Mannie Fresh & Juvenile On Hit Records, Lil Wayne, Younger Artist & MORE❗️| Effective Immediately ❗️

[00:00:04] Speaker A: Yo, it's effective immediately. I'm DJ Head. [00:00:06] Speaker B: What up, world? It's your favorite homegirl. Gina. [00:00:07] Speaker A: Views, man, we got some living legends in the building. And I've been waiting years, 10 at least, for this. You know what I'm saying? Salute to the legends, man. Juvenile Manny Fresh. Yeah, DJ Manny Fresh. [00:00:19] Speaker C: That's right. You heard, man. [00:00:19] Speaker D: You gotta say the whole name. [00:00:21] Speaker A: You gotta say the whole shit. I'm a dj, so I know how it go. I gotta pay my homage and respect. I want to get some shit out the way publicly, you know what I'm saying? You got me in trouble. [00:00:31] Speaker D: 400 degrees just pointing me out. [00:00:34] Speaker A: Yeah, no, I'm gonna get to Manny in a second, but 400 degrees definitely got me in trouble. It was 400 degrees, and then after that, it was. I think it was the Marshall Mathers lp. Boy, I got grounded like a motherfucker. [00:00:45] Speaker C: Cause I was. [00:00:46] Speaker A: I was cursing like a. [00:00:50] Speaker D: You was singing them songs. [00:00:51] Speaker A: What? I didn't know what the fuck you was talking about. I didn't know what you talking about, but I for sure got in trouble for that. I had a CD player, and I wore that bitch out on the bus going to school. So I just wanted to tell you that and how you take some accountability for me being grounded. [00:01:06] Speaker D: I'm gonna take accountability for you. You not the first, man. I've been taking accountability for the years, man. [00:01:11] Speaker B: I got slapped up to back that ass up. [00:01:12] Speaker A: For real. [00:01:14] Speaker B: I'm like six years old. [00:01:16] Speaker D: You're not taking accountability for that? [00:01:18] Speaker C: A hood slap or like a Get your mind right. [00:01:20] Speaker D: Where you learn how to do that from? [00:01:22] Speaker C: Oh, you got a video? [00:01:24] Speaker B: No, it was the video. [00:01:25] Speaker C: It was the video. [00:01:26] Speaker D: So you say mama went backing it up. Okay, I know Mama said she back. [00:01:34] Speaker A: And then Manny do that again. And Manny, bro, like, I got into a lot of barbershop arguments over you. Cause you. [00:01:41] Speaker C: Cause you. [00:01:42] Speaker A: I put you. Now, I'm from the West. I'm from la. Me, and we both from la. I put you above. We don't need to go there. [00:01:47] Speaker D: I don't do that. [00:01:48] Speaker A: I'm not gonna do that. But I put you above a lot of people. Yeah, you produce platinum records for 10 years, Dolo. [00:01:55] Speaker C: Yeah, that's. [00:01:56] Speaker A: There's something to be said to that. And I know people. [00:01:58] Speaker D: Yeah, that is people. [00:01:59] Speaker A: People try to, like, do these producer things. And I'm like, bro, why y'all never talk about manic, bro? Like, and then one of the homies got really offended. Now I'm gonna say his name on the air. But he got offended and we. We kind of had a little falling out over it. Yeah, because you was one of my goats over other people. You know what I'm saying? And I'm just like. Like, you low key changed my life in one way. Cause I'm a dj, right? And then the second thing is you always been, like, a solid individual, you know what I'm saying? Like, when me and Glasses, we was doing our thing. That's my big homie. [00:02:32] Speaker C: You know what I'm saying? [00:02:32] Speaker A: So when we came. Yeah, G. Malone. So when we came out, you showed love off the strength. Like off the first album, you did the Fuck With Me record. You didn't have to do that. And we indebted to you for that. So. [00:02:44] Speaker C: All good, bro. Show me, bro. [00:02:46] Speaker A: I just wanted to show that respect. [00:02:47] Speaker C: You know what I'm saying? [00:02:48] Speaker D: You a good dude. Fresh. [00:02:49] Speaker C: Some nights. [00:02:50] Speaker A: Some nights. [00:02:51] Speaker D: Give me one of those. [00:02:52] Speaker A: Is he a lowkey, though? N. He. [00:02:55] Speaker D: He. He got his days. When. He won't clown you. If he won't clown you, he gonna take care of you. [00:02:59] Speaker A: Okay. [00:02:59] Speaker D: He gonna get his business. Don't let him get. Don't let him get going. He gonna go all day on you. [00:03:04] Speaker A: N. Be a good dude for sure. [00:03:06] Speaker D: And he just told me he gonna give me a car right before we got you. [00:03:09] Speaker A: Gonna give you a car? [00:03:10] Speaker D: Yeah, he just told me. Damn. [00:03:11] Speaker A: What kind of car? [00:03:12] Speaker C: Yeah, I got it. I got it. [00:03:14] Speaker A: What kind of car? [00:03:15] Speaker C: Pro. You remember the Yugo? Old school Yugo. [00:03:20] Speaker A: You get my Yugo Suzuki side king. [00:03:24] Speaker D: I ain't say he gonna give me no car, but I felt like it was the perfect time to just put. [00:03:27] Speaker C: Oh, you put him on. Yeah, he put it out there so he could get. So I gotta give it to him. [00:03:32] Speaker A: Sometimes you gotta say that on the air and make like kick in. [00:03:37] Speaker B: Cause head said he was gonna buy me a car. [00:03:38] Speaker A: Get. Bullshit. I'm telling you right now, I ain't buying cars. I ain't buying. [00:03:45] Speaker D: You get a call. [00:03:46] Speaker C: You get a call. [00:03:47] Speaker D: Everybody get a call. [00:03:49] Speaker A: I wanna go back for a minute. Because, like, she said, like, obviously, you know, back that ass up is a cultural phenomenon. It took a life of its own. But even before that, like, there were records that kind of changed y'all lives individually. And you fresh as a producer. I remember you telling the story. I don't remember where you. I think he was in a Breakfast Club or something. But you was telling the story about how you had to convince him, like, to, like, do the record and, like, press him and get him to do it over or something like that. [00:04:17] Speaker C: And yeah, we had times where we was like, I'm like, bro, I know you can do the vocals better than that. Like, you know what I'm saying? Yeah. [00:04:24] Speaker A: So where I'm going with that is you being a producer, like a lot of people make beats. [00:04:28] Speaker C: Yeah. [00:04:28] Speaker A: Now they already produce. [00:04:29] Speaker C: Yeah. [00:04:30] Speaker A: It's a difference I want you to speak to. [00:04:31] Speaker C: It is definitely a difference, like, you know, and a disconnect. Why music kind of. I ain't gonna say suck, but why it's diluted right now is a lot of times record companies will get beats from somebody and give them to an artist and be like, write to that. That's not the producer experience, you know. [00:04:48] Speaker D: Like, yeah, you gotta be from scratch. [00:04:50] Speaker C: Yeah, you gotta be from scratch. We gotta, you know, I gotta know certain things about you. And I could write breaks and everything. Cause you might say something that's very important in the song, but it's not acknowledged because the music didn't break. You know what I'm saying? The break didn't happen right there. When you like that line right there. Critical like that, that one. You know what I'm saying? And you don't get that when somebody just send you a beat. Yeah. [00:05:15] Speaker A: So do you. Is that. Was that the. I don't wanna say the formula, but what. Where did you learn that from? Because you didn't come in like, you didn't come out like, you didn't come in the game knowing that shit or you did you have a mentor? [00:05:27] Speaker C: Nah, I mean, I've been all over the place, bro. Like, you know what I'm saying? And a lot of it, my dad, like, you know what I'm saying? How you structure songs and how they work, like, you know, and just from learning trial and error, like, you know what I'm saying? Being around early producers, you know, going, I'm just going to sit in the back of the room and see how y'all do this and soak it up. And a lot of times, especially when you a new artist or you young at this, that's all you gotta do is be quiet and soak it up. Yeah, don't be so quick to be opinionated. Just learn something from that room, Take something from it. [00:06:00] Speaker A: And you and you, I'm sorry. And you being somebody who I guess hard headed or like not listening. What made you comfortable enough to like, all right, well, fuck it then. Was it just pressure or. [00:06:10] Speaker D: Man Fresh was two veterans already. I already had a music career. [00:06:14] Speaker A: Yeah, but you didn't have an ego, though. [00:06:15] Speaker D: Yeah. But I come in a room with him coming from a whole nother situation and a whole nother way of making music. So it's kind of like me, both of us learning each other. Right. So I had my experiences in the ways I like to do things. He had his way and experiences on how he liked to do things. So, you know, I'm like, when fresh do something I didn't know when fresh do a beat for you, don't get so enshrined in what you listening to. Do the vocals. Just listen to him and do the vocals. Because when he come. When you hear it again, you probably won't even hear that same beat no more. That's a la. Back that ass up a la, huh? Same thing happened with both of those songs. And then once you hear it again, if you feel like you want to try do something different and you get another vision, then try that then. But right now, listen to what he's saying and do the lyrics and always come out good. [00:07:06] Speaker A: Go ahead. [00:07:08] Speaker B: Do you think that it benefits the artist and the producer more to be. For the producer to be more hands on? Because like you said, now they just. [00:07:14] Speaker C: Send the greatest artists to me are the ones who have longevity is because they know a sound. Like, you know, most of them, they stick with producers that they know or is one producer, like, you know what I'm saying? And you could be a producer and pick another song that's not your song, but you know that song is good for the album. You know what I'm saying? Like, if somebody plays something and I go like, juve, I don't really know this kid. But, you know, that song is a dope song. Producer ears can tell you, you know, something like that. But, you know, you take a lot of dudes who have longevity in this, they stick with people who they know a sound that they know because that producer and you grow together. Opposed to every year you looking for a hit and you finding somebody new. Everybody now takes the approach of they want to hit, and it's just like, well, damn, what happened to a solid album? You know what I'm saying? [00:08:06] Speaker D: You got to put that project together, like, right now, like a lot of people looking forward. I'm looking forward to the Dre and Snoop collab. I'm looking forward to the Snoop album. I really am, because I'm a Snoop fan. I'm a Dre. I like. I just. I feel like Snoop did a lot of things. What he did with Pharrell was great. But it just looked like, boy, when he hook up with Dre, like, it's just. I don't know. [00:08:26] Speaker A: That's the same thing I feel about y'all, though. [00:08:28] Speaker D: Exactly. That's where I was going. I was getting that. I feel like it's the same way with me and my guy. It's been a long time since we did a full album together, just, man, and it's been forever. And I think right now, that's where we at with it. So that's why I'm so looking forward to the Snoop and Dre album, because that's gonna give me a little bit more motivation. [00:08:47] Speaker C: One of the things you gotta learn, too, is there's nothing wrong with your sound, but you wanna. You know, you wanna evolve. Like, you know where you, like, damn, I wanna do something. I want to, because I feel different. I want. I want to say something different, but it's hard to go backwards to say, like, you know what? This is what they want. This is what they want. Don't mess with this. Like, you know, Because a lot of artists, they'll say, well, the new sound sound like this. And a lot of times, if you. If you were big enough and you was an influence, the new sound is your sound. Like, you know what I'm saying? And there's a lot of songs I hear right now that are they Manny Fresh. Like, you know, these. These Manny Fresh babies. So it's like, I don't need to change this. [00:09:29] Speaker B: Yeah. [00:09:30] Speaker C: It's hard, though, to say, like, I got to stay right here. I want to do something new, but, damn, I need. [00:09:36] Speaker D: That's what they're going to say. I want that old man. [00:09:37] Speaker C: Yeah, exactly. [00:09:40] Speaker B: You guys pioneered the whole, like, movement, though, where y'all were so bold, and this is a time where the south wasn't really getting that much love. [00:09:48] Speaker C: Yeah. [00:09:49] Speaker B: Why weren't you guys ever tempted to say, like, okay, well, let's make the music that they making on the west coast or, let's make the music they making on the East Coast. [00:09:55] Speaker C: Yeah, we culture driven. [00:09:56] Speaker B: How did y'all just stay original, culture. [00:09:59] Speaker D: Driven in New Orleans? First of all, it wouldn't have worked for us. We have a lot of artists in New Orleans that make music and that probably never make it outside the Southern region. Right. But they do real good in New Orleans, and they have all these other artists from all over the world that put albums out and don't do good in New Orleans, you know, like. But they love them everywhere else because we're so culture driven. I Think the difference is just that our culture is so different than everybody else that we have to make music our focus, have to be on New Orleans first and not make music like everybody else. [00:10:36] Speaker B: According to whosampled.com, back that ass up has been sampled 54 times. [00:10:41] Speaker A: God damn. [00:10:41] Speaker D: God damn. You put down. [00:10:44] Speaker C: Now we're asking about. [00:10:47] Speaker A: You need to send some invoices. [00:10:51] Speaker C: I'm gonna have to look that up. [00:10:52] Speaker B: Was there any clearances you guys had to, like, turn me down? [00:10:55] Speaker D: It's still. It. [00:10:56] Speaker C: Still turn them down? [00:10:57] Speaker D: Yeah. [00:10:57] Speaker C: Really still turn them down? Yeah. Sometimes it's butchered. You just. [00:11:00] Speaker D: Oh, man. So some of those. [00:11:03] Speaker B: Thank you. Butchering samples. [00:11:07] Speaker D: Some of those. 52 or 54, whatever you said, some of them actually wasn't clear. [00:11:11] Speaker C: Yeah, a lot of them. That's why I said a lot of them wasn't. You know what I'm saying? And. And. And then it's kind of like the way we grew up, too, because I've heard, like, three or four times where somebody might have took it where it didn't make no noise, but it was a hit in their town. So we just like, I ain't gonna mess with you, but if it get any bigger, holla at you. [00:11:32] Speaker D: Yeah. Some of those songs ain't worth us paying lawyers. [00:11:35] Speaker C: And, you know, there was a chick in Houston. I forget what her name, but she sampled it and it was getting bigger, and we was like, listen, shorty, we can't let you slow down, mama. Yeah, yeah. I'm gonna have to. [00:11:45] Speaker A: So it's cool to have the local hit. [00:11:47] Speaker C: Yeah. Because. Because we. We did all that. [00:11:49] Speaker A: She sound fast, too. [00:11:50] Speaker D: She ran like. [00:11:51] Speaker A: Oh, she ran it. She ran with all your shit. [00:11:52] Speaker C: Yeah, yeah. Oh, yeah. She was like, this is a care pack I'm taking all. [00:11:57] Speaker A: Yo, juvie sent me this pack. Like, no, he didn't. He didn't. [00:12:00] Speaker B: Did y'all have any input when Drake did it? [00:12:02] Speaker C: Yeah. Oh, yeah, yeah. [00:12:03] Speaker B: Okay. Okay. [00:12:04] Speaker C: Okay. Yeah. [00:12:05] Speaker A: So you got it. [00:12:06] Speaker C: So it's our music. So you still got to go through. You know, you got to go through me proper channels and Bromberg them and, you know, and all other lawyers and attorneys. The law officer. [00:12:15] Speaker B: There's a generation that didn't. [00:12:17] Speaker D: So we had. We had our hands on the Drake song long before we was listening to it. [00:12:22] Speaker A: What about the Capella Gray? [00:12:24] Speaker C: Same thing. [00:12:24] Speaker A: Same thing. [00:12:25] Speaker C: Yeah. [00:12:26] Speaker D: We was at the. What? What? It was the BMI wars with Capella Gray. [00:12:31] Speaker A: Okay. Yeah, yeah, bet. When you. When you hear. When you hear your records now, do you ever get a sense of nostalgia. Of, like, going back to the first time you performed it or the first time you recorded it or anything like that. Like, when you. Cause I know you done been out. I'm a dj. We play your records. Do you ever feel like when you recorded it or is it you just used to it now you like. You know what I'm saying? [00:12:51] Speaker C: Nine. [00:12:52] Speaker B: Nine to the 2000s. [00:12:53] Speaker D: Nah, sometimes I click back to the Nashville. The whole Nashville thing. Like, I always think about, like, wow, no Nashville. No back that ass up. No haunt the way that y'all hear it. It probably was recorded a total different way. So it always. You know, it always, like, in my head, like, damn, boy, what if we wouldn't have never went to Nashville? Right? [00:13:12] Speaker C: Yeah. [00:13:13] Speaker D: And picked the shit over. It was crazy. Think of that, like, damn. It was gonna be a whole other way. People would have heard back that ass up wrapped. Not working with some asshole. Not like that. [00:13:23] Speaker A: I wanna know, and you can answer it or not, but I wanna know how much money y'all was getting in New Orleans, however y'all was doing it, because I'm not gonna bullshit you. I'm not gonna bullshit you at all. I was very jealous and envious. I hated y'all because. Let me tell you why I hated y'all. And this is like. I'm talking about high school. I hated y'all because all of the homies, they was like, we cash moneyed out. This is what we own. They wearing jewelry. I'm like, and I can't afford none of this. You know what I'm saying? I'm on welfare. N. I got food stamps. I'm in lunch ticket line. I was fucked up. [00:13:59] Speaker D: That was me. [00:14:00] Speaker A: That was me, too, back in the days, okay? But the reason why I'm asking this is because I didn't. It introduced me to culture. Like you was telling my earlier Drew, your culture was completely different than ours. And you can give me your perspective after I finish explaining it. Right? So, G. Malone, we always had this conversation as far as how people weren't able to participate in New Orleans culture or even, like, Harlem with the dipset niggas came out with the fashion, like, y'all fashion and everything. But then everybody can emulate, quote, unquote, LA culture because it's cheap to do it. We got some khakis, some chucks. You can dress like that for under a hundred dollars. Yeah, it costs money to dress like y'all niggas. [00:14:35] Speaker C: Nah, we gave you a budget. The jewelry was the high shit, bro. [00:14:39] Speaker D: Our shoes, the reeboks the soldiers, we wore like, 25. Like, we get a box of those for, like, $300. I'm talking about 12 pair, okay? That's how we used to shop. We would buy 12 pair Stafford T shirts, $21 for a pack. You get three in the pack. You know what I'm saying? [00:14:54] Speaker A: White tea, white tee. [00:14:55] Speaker D: Jabot's $54 to $60 a pair. [00:14:58] Speaker C: So, yeah, the Stafford came from JCPenney. [00:15:01] Speaker D: And we wore the same thing every day. [00:15:03] Speaker C: Yeah. [00:15:04] Speaker D: So who you think? [00:15:04] Speaker A: Like the same shirt? [00:15:05] Speaker C: Not the same shirt, but it was the same uniform. [00:15:07] Speaker D: It looked like we had the same clothes. [00:15:09] Speaker A: It's uniform. [00:15:10] Speaker C: Yeah. [00:15:10] Speaker D: Blue Jabot jeans, all black. White Jabots. I mean, white Reeboks. White or black? And a T shirt, White or black? [00:15:20] Speaker A: So you ain't never wore a T shirt twice? [00:15:22] Speaker D: Now I have my camouflage rag. [00:15:23] Speaker C: I mean, it was three in a pack for 20 bucks. [00:15:26] Speaker A: Yeah, that ain't what I asked. [00:15:27] Speaker C: We was on tour. We threw that shit away because we couldn't, you know, we had to wear the wash. You can't repeat a white T shirt. Yeah, you can. You can't. Yeah. [00:15:35] Speaker A: What about a black tee? Can you wear a black tee? [00:15:37] Speaker C: The wrong person hug you and they just up your T shirt. [00:15:39] Speaker B: The color don't even be the same. [00:15:41] Speaker A: Yeah, I wear black tee twice. I ain't fucking with y'all. [00:15:44] Speaker C: Well, right now, shit, I wear a Walmart T shirt. I'm good. I'll find some cool shit and order all of them, you know, off of Amazon or whatever. Like a cool T shirt. [00:15:53] Speaker D: Yeah. [00:15:53] Speaker C: Cause I'm really based on. I'm a T shirt dude. [00:15:56] Speaker D: Well, we make our own T shirt. Everybody do their own thing, right? I'm one of them. All the above. I make my own T shirt. [00:16:01] Speaker B: Were y'all checking T shirt tags in the South? We were banged over here. We was, like, snatching people tags off their shirts. [00:16:08] Speaker D: What that was about. [00:16:09] Speaker B: Cause people will wear their shirts inside out. So you can see the back if it say Pro Club or Pro5 or something. [00:16:14] Speaker C: And like I said, our favorite T shirt came from JCPenney. It was a Stafford. That was the name of the brand. Everybody wore Stafford. [00:16:22] Speaker D: And people used to want to know where we buy them from. We used to tell them, like, just go to JC Penney. [00:16:28] Speaker A: Whose idea was it to do the fatigues and stuff. [00:16:30] Speaker D: That was something that was going on in the city already. [00:16:32] Speaker A: That was culture. [00:16:33] Speaker D: Rest in peace to soulja Slim. He started that whole camouflage era, period. Word. It's something he was doing. I was kind of part of it in the beginning. Cause I was actually the one that paid for his first demo to be done. So he kind of, like, had to put me on the song. [00:16:45] Speaker A: Cause I saw, like, somebody. I heard, like, again, barbershop talk. Like, people was like, well, that came from the no Limit Soldiers. And I was like, nah, bro. Like, I seen them niggas doing that before. [00:16:54] Speaker C: Yeah, that was part of our culture in New Orleans. [00:16:56] Speaker A: And just the New Orleans culture. [00:16:57] Speaker D: Listen, Magnolia Slim, who name changed the Soldier Slim and can't nobody. I would never let nobody, like, stain his name or say anything. Like, discredit him for anything. This guy was the guy that started that whole camouflage era in New Orleans. That's why I had. That's why I was doing it. That's why my project was doing it. My whole hood was doing it. Because he had a song called I'm a Soldier. That was the first song that came out. When it started, it triggered everybody to loving. Loving this guy called Magnolia Slim. When he went to no Limit. Then they started camera flow. [00:17:30] Speaker A: Oh, so that was literally. [00:17:32] Speaker C: Yeah, that was him. [00:17:33] Speaker A: That was literally him. Okay. And that started a whole wave of. Across the whole city. [00:17:36] Speaker C: Nah. [00:17:36] Speaker D: You know, the whole no Limit tank thing, I think that was peace. That was p. Thing that he was doing. I don't know, you know, the whole mesh of what time it was. But I remember when, you know, no limit wasn't wearing camouflage at all. They used to wear suits and stuff like that. [00:17:49] Speaker A: Yeah, I remember that. [00:17:50] Speaker D: Real fly, too. Real fly shoes, Fly. Versace and all that. [00:17:54] Speaker A: The Stacy Adams. [00:17:55] Speaker D: Because I'm Like I said before, before I got to cash money and start doing my thing with cash money, I was really, like, a fan of. [00:18:02] Speaker C: Yeah. [00:18:02] Speaker D: And I'm saying when I started doing my thing with cash money, the fans made it a competitive thing. You know what I'm saying? So I was like, let's go facts. Let's go. [00:18:11] Speaker A: What was you about to say? What happened? [00:18:14] Speaker B: No, Avery was telling me about my mic. [00:18:16] Speaker A: Oh, good. [00:18:16] Speaker D: Mic don't sound nice. [00:18:18] Speaker B: I'm good. This good. [00:18:21] Speaker C: I was like that boy in the back doing hopscotches like that. [00:18:26] Speaker D: Hey, hey, wake up. [00:18:28] Speaker B: 25 years ago, if somebody told you that back that ass up was gonna have a day, would you believe it? [00:18:34] Speaker D: He. He probably this dude here, like, he like a. Hey, see a genie or something. Like, he was predicting all this. [00:18:43] Speaker B: What goes down on. [00:18:44] Speaker D: I would meet. Hell no. [00:18:46] Speaker B: Yeah. [00:18:46] Speaker D: Yeah. Not me. [00:18:47] Speaker B: I was on Christmas, we wrap gifts, give out gifts on Thanksgiving. We eat turkey. What is happening in New Orleans? Back that Ass up day. [00:18:57] Speaker D: Oh, they're gonna. Other than the obvious, it's the first year, right? So we the first. We just got. We just got our day this past year, so I'm getting ready to celebrate it for the first time. So I could tell you right now, we're gonna do a little festival in the park. I shot Back that Ass up in. [00:19:11] Speaker C: Okay. [00:19:12] Speaker D: And we're gonna let the local little bounce artists and everybody come out and party. We're gonna just have fun. Have fun. [00:19:16] Speaker B: Okay, okay, okay. [00:19:18] Speaker C: That was a. [00:19:18] Speaker A: There was a. Never mind. I ain't gonna. [00:19:21] Speaker C: There was a. [00:19:22] Speaker A: There was a time period where, you know. Do you remember BET Uncut? [00:19:26] Speaker C: Yeah, yeah. We was just talking about that. [00:19:28] Speaker B: I was looking for the version. [00:19:30] Speaker A: Yeah, bro, that version. [00:19:32] Speaker B: I looked for the version of Back that Ass up for BT Uncut and Hot Grill, and I couldn't find them because. [00:19:37] Speaker D: Are you talking about the Rock? We didn't do that. [00:19:39] Speaker B: Y'all didn't have neither? [00:19:40] Speaker D: No. [00:19:40] Speaker B: Because I was wondering. I'm like, I wonder if Tip Drill. [00:19:43] Speaker C: Tip Drill was definitely. [00:19:44] Speaker B: Ran that from the Hot Girl video. [00:19:46] Speaker D: They started doing that after us. Like, BET Uncut, when he started doing that. That was after Cat. That. After Back that Ass up and all that. [00:19:52] Speaker C: Yeah, that definitely had that. You know, David Banner did that. You know, the beat. You know, he was just like, yeah, this right there with Back that Up and it was Trigger Man. That beat came. You know, that's New Orleans. Tip Drill was, you know, like a New Orleans classic song. That Banner just, like, you know, he sped it up and he just. And Nelly rapped off of it. [00:20:11] Speaker A: Have y'all ever took a. Have you ever took, like, an audit of how many cultural references that y'all have that y'all have started? [00:20:19] Speaker D: No, no. [00:20:20] Speaker A: From, like. From, like, I got a list. Like, you got duh. Like, people say that now taking over for the 99 2000. [00:20:27] Speaker D: Yeah. [00:20:27] Speaker A: That's bling Bling Project, bitch. Hot Girl, right? [00:20:32] Speaker C: Yeah. [00:20:32] Speaker A: Hot Girl is, like, still fly. Like, you know everything in my mama name. [00:20:35] Speaker C: Yeah. [00:20:36] Speaker A: And then I got real shit. And then number one stunner. [00:20:41] Speaker C: Yeah. [00:20:42] Speaker A: Get your roll on. And then. Oh, yeah. Cause that used to be a thing. Like. [00:20:46] Speaker C: Yeah. [00:20:46] Speaker D: Oh, yeah. [00:20:47] Speaker C: Yeah. [00:20:47] Speaker A: Oh, yeah. I only count. That's the ones that I wrote down. [00:20:50] Speaker C: I took it out. Cause the way we did it, like, you know what I'm saying? [00:20:53] Speaker D: I was thinking about that last night. [00:20:55] Speaker C: You play. Oh, yeah. I said, you miss one, but that's a good problem. That's a good problem to have, bro. [00:21:02] Speaker A: Can you imagine, like, having so many hits? You was like, oh, yeah, we didn't even do the. [00:21:06] Speaker D: We do Get Clowns. [00:21:07] Speaker A: I saw the show. I wanted to go to the show so bad, but I saw the shout out to the homie. He was filming y'all, and I seen how. You know how when you do a Sister on the floor, y'all had nine papers down there, like six papers. I'm like, God damn, how many songs these niggas do? [00:21:22] Speaker D: I don't even know. Then Fresh up there before me. Then when we get up there, he got a little segment where he just said, if this guy was here, you know how it would be if this guy was here and plays all this, like, the songs of other artists that he produced. You know, some of stuff with Wayne, Old Cash Money, all these people who came back. And, man, it's kind of crazy. Dude do his thing. [00:21:44] Speaker A: I'm a super. I'm a super fan. I'm a producer, too, but I'm a super fan because I'm a dj, right? [00:21:49] Speaker C: Yeah. [00:21:50] Speaker A: One of my records, like, he just brought up other artists. Is Top back? [00:21:53] Speaker C: Yeah, so actually, we did that last night as well, bro. [00:21:57] Speaker A: Top back when that shit came. Like, why he don't just get his whole shit? Because I'm a huge Toon fan, right? [00:22:01] Speaker C: Yeah. [00:22:02] Speaker A: So I fuck with Toon. I'm like, why he just don't let. [00:22:04] Speaker C: Fresh do his whole shit? [00:22:05] Speaker A: Like, when he was doing psc and then when he was like, why you just didn't produce? Was there ever a conversation of you producing? I know the story. [00:22:13] Speaker D: I want the horns on the damn song. He like, man, you guys gonna be. I said, bro, please take the horns off. [00:22:19] Speaker A: I couldn't rap. [00:22:20] Speaker D: It was something. For some strange reason, the horns was in my head. I couldn't get it out of my head. I couldn't think. And I was like, bro, can you just move it? He like, no, he didn't want. [00:22:30] Speaker A: You told him to move the horns. [00:22:32] Speaker D: I wanted the horns. I wanted him to mute them. [00:22:34] Speaker A: What the. You want to mute the horns? The best part of them. [00:22:38] Speaker D: So I rap. So after I rap. [00:22:39] Speaker A: Oh, did he put it back? Yeah. Oh, okay. [00:22:42] Speaker D: I mean, he got mad at me. [00:22:43] Speaker A: I would have got. [00:22:45] Speaker C: I was like, bro, this the single right here. [00:22:48] Speaker D: I ain't hit a tip part. Cause he always say that. He said. He said, juvie ain't like this. I'm like, wait, hold up. Wasn't no hook on him when I heard it. Don't don't. Don't. [00:22:57] Speaker C: Well. Well, you. Who was it at the time? Atlantic. Atlantic was like, tip, want to do something with juvie? And I was like, well, had he talked to juvie yet? [00:23:05] Speaker D: No. [00:23:05] Speaker C: And he was just like, no, he hasn't, but he really want a song with him. So I was just like, bro, do this hook. You know what I'm saying? And let it be juvie's song. Like, you know, oh, let Tip do the hook. Yeah, he had already did the hook. [00:23:18] Speaker D: They didn't send it to him, but. [00:23:18] Speaker C: I played it, and it was like, that shit loud. [00:23:22] Speaker A: He's still not over that shit. [00:23:24] Speaker C: Yeah, he was like, that shit loud. [00:23:26] Speaker D: I was tripping about it. Yeah, I done seen TV a bunch of times. [00:23:30] Speaker C: The sweet thing is, that's a perfect example of how chemistry worked at the time. When I sat there and told you. [00:23:35] Speaker D: How many songs went through my hand, you'd be like, wow. [00:23:38] Speaker A: And you passed because you want the horns. [00:23:40] Speaker D: Hey, I ain't want. I ain't want. I'm gonna give you one. I'm gonna give you a big one. Apple bottom jeans. Them boots with the furs. [00:23:46] Speaker B: What? [00:23:46] Speaker D: I ain't want Apple bottom jeans. [00:23:48] Speaker A: You passed on low. [00:23:48] Speaker D: I ain't want Apple bottom jeans on the. So I said, man, you got to take the apple bottom. [00:23:52] Speaker A: So you told T Pain to take this. [00:23:53] Speaker D: This how it happened. It wasn't my song. The song was originally Paul Walls. They put me on it as a feature, but I. I flipped out on it on a little bit on it. I went in on it. [00:24:02] Speaker A: So there's a verse with you on it. I mean, there's a. [00:24:04] Speaker D: It was Paul Wall song. I was featured on it. [00:24:06] Speaker A: So then you recorded a verse. [00:24:08] Speaker D: I recorded a verse on it. [00:24:09] Speaker A: Okay. [00:24:09] Speaker D: So I'm clowning on the song, and I'm like. Then they said, well, Paul Wall don't want the record. I'm like, paul don't want the record. Then they say, what do you want it? I'm like, the apple bottom jeans part, like, they don't wear that. That don't. You know, in a time that was popular, like, years before that. But when the song came out, remember, Apple Bottom Jeans wasn't even selling on the shelf or nothing. I'm like, man, that's a little outdated. That part right there. That's the only part I had a problem. But I love the song. That's why I did it. And Mike Karen went to telling me about flu riding. Like, man, they really want the song. I said, well, let him have that I'm not. I'm not tripping on that. Let the guy say, there's a new guy brace. The song will really make his career. And da da da. I said, well, let him have it. [00:24:56] Speaker A: So where's the juvenile verse, Man X. [00:25:01] Speaker D: Atlanta x Mike Karen. I've been asking that question. [00:25:04] Speaker B: Somebody got it. [00:25:04] Speaker A: Somebody got it. [00:25:05] Speaker D: Mike Karen got it. I asked Paul Walden his camp if they got. I don't have it. They ain't let me have it. But I'm telling y'all flipped it. I went in on it. [00:25:14] Speaker A: There's a juvenile verse on without fluoride. I gotta hear that shit. [00:25:18] Speaker D: Florida didn't have the record yet. [00:25:21] Speaker B: One of my favorite records that you produce is literally one of the most iconic intros in music history. [00:25:28] Speaker C: And you start off with going, the fuck off. [00:25:31] Speaker B: Niggas, bitches, Bitch ass niggas. [00:25:35] Speaker C: You would definitely bright asshole. [00:25:40] Speaker B: He's about to go down about the bird like a perm. [00:25:43] Speaker A: Did you write that or you freestyled that? [00:25:44] Speaker C: I freestyled that. Yeah, dude, every time it sound like a freestyle. [00:25:47] Speaker B: Have you seen a TikTok where they say, yeah. [00:25:49] Speaker C: Where the dude is just like, what the fuck was he? [00:25:53] Speaker B: There's one and it's like, it's the same guy. He's playing you rapping, saying the words. And then he got Jeezy in the background, like, what the. How did you even. Like, what was going on in the studio that day? [00:26:05] Speaker C: I mean, I just knew this, like, the more I was doing intros to songs, the more popular it was getting. So I was like, well, I gotta. And at the time, you know, I had left cash money, so I was like, this one gotta really be some crazy shit, like, you know what I'm saying? Where I could stand on my own. Where it's like, okay, this solidifies that. This man a fresh. So that's what I was thinking, you know what I'm saying? And I also was. That's pressure too, you know, when you leave somewhere, I'm like, this shit gotta be a hit. You know what I'm saying? I'm like, Cause this could be the world going, well, he ain't shit without cash money, you know what I'm saying? So the pressure was. I was like, yeah, this gotta be. [00:26:47] Speaker B: What about the beat? Cause it beat that. [00:26:49] Speaker C: Oh, did you make that story? Yeah, but there was a dude in the corner, one of his homies, that was like, I don't like that shit. That shit corny as fuck. I don't like. He shouldn't do that. And I remember telling Jeezy, I was like, bro, this gonna be the biggest part of this song. And of course, his dude was like, bro, but that's not gangster, dude. And I'm like, dude, I make records. I don't do gangsters. And I'm like, please tell your homie that don't do music to please shut the fuck up. You know what I'm saying? [00:27:17] Speaker B: I know what I'm doing. [00:27:18] Speaker C: Yeah, I know what I'm doing. You know? And he'll say it himself. He had thoughts about getting rid of that part, and I was just like, bro, do not get rid of this part. I'm like, this part right here gonna be. [00:27:30] Speaker B: It kinda make the song. [00:27:31] Speaker C: Yeah, yeah. [00:27:33] Speaker A: When you did. When he did the song, did you like. Were you there when he recorded that? [00:27:37] Speaker C: Yeah, yeah. [00:27:37] Speaker A: So you. So were you involved in, like, telling him to tell on himself on the record? Like, where he was like, high DMs at my auntie house. [00:27:44] Speaker C: Well, we kind of. We puzzled the hook together, like, you know what I'm saying? Cause that's where the. The little parts where, you know, I jump in at, you know what I'm saying? And this was. This was important to him too, because when Jeezy came out, he was like, mixtape, slamming it. Everybody knew him. But not no songs. Like, you know where they was like, okay, they like, we gotta have a single on this dude that's going, can he make records? Yeah, can he make records? They was like, we got it. You killing the mixtape right now. But can you make records? You know what I'm saying? So, yeah, yeah, that's that right there. [00:28:19] Speaker A: Go ahead, go ahead. [00:28:20] Speaker B: I was gonna say, what about the hook on Still Fly? Cause that gotta be one of the most. As an adult, that gotta be one of the most relatable hooks ever. I can't pay my rent on my money spent. [00:28:30] Speaker D: Do you know the other part? He took the whole Gilligan's island thing and just ran with it. [00:28:36] Speaker C: Now, even with that song, nobody liked it. Nobody in cash money. [00:28:40] Speaker D: Yeah, not me. [00:28:40] Speaker C: I was nobody. I was like, man, you look it up. Cause I knew it was a hit, like you said. I knew it was relatable. And I'm like, who the hell don't live like this? And I was trying to convince them. I'm like, the hook is bigger than the beat. You know what I'm saying? And when you telling somebody who just kind of. All right, they like, I listen to music, but I'm not that, like, scientific about it the way you think. And I was like, bro, the hook, it applies to everybody. And you know, and I got the. Well, what does that mean? And why are you saying everything in your mama name? I'm like, because that is the shit that happens every day. I'm like, this gonna resonate with so many people, you know, and it came from one of them times where I was really feeling that way. Like, you know what I'm saying? I was kind of at a point where I was in between, do I stay with cash money? Do I, you know, or do I, you know, go my own way? So a lot of the words was just independent. Like me feeling like, damn, like this is real life. Like I still got these struggles where I got a quarter tank of gas acting like I got it, you know what I'm saying? And everybody acting like, you know, I got all the money in the world. And you just like, nah, I'm on. [00:29:52] Speaker B: A social media right now. [00:29:53] Speaker C: Yeah, I'm on a budget. Ballin my ballin on a budget. [00:29:59] Speaker A: The biggest diss record ever is not like us before that was Hit Em up, in my humble opinion. Yeah, you had then you had used the same sample for Way of Life with tq, which I thought was like, I didn't know. I'm young. I didn't know who the fuck TQ was. [00:30:14] Speaker D: Right? [00:30:14] Speaker A: Yeah, but I'm like that. To me, I thought the reason why I'm bringing this up because we just talked to Warren G about the sample. Him and he and Missy and Monica had. They had the same sample. I thought that. I thought you took Tupac off of Hit him Up. Hit him up. And now I'm rapping over this shit. Cause I didn't know no better, you know what I'm saying? [00:30:33] Speaker C: I'm young. [00:30:34] Speaker A: But did you. Did you. What was your intention behind using that specific sample? Like, did you just get inspired by it or would that come. [00:30:40] Speaker C: Just DJing, bro. I was. So usually my sessions would start off with me playing music, you know, like I would play deep, like play music before just to get in a good mood before I create a beat. So we was in the studio and I was just going through some old school songs, jamming. And I played that song and immediately everybody in there was like, damn, that's the fucking jam shit. And I was just like, damn, everybody like this shit like that. And it was like, run it back again. And I was like, shit, we about to make a song out of this shit for sure. [00:31:12] Speaker B: What about Hot Girl? Was it like a party in the studio? [00:31:15] Speaker C: Hell yeah. Most of them Songs was a party in the studio. [00:31:18] Speaker D: I was sick. I got sick. That's why I'm not on the song. Yeah, I got sick as hell. I got thank. I caught the flu hanging around there or something. [00:31:26] Speaker A: He said, that's why I'm not on the song. [00:31:28] Speaker D: I'm not on the song. I left the studio. [00:31:30] Speaker A: Hey, Juvie got shit to get off his chest today, you know what I'm saying? [00:31:33] Speaker D: Oh, no, but look, I wasn't mad about that song because I got a chance with the project chick, so I really got mine. Hell yeah, I wasn't mad about the song. But I'm in a video. Look at the video. I'm in the video. [00:31:45] Speaker C: When you think about it, that project chick was. That was like Turks. That would have been his moment. Cause that's the hottest part of I need a hot girl. [00:31:55] Speaker B: But women weren't like, they didn't feel away about the term project chick. [00:32:01] Speaker C: Hell no. [00:32:02] Speaker D: Hell no. [00:32:05] Speaker A: Right now, even girls that's not from the project. [00:32:07] Speaker D: Yeah. [00:32:08] Speaker C: Wanted to be a project chick. You know what I'm saying? [00:32:10] Speaker B: Yeah. [00:32:11] Speaker C: And even right now, like I say, like evolve, like, you know, a rap right now would be. You used to be my little project chick, but now look at you, you know, you business savvy, you know, but because, because that, that, you know, we can't call nobody project chicks right now at our age. If you still project, if you a project chick. I'm like, got rid of most of the project girl. [00:32:29] Speaker B: Well, I'm definitely using hot girl. [00:32:32] Speaker C: Hot girl is a good term, but. [00:32:34] Speaker B: I'm a self proclaimed hot girl. [00:32:36] Speaker D: Yeah. [00:32:36] Speaker A: Was the Noya clap a real thing? [00:32:39] Speaker D: Like, was that like they did that in the project? [00:32:40] Speaker A: That was a project thing. [00:32:41] Speaker C: That was something. [00:32:42] Speaker A: Yeah. [00:32:42] Speaker D: Okay. [00:32:42] Speaker A: You saying project chamber made me remind me of that. [00:32:44] Speaker C: You got panther paws for tattoos and names scratched out on your tattoo. [00:32:50] Speaker A: They whacking out names on the tattoos. [00:32:51] Speaker C: Yeah, you a project chick. [00:32:53] Speaker A: They do that. [00:32:54] Speaker C: Hell yeah. [00:32:55] Speaker A: Shit, I thought they just do coverups. I know they whacked their name out. [00:32:58] Speaker B: Somebody got my name whacked out right here. [00:33:00] Speaker C: Damn. Chicks who be having them paws like the old school tattoos like, God damn, girl, you got some paws on here. [00:33:08] Speaker A: Y'all niggas is ratchet as fuck. Set it off, Set it off. Is one of my go to's as a dj, like just set the temp just to set the temperature and the shit. Is that one of them ones for you where it really is. [00:33:21] Speaker D: And let me give you some history behind that beat. That beat was originally for a Group called unlv. One of the artists in the group named Yellow Boy. I don't know if you ever heard of a story about Yellow Boy. He got. He got murdered. Like, I'm gonna say, what, about a year before my album dropped or something like that. So when I came to Cash Money, one of my main things with him was I wanted that beat. [00:33:47] Speaker A: Oh, straight up. [00:33:48] Speaker C: Yeah. [00:33:48] Speaker D: I was like, man, you know, and, you know, may he rest in peace. But I always felt like his song was good, but I was gonna be better on that beat. I could do bigger things on that beat. So I always wanted that beat, and that was my first opportunity to get it. Cause, you know, I had already put music out with Cash Money, but I still was bothering me. Like, look, one day came, and he said, look what I got for you. And he played. I said, oh, man. [00:34:10] Speaker C: And the crazy thing is the fucking beat was I did it on a four track, like an old school faux track. That's how old. And I was like, damn, how do I transfer this? Like, to make it, you know? And it still sounded decent. So I was just like, you know what? I'm just gonna give him the instrumental. And I just took their vocals off of it. Like, I said, he killed it, you know? And most people know the song is dragging from the river. [00:34:31] Speaker D: Yeah. [00:34:31] Speaker C: Like, you know what I'm saying? It is a mystical beat. [00:34:33] Speaker D: It was a mystical piss. [00:34:34] Speaker A: So you recorded over. You don't even. You didn't even have the real beat. That's just the vocals removed. [00:34:38] Speaker C: Yeah, that's just the vocals removed because we didn't have nothing to track it out at the time. When I did the beat, it was an old school beat, like, you know what I'm saying? [00:34:47] Speaker D: Real old school. It's real old beat. But it was the mystical diss. That's why the song was real popular, like, number one on the radio in New Orleans and stuff like that. Really? In a ph. The whole Southern region? Yeah, it was popular as hell. [00:34:59] Speaker C: Yeah. [00:34:59] Speaker D: And I said, bro, if I get that beat, I'm telling you, set it up. [00:35:03] Speaker A: I'mma set it off. [00:35:04] Speaker B: Have you and Jay Z performed home stage together yet? [00:35:07] Speaker D: Never. Never. I've been in shows with him and everything, but we never performed that together. [00:35:11] Speaker B: Why not? [00:35:12] Speaker D: I don't know. I don't know. That's a good question. [00:35:15] Speaker B: What did that do for y'all? Like, when he. When he hopped on it? [00:35:18] Speaker D: Well, it did the same thing for both of us. You know, I got an opportunity to, you know, to get some of those New York fans who wasn't listening to me, they started. I got their ear. And the same thing for him in the South. Cause, you know, we was running things in the south and he was putting music out, but people down there, you know, it's roughing us out. Like I told you, we so culture driven. We listen to just only our music. [00:35:38] Speaker C: We listen to the same shit right now. We don't have nothing new. [00:35:42] Speaker D: Trigger Man Bone. [00:35:44] Speaker C: New Orleans is like that. They like, man, don't play no new shit, man. You know what we like. [00:35:50] Speaker B: Early on, did you guys. Did the artists and Cash Money work with other producers or were you kind of, like, territorial? [00:35:55] Speaker C: No, it wasn't. I was never territorial. We just had a good fit. We didn't have a reason to get another producer. [00:36:02] Speaker D: I had a producer before I got with Cash Money, and that was precise, but that was it. I wasn't bouncing around KLC too, because I was a member of a group that he had called Three Nine Posse. But back then, he didn't have enough time to give me no beats anyway. Most of the beats was going to Mr. Cool and Dart. [00:36:21] Speaker B: There's a. There's an artist named 310. Baby. He from out here and he pay homage to you with his debut album. It's called 310 degrees. [00:36:30] Speaker D: Oh, wow. [00:36:31] Speaker B: And then the COVID art, he's like standing in the fire. [00:36:33] Speaker C: Oh, yeah. [00:36:36] Speaker D: Shout out to 310, baby. That's love, man. I appreciate that. [00:36:39] Speaker A: He got congrats. The song Soak City, that's going. That went crazy over the summer, but. And it definitely channels y'all energy. Yeah, sure. I wanna ask you about me. Personally, I don't remember what happened, but I remember a mixtape came out. Cause, you know, we doing physicals back in the day. Like, it was physical Mixtapes and Shine. The remix was on there right from my head down to my shoes. Like, that shit was like. But there's like five, six versions of this fucking song. [00:37:08] Speaker D: Well, that was in a time when I was leaving Cash Money, so that. Okay, so I wasn't around to make the video shoot or none of that. So they had. [00:37:17] Speaker A: So. But you. But you. But your verse is on it. Well, I have a. I have. There's. Okay, like I said, the original. [00:37:22] Speaker D: I'm on the original. The first one. I'm on the first one. [00:37:25] Speaker C: Yeah. [00:37:25] Speaker D: But when they get to the video, I'm not on the video. [00:37:29] Speaker A: Okay. Oh, so that's why there's a video version where Wayne come in first. [00:37:33] Speaker D: What his name? What his name? It Was the new artist. I was going by Mickey album, and. [00:37:37] Speaker A: Mac 10 was on there. [00:37:38] Speaker D: I was. I was gone by that. [00:37:39] Speaker A: Okay, bet. [00:37:40] Speaker D: Yeah. [00:37:41] Speaker A: So that's okay. I was wondering, why is there six versions of the fucking song? Like, I got three myself. [00:37:45] Speaker C: Yeah. [00:37:48] Speaker A: I look at you kind of like the Cube too. Like, where you was the first one to be like, all right, I'm gonna go do my own thing, or. You know what I'm saying? Like that. How did that. How did that affect y'all relationship? [00:37:57] Speaker C: We was always cool. [00:37:58] Speaker D: We was cool, man. [00:37:59] Speaker C: You know what I'm saying? The weird thing was, you know, a lot of this was just young, dumb business, you know what I'm saying? And when juvie left, of course it was like, I was mad at juvie for like, you know, like, damn, bro, you ain't gimme an explanation. You just, you know, blah, blah, blah. But when I start paying attention to the things that he was saying, his concerns was my concerns, right? Where I'm just like, well, you know what he was right for, you know what I'm saying? And I'm like, well, shit, now I feel crazy, like, because I'm like. But we always remained cool. But at the same token, one of the blessings in doing that, it established juvenile, you know what I'm saying? [00:38:40] Speaker A: As an artist. [00:38:40] Speaker C: As an artist. It established Manny Fresh as an artist. Cash money gonna always be in our DNA, no matter what. Like, you know what I'm saying? It's the house that we built. Yeah, but it was the cool thing that. The blessing out of that. It kind of forced you to be like, you know what? Get Juvenile business straight. Get Manny Fresh business straight. You know what I'm saying? So it was a good thing and a bad thing, like, you know what I'm saying? [00:39:04] Speaker A: What woke you up to, like, makes you want to make that shift? Like, what made. [00:39:07] Speaker D: I was just, you know, paying attention, man. You know? You know, one of the things that I felt like I had an advantage over, no disrespect to the other artists. My parents was always around me, you know, so I'm always. They always telling me things, giving me little nuggets in my ear. And like, you see it? Pay attention to this. Did you see that? See how he did that? Did you see that? And I started paying attention, you know what I'm saying? And, you know, my thing was always this, you know, I came from being like the foreman on my job, and I always thought, like, can't nobody pay me better than I'm gonna pay myself. You Know what I'm saying? And ain't nobody gonna take care of you better than you can take care of yourself. So, you know, it was key words for somebody to say. Things like, I'm gonna make sure you. I don't want to never hear that. Yeah, I'm gonna make sure I'm straight. [00:39:46] Speaker A: How long? [00:39:47] Speaker D: You know what I'm saying? So. [00:39:48] Speaker A: Oh, sorry. Go ahead. [00:39:49] Speaker D: It was key things like, there was little words that was being said that I was picking up on that didn't rub me right. You're like, I'm gonna make sure you straight. Nah, I'm gonna make sure I'm straight hype. Why would I need you to make sure I'm straight if I'm straight already? I gotta go get my lawyer. I gotta get on this. You know what I'm saying? It was little things like that that I was seeing. And, you know, things went from being we to I. You know, when you go to hearing little words like that, I did. [00:40:16] Speaker C: I. I like. [00:40:20] Speaker D: But at the same time, bygones is bygones. I'm not one to hold grudges on anybody. So all those things happen. For me to have these learning experiences to be right here right now and tell my story. And at the same time, I'm tight with everybody facts right now. Like, I can sit in a room and we can all have a conversation, and I'll probably be the one that get along with everybody in the damn room, because I don't hold grudges. And I'm not one that keep on, you know, keeping something bad in my heart or holding something. You know what I mean? Cause all it does is tear me down also. [00:40:50] Speaker A: I feel that. And then for you, fresh, like Carter, the first Carter, I wore that shit out. [00:40:57] Speaker C: Yeah. [00:40:57] Speaker A: You know what I'm saying? And then barbershop arguments again. As far as from back in the days, like, Carter 2 came out, and it was no Manny. It was like. It was kind of like when. To me, it was akin to when Game came out with documentary and he had Dre. And then the Doctor's advocate came out. There was no Dre a part of that. And everybody was like, man, it ain't the same. Right? [00:41:17] Speaker C: Yeah. [00:41:18] Speaker A: And so how long was it after the Carter one where you left? Because there was, like, a gap, a time gap there. [00:41:24] Speaker C: I remember it was like, right when Carter 1 was coming out. [00:41:29] Speaker A: Oh. [00:41:29] Speaker C: You know what I'm saying? Because they was, like, asking me about videos, and I'm just like, I'm not gonna make that. And it was Just like. Well, what you mean? I'm like, I'm not gonna make that, bro. [00:41:38] Speaker A: Yeah. [00:41:38] Speaker C: Like, you know what I'm saying? And I. And I still remained cool with Wayne. Cause I told him what was going on with me. I'm like, listen, bro, I can't do this no more. Like, you know what I'm saying? And like, I said, it was times where I was like, if I don't figure this out myself, I'm gonna be left behind. You know what I'm saying? If I don't figure this out myself right now, I'm gonna be left behind. You know? And it's just like he said, the adult in us right now is we cool with everybody, you know? And I think a lot of it was. You can't never say the money came too fast. Cause we built this from a long time. [00:42:13] Speaker D: We already had money before the record came, you know? [00:42:17] Speaker C: But you take, like, for instance, and this is one of the things that, you know, baby has said, you know, he know now that he was treating it like it was street business instead of real business instead of business. Yeah. You know what I'm saying? And that's all it take a lot of times is just an apology, you know, to say, like, man, you know what? I fucked that up. [00:42:36] Speaker A: Yeah, my bad. [00:42:36] Speaker C: And I'm like, yeah, I'm good, bro. Cause I'm like, we grown men. Yeah. [00:42:40] Speaker D: He done apologized a bunch of times. Yeah. [00:42:42] Speaker C: You know what I'm saying? I'm like, we grown men, dude. Like, you know what I'm saying? And you gotta look at it. I don't know what was in the plans, but 25 years later, Manny and Juvie out there, going hard, dude. Crazy. [00:42:55] Speaker A: Super crazy. I know we got, like, seven more minutes, but I. I want to also talk about you as a dj. It's you. I got you JD ujd. And then also Puff is in there, who I always appreciated from a production standpoint, because y'all produce with Tempo. [00:43:12] Speaker C: Yeah, hold up. [00:43:13] Speaker A: You got Puffing now, like, as he produced Temple. Like, stuff, like, basically. [00:43:20] Speaker D: Okay. I'm about to say he ain't. [00:43:23] Speaker A: No, I know. I'm oversaw. [00:43:25] Speaker D: I'm about to, like. [00:43:26] Speaker A: Hold on. You ain't got to do that with me. I know him are my 2. It's him and JD and ain't nobody else. [00:43:31] Speaker D: It ain't even close. [00:43:33] Speaker A: Yeah, it ain't even close. We can do that in the check. [00:43:37] Speaker D: Is the same as. [00:43:38] Speaker A: I went viral and got murdered online by my own city. Because that's what I Said it's just what it is. [00:43:45] Speaker C: Yeah. [00:43:45] Speaker A: But the reason I put him in there is because in the Hitman and like, what they was doing is because y'all produced with tempo. [00:43:52] Speaker C: Yeah. [00:43:52] Speaker A: And a lot of the producers at the. Even to this day, they all producing 60, 70 BPM records. [00:43:58] Speaker C: Yeah. [00:43:59] Speaker A: And you always was like, no, you between 85 and 105 the whole time. [00:44:04] Speaker D: Now you want me make you laugh? [00:44:06] Speaker A: What? [00:44:07] Speaker D: When he made me, what was the first thing I told you, man? Speed it up, bro. Make it way faster than that. [00:44:12] Speaker A: Oh, you producing slow ass music. [00:44:13] Speaker C: No, no, I needed to be one. [00:44:16] Speaker D: Like, you just say 105. [00:44:17] Speaker C: Yeah. [00:44:18] Speaker D: I wanted to be 120. [00:44:19] Speaker A: 120 is crazy. [00:44:21] Speaker D: Yeah, that's me, though. [00:44:22] Speaker A: That's low. The Flow rider record. That's 120. [00:44:24] Speaker D: All them songs are very fast. And that's the songs I shine on. [00:44:27] Speaker B: How you get comfortable with Rodeo? [00:44:29] Speaker D: Rodeo was a Cool and Dre thing. [00:44:32] Speaker A: It was like, man, I was like, slow motion. [00:44:34] Speaker D: None of that. I was Magnolia Slim song. I rapped the song wind up being. [00:44:39] Speaker A: But I'm saying, she said, how you get comfortable rapping on that? [00:44:41] Speaker D: Because the songs originally wasn't mine. [00:44:43] Speaker A: Oh, so your shit got in mind. Got you. [00:44:46] Speaker D: But if it's mine, I'm gonna come in there saying, bro, look, I need to be fast. You know what I'm. [00:44:50] Speaker A: But it wasn't just Yoshi. Oh, you told him to speed up his own shit even if you wasn't rapping on it. [00:44:56] Speaker D: I just like my. No, no, no. I just like my stuff. [00:44:58] Speaker A: Okay? [00:44:58] Speaker D: Ultra man, if you listen to. How fast was Soulja? [00:45:02] Speaker C: Oh, Soulja Ray was at least like a hundred. [00:45:05] Speaker D: Dude, I'm saying. [00:45:06] Speaker C: You know what I'm saying? [00:45:07] Speaker D: You hear the speed of it, and you hear the way I'm rapping on it. You say, okay, I see what he doing. I'm slow flowing on a fast beat. [00:45:13] Speaker A: Yeah, so. But I'm out of. Ride the shit you like, friend. I can. I'm. I know because I play your shit. Right? So back to that, like 97 hot girls. 96 you can go, huh? It's like. It's all right. [00:45:25] Speaker C: Well, bro, as a DJ now, we actually do speed those songs up. You know what I'm saying? You don't never really play. Back that ass up as a dj and you like, I'm gonna push it up. Just. [00:45:35] Speaker A: I do it at 100. [00:45:36] Speaker C: Yeah, that's what I'm saying. To get you. [00:45:37] Speaker A: I play real big. Real big is like 98. I run it. I run everything at 100. [00:45:41] Speaker C: Yeah, that's what I'm saying. Like, you go. You gonna. [00:45:44] Speaker A: But that's just how. Go ahead, go ahead. Sorry. [00:45:46] Speaker B: Do you have a producer? Mount Rushmore? [00:45:48] Speaker C: No, I don't. I really don't like. You know what I'm saying? I don't. I don't. I don't. Really. The crazy thing is I'm selfish when it comes to that. I don't like nobody but me. You know what I'm saying? [00:45:59] Speaker A: Yeah, pop that shit. Tell these niggas. [00:46:04] Speaker C: I got Manny. [00:46:05] Speaker D: I got Manny Dream. Wait, who? We just said. [00:46:13] Speaker B: We just said the other Jermaine Dupree. [00:46:15] Speaker D: All right. Yeah, you got, man. What? Low. Because we saying Hip hop or R B? [00:46:21] Speaker A: Either. [00:46:22] Speaker B: Either. Just your mount. [00:46:24] Speaker D: Because you can't be. [00:46:25] Speaker C: Oh, yeah, you're right. [00:46:26] Speaker A: Just do hip hop. [00:46:27] Speaker D: Hip hop. So I got Swiss B. I got Manny Fresh, Drake, Swiss Beast. [00:46:35] Speaker A: All of them produced with Tempo. [00:46:37] Speaker D: Yeah, I'm about to get to my next one. Gonna mess you up. And I don't know if he around if it. What? [00:46:42] Speaker C: Swivel House producer, T. T Mix. [00:46:45] Speaker D: T Mix. Yeah, he's up there, brother. That people be overlooking him, but he's. [00:46:50] Speaker C: One of them because we were so strong on eight Ball and them. We love that shit. [00:46:56] Speaker D: My other guy is Mike Dean, bro. I'm sorry, Mike Dean. I'm being a little biased because that's my partner, but it's Mike Dean. [00:47:02] Speaker B: That's all right. [00:47:03] Speaker D: And there's a lot of other producers out there that, you know, I be. It's like, damn, I left Timbaland out. I left. Yes. Yeah. Timbaland is in there. I can't even. Timbaland is definitely in there. Damn. [00:47:16] Speaker B: I know you had already kicked off the verses, but do you guys have, like, an ideal artist producer verses that y'all would do against somebody else? [00:47:26] Speaker C: Well, verses was something that was jacked from me. [00:47:29] Speaker D: I was doing it before them Joe signed a contract. [00:47:32] Speaker C: I was doing V Summit, you know what I'm saying? As a producer, it was a producer battle, so. And we was doing it where it was. It was. It was not even. It was a show, too, you know what I'm saying? If I was doing Just Blaze, Just Blaze had skits. I had skits. He had shit where. You know what I'm saying? He did breathe. And he gave all us, like, asthma pumps, and we was like, what the fuck he about to do? And then he hit that breathe. And the crowd went fucking crazy. And he was. [00:47:58] Speaker B: That was like running to the tub. [00:48:00] Speaker C: Killed y'all with the little pumps he get. He went around passed out. Everybody pumps. And then, you know, he hit that fucking song, and we was just like, oh, we turning this shit into something, you know, phenomenal. And when I did that, the. The temperature of the world kind of changed. And if that. I'm. I'm not that person, I swear. Like. Like how you said the Jeezy intro. I always wanted to be free spirited about everything. So it was. It was people that was like, man, you going too hard on dude with your skits and your da, da, da, da. And I'm like, bro, this competition. This is competition. This is not fun time right now. [00:48:34] Speaker A: We on the court. [00:48:35] Speaker B: I'm trying to whip your ass. [00:48:36] Speaker C: Yeah, I seen right then and there, the world changed, like, you know what I'm saying? I'm like, all right, everybody got soft and people actually canceling people for having an opinion, you know what I'm saying? So it made me say, I gotta back down right now. [00:48:49] Speaker D: You in that court of public opinion. That's when it gets. [00:48:54] Speaker B: But I feel like we remember y'all doing that versus first. Yeah, we remember that. That's how. That's how it started. [00:49:00] Speaker D: I remember them. [00:49:01] Speaker C: Y'all was entertaining them in klc, doing. [00:49:04] Speaker D: Verses on the road, like multiple cities doing versus. [00:49:07] Speaker C: Yeah. [00:49:07] Speaker D: One city. They would let each other win. Me, I'm gonna take the L on this city. I'm gonna take the L on this shit. [00:49:14] Speaker C: Me too. Klc. Me, klc and just blaze a couple, you know. So we was doing this before they was doing it. [00:49:21] Speaker B: We'll go way, far, far beyond. [00:49:23] Speaker C: Yeah. And it was. It was. It was so basically Swiss. Them just took the idea and called it something different, you know what I'm saying? And took the entertainment out of it because the world was getting soft. But when we was doing it, we was really going at each other. Yeah, we was going at each other like, on some old, like, bro, I came here, you know, we still all good friends, but we understood as adults that this is competition right now. I didn't hear Swizz Beatz shit before, you know, I didn't know what he was gonna do or whatever or what he was gonna go at me with or how I was gonna go at with. But everybody knew, like, when it came to skits, I'm a fuck you up. Like, I got some shit that. You know what I'm saying? [00:50:05] Speaker A: Hey, from a production standpoint, how do you feel about producer tags? Because you never really tagged your beats. [00:50:11] Speaker D: That's Kind of a new thing, right? [00:50:13] Speaker C: Yeah. I always knew to make myself big by doing an intro, and then it was always axed. Every time I done the song, somebody's like, please, bro, put the intro on it. You know what I'm saying? That became a big part of it. Like, they like, dude, I need you to intro this motherfucker in order for. [00:50:28] Speaker A: It to be real. [00:50:29] Speaker C: Yeah. [00:50:29] Speaker B: It turned the song up more, though. [00:50:31] Speaker C: Yeah. [00:50:32] Speaker B: Like, there's something about it even, like, seeing you in the videos, it just makes the song, like, that much more of a banger. [00:50:36] Speaker C: Yeah. And the cool thing was juvie saw that, you know what I'm saying? He saw the science in it. You know, juvie would come get me on shit and be like, bro, you got to get on this song. I don't know what it is that you do, but you getting on this song lyrically. [00:50:54] Speaker B: When did you guys know that Lil Wayne was one of them? Like, what's known what verse was it? [00:51:00] Speaker D: It wasn't a verse. You know, you got. It was songs that he was doing that was. He wasn't allowed to actually rap or put out because it was cursing on him. So we heard a lot of songs before that. So I wouldn't particularly say it was a verse or a song. We done that. We knew. We already knew. We knew long before because he rapped, too. We was rapping off with no music playing. And he say all kind of shit. Yeah, we sitting there like, God damn. [00:51:25] Speaker A: But he say all kind of shit. [00:51:27] Speaker D: He's sitting there young as hell, and he really look way younger than what he actually is. Society ain't gonna accept it at the time. Society and I gonna accept this kid looking like a kid, cursing. So we kind of watered him down in the beginning, you know, we like, yeah, I hear that. That's fire. But you can't say that, bro. [00:51:44] Speaker C: Yeah, damn, you can't say that. [00:51:46] Speaker D: So. [00:51:47] Speaker C: Well, to me, it was early on, but. But Go dj. And let me tell you why. Because the plan to do for go DJ was we was gonna send all of these radio DJs, camcorders, and let them film they self. And I was like, this, what we gonna use for the video? Oh, now, we hadn't done the song yet. I just told him the concept of what. How the song, you know, what it was. So I said, bro, to make this a big song, we gonna send out all the radio DJs, the popular ones, camcorders, and let them, you know, film something while they on the air, and we gonna edit all of that together for the video. All right, so now we do the song, and, you know, and he lays the first part of the hook down. Go, dj. That's my dj. And so when he laid the first verse down, I'm like, this shit ain't got nothing to do with fucking DJs. [00:52:38] Speaker A: Yeah, that shit don't got nothing. [00:52:42] Speaker C: So dope. You know what I said? We was like, you know what? [00:52:45] Speaker A: That don't got nothing to do with us. [00:52:47] Speaker C: That nigga started talking about himself. [00:52:49] Speaker A: Hottest nigga under the sun. [00:52:51] Speaker C: I'm like. And I'm like, and he killed this bitch. And I'm like. And the fact that nobody said nothing about the. Don't have to do with dj. [00:53:00] Speaker A: I didn't know until you just said it. Right now. I ain't going front. You gotta play that record for forever. [00:53:05] Speaker D: I ain't say nothing about dj. [00:53:07] Speaker C: Yeah, that ain't got nothing to do with dj. [00:53:10] Speaker A: Even the video. [00:53:11] Speaker C: Y'all prison. [00:53:12] Speaker A: And, yeah, I had question that. I'm like, what the because got to do with the dj? [00:53:16] Speaker C: We had to revamp the whole that. I said. I was like, bro, I told you. We were sending cameras out to DJs. [00:53:22] Speaker B: Like, why did y'all never just change the hook? [00:53:25] Speaker C: I mean, because that. That was a big thing for New Orleans. [00:53:28] Speaker B: That was. [00:53:28] Speaker C: That was an older song. It was an older hook. [00:53:31] Speaker B: Yeah, like, hey, Mr. DJ. [00:53:33] Speaker C: No, it was a group that I did some years ago, and the dude at the end of the song said, go, dj. That's my dj. And everybody in the club used to say that shit. So he wanted to use that because he was like, bro, my dad used to play that song. He was like, can I use it as a hook? So I was like, yeah, but I'm thinking that he was going to at least rap something. Because I'm like, we can use it. But I'm like, to make the song big, we gonna send out cameras. Cause I'm like, I got the video in my head. How we gonna do it? And when he did the. I was like, this motherfucker just rap. This ain't got nothing to do with. You know what I'm saying? Everybody was like, but that cold? [00:54:08] Speaker B: Yeah, it's hard. Wayne, my favorite rapper, never even realized that the hook and that should have. [00:54:14] Speaker A: Got even the prison. I was like, yeah, because I. Even when I'm looking, I'm like, I don't know. Like, this ain't got to do with. [00:54:21] Speaker C: Yeah, it ain't even. [00:54:21] Speaker A: You ain't even DJing. [00:54:22] Speaker C: You ain't even like on some speaker saying some shit or something, and I'm just like. But that was. You know, that was. Baby, you know what I'm saying? A video. But the song really ain't got shit to do with DJs, you know what I'm saying? [00:54:35] Speaker A: Yo, that's hilarious. I never thought about that. Okay, we got a wrap up. But I just want to. I want to get y'all opinion as far as, like, where y'all legacy is, right? What do you want your. What do you want your legacy to be defined as? Cause there's so many eras and iterations of this shit. Like, I want a doc, but yeah, I mean, everybody want the reunion. Everybody want the super bowl shit. I want a documentary. [00:54:58] Speaker D: Yeah, yeah, I got you with me. I feel like I'm writing that script. So I feel like I want people to look at me as a person that started doing this, you know, doing the music thing and started doing something else and was real good at doing both. I feel that, you know. Cause I'm in my. I said 50, I'm on my second half, right? So, you know, everything I'm doing right now is about generational wealth, starting all these businesses, you know, selling these products, and that's. That's what I want people to remember me as. [00:55:27] Speaker C: Yeah, I mean, if you think about it, this. This, our songs, how we touring and all that has been around for 25 years. And what I would like to see, something that has never really happened in hip hop when. If. When we leave this planet. I would want my songs to still be around 24, 25 more years or whatever, you know what I'm saying? But I would love it if juvie's son and my son can sing these songs, you know what I'm saying? Where you left this. Where this is a pot of gold, you know what I'm saying? Where your kids can, like, you know what I'm carrying on for my dad or whatever. Because this song ain't never left the planet. It never went nowhere. And it's. And back that ass up 400 degrees feel like that, you know, it feels like it's gonna be something iconic, like, you know what I'm saying? And we ain't planning on going nowhere, so we gonna keep on pushing it in your face. But rap music don't translate that way. Where it go over to the next generation, you know what I'm saying? Yeah, yeah, you know what I'm saying? And we for some reason go, well, they made too much. I want them to get out the way. You know what I'm saying? Instead of congratulating, like, think about the. [00:56:35] Speaker D: Biggest songs you heard last year. Do you hear them this year? [00:56:39] Speaker B: None of them. [00:56:39] Speaker C: New music, nothing new. [00:56:41] Speaker D: It's kind of crazy how quick the music dies. [00:56:44] Speaker B: We actually don't even have any moguls. I like to look at it future. [00:56:47] Speaker C: Muggles, like the wedding reception theory. You know what? I'm like, dude, if they can't play this at a wedding reception in four years or whatever, you're done. [00:56:55] Speaker D: You're done. [00:56:56] Speaker C: You're done. [00:56:57] Speaker A: Is there any. Is there. Do you have. Are you. Are you down to work? Work with like younger up and coming artists? [00:57:01] Speaker C: Yeah, like, all of us are. I do, but. But the thing is, with me, I want you to be a serious artist. It's so many younger artists that will say in an interview, this is not what I really do. [00:57:12] Speaker A: Yeah. [00:57:12] Speaker C: I don't really rap, you know, And I'm like, well, dude, get out of the way and let somebody who really do this. But it is what you really do. You just think that sound cool. [00:57:19] Speaker A: Yeah. [00:57:20] Speaker C: You know what I'm saying? I'm like, nah, we take this serious. [00:57:22] Speaker B: Some of them look at it as a hustle. [00:57:24] Speaker C: Yeah. You know what I'm saying? And. And some. And you gotta think about it. Rap is the only genre that will let anybody do it. And it should be some rules about it. Let's talk about it. Anybody who got a little program and you know what I'm saying? [00:57:38] Speaker B: Viral TikTok. [00:57:40] Speaker D: You saw what country music did to Beyonce, right? [00:57:42] Speaker A: Yes. So I always say that the streets, like street culture, gang culture, and hip hop, there's only two things that anybody could just get in and do. [00:57:50] Speaker C: Yeah. [00:57:51] Speaker D: We make it too accessible. [00:57:52] Speaker C: We make it too accessible. You know what I'm saying? You gotta think. You couldn't sound like juvenile now, Errol. We'd have. Get the shit outta here now. It's all right to sound like somebody. [00:58:00] Speaker D: So we need a. Like a. We need like a pleasure. [00:58:03] Speaker A: Also. This is my last question. What made. What made both, I guess both of y'all. What made y'all never chase a sound? Like everybody went trap or everybody went, you know, drill or every. [00:58:13] Speaker D: I let the fans do that. I make the music. I let the fans say what it is and predict. Or this. Trap music or this. Cause I feel like when you putting a label on something, you're taking away from yourself and you're making yourself look like you just one track minded, you know what I'm saying? Oh, I can. This is All I do right here, I can't do this. Don't. Stop labeling it, putting labels on it. Just make good music. [00:58:35] Speaker C: Yeah. [00:58:35] Speaker D: Let the fans determine what it is. I always do it. [00:58:38] Speaker C: I've tried before, you know what I'm saying? And something won't let me do it. You know? Why you. Why? I'm like, damn, like, you know that shit. Easy. I could do that. You know what I'm saying? And I'm just like, nah, this not me. Yeah, this is not me. [00:58:48] Speaker A: Have you done a record with somebody where you was like, yeah, I'm not gonna put this out because, yeah, I. [00:58:53] Speaker C: Got a lot of songs where I'm just like, you know, I'm just not going, you know, some of them, I feel like the world deserve them. Like, you know, I got a couple of songs on Rich Homie Quan that are really good songs. Like, you know what I'm saying? And I was just like, well, they gonna die on my laptop, so I might as well just put them out there, you know what I'm saying? So I got a lot of songs with cats that. Some of them I was just like, nah, bro, I can't do this. I like it, but it's not me. [00:59:18] Speaker A: It's not you. [00:59:19] Speaker C: Yeah. You know what I'm saying? [00:59:20] Speaker A: So you was just doing it to try it, or you thought. You thought you could get it? [00:59:23] Speaker C: Because like I said, the older you get, sometimes you want to evolve, you know? And I'm like, I'm going, oh, okay. I want to blah, blah, blah. And not realizing, you know, like, this is you. This your sound. This your sound. You trying to do some shit that you already do, and you trying to reinvent it, and it's like, don't reinvent it. Just stay where you at and alone. Other thing is, fuck, I got corny kids. I moved them out the hood, you know what I'm saying? So now if I'm in my son's truck with him and he's playing a song and, you know, and he's jamming to some shit, and it's something that sampled me, and I'm going, bro, you know that's my song, right? And he's like, oh, come on, dad. And I'm like, bro, that's my song. He was like, he's like, how the fuck could that be your song? This guy's capella gray. And I'm like, dude, you know what I'm saying? And he's like, oh, that is your song. [01:00:15] Speaker A: Yo, bro, that's hella funny. We got it we got. You got to go. Oh, my last. I seriously. My last question. There's a rumor that when y'all did MTV cribs, that wasn't y'all. Shit. [01:00:26] Speaker C: No, that was our house. [01:00:27] Speaker D: That was his MT crib. I'm not gonna clown this man. Crazy. You remember his mtv. [01:00:34] Speaker A: I remember vividly. I remember y'all. I remember p. Shit, he had the big ass gold wall with the fish tank. [01:00:40] Speaker C: Yeah. That was all. [01:00:41] Speaker A: I remember all y'all. [01:00:42] Speaker D: Yeah, but that wasn't my. I didn't live. I was the only one, actually. When we showed the cash money house, I was the only one actually living there. Okay, but everybody else was just passing through. [01:00:51] Speaker A: Yeah. So that was your. [01:00:52] Speaker D: And, no, it wasn't my. But I was the only one living there. [01:00:55] Speaker A: Okay, so. [01:00:56] Speaker C: Okay. [01:00:56] Speaker A: All right, all right. [01:00:57] Speaker C: So basically, it was the. It was a company house. [01:00:59] Speaker A: It was a company. [01:00:59] Speaker C: Yeah, it was just a playhouse. Part of your ass off. The company house. [01:01:03] Speaker A: Okay. [01:01:03] Speaker D: I was partying. [01:01:04] Speaker A: Go ahead, Go ahead. [01:01:05] Speaker B: We saw the All Eyes On Me biopic, Notorious. Has anybody reached out to you guys for a biopic? [01:01:13] Speaker D: I'm still. [01:01:14] Speaker C: Not really. But if you stop. [01:01:16] Speaker D: See what you just said? See what you just did? [01:01:18] Speaker B: What? [01:01:18] Speaker D: And I don't want to even throw my name in that. [01:01:20] Speaker B: Oh, no, I didn't mean it like that. I didn't mean it like that. Yeah, no, I didn't mean it like that. [01:01:24] Speaker D: Wait, hold on. I'm still living. [01:01:25] Speaker B: No, I'm sorry. I'm sorry. [01:01:26] Speaker C: NWA well, the thing, too, if somebody do that, I want that to be right. [01:01:33] Speaker A: I'm scared of that. [01:01:34] Speaker C: A lot of them are scared of because they've done so bad. Like, you know what I'm saying? I'm just like, nah, you ain't gonna fuck me up. [01:01:40] Speaker D: Like, you know the NWA one was. I like that one. [01:01:44] Speaker B: You like that one? [01:01:45] Speaker D: Nah, if we can come anywhere close to that, I like that. [01:01:48] Speaker B: I feel like we need to see it. [01:01:51] Speaker A: They need. We need it, bro. They got. Y'all gotta let them know. I just. To be honest, I just don't like y'all legacy being left to other people to tell. [01:01:58] Speaker C: That's why I said that's why I would want it to be hands on, you know what I'm saying? [01:02:02] Speaker D: Kind of like Dre did, right? Like, there was real hands on with. [01:02:06] Speaker C: You know how. [01:02:07] Speaker D: Same way it's. [01:02:08] Speaker C: It's like a Tubi movie, and they change something, it'll be like, stash Money, records. [01:02:15] Speaker A: Nah, look, bro, we gotta get out of here. But I. Listen, I appreciate this so much. Like, for real, y'all good. Like, icons and legends and, like, I've been waiting for this for over 10, so I appreciate that. [01:02:26] Speaker C: Thank you, bro. Thank you. Thank you. [01:02:28] Speaker D: You made me feel like a real old man. [01:02:30] Speaker A: No, I'm talking about. I'm just talking about as a fan, bro. [01:02:32] Speaker D: That's what I'm talking about. [01:02:33] Speaker A: You know what I'm saying? Thank you. It's effective immediately. [01:02:35] Speaker D: Appreciate.