 4: Killer man, but man, I'd love to see that. Appreciate that on that smack bless We love you, my brave for Austin. Y'all skipped the my loose poor legend in the NBA legends. Yeah, but hold up. 01:18:18 Speaker 2: The street boy. I think he yo yo positive and you fun it up, you know hip hop. They say, you know, we talked gangster ship. 01:18:27 Speaker 5: We're good, but we probably because I think you made every street ball guy think he gonna make it to the league. That's what's nonsighth for though, God he was not getting that. You did that ship from the park to the n b A. I love you, brother, we salute you. Can't all right, we'll talk. 01:18:50 Speaker 4: Shout out to the fresh no state days unless they tell you the craziest shit. 01:18:55 Speaker 5: You know, it was my birthday party the other day. It was my birthday part the other day, and congratulations again. 01:19:05 Speaker 2: I was fried. 01:19:06 Speaker 5: I'm not Jada kiss. I don't have it here in the pull. Let me tell you something bus right, and you got away. You probably the only human being that didn't have a suit on you still fly. You had Louis Vaton. But if you wasn't Buster Rhymes, you was down the block rect. It's like I'm telling you if I want to see been like, oh no, no, my man, you gotta get this what you bust them ups? Like I said, you like fucking But I was gonna tell you. So I saw a picture, right, So you know, I never take pictures, but I seen a picture and it was the moment I saw Cali, and my face is just like like you can't even pay for that. Like you know, there's certain friends that make you feel so good when you see them. And there's a picture somebody took. I posted it where I seen Cal and I was like, I felt like you

hit a touchdown and your man is here. This is and so that's what I feel like when I talk about Spliff with you and him, that your relationship is uh, it's iconic too. Just to say the least, my brother closest friend of his planet. He's definitely not somebody that you want. There's no Spliff is a one of none He's not even a one of one. He's a one of none, you know what I'm saying, and scratch your towards the same. And I think that's what makes the friendship and the chemistry and just the magic of everything that we've had from single digit age to today that has allowed us to continue to evolve. Like I knew them before leaders, you know. 01:20:50 Speaker 2: What I'm saying. 01:20:51 Speaker 1: Like I was getting into shit that I shouldn't have been getting into, being around the splips and the scratch of toys. 01:20:59 Speaker 5: Sliff ain't no pussy I've been there. I got busy with Spliff. Like where you talking about? Don't be Sliff get busy. I got busy with Spliff Star. Yeah, I'm telling you he gets busy. He's not pussy Star. He' get busy. Eighteen hundred toasts Buster Round's new project. 01:21:18 Speaker 2: Yo. That shit knocked your fucking head off. I was waiting for that, That's what I was waiting. 01:21:22 Speaker 3: But I'm like the. 01:21:25 Speaker 5: Fucking head on. 01:21:30 Speaker 2: Jesus Christ, what's this call? Right here? This song right here? We're about to be blessed with. 01:21:37 Speaker 3: This. 01:21:37 Speaker 1: This is an incredible moment because it got two of my incredible brothers on it Dyla obviously he's one of them, and uh. 01:21:47 Speaker 2: D'Angelo is the other one. 01:21:50 Speaker 1: You know, it's still so recent, it's still challenging to accept that. D ain't hear them on you know what I'm saying. So Di'angelo and Dilla I both. I met both of them through Q Tip mm hmm. I met Dilla through Tip. I met di'angelo through Tip and Ali Shahid at battery where you ain't allowed to go no more. 01:22:17 Speaker 2: Or at battery. 01:22:18 Speaker 5: So I met IRV Gotti at battery one day by mistake. That's how I met earth guy. We both booked the studio, We talked shit seven in the morning. I didn't know IRV Gotti. 01:22:28 Speaker 2: That's how we got cool. 01:22:30 Speaker 1: Battery's a beautiful player. Battery got a lot of fucking history, bro. That's where all the scenario and all of that shit happened at battery. That's where kid hood. He ain't lived long enough. He did the first one day and died I think next day or two days later. 01:22:46 Speaker 2: Wow. 01:22:47 Speaker 1: What But a lot of history is in battery, man. But this record with me, di'angelo and Dilla, it's just called this woman. 01:23:02 Speaker 2: We love it. 01:23:06 Speaker 3: We love it. 01:23:16 Speaker 8: Troble oh. 01:23:22 Speaker 11: This following the problem all of one. First moment it will be adom, that's. 01:23:35 Speaker 2: Bunch of. 01:23:38 Speaker 8: Bunch of. 01:23:44 Speaker 3: Please then let it come no one. 01:23:49 Speaker 2: But if you come this man, it will be on that chat, that chat, come up. 01:24:05 Speaker 1: Let me talk my little pretty miss Peppermint, so smelling, Mommy, make you get about the web, greet you in the lobby. And if being the concierage is the voluntary hobby to worth be you being escorted everywhere? The beautyful mammy. You got a blossom and flower banquet. I scut award winning modern Nate Dorothy Dandridge, despite you from a foreign land. I want to learn your language. I'm rappling the translation, whipping in a vanquish. It's some disposition demeanor. 01:24:29 Speaker 2: I love it, get it. 01:24:30 Speaker 1: It's a confident with the swag likes of days ago. With it your macamable lean, perfect complexion as your body, orange jean, a bottle shape. 01:24:37 Speaker 2: Mommy, show a major. Probably we could plan ahead a little. 01:24:40 Speaker 1: I see an illuminated future like walking the red cap had let the cameouf flashes shoot you. She rang it back to him as soon as my mommy see me got us singing gimmy, gimme, gimme. 01:24:56 Speaker 8: Woman up. 01:25:12 Speaker 3: Please love it comb. 01:25:17 Speaker 2: But if you come, it will be up. Chuck, chuck, don't beat up. 01:25:33 Speaker 1: Let me finish bad, undescribable pretty. You make other women sick. I'm with you, big, but I ain't. Oh hell no, let me pull my chair up. Love when you wear your hair up, increase your sugar level. Let me tat you maple syrup, stoppable, you hear silky with every magic motion so often, the rubbing baby skin, my Carol's daughter lotion. And now understand why you extra trying to cause commotion? Caribbean queen conceiving a little billy y ocean like to hear your voice, and did get to speaking hypnotic when we tex how your water force to be leaking? Maybe my description might be reaching while I'm climbing out. And I ain't done with you yet. Now what you winding about? Winding about while I'm making sure Mommy's feeling fine? She make me go till I'm sending away right up a spine. If you ain't know when it's funny, hell, each and every time she loves to. 01:26:15 Speaker 2: Let me know it's mine. You know it's mye You know it's my. 01:26:18 Speaker 8: My never a problem on. 01:26:24 Speaker 3: This woman. It drop to chuck chup plese man, never come nor. 01:26:45 Speaker 8: Well if you cop man, it will be upchuck. 01:26:54 Speaker 2: Chuck, up beat up chuck. 01:27:07 Speaker 3: You know what it is. 01:27:09 Speaker 2: It's the music for me, man. It's like it's all about the love of the music. You can hear it. 01:27:15 Speaker 5: Ain't nobody trying to be this that, do this, do that? Motherfucker just making great music. That's what it's about. That's how we started. That's how it is right now. 01:27:25 Speaker 2: I love that. 01:27:27 Speaker 5: That shit crazy. One quick question this scenario video. Who made up these ideas? And because y'all did shit twenty years ahead of time in this scenario video, Like who came up with that concept and all that?

01:27:45 Speaker 2: Who was ahead of eight time like that? I don't know who came up with it. 01:27:51 Speaker 1: I do know that the director, I forget his name, Jim Swatfield, that's the director. He was ill with the idea of you know, like how there's a part in the video where it's like a computer screen and then it's like the cursor moves and then you fall out of sync with the actual performance of the verse, and it's intentionally done so that you don't say your ship on time and then you come back on time. I think Jim swath Field came up with that, but I know Q Tip was very involved with He's hands on with the Micaero managing of all of the details. When it comes to the creative ship, we try so I gotta contribute. I got to acknowltics tips involvement some kind of significant and. 01:28:44 Speaker 5: I can't lie. That's how I feel how you whack. That's why I start laughing all the time, because say the beat is enough, but it looked like you're falling over you come back five right on the sad. 01:29:01 Speaker 2: Right on the stand. 01:29:02 Speaker 5: I'm like, holy, it's almost like you the moss went off the screen that came back. That shit is crazy. We are behind the Balls is presented by Rite Right. We got this sprice segment and this track is on the list and we were supposed to talk about it. 01:29:22 Speaker 2: Are you talking about put your hands with my husband? 01:29:24 Speaker 1: Yes? 01:29:25 Speaker 5: Just give us a little a little quick synopsis of like how that came about and the flow path, All that to me was like no breath of fresh air, like I never heard this before. 01:29:38 Speaker 2: That That's how I felt to me as a fan. 01:29:41 Speaker 5: What was it like creating this song. 01:29:43 Speaker 1: Before we rhymed on the beat, I was like, this be too quiet for me to be loud on it. It don't make sense to be loud on it because it was. It was quiet and back then. It's reflecting on some of the dudes that that was stuck in time with a lot of the Caribbean dudes that you're making dudes, the trend of daddy and dudes. 01:30:01 Speaker 2: The guy and these dudes and. 01:30:02 Speaker 1: We would be Southeast DC and these places were still talking a regular accent and just add yo to the end of the sentence, like that's just camouflaunging they accent. By this time, we on like this is way after that whole era. But they had this dude that was still stuck in that time and he had money, but he always made itself look like he didn't have money. Yo, bust up. You know you have money. It's just come back from TV. There's a big superstar now two hundred us yo. Yeah, I'm hungry, y'all. We need some money, y'all. Give me some money, y'all. 01:30:40 Speaker 2: So I just was kind of making a joke, making a joke. Is that ill store? 01:30:46 Speaker 5: Yo? 01:30:46 Speaker 6: This is ray. 01:30:48 Speaker 1: Then you just said I made I was using I was mimicking Homie trying to be funny. It was like we used to collect these these dance tall tapes and sound clashes, and you use like the same word down the whole verse to rhyme with. So I kind of just took that all the little ingredients just made that. I had one verse and waited for like a day or two and wrote the second verse the way I was while. 01:31:20 Speaker 5: God they dove under the door, so they was like it was in a mind. Nah, that changed life forever. Man, You know that someone right there just changed life. 01:31:34 Speaker 2: And it's worked. 01:31:35 Speaker 5: You set it off, but it's worked for like louder artists, somebody always tap them and be like, Yo, why don't you do some of yeah quiet. 01:31:43 Speaker 4: Check out the full Sprite Living track list and break down the stories behind your favorite boss. The Lincoln is in our show notes. This is the sprit Living track list. Obey your thirst, but. 01:31:54 Speaker 5: I'm gonna tell you it might not mean none to nobody else, but my favorite boss a rhymes song, no matter what rhyme, no matter what you said, it's crazy, You're not gonna believe me. It's the baby, if you give it to me, give it to you. 01:32:10 Speaker 2: You know what you know? 01:32:12 Speaker 3: I got it. 01:32:13 Speaker 5: It's such a perfect song. 01:32:17 Speaker 2: Thank you. 01:32:18 Speaker 4: It's just like a baby could was recycled. I used to go to Virginia Beach. It's one of these ships we used to be wilding and New Jersey. Philip, though, is that it's almost like that. It's one of those crazy ships with up Temple ramp is on it. 01:32:38 Speaker 2: What is the hook is like? Damn? 01:32:44 Speaker 5: That was that was crazy? With flavor in your ear remixed? How you got. 01:32:50 Speaker 3: That? No? 01:32:52 Speaker 5: How did you do that? Foress? 01:32:54 Speaker 2: How you? 01:32:56 Speaker 1: I took the Puff because times I was to finish on every fucking last on every fucking record, and I was starting flip mode entertainment and I needed to get Rampage buzzing. So when I did the verse and I sent it to him, I had put I had told Puff, I said, I got my cousin want to get on this. I need him to get on this. I said, just just listen to this ship and see what you think. So when he heard ramp verse, he was fucking with it. But this is how Puff did me. He said, if you want your cousin on this ship, you gotta do this shit for free because he got an invoice from me. You know what I'm saying, So I'll be nigged on the invoice to give ramped to look because I knew what this moment was. You need to. 01:33:49 Speaker 2: Fucking l big me. 01:33:52 Speaker 1: Craig and Craig record was the most smoking ship at the time, and it just the perfect scenario to get ran a springboard to jump. 01:34:04 Speaker 2: Who did the original the pump? 01:34:09 Speaker 3: No? 01:34:09 Speaker 5: You know what beat that is? 01:34:10 Speaker 10: Right? 01:34:11 Speaker 2: What beat it? All the way? Slow? 01:34:16 Speaker 4: No wonder there's always something with an element of something that it beat it. It's all the way. No, no,

no, only do my homework. I could go google research. No you want just listen, use your brain and listen to it. 01:34:36 Speaker 2: You're talking about the sample, you're talking about the. 01:34:40 Speaker 4: It's something that I got the same shipcid it. 01:34:44 Speaker 2: I've seen easy more p talking about Yo, that's nuts me. 01:34:48 Speaker 4: Just think of being it's all the way slow down of a day. I did what you're saying, chopped up and slow beat it. It's not just slowed down, it's chopped up bitiness slow right. Shame you ain't know that. 01:35:04 Speaker 2: You know everything? He got one on you. Uh, dude, this ship. Did you know that who shot you? And I shot you came from the same sample Who shot you? 01:35:16 Speaker 5: I shot you? 01:35:17 Speaker 12: Ll the same exact say words. You're not saying the same beat the Steve s Out he caught me the other day. 01:35:29 Speaker 5: It says you think you know everything that you don't know. This we sampled this same sample for I shot you and who shot shots is made by Nachen, the same thing who made t O n Why fantactically non cipher the fucking guys, Babe, your man track masters did that ship? 01:35:50 Speaker 2: Everybody else the problem listening? I said, who shot you? Bab? 01:35:56 Speaker 4: I don't say nothing about I shot you? Who shot your? Steve Stout saying hate the fucking beat I seen for the Hickning meeting. Can I tell you Steve Steve cut any set. 01:36:13 Speaker 2: Track he made? Ey shot No? No, might know no? No, all right, breaking nose? Can I say something that? Can I say something Steve Stout? 01:36:25 Speaker 5: Now you're gonna make me bring me a Steve Stout told me the track masters really made that beat, and buff ain't give him. 01:36:32 Speaker 2: No credit, so they went to sample the same record. 01:36:35 Speaker 3: We gave it. 01:36:36 Speaker 2: Hell out, pretty boy, man, you hate me the whole type of niggas. 01:36:41 Speaker 4: Mane, I'm saying that the louds rod nellily tell this onie, you knew that. 01:36:46 Speaker 2: I knew that if you start going into that way. 01:36:49 Speaker 5: Okay, he starts, no, no, no, Kevin Kevin Lous, old girl, you know it's true, Kevin. 01:36:57 Speaker 2: Loust, not the publishing. Oh, I love. 01:37:01 Speaker 5: You the snakes on the back of right, and he wrote that gets the funk out of here. 01:37:08 Speaker 2: Let's having laughs. The oh showing to gold got just the days. That's crazy. This ain't that, ain't this it's cracking. Just god, damn it. What's that? He's all, man, Why your niggas doing all that? 01:37:29 Speaker 5: Man? 01:37:31 Speaker 2: Birthday? Can his birthday right up for it be birth day? 01:37:42 Speaker 6: Brack? 01:37:43 Speaker 3: What is. 01:37:47 Speaker 2: Show me crack? Even the candles is new? 01:37:55 Speaker 3: Yo. 01:37:56 Speaker 5: I can't blow up ship something bulls ships that going ship paint bottom that ship. 01:38:01 Speaker 2: You can't even that ship too much? Thank you guys, I appreciate it. 01:38:06 Speaker 5: I'm not used to that ship right there. 01:38:09 Speaker 2: They did. 01:38:11 Speaker 5: My wife and did that ship. They did that ship to me, lady. I was at carp bone. They came out with this. Give him a full that's the cake to the head. That ain't no no, that's diabetes. I ain't even that, ain't no sugar free. I could see the sugar. 01:38:25 Speaker 3: Yo. 01:38:26 Speaker 2: Let's get this flick. We need to. Kelly, thank you so much wait for me. I truly appreciate you. Kelly. Thank you