Xzibit On 90s WestCoast, Dr. Dre, Death Row, Pimp My Ride, New Music & MORE❗️| Effective Immediately

[00:00:04] Speaker A: Yo, it's effective immediately. I'm DJ Head. [00:00:06] Speaker B: What up, Hip Hop Nation? It's your favorite homegirl, Gina Views. [00:00:09] Speaker A: We have a special guest in the studio, A legend, one of my big homies. A OG One that is not afraid of the criticism and not afraid to speak his mind. [00:00:17] Speaker C: That's right. [00:00:17] Speaker A: X to the Z Exhibit. [00:00:18] Speaker C: What's up, man? [00:00:19] Speaker A: I always wanted to say that. [00:00:20] Speaker C: Yeah. [00:00:22] Speaker A: Coming live from you and yours. [00:00:23] Speaker C: Yeah. Mr. Exit the Z Exhibit. Yeah. Hell, yeah. [00:00:26] Speaker A: Yeah, man. Thank you for being here. I know you never done my show before. [00:00:31] Speaker C: Never. [00:00:32] Speaker B: First time, first interview, y' all, you know? [00:00:34] Speaker A: Nah, like. And we been. And we done chopped it. [00:00:36] Speaker C: Like, we talk extensively, but this is. [00:00:38] Speaker A: The first time we talk often, too. And X took me on the road with him one time. [00:00:44] Speaker C: Yeah, man. [00:00:44] Speaker A: Yeah, it was cool. I got the DJ for you. That was crazy. Thank you for that. Shout out to Chado and shout out to my dude, ej. [00:00:52] Speaker C: Yeah. [00:00:53] Speaker A: But I just wanted to reminisce real quick. [00:00:55] Speaker C: Absolutely. [00:00:56] Speaker A: Getting to see people like yourself do classic records in a space like Vegas was like, a moment for me, because I always be on them. They don't appreciate our shit. [00:01:07] Speaker C: Yeah, yeah. [00:01:07] Speaker A: You know what I'm saying? But it was like, hella international people in there, and it was people from all over the world singing them records. Singing them records. And I was like, like, while I'm dj, I'm trying not to fuck your setup. [00:01:17] Speaker C: Yeah, yeah. [00:01:19] Speaker A: I'm trying not to fuck the setup, but I'm like, this shit crazy. Like, people really, like Asians and white people and just, like, all these people singing a song. Do that shit ever trip you out? Cause I know you be overseas a lot. [00:01:31] Speaker C: Yeah, man. [00:01:32] Speaker A: People who don't speak English and shit. [00:01:34] Speaker C: Yeah. I mean, I've been in places where they don't speak a lick of English, but they know my songs word for word. But I digress, because, you know, it's really a testament of how strong the culture in the west coast is. You know, how people, like, dive into these records and, you know, base so much of their music curriculum on what we do out here in the West. And we, you know, we throw up the W, but, you know, it stands for the world. You know, the impact that these records have had across the planet is immense. And to be part of that, you know, that club, that fraternity that's been putting these records out and getting so many accolades for it, it feels really dope to be able to be part of that. That movement. You know what I'm saying? [00:02:21] Speaker A: It's still Going, it's ongoing. But I just think, like, for me as a fan, Fuck. Like being a homie and all, the little homie whatever. Like, just a fan. Just seeing that. Every time that happens, I'd be like, damn this shit. Cause I just went to see Kendrick. [00:02:34] Speaker C: Yes, yes. [00:02:35] Speaker A: And I was having that moment. Like, damn. People really fuck with us. Cause they don't. [00:02:39] Speaker C: The stadium. Yeah, yeah. Well, it depends on who you're listening to. [00:02:45] Speaker A: So when we had Cube up here, I've asked everybody. And I don't know if I asked you off the air before, but I've asked Cube, I've asked dog, I've asked 40. Like, I've asked the homies, like, why people don't fuck with us. [00:02:57] Speaker C: Yeah. [00:02:57] Speaker A: Has that been your. Warren was the only person that said that wasn't his experience, but he had a different Def Jam experience. But I just. I always had to chill on my show. Like, people don't fuck with us. People don't fuck with us. Has that been your experience? [00:03:08] Speaker C: Yes, absolutely. [00:03:09] Speaker A: Okay. You know what I'm saying? Like, yeah, yeah, okay. [00:03:12] Speaker B: Absolutely. [00:03:13] Speaker C: No, so, okay. So my first record company I was signed to was Loud Records. And it was everybody in New York. So my experience coming from la, at the time, there was a West coast office, east coast office. And when I went out there, you gotta understand, that's why I said, you know, it depends on who you're listening to. Cause the artists fuck with us. You know, the people in the street fuck with us. [00:03:42] Speaker A: Yeah, the people fuck with us. [00:03:43] Speaker C: Right? But when you get in them buildings, the infrastructure, the people that have them jobs and the ars and the media people, when they don't see they favorite, you know, person being celebrated, then they automatically shit on the person who is getting celebrated. And, and, and look, I've been in places where I just left the radio station and I'm listening to. In the car and they talking shit about us when we just left. You know what I'm saying? [00:04:10] Speaker A: Get out of here. [00:04:11] Speaker C: Yeah, yeah, I've been. I've been in these. Nah, man, we was on our way to the airport. Okay. You know what I'm saying? But, but I just know. But I mean, it's just, it just, it's just, it's just. I mean, it's just what it is. So if you listen to the people that are trying to take your place, yeah, they're always going to. Not with us. Right? But when you talk to the world and the people that are just like listening for good music and look good content, then you know, you can see clearly that, you know, they. They come to us for a reason. [00:04:39] Speaker A: What is it? What do you think the reason is? Why? Why what? Like, if you had to just boil it down to a couple of reasons, why don't the quote, unquote, infrastructure or people, like, celebrate our shit like they do everybody else? [00:04:50] Speaker C: The west coast is different because first of all, people don't understand that the west music anyway, is really closely associated with the gang culture that comes from here. And the gang culture is based off rules and regulations that are way older than everybody here. You know what I'm saying? And it comes from the penitentiary down to the streets, down to the streets, into the music, into the way we dress, the way we talk, the way we interact with each other. So that hasn't changed. And I think that people come here not understanding that. And so when you look at the artists such as, you know, ice cube, Dr. Dre, you know, Snoop Dogg, like, they are respected as an og Would be respected from a set, you know what I'm saying? And especially somebody with a great reputation and ain't no smut on their name or none of that. And then they get to go out and, you know, like, we good forever. Yeah, forever. You know what I'm saying? Like, where at other places, they all fighting over these same six seats that they think exist in success, you know what I'm saying? But out here, once you own, you a made man, you good. You know what I'm saying? Just don't do nothing to fuck it up. You good. You know what I'm saying? [00:05:59] Speaker A: And you move around freely. [00:06:00] Speaker C: Absolutely. [00:06:01] Speaker A: And it's a respect thing. [00:06:03] Speaker C: And I think that's what people are attracted to this space for, is because the authenticity they could see there's an organization to it. And when people get to see how they're celebrated here amongst their peers, I mean, you can't duplicate that. You can't take it nowhere, you know. [00:06:25] Speaker B: Did I forgot who we was talking to? But we were talking about that, like, how things were back in the day versus how they are now. And do the older generation. Do you guys have any responsibility for how we being treated? Because y' all was bullying niggas back in the day. [00:06:44] Speaker A: Y' all was. [00:06:45] Speaker C: I'm not taking any responsibility for that right now. [00:06:49] Speaker B: Y' all was bullies back in the day? [00:06:51] Speaker C: No. No. Well, I mean, like, we'll explain. Cause some. Well, explain. Explain. What do you mean bullies? [00:06:57] Speaker B: Like Death Row? [00:06:59] Speaker C: Oh, well, I mean. [00:07:02] Speaker B: It'S like that might be the reason the west got the stigma because of how the OG was doing it. [00:07:07] Speaker C: Not everybody in the west was moving like Death Row. [00:07:11] Speaker A: Facts. [00:07:12] Speaker C: Not everybody. You know what I'm saying? But I mean, I think that, you know, let me put it like this. When you knock on a door and nobody opens it, you just knock a little harder. When you keep knocking and nobody still don't answer the door, you might kick the door. When nobody's coming to the door. After you kick it, you might have to blow the house up, you know what I'm saying? [00:07:44] Speaker A: That escalated quickly. [00:07:46] Speaker B: That's that west coast shit. [00:07:48] Speaker C: That's what it is, though. But I explained it right there. [00:07:51] Speaker B: Yeah, yeah. [00:07:51] Speaker C: You know, once you stop, you can only ask for respect for so long. And all we were doing is just trying to coexist. But when you get shut out and shut out and shut out, you need. We needed Suge Knight. We needed him to be that figure, to like that. We done asking. [00:08:11] Speaker B: Yeah. [00:08:11] Speaker C: So now we. Not only we, we taking all of it. [00:08:16] Speaker A: Was that the temperament back then, too? It's like we need him to do. Do what he's doing. [00:08:20] Speaker C: It was a breath of fresh air, really. It was a breath of fresh air to see Death Row come in and do what they did. Right. There was nothing else to compare it to. And then I think once, you know, it got to the heights that it did, just like everything else, everything changes with money. When money comes in, it changes everything. So when you get to 200, 300, you know, 300 million, 400 million something, you know, and how many records, how many millions of records sold? And those brothers were really young at the time still too, man, who knows what it. You know, if temperaments would have been a little easier to deal with, if people would have been, you know, a little more accepting or not so connected to this or not so connected to that, and then really got to the meat and potatoes of the business. It is my belief that Death Row would still be. It would be Interscope Records right now completely. [00:09:27] Speaker B: What is it like for you being that you. Cause if we go back to the beginning of time when you were a new artist and you coming up and. [00:09:35] Speaker C: You see, damn, she aged me like a mother at the beginning of time when dinosaurs roamed the earth and you ratched your first record and chiseled it in stone. [00:09:47] Speaker A: When you chiseled your first. [00:09:48] Speaker C: Record onto the God damn stone. [00:09:51] Speaker A: You and Fred. [00:09:52] Speaker C: Hey, I'm not that old. [00:09:53] Speaker B: I was. [00:09:53] Speaker C: No, wait, go ahead, go ahead, go ahead, go ahead, go ahead, go ahead. The beginning of my Career. [00:10:00] Speaker A: When y' all was building the pyramid to me. [00:10:04] Speaker B: Y' all the godfathers. Like, that's. Y' all who my daddy was listening to on the way to school. Like, y' all the godfathers of this shit. [00:10:11] Speaker C: All right, okay, I'll take that. I accept that. I accept that. [00:10:14] Speaker B: Yeah, but the beginning of your career. [00:10:16] Speaker A: Being when God said, let there be light. [00:10:17] Speaker C: Yeah, yeah, yeah. When you and God graduated from elementary school. [00:10:24] Speaker B: When God is crazy, graduating with. [00:10:28] Speaker A: Jesus, God was a West Coast. [00:10:33] Speaker C: That's hella funny. [00:10:35] Speaker B: No, but just being, like, early in your career and seeing the beginning of labels like Bad Boy and Death Row and you still being here, you still being able to smell your flowers while we giving them to you. What does it feel like for you to see the demise of two big empires and we have two of our. Maybe Our biggest moguls, Diddy and Suge, being incarcerated? [00:11:00] Speaker C: Well, it's a twofold answer. First of all, I believe that all that stuff is done by design. I think that they took the most imposing people and gatekeepers away for specific reasons, which is a playing field in a universe that I probably will never understand, because I'm not in that thing, Right? I'm a creative. I love the creative aspect of what we do. I'm not driven by money. I'm not driven by power. Right? So that's why I kind of been kind of safe in my little bubble, you know what I'm saying? I went off the. I haven't been threatening to anyone in their position. Now what we're seeing is, yes, it is sad to see. I never want to see any, Any, Any. Any. Any of our brothers, whether they powerful or not, go through what these brothers are going through. But what I will say is I think it's very interesting that this is happening. And they went from the highest of heights to this lowest of low to kind of. You know, they used to do the same thing back in the Jim Crow times. If you show some rebellion or you show some kind of, like, effort of being like, I'm not with the bullshit. They make an example of you to scare everybody else. [00:12:21] Speaker A: You know, that's how you keep the niggas in line. [00:12:23] Speaker C: How you keep the niggas in line. And I don't think that. I don't think people are taking that into a core. They're too busy into the. With the. With the. With the. The drama and the machisme of it, you know what I'm saying? Like. Like. Like. Like you guys aren't looking like they. They trying to Send a message. They not doing this to. For your entertainment. They're sending a message. Because really what it boils down to is all this technology, all these phones, all these, you know, the streaming and all that stuff, they made it really easy to go directly to the consumer. We don't need a middleman. That's why all the labels have been shutting down and it's only like the big three or maybe two now, you know what I'm saying? That people really fuck with and everybody's independent and they flood the, flood the airwaves with all this garbage music to make it hard for the people that are really artists to get through to the artists, I mean, get through to the audience. But then, you know, it's like right now what we're seeing is the tug of war of people with no talent and just the paperwork and they trying to find their control. They still want to control it, you know what I'm saying? That's what I think we're seeing why everything is all over the place and why, you know, you seeing all these weird ass artists come out of nowhere and why are they getting pushed and why are they doing that? They clogging it for a reason. But I think everything goes in cycles. I think that people are now been drinking out of this fire hose for so long and been hearing these words and the same six or 12 words was in everybody's vocabulary in the same beat for so long. They're looking for something different. They're looking for authenticity. They're looking for anybody that is a genuine spirit and they can feel it. So I think that's why it feels good to be dropping a new record for me in 2025, because I feel that energy. I feel like people are looking for something else. Like if I felt like I had to compete with, you know, a song that, you know is not necessarily what I would consider hip hop, you know, I think people are past that. I think that there's an audience for that. I think that people are now looking for something a little more substantial, which is my speed, my time, you know what I'm saying? I feel good doing that. But now I think the hip hop again, to answer your question, I think hip hop has grown. I think it's massive. I never want to be the old guy in a room, ridicule and the fucking young kids, like back in March, you know what I'm saying? Like be that guy, you know what I'm saying? Because we all got to come from somewhere. They didn't understand. That's when we came out, it's like, let them. Let them get their Runway on and let them get to where they got to go, because you never know who you're talking to. But I think that now we in a place where hip hop has to be stopped, getting put into this little ass box, right? It needs sub. It. It needs. In these subdivisions now. We need adult contemporary hip hop, we need rage hip hop, we need soft, you know what I'm saying? Like. Like, you know what I'm saying? Yeah, yeah. Sub genres. You. We need. We need that. We need. We. We need alternative hip hop. We. We need those sub genres in order to accurately depict what's going on in here and stop putting Travis Scott next to Sexy Red, next to Nas next to Xzibit, you know what I'm saying? Like, we. It don't. You keep trying to shove us in this thing, and we don't party the same, you know what I'm saying? Like, I don't do. Like, I listened to it. I figured it out. Like, we don't do the right drugs, you know what I'm saying? [00:15:43] Speaker A: Like, we don't. [00:15:45] Speaker C: In order to understand what that's going on over there, I got to do all I need to pop something and do this and twist that and, you know, and then I'm all like, oh, I get it. You know what I'm saying? Like, but it's a different thing, you know what I'm saying? So I think now it ain't gonna happen from the Grammys. It ain't gonna happen from. From. From one person, you know what I'm saying? I think it's a collective thought. I think we all need to agree. I think we need to set the things and then let everybody else chase us like everybody else does all the time. This guy's in this side, this guy's in this side. This side's in the side. Start turning your records. Start titling your records like this. Start putting this label on your records, you know what I'm saying? Like. Like, let's. Let's set the tone. Let's set the pace and let the world follow us. [00:16:28] Speaker B: Yeah. What keeps you inspired to create after? After. Now you got me watching my words. [00:16:34] Speaker C: No, no. [00:16:35] Speaker A: Oh. After eons. [00:16:40] Speaker C: After you. After with the Wright Brothers. So when you had the first airplane flight. [00:16:44] Speaker A: So when you made the first spoon. [00:16:46] Speaker C: Yeah, yeah. Oh, my God. [00:16:53] Speaker B: What still keeps you inspired to create music? [00:16:55] Speaker C: I love it. I love this thing of ours. Yeah, I love it. [00:17:00] Speaker A: Hip hop or music. [00:17:01] Speaker C: I love hip hop. I feel that hip Hop saved my life. [00:17:04] Speaker A: I feel that. You know, people always say that. What does that mean to you? [00:17:08] Speaker C: I was. I thought I was gonna die at 21. I was selling crack. I was shooting the niggas. [00:17:12] Speaker A: Allegedly. They locking niggas up. [00:17:15] Speaker C: No, I was selling crack. Like, nigga, they can't tell I did that. [00:17:21] Speaker B: I did that shit. [00:17:23] Speaker A: Yeah, whatever they thought I was doing, I did it. [00:17:25] Speaker C: Nigga, I was doing that shit. Nigga, you talking about authenticity. Nigga, that was cracking. Nigga, that was cracking. No, but look, look, look, look. Well, look, I was really. I was really. I was really in a dangerous place. And when King T and Alcoholics found me, I was off the block. I was literally straight off the block. I came to California with $3,000, a black and purple GEO tracker, some cross color clothes, a cool G rapping DJ Polo CD, some 6 snapples and a AK47. [00:18:09] Speaker A: Allegedly X. God damn. [00:18:11] Speaker C: No, no, I still have it. [00:18:13] Speaker B: Did you say six Snapples? [00:18:15] Speaker C: Yeah, Snapples. [00:18:17] Speaker B: The drink. [00:18:17] Speaker C: Spanish. Yeah. [00:18:18] Speaker B: What flavor? [00:18:19] Speaker C: Kiwi. Strawberry, I think that was. That was what I had. Strawberry. Yeah, yeah, yeah, I had that. Yeah. [00:18:23] Speaker B: Or Mango Madness. [00:18:24] Speaker C: And so, so look, so look for they. So they. [00:18:27] Speaker A: Okay, I'm just tripping. Like, you just said it so casually. Yeah, you. Six snapples and an AK47. So you drove. [00:18:34] Speaker C: Not in that order. You know what I'm saying? [00:18:35] Speaker A: Yeah, yeah, yeah, you drove. [00:18:36] Speaker C: I did. [00:18:38] Speaker A: And so with $3,000 and like, what was the goal I had? [00:18:45] Speaker C: I had a friend here that, that said he had his own place. And when I got here, nigga lied. And he was living with his parents. So I was like, what the. [00:18:56] Speaker B: Y' all both on the couch, all. [00:18:57] Speaker C: The shit in the. [00:18:59] Speaker A: So I can't bring the ak. [00:19:00] Speaker C: Yeah, yeah, no, no, no, I can't, I can't, I can't do that. But the Johnson family, I still very close with them. I gave them that. I gave them the money I had. They allowed me to stay there. I immediately started, you know, trying to find a place to solidify. Found a, you know, started couch surfing. Got with James Broadway, who was producing for King T at the time. My man Top, shout out to Top, he was, he was manager for volume 10. And he kind of like, he took me under his wing with Kelsey and. And I was just cutting my teeth, man. I was a battle rap. So I was just going around and just like battling everywhere. Everywhere. Venice Beach, David Faustino's club, Ballistics. You know, we, you know, we go to Unity like that. Before the Internet, like we. There was Only a few places in LA that you can go and be heard, right? So Unity was one wake up show. West side Radio with Julio G. You know what I'm saying? Like, going to these places was like, that was the prestigious. That means that you were doing something. Not everybody got invited, right? So yeah, man, I, I just think that because I came from that, because I know what it feels like when something is really like vibing, when it, when it shakes the room. That's what my enjoyment comes from. I still love creating, right? It's, it's, it's alchemy. Creating something out of thin air, you know, that people can now physically hold and touch and see. And they singing it word for word. That never gets old to me. [00:20:29] Speaker B: I had no clue that you were a battle rapper. And now I really gotta get on my daddy. Cause I love battle rap. And being that he never told me about this is crazy. [00:20:38] Speaker C: Yeah, that's where I come from, you know, Like I had no idea how to write songs when I first started trying to make music. I just had big ass notebooks of long ass battle raps of what I' ma just do to a. You know what I'm saying? You know, just like just. That's it. That's all, that's all I'm here to do is just destroy. And that's. And that's kind of, that's kind of. That's how I started. But then it was like, yo, you can't. Like, where'd you take a breath? Like, where do you. Where's the hook? Yeah, I like what hook? You know what I'm saying? Like left hook, right hook. Like no bar out. So that's where I started from. [00:21:16] Speaker B: Are you exhibit at this time? [00:21:18] Speaker C: Yeah. No. Yes, I was exhibit A when I first started. Oh, I went through a whole bunch of rap names before I got to exhibit. [00:21:25] Speaker B: Okay, can you just list all of them? [00:21:27] Speaker C: Okay, so look. Oh my God, here we go. I can't believe you got me saying this shit. Okay, so when I. Okay, so let me tell you why I started writing. Why I started writing. My parents hated hip hop. Hated it. They would never let me listen to it. They were very religious. Every time they caught me with something, they whoop my ass, break the shit and just try to like no Bible, you know what I'm saying? But they didn't understand. I like the cleverness of the. And both my parents were educators. My mother was an English teacher and my father was like a special education teacher. Teacher. And then he went to principal. He went to principal school. So they would come home and hit us with lesson plans all the time. So I was very well read. And then when I started making, you know, I would get in trouble all the time. So I would be in punishment. Like, I spent months and months in my room on punishment. So the next best thing, they couldn't take it out of me. So I started writing my own raps. I still remember the very first rap I ever wrote. [00:22:30] Speaker B: Oh, you gotta spit it. [00:22:32] Speaker C: Oh, no, no, Wait, wait, wait. [00:22:34] Speaker B: I need them names and I need you to spit that first. [00:22:37] Speaker C: First rap, first name. So here we go. First name I wrote was I, C, E. Ugh. Horrible, right? And I was like, oh, fuck, I can't do that. There's Ice Cube, there's Ice Tea, There's Vanilla Ice, There's. You know what I'm saying? [00:22:50] Speaker A: There's so many ices there for. [00:22:53] Speaker C: I was getting there. But then once I realized that ice was on, I just stopped fucking with ice. Yeah. I wanted to make it a acronym, but it was like, no, I can't do that. So then I said, ah, my name's Alvin mca. Oh, that's the name of a record company and the name of a Beastie Boy, you know what I'm saying? Like, ah, I can't do that. [00:23:13] Speaker A: Sue the out. [00:23:14] Speaker C: Yeah, yeah, sue the out of it. But I didn't know. So I'm looking for a name. I'm looking for a name, right? And so. So it was that. It was that. It was at. At. I was at lunch and I was battling this guy and I said something about, you know, on display. Exhibit A. Da, da, da da da. I was like, ooh, Exhibit A. That's it. Exhibit A. Yeah, yeah, yeah. So I was like, exhibit A. And I rapped like that for a while. Exhibit A. That's what I used to call it. And then I dropped the A. I don't know if you remember when Ebonics was a thing. The word Ebonics was a thing. [00:23:47] Speaker A: Yep. [00:23:48] Speaker C: And so Ebonics was like words that like, unsta. [00:23:51] Speaker B: Anser. [00:23:52] Speaker C: Yeah. [00:23:53] Speaker A: Like finna finsta. [00:23:54] Speaker C: Yeah, finna finsta. It's like that made it okay for me to take the E off and put the X and the Z. Like people. It was like, basically, they setting it up for today where niggas don't read. You know what I'm saying? They set it up so it was okay to not read, you know what I'm saying? So you can sound it out. [00:24:11] Speaker A: You know what I'm saying? [00:24:12] Speaker C: Yeah, yeah, yeah. Oh, shit. [00:24:14] Speaker A: Like, blast. There's no A in. [00:24:15] Speaker C: Yeah, yeah, yeah. [00:24:17] Speaker A: When I've been talking about Siri, they be, like, plain blexed. [00:24:20] Speaker C: Yeah, yeah, yeah. So. So that's how I started that then. That's how I got to exhibit now. [00:24:27] Speaker B: When did you drop the A, though? [00:24:31] Speaker C: When I. When I. When I dropped the E, I dropped. [00:24:33] Speaker B: The A. Oh, okay. [00:24:34] Speaker C: Yeah. And then it was xz. No vowels. Xz. Ibit. I was like, that's it. [00:24:39] Speaker B: Yeah. I like exhibit better than ice. [00:24:42] Speaker C: Yeah. Yeah, me too. [00:24:43] Speaker A: I like it better than mca. [00:24:44] Speaker C: Yeah, yeah. [00:24:46] Speaker A: Mca Coming wild. [00:24:48] Speaker C: Ooh wee. [00:24:50] Speaker A: Yeah, you would have had a rough time getting that one off. [00:24:52] Speaker C: Oh, no, it was horrible. Yeah, I was like. I was like. And then I got to tell people that the A stands for Alvin. Nobody's afraid of Alvin. [00:24:58] Speaker A: Yeah, Then you would have had to be going around. [00:25:03] Speaker C: Yeah. [00:25:03] Speaker A: Crashing out. [00:25:04] Speaker C: Then the Chipmunks jokes is coming in. Alvin, Simon, Theodore. Oh, here we go. Yeah, yeah. No, but it was fun, though. It was fun, man. But that's how I started writing and that's how I got to that name. And then you know, eventually, you know, my relationship with my father was strained when I was really young because of what shit I was getting into. But then when he found a place. When I say hip hop saved my life back. To answer your original question, Hip hop saved my life because I was on a path of self destruction that I was not going to get off of by myself. I was gonna die or be in prison forever. And so I found a place in hip hop where I could kick and scream and, like, really put all this frustration that I was feeling into a place that I wasn't hurting myself or others. And that's where. That's why I say hip hop saved my life. Got you. [00:25:58] Speaker A: Oh, go ahead. Sorry. [00:25:59] Speaker B: What's Liquid Crew? [00:26:00] Speaker C: Oh, the Liquid Crew. That was. That was what King T and the Alcoholics started. King T actually started the Alcoholics. He created them. He got J. Ro is from Pomona and Tash and E. Swift were from Ohio. And they came out here. He made the group because King T's one of our originals. He was around. He came out and really set the tone with NWA and Eazy and all that. He came around that time. Compton, Compton Card kept it going, created the Alcoholics. And then once I came onto board and then Dafarite came into the Loop and it was like, we gotta name a crew. Cause at the time there was Crews in LA. Will. I am used to be called Will1x. He used to be an at band clan signed the Ruthless Records before he was in the Black Eyed Peas. [00:26:56] Speaker B: What? [00:26:57] Speaker C: Absolutely. Girl, we gotta have a West coast class around this motherfucker, man. Yeah, yeah. So at the time, there was a bunch of crews, right? So Will I Ams comes from my graduating class. He used to go the same two cats, you know, that he's with now, they used to come and do freestyle dancing in the clubs. No, they weren't even doing music. Right. They were just dancers. Right? And so then you had the Far side. Far side had a Far side manor, and they had the Wascos. They had Buckwheat. They had not only the Far side, but they had this conglomerate. So the liquor crew was fashioned after that. You know, it was like the liquor crew was me, licks, King T, Dafarai, Barbershop. Barbershop was a collective of, like, four or five different MCs. And we were really, like, grooming them to be next, right? So that was kind of like how it was. You were like. You click together, like the. Like. Like the Warriors. You know what I'm saying? Like, everybody had their own clique, and everybody was trying to do their music their way, and everybody had their sound, but we all came together in the same place, and it was like a feel vibrant scene. [00:28:00] Speaker B: Yeah. [00:28:01] Speaker C: Yeah. [00:28:01] Speaker B: Are you still watching battle rap today? [00:28:04] Speaker C: Yeah, I do once in a while. I. I. You know, I see the acapella stuff. That's. That's one thing. But we were doing it different. We were battling over beats. You know what I'm saying? [00:28:12] Speaker B: Oh, okay, okay, okay. [00:28:14] Speaker A: I want. I got a couple of classic music questions that I wanted that I never got a chance to talk to you about. So on Choke Me, Spank Me, Pull My Head. [00:28:24] Speaker C: Love Song. I love it. Love Song is one of my favorite love songs song. [00:28:31] Speaker A: I know Dre produced it, but who is the woman on. [00:28:34] Speaker C: Oh. Oh, Tracy. [00:28:36] Speaker A: Okay. Because everywhere that I looked, she's credited as Hook Girl. [00:28:40] Speaker C: What? [00:28:41] Speaker A: And I was like, that's kind of crazy. [00:28:43] Speaker C: No. [00:28:43] Speaker A: Yeah. And I. Yeah, she's credited as Hook Girl. [00:28:46] Speaker C: And I was like, I know her publishing. Don't say that. No, no, no. Tracy. No, Tracy. Tracy is. Is. She's been on all of our records. She's been on, like, everything from Dre. She was there on the Dre records, you name it. She has a angelic voice, and she can fit into any kind of scenario. When I was making that record, I told Dre what I wanted to do. He was like, what? [00:29:24] Speaker A: That's the hook. [00:29:24] Speaker C: I was like, that's the hook. I was like, yeah, yeah, yeah, yeah. [00:29:29] Speaker A: It was crazy. That was your idea? [00:29:30] Speaker C: Yeah, it was. [00:29:31] Speaker A: Wow. [00:29:31] Speaker C: Cause a girl had said it to me that morning. [00:29:34] Speaker A: You said what happened? [00:29:35] Speaker C: Yeah, a girl said it to me that morning. [00:29:38] Speaker A: Okay, so it's inspired by true events. [00:29:40] Speaker C: Yeah, well, I mean, I wasn't actually in the. No, no, wait, let me explain. [00:29:47] Speaker B: Give us some context. Now we need some context. [00:29:50] Speaker A: It'd be like, do, do, do. Yeah. So we got exhibit on, effective immediately. [00:29:54] Speaker C: And he was. Well, I mean, look. I mean, look, look, look, look, look. So I was dating this girl at the time. We was waking up talking, and then we was like. She said it in jest. Like, we were talking about, you know, lyrics and whatever. And she's like, oh, it needs all these choke me, spank me, pull my hair. I was like, oh, wow, I like that. And she's like, oh, you so silly. That was the end of the conversation. So then when I got to the studio, I was like, yo, Joe, me spate me. You pull my hair. He's like, nigga, where do you hear that at? I was like, yo, just say it. I was like, I can't say it. I can't say it. Get Tracy. She'll say it. [00:30:29] Speaker A: Hey, can you imagine getting that phone call? [00:30:31] Speaker C: Gina. [00:30:31] Speaker A: Gina, I need you to come to the studio. What you need me to do? I need you to. [00:30:35] Speaker C: I need you to. Rj. Problem. [00:30:37] Speaker B: Just did that. [00:30:37] Speaker A: Oh, okay. [00:30:39] Speaker C: But that was it. That was like. The records we were making at the time were like. It was the shock value. I mean, look, the first song that I blew up with is called Please, Like Bro. Like, you know, like. Oh, yeah, that was like. That was our thing, you know, the shock value. [00:30:53] Speaker B: You know, I got some lyrics to ask you about. Oh, front to back. [00:30:56] Speaker C: Yes. [00:30:58] Speaker B: Oh, no. Let's get drunk and please stop running your mouth. Let's go acting like you've never seen a dick before. All these. [00:31:06] Speaker A: That's the hood here. [00:31:07] Speaker C: Yeah, yeah, that's. No, that's. That's 90s conversation. [00:31:15] Speaker B: Why was it so crazy? [00:31:17] Speaker C: It was not crazy crazy. [00:31:19] Speaker B: It's not. It wasn't crazy then. [00:31:20] Speaker C: It wasn't crazy then. Yeah, it may be crazy now, but then are sensitive now, you know what I'm saying? Like, like niggas in touch with their feelings and you know what I'm saying? [00:31:30] Speaker A: Going to therapy. [00:31:31] Speaker C: Going to therapy and respecting each other and all kinds of weird shit, you. [00:31:36] Speaker A: Know what I'm saying? [00:31:36] Speaker C: Like. Like, that wasn't the thing. [00:31:39] Speaker A: You know what I'm saying? [00:31:40] Speaker B: Okay. What about this? I'll get your walk up. I can drink a whole Hennessy fifth? [00:31:46] Speaker C: Yes. Can you some call it a problem, but I call it a gift. [00:31:49] Speaker B: Can you drink a whole fish? [00:31:50] Speaker C: No, not anymore. [00:31:52] Speaker A: So that was Cap? [00:31:53] Speaker C: No, no, I was doing it then. [00:31:55] Speaker A: A whole Hennessy fit. [00:31:56] Speaker C: Oh, yeah. Easily maybe two or three. [00:31:58] Speaker B: He said, let's get drunk and fuck some off. [00:32:01] Speaker C: Yeah, all you need is a little Coca Cola and the ice, that shit. That's four drinks. Bow, bow, bow, nigga, we having at least eight. [00:32:06] Speaker A: Damn. [00:32:08] Speaker C: Yeah. I can't believe my liver is still intact. You know what I'm saying? I still can't believe. Yeah, yeah. [00:32:13] Speaker A: Thank God I got one for so on. There's this. There's this urban legend that Dr. Dre is a mad scientist in that he wants his artists that he produced to have a name record. So Snoop Dogg came out. What's my name? X is one of them. And then also we had Eminem. Hi, my name is. There was one more that I can't think of on top of my head. But is that true? And is that how X came about? [00:32:39] Speaker C: Absolutely. That's exactly the thing you have to introduce your. When you have you having a conversation, you. What's the first thing you do? [00:32:49] Speaker A: Introduce yourself. [00:32:49] Speaker C: Introduce you? Introduce yourself. So that's where he firmly believes that making these records, you're introducing yourself to these people for the first time. Tell them your name. So that's where X came from. And actually he named that. He named the Restless album Walking Past Me, I Got Restless tattooed on my neck. That wasn't even a thing. It was like, tattoo right here. And he walked by just like, huh? What's that? What's that mean? I was like, oh, no, it's Restless. He said, huh? That's the name of your record. Out the room. [00:33:21] Speaker A: That's it. [00:33:22] Speaker C: That's it. [00:33:22] Speaker A: I never knew that story. [00:33:24] Speaker C: Absolutely. That's why it's called Restless. It's not because I'm restless. It's because he saw this. He was like, that's the name of your record? Yeah, put it on there. Same font that was here. The tattoo existed before the record did. [00:33:37] Speaker A: Wow. [00:33:37] Speaker C: Yeah. [00:33:38] Speaker A: Damn. [00:33:39] Speaker B: We were just talking about remixes and remakes and stuff, and there's two versions of Bitch Please. Is there a backstory to that? [00:33:46] Speaker C: No, there's not two. There's not a remix. It is a remix, but it's two versions. [00:33:52] Speaker B: Yeah, it's just two versions. [00:33:52] Speaker C: Right. So Bitch, Please was done first for no Limit, Top Dog. That was the record that Snoop did for Master P. And I got a call from Dawg. He was like, yo, nephew, I want you to go do this record with me. Dre gonna do the beat. I want you to go over there, went over there. Dre was in there by himself. Short conversation. He pressed the play on the beat. I wrote my shit in 15 minutes, and I left. I thanked him for the opportunity. I was gone. I didn't stay. I didn't try to sell myself or, hey, man, listen to my music. Or I was like, yo, thank you for the opportunity. I'm out. [00:34:32] Speaker B: That's your first time working together? [00:34:33] Speaker C: First time working together. So then it was like, I got a call from Dog. He was like, yo, we gonna use that as a single. You snapped on there, Nate. Dog jumped on there, and now we gonna use it as a single. First time on MTV Main rotation. First time on, like, top 40 billboard chart, top 10. You're like, my shit started. You know what I'm saying? And I was like, wow, this is crazy. So then the success of that warranted being able to be invited to be on 2001 in the UP in Smoke tour and then working with the camp, you know? And I've never been signed to Aftermath. I've never been signed to Interscope. I've never been signed to any of that. I've always had my own record deal. But the fact that the respect and the relationship with Dr. Dre, I think I'm the only artist that he's ever done stuff across the street for. [00:35:29] Speaker B: Yeah. [00:35:29] Speaker C: You know, like, produced an executive produced a whole album for somebody that wasn't, like, connected to him. Right. Which is big, which is huge. And I always love that man, you know, for what he's done for my life, what he's done for my. Professionally, I can confide in him. I talked with him about serious shit all the time, because I respect his opinion. And, like, I. I just. I don't have the words to express how much I love that dude. [00:35:56] Speaker A: You know, I do have a. Oh, sorry. I have a question about. [00:36:00] Speaker C: Oh, wait, wait, wait. I didn't answer the question. Second thing for it was Bitch Police 2, which is. He's never done either. He's never done a part two of any record. Right. So Bitch Police 2 was on Eminem's record, right? And so that was just like, know. That's why Snoop said in the beginning, you gonna hit him two times, Dr. Dre. [00:36:17] Speaker A: Oh, yeah. [00:36:20] Speaker C: You gonna hit him again? Like, I ain't never seen this. [00:36:22] Speaker A: Don't, don't, don't but that was good. [00:36:24] Speaker C: That song was huge. And. And. And we still perform it to this day, so. Shout out to dog. Uhhuh. [00:36:29] Speaker B: What's your favorite version? The first one or the second one? [00:36:32] Speaker C: First. Yeah, yeah. Well, I mean, both of them. I mean, both of them. Both of them are gigantic records, but, I mean, the first one set it off, and then that was, like a pivoting. That was a turning point for me and my career. Like, I was considered a backpack rapper. I was like. Like, you know, just. Just. It was levels to it, and I went up, like, several levels when that song came out. [00:36:54] Speaker A: Yeah, yeah. [00:36:55] Speaker B: Where are you in your career? When Please drop? [00:36:58] Speaker C: I had. Well, I had just got finished doing what you see is what you get. That video was like. I was still trying to find my sound. [00:37:07] Speaker A: Yeah. [00:37:07] Speaker C: And I was like, that video really, like, set me up. It, like. Like I was doing my thing. I was landing punches, but I wasn't knocking out, you know what I'm saying? I was landing punches, but I wouldn't. Nobody was getting knocked out, you know what I'm saying? [00:37:19] Speaker B: What was the knockout song? [00:37:21] Speaker C: Please knock them Out. I was like. I was like, oh, now I know. [00:37:28] Speaker A: How to swing this on his head. Speaking of which, we just witnessed one of the greatest hip hop battles of all time this last year. But I remember hearing calling out names for the first time, and I was like, this is the craziest shit I ever heard. [00:37:44] Speaker C: Yeah, yeah. [00:37:44] Speaker A: Cause he was like, fuck Belly. Fuck a movie. [00:37:46] Speaker C: Yeah, yeah. [00:37:48] Speaker A: He was corrupt with crazy, right? He was like, fuck you too. And then he just went crazy and fuck D. And the exhibit is on the record. [00:37:57] Speaker C: Yeah. [00:37:57] Speaker B: Hey, fuck Belly is crazy. [00:37:59] Speaker A: Like, what the fuck? What Belly do? Yeah. Is that Hype Williams is representative of New York? [00:38:07] Speaker C: No, no, no. Because DMX was in the movie. [00:38:09] Speaker A: That's what I'm saying. But we didn't look at it like that. Like, we just look at it like it's just a movie about New York culture. [00:38:15] Speaker B: Fuck T Boss. Fuck Hype Williams. [00:38:18] Speaker A: Fuck Hype Williams. What did Hype do to you? [00:38:22] Speaker B: That's some bullying west coast shit, right? That's what I'm talking about. [00:38:25] Speaker A: Exhibit is part of the record. [00:38:27] Speaker C: Yes, yes. [00:38:28] Speaker A: Did you know, like, was it just, oh, this my man. It's just. That's what it is. His own. Or like, was it a conscious decision or you didn't know? [00:38:35] Speaker C: I didn't know till it came out. They sampled that. [00:38:39] Speaker A: Oh, you didn't know? [00:38:40] Speaker C: No. That sample is from Three Car Molly. [00:38:43] Speaker A: Right. [00:38:43] Speaker C: If it wasn't for the west, these rap niggas wouldn't need a vest around they chest. [00:38:47] Speaker A: So you didn't even know about it? [00:38:49] Speaker C: I didn't know until it came out. Oh, yeah. [00:38:51] Speaker A: Get the fuck out of here. [00:38:52] Speaker C: Oh, yeah. When that shit came out, I was like, huh? [00:38:56] Speaker A: Did you get phone calls about that shit? [00:38:58] Speaker C: Oh, yeah. Oh, yeah. [00:39:00] Speaker A: Because when shit dropped, now I get all the phone calls. [00:39:03] Speaker C: Oh, yeah. No, no, it's cool. [00:39:05] Speaker A: So, like, what was that like? What was the phone like? [00:39:07] Speaker C: It's like, at the time, nigga, it's on. You know? Like, you don't ask no questions. Like, it's on. It's on. Everybody was so tight and the love was so genuine. Like. Like, we don't give a fuck. It's us against everybody. Like, fuck that shit. You know what I'm saying? Like, that's what it went. Yeah, that's the way it went. [00:39:27] Speaker B: Fuck. Paid it full. [00:39:28] Speaker C: Yeah. Fuck it. Fuck it. Fuck juice. But you gotta understand. [00:39:32] Speaker A: But the reason why I'm bringing this up is because, like, you said, you were not necessarily in that. Like, you were always. You were part of it, but you had your own situation. [00:39:40] Speaker C: Absolutely. [00:39:41] Speaker A: You still had to move around. Like, hell, yeah. [00:39:43] Speaker C: Yeah, I still gotta go over there. [00:39:44] Speaker A: Yeah, that's what I'm saying. Like, I think you and Warren are the only two that kind of had y' all own situation where y' all could. Like, y' all had to go play nice, so to speak, or go move around. [00:39:56] Speaker C: No, I think. I think. I think. I think being signed to Loud Records didn't necessarily make me go there and to get, like, you know, any kind of special treatment. They still shit on me in the office. They still made sure that their shit that came out had all the bells and whistles and we got what was left over. It was always an uphill battle. Got you always. It was never fun. It was. It was. It was always a fight. Right. Only when I started ignoring the label and everybody thought I was signing Aftermath. [00:40:25] Speaker A: Yeah. [00:40:26] Speaker C: And they was coming to the show, and that wasn't letting them in. You know what I'm saying? Like, I don't know who them niggas. Fuck them niggas. You know what I'm saying? Like, oh, I'm from this label. I don't give a fuck who you are. [00:40:34] Speaker A: Wow. [00:40:34] Speaker C: You know what I'm saying? And then it got better because then it had like, okay, let's have a sit down. [00:40:39] Speaker B: Yeah. [00:40:39] Speaker A: Now they took you serious? [00:40:40] Speaker C: Yeah, they took me serious. You know, it's like, dude, I'm Done asking. You know what I'm saying? I feel you. [00:40:45] Speaker A: The other one was two more music things. One was when you did with Nate Dogg with. What's the name of the record? Multiply. [00:40:56] Speaker C: Yes. [00:40:56] Speaker A: That was one of them records that everybody was playing, and it was like a moment, and I think. Was that your first record? That was your first solo record with Nate, right? No. Second record. Was that your second record with Nate? [00:41:11] Speaker C: No, that was my third. Because the first one was Been a Long Time. Time is Steady Wasting. [00:41:21] Speaker A: Okay. [00:41:22] Speaker C: Yeah. Yeah. That was the first. Yeah. [00:41:23] Speaker A: To me, this was around the time when Nate started to become one of them. People like that, they took him serious in that space. He was just like you said, he was just a west coast guy. [00:41:32] Speaker C: Right, right. [00:41:33] Speaker A: But then I'm looking now, people are even starting to. I mean, this is a minute ago, but I was little. I was trying to remember. I remember when Nate Dogg went from being the background guy to being the front. [00:41:43] Speaker C: Front, yeah. [00:41:44] Speaker A: Right. Yeah. What was your perspective of how that, like, what do you think is the thing that put him there? [00:41:49] Speaker C: He fought for that. [00:41:50] Speaker A: Cause then nobody gave him shit. [00:41:52] Speaker C: He fought for that. Everybody used Nate for hooks, and I do mean used him for hooks. So eventually he had to. We've had lots of conversations about this, and his. His frustration came from just being put in that box. And I, I, I remember it the clearest, clearest day. He was like, I'm not doing that no more. [00:42:21] Speaker A: He didn't want to do hooks for people no more. [00:42:23] Speaker C: No. [00:42:23] Speaker A: Wow. [00:42:23] Speaker C: I'm not doing that no more. Like, if they want me to do that, here's the price, pay it. But for me, I need to put my music to the forefront, because I came up in the church and, you know, like, I have certain things that I want to do with my music that I'm not able to do being stuck in this hook box. So that's why them records started coming out the way they started coming out. [00:42:47] Speaker A: Yeah. [00:42:47] Speaker C: Had a really dope relationship with Nate, different than the other relationships I've had with the brothers in the same camp. Not that they were bad things, but I was really, like, Nate used to, like, call me, and I had conversations with him that was beyond music. [00:43:05] Speaker A: Yeah. [00:43:06] Speaker C: Right. So when he passed, it was. It was a different type of passing for me, because it wasn't just the music that died with him. It was like this soul that nobody really got to know, you know what I'm saying? Other. Other than what was portrayed in the media. So I'm gonna do everything I can to keep representing this brother to the fullest forward. I'll always give it up. I still give it up to him on my shows. He sorely missed. And there'll never be another like that. [00:43:46] Speaker A: Yeah, I remember. I remember also Nate doing. Cause he was on that album. I think that was the man versus Machine album. He was on the album, like, several times. [00:43:58] Speaker C: A couple times. [00:43:59] Speaker A: But I remember also. The last thing on Nate is when I remember. I guess Dre and JD didn't really have the best relationship, but Nate fucked with JD And I always thought people like yourself, did y' all ever get caught up in that? Yeah, but was it weird or. [00:44:18] Speaker C: Yeah, it wasn't weird. [00:44:20] Speaker A: It was just different. [00:44:21] Speaker C: Yeah, it wasn't different. Me and Eminem shit on Jermaine Dupree. You know what I'm saying? [00:44:26] Speaker A: Right? [00:44:28] Speaker C: And it was just because, you know, we were sitting in the studio one day, and he comes on saying, talking shit about Dr. Dre, you know, and, you know, look, Jermaine Dupri in his own right, he's a awesome music producer, right? He gave us some really dope kid songs. You know what I'm saying? Crisscross and. And all that. You know, the music that sounded like Snoop with the other artists and, you know, but he knows how to make records, hit records and. And R B records and all that stuff. But. But. But again, it goes back to calling out names. That nigga Dre turned around and said, y' all got this. How the fuck am I supposed to react with that? You know, like, you gotta go get the nigga. Y' all got this. Yeah, nigga, we got it. [00:45:18] Speaker A: Yeah. [00:45:19] Speaker C: So that's when the disc came out, and m on him. I shit on him. That was. [00:45:23] Speaker A: That got you. [00:45:24] Speaker C: And he took it personal. And, you know, whatever the collaborations. [00:45:29] Speaker A: You had a collaboration with Limp Bizkit, to me, which was different, because Limp Bizkit was one. One of. One of those groups in high school. For me, that was like, yo, this is. This is crazy whatever, right? Did you ever. Did they. Did you ever. Did you ever notice that people kind of treated them different because Fred Durst was a rapper? Did people respect Fred Durst as a rapper at that time? [00:45:51] Speaker C: No, they respected. The same way they respected him because, first of all, he was doing something. First of all, he was connected to Interscope really closely, and he was like. He was jumping. He was jumping the fence. [00:46:07] Speaker A: Yeah. [00:46:08] Speaker C: You know what I'm saying? So he was making huge records, and he was connected directly to the Machine. Having big crowds, the energy. I Mean, it's. It was, like, different, right? And I think that was the time when hip hop and rock started kind of merging, when it was like, you know, you saw the Linkin Park, Jay Z collab, and you saw. Yeah, you know, us on tour. Like, we. They would book us on the Warp Tour, which is mainly punk rock acts, and then they would book, you know, like, we would do tours with Papa Roach, you know what I'm saying? Like. Like. Like, rock and rap energy was, like, really synonymous at the time. And so with Fred Durst, man, it was like, you know, break and all that other. You know what I'm saying? All them. All them records that really got the crowd going. That's what we were, too. Like, hip hop was making people have mosh pits and all that, too, you know? [00:46:59] Speaker A: Cause to me, like, the New School is like, they doing rage rap. And I'm like, that's already been. [00:47:03] Speaker C: Right, right? But that was the beginning of that. Rage rap is the baby of Anger Management tour. [00:47:09] Speaker A: Touche. [00:47:10] Speaker C: You know what I'm saying? [00:47:10] Speaker A: Travis Scott, Ken Carson, Playboi Carti. [00:47:14] Speaker C: Correct. [00:47:15] Speaker A: Last thing on this is when y' all, like you said, when calling out names, it's like, fuck them, right? [00:47:22] Speaker C: Yeah. [00:47:23] Speaker A: When y' all saw DMX do what's. What concert was that? That was the. What's the one that all the white people. [00:47:30] Speaker C: Oh, Woodstock. [00:47:31] Speaker A: Woodstock. When y' all. When you saw DMX doing that Woodstock show, was y' all like, man, this is this. Or was it, like, this crazy? [00:47:39] Speaker C: No, no, no, no, no. We. [00:47:41] Speaker A: Because that look crazy. [00:47:43] Speaker C: Yeah, we never get. I mean, that's. That's. That's neither here nor there. I mean, like, everybody's one song away from being there on that stage. Right? Right. So we weren't intimidated by that. I think what was crazy was when I found out that Party up was the answer to calling out names. That's what Drake should have did, and. [00:48:05] Speaker A: It was a hit record. [00:48:06] Speaker C: That's what Drake should have did. Drake should have made a party up. You know what I'm saying? Yeah, he tried to get down and knuckle up with it, but I was like. Like I keep telling. Don't get into fights with who like to fight. [00:48:20] Speaker A: You know what I'm saying? [00:48:20] Speaker C: Like, don't get into fights with who come in, like, hitting themselves in the face. [00:48:26] Speaker A: Like, yeah, yeah, I'm scared of him just punching me like, let's go, let's. [00:48:31] Speaker C: Go, let's go, let's go. Oh, hold on. Let me get my. [00:48:35] Speaker A: I got to do tomorrow I'm over. [00:48:38] Speaker B: Here stuck on Party up being a response record. I did not know that. [00:48:42] Speaker C: Yeah, it's a part a party of his. [00:48:43] Speaker A: Him and corrupt was at it. [00:48:44] Speaker C: Yeah. To corrupt. [00:48:45] Speaker A: So like you whack, you twist it like. [00:48:47] Speaker C: Yeah, girl's a hoe. Yeah. They were fighting over Foxy Brown. [00:48:55] Speaker A: Yeah. [00:48:55] Speaker C: Oh, what? Yeah, we need to do a hip hop 101. Like, did y' all remember this? Did y' all know this? [00:49:04] Speaker B: I don't think people know that. [00:49:05] Speaker A: Oh, wow. Or y' all our era don't know that. [00:49:08] Speaker C: Oh, and then, man, we got to get some 101 going on here. [00:49:11] Speaker A: Yeah. [00:49:12] Speaker C: Oh, yeah. [00:49:12] Speaker A: That's why I was like. Because I'm like, it's so many different layers to this shit that I was like. But I've been, I've been meaning to talk to you about. And I was like, oh, I can't wait till you come up here, bro. [00:49:21] Speaker C: There's so many things that like, like, like you guys only see the end result. Yeah, but what leads up to these things being said and done to each other is a whole nother thing. [00:49:33] Speaker B: Yeah, well, give me some, give me some sets to stories from Eight Mouth. Because Anthony Mackie just did an interview and he said that he told em his personal story, his personal life, and he used it against him in the third round. [00:49:48] Speaker C: Yeah, I knew what it was. [00:49:49] Speaker B: He cooked you too at work. [00:49:52] Speaker C: It would have been worse, B. [00:49:53] Speaker B: Rabbit fucked you up. [00:49:54] Speaker C: It would have been worse. And I gotta keep reminding niggas, that was a script. That was not exhibit. That was Mike that work. That was Mike. That ain't me that work at the goddamn. Yeah, he fucked Mike up. But, but I mean, what's dope is like Paul, Paul, Paul Tracy. I mean, to see him turn that story that, you know, at one point in time, nobody in the world wanted to listen to and now you have a Oscar winning movie about your beginnings. It's awesome. But one of, one of the funny stories that, that I was was always. It was my turn to, to, to film. I get to set and I look in this. They have the sides in the trailer. I'm looking at this thing, I'm like, I'm not seeing this. I was like, I need to write my own to. To, you know, be in this. They was like, yeah, you need. Well, I mean, you're gonna shoot in like an hour. You know what I'm saying? I was like, yo, it's not gonna take me a minute. How many bars are. And then I just wrote my shit there. So Everything I said in the movie, I wrote it. You know what I'm saying? But it just had to say certain things like New Detroit Stampin' and, you know, certain things had to be in it in order for it to work with the script. And I wrote it right there and then that's how it came out. [00:51:11] Speaker B: So did you and Eminem ever spar together? Because at some point in yours, you say something about the co worker who was gay, and then he rebuttals you and say, I'm tired of all these gay raps. [00:51:23] Speaker C: Right, right, right. It was. It was the first time I heard him do. That was the first time I heard him do it. Okay, we did it on set. [00:51:30] Speaker A: Was that. That was intentional? [00:51:31] Speaker C: Yeah. [00:51:31] Speaker A: I mean, naturally. [00:51:33] Speaker C: Yeah. I think it's natural. I mean, but then once. Once we got this, start going through takes and, you know, and pick up kind of know. Yeah, we know what's going. You know, how to react to it. Right. But I thought it was dope, man. I think. I thought. I think I did, but I. I think I. I came out best. Better than the rest of the people that was in that movie. He was roasting, you know, so on. [00:51:55] Speaker B: Set, you guys knew that that third round, he essentially was gonna say something about his real life. [00:52:02] Speaker C: I know he had no idea. [00:52:03] Speaker B: Okay. [00:52:03] Speaker C: I had no idea. But, I mean. But Marshall's good like that. Like, Marshall is. He's a real. He's a unicorn, too. You know what I'm saying? There's only certain unicorns that are in this business. He's a unicorn. Yeah. And so for him to be able to love this thing of ours so much and love the culture and have a real, actual seat at the table is well deserved. [00:52:28] Speaker B: Yeah. [00:52:28] Speaker C: You know? Yeah, I'll always say that. [00:52:30] Speaker B: Were you there when. [00:52:32] Speaker C: Go ahead. [00:52:32] Speaker B: Were you there when 50 Cent wrote in the clip? [00:52:35] Speaker C: No. [00:52:35] Speaker B: Cause why he say your name? [00:52:37] Speaker C: He just shouted me out. [00:52:39] Speaker B: I see Xzibit in the club. [00:52:41] Speaker C: Fucking ain't right. You motherfucking right. Hell yeah. I was like, you know who told me first? Tracy McNew. Tracy McNew told me that he had shouted me out. He's like, you know, 50 shouted you out on a new record? I was like, really? What? And then all of a sudden, I heard that shit, like, everywhere. Yeah, I was like, not bad. [00:53:01] Speaker A: Yeah, not bad. [00:53:03] Speaker B: Were you, like, a heavy smoker then? [00:53:06] Speaker C: Right now I'm smoking right now. [00:53:08] Speaker A: Yeah, he got the pastry and all that. [00:53:11] Speaker C: Yeah, I'm smoking right now. I got, like, 17 edibles. [00:53:13] Speaker A: I want to get to the. I want to get. [00:53:15] Speaker B: Let me go ahead. [00:53:17] Speaker A: Yeah, she be off the edible. Texting the group chat at the middle of. [00:53:20] Speaker C: Okay, so look, so look, so look. Please. I got two dispensaries. I got one in Bel Air. It exhibits west coast cannabis. And I got one in the Valley, same title in Chatsworth. [00:53:31] Speaker B: Oh, I live over there. [00:53:32] Speaker C: Oh, please, go to the store. Tell me when you going. They gonna hook you all the way up. [00:53:38] Speaker A: He'll get you, right? [00:53:38] Speaker C: Yeah, you'll be right. [00:53:40] Speaker B: Oh, okay. [00:53:40] Speaker A: Yeah, she be off the gummies, bro. And she be texting the group chat like, y' all, I'm a genius. I just came up with. And she was like, right off this whole thing, I'm like, bro, like, go to sleep. [00:53:49] Speaker C: Yeah. [00:53:50] Speaker B: Those clips you see with them random questions, them come from me being high. [00:53:55] Speaker C: See, that's what I'm saying. There's a relaxation that comes, and then the inner thoughts get to go out, come out through the noise. [00:54:02] Speaker A: I wanna talk about Kingmaker, but I'd be remiss if I didn't. So. Pimp My Ride. Do you regret doing Pimp My Ride? [00:54:10] Speaker C: No. [00:54:10] Speaker A: You don't regret doing Pimp My Rod? [00:54:11] Speaker C: No. No way. No way. [00:54:12] Speaker A: Okay. Cause I saw a rumor saying that you regretted it, and I was like, that's not. I talked to you on about it. [00:54:17] Speaker C: There's so much shit that gets put out on the Internet. It's just like everybody's doing everything except asking me. You know what I'm saying? Everybody's reporting from all these sources. [00:54:26] Speaker A: Sources say, yeah, who the fuck is that? [00:54:28] Speaker C: Yeah, who the fuck is the source if it ain't me? [00:54:31] Speaker B: Yeah. [00:54:32] Speaker C: Like, niggas talking around me, but not to me, like, huh. [00:54:37] Speaker B: Did Pim Mariah ever get any backlash for the title? [00:54:40] Speaker C: No. [00:54:41] Speaker B: Never? [00:54:41] Speaker C: No, never. [00:54:42] Speaker A: It was different era. [00:54:43] Speaker B: It wouldn't be able to last in this era. [00:54:44] Speaker C: Absolutely it would. Pimp My Ride. We took a word that is, you know, traditionally not known for being nice people, you know what I'm saying? And turn it into something where middle America was like, hey, you gonna pimp that out? [00:55:00] Speaker A: Yeah. [00:55:01] Speaker C: Yeah. You know what I'm saying? [00:55:01] Speaker A: Like, oh, yeah, I want him to come pimp my. [00:55:04] Speaker C: Yeah. [00:55:05] Speaker A: Oh, yeah. [00:55:06] Speaker B: You think. Do you think the show was ahead of the time? Cause now we're like. We're part of this era. Like, the TikTok era is the do it yourself diy. [00:55:14] Speaker C: When I first did that show, it was a risk. Reality TV was not. It was frowned upon by hip hop, just like back in the day. When MC Hammer was doing Pepsi commercials, now, n would kill their mama to get a Pepsi commercial. You know what I'm saying? To be just seeing the attention. But back in the day, that wasn't. That wasn't. That wasn't the case. So that was a risk starting going that direction. And I was in between album cycles. It was like one of the last things me and Paul kind of talked about. Because I was on Goliath, I was managed by Paul Rosenberg. At one point, that was the last thing we kind of discussed. And he was like, what do you think? What do you think? I was like, I don't see why you can't. Well, you shouldn't. [00:56:00] Speaker B: Yeah. [00:56:01] Speaker C: And so it wasn't like a yes. You know what I'm saying? You should do it. It was like, okay, well, I'm gonna go take this opportunity. And so now, looking back on it, I was really. At first, I was like. I didn't understand how this. This fucking show was bigger, was eclipsing my fucking records. You know what I'm saying? Like, it was like I was in households that didn't give a shit about exhibit music, but they tuning in every time I'm on the screen. [00:56:33] Speaker B: Yeah. [00:56:34] Speaker C: And I want it to be known as exhibit hardcore. You know, lyricist, rapper, West Coast. Let's go smoke some weed. Let's do a concert. Now. People are, like, pushing past my security. Soccer moms coming and pinching my cheeks and in random countries. [00:56:51] Speaker B: Yeah. [00:56:51] Speaker C: You know what I'm saying? It's like the people were like. And I have a horrible sense of humor. It's just like the way I say it to my. Like the way I talk to my family and Thanksgiving and all that stuff. Horrible dad jokes. My whole speed is dad jokes. You know what I'm saying? I love it. And so now the world is seeing me for that. And I was too close to it at the time, in the beginning. And so I did have. Especially when, you know, Viacom and anybody who's had any kind of MTV experience. Experience knows what I'm saying is absolutely true. They. You. You know what I'm saying? Like, seriously. And don't have no kind of remorse whatsoever. You know what I'm saying? They. They actually get surprised when you survive. Just like, huh, he made it. [00:57:45] Speaker B: Wow. [00:57:46] Speaker C: So. So I just. I was just. I was just really not understanding that the Q rating that I received from doing those shows led to me being accepted in Hollywood to do major motion pictures, to do summer blockbusters, to do, you know. You know, three years of Empire it gave me the. It gave me the initiative to go and put myself in acting classes and do plays and, like. Like, really? Because when I looked at myself in my first movie, big movie was X. X Files. No, no, it was triple X2. [00:58:22] Speaker B: Oh. [00:58:22] Speaker C: With ice Cube. I looked at that movie, I was like, oh, I'm really bad. This is really bad. You know, saying, like, I really don't know how to control my face. You know, like Will Ferrell. I don't know what to do with my hands. You know, that, like, it was like, I'm looking at this thing, and in the difference that you see when you. When you on tv, your face is about as small as this water bottle on this phone, right? At the most, when you're on a movie screen, that shit big as the building, and we don't know how to use your face. It's like, nigga, ooh, this is bad. [00:58:55] Speaker B: It comes out. [00:58:56] Speaker C: Yeah, yeah. You can see it really, really, really clearly. So I was like, so because I'm popular, they'll put me in seat. And I didn't have to audition or nothing for that movie. They was like, you got a role in Triple X 2. [00:59:08] Speaker B: In my household, that was the Exhibit movie. Like, the title of the movie stood for your name. Like, that's how it was in. [00:59:17] Speaker C: But I was like, yo, they're gonna give me enough room to either pull myself up or fucking hang myself. So let me take this serious. And I started, like, pushing myself and looking into acting classes and taking it serious. And so then I just. From then on, every time I got a role, it was because I beat all the other actors out in the room. I went to the audition, and I beat him in the room. Doing what they do, this is what you do. So I'm coming to beat you at what you do. [00:59:46] Speaker B: Are there any roles that you passed up on or any. That you auditioned for that maybe somebody else got it? That's, like a big role right now. We was talking to Essence Atkins, and she told us that she auditioned for Yvette for Baby Boy. [00:59:57] Speaker C: No, I mean, like, I only go for things I really want. They try to typecast me all the fucking time. Thug number one, thug number three, villain number six. You know what I'm saying? He's a guy that has rough past, and he's really violent, and he's just right, you could do this. I know, nigga. That's. I live that. You know what I'm saying? Like, I don't want to do that. I want to be the football coach. I want to be the FBI agent. I want to be the drill sergeant. I want to be, you know, something that takes me out of my wheelhouse. But there is one movie that will always be like, ah, the one that got away. And I got the role. It was called Pinkville, and it was about some soldiers, and it was directed by Oliver Stone. I was opposite Bruce Willis and a whole bunch of other actors. And it was a period piece. So we jumped from me being young to me being old and a veteran and talking about this thing. And then it was. It was about Vietnam soldiers that went and, like, slaughtered this whole village and then kind of like had to live with this thing. It was like. Like men, women, children. Everybody's getting waxed, and so then they come back home and they have to, like. It was like a documentary on it. So I was playing this one guy, the sergeant who gave the orders to kill everyone. So I'm. This is my eighth read, right? My sixth or seventh read. Now I'm in the room with Bruce Willis and Oliver Stone, and he's sitting there looking at. And I nail this. I know, I know. I don't even have to rap no more after this. Like, this movie was one of them. You know what I'm saying? And so right before we were. I got fitted. Everything was ready to go. And it was the day before we supposed to go to the airport and go to the Philippines to film. I was so fucking excited. I got the call and said, hey, there's a writer's strike and we need a writer on set. Oliver can't do the film without a writer. We're shutting down production. Game over. [01:02:08] Speaker B: Is this the recent writers strike or. There was one. [01:02:11] Speaker C: This was one before. If you look up Pinkville, it's the movie that never happened. Damn. You know what I'm saying? But, man, that thing was about to be dynamite, you know? And I wrote Oliver Stone Christmas cards. Cause I was just that close to being on that seat. [01:02:26] Speaker A: Damn. [01:02:27] Speaker B: Was your role in the Wash improvs? [01:02:32] Speaker C: Maybe. [01:02:33] Speaker B: When you bought the tape, you said, you sold me a tape with a cover on it that got one F for Puffy and there's two Fs in it. [01:02:44] Speaker C: Oh, yeah, probably. [01:02:45] Speaker B: But you got a quotable in there where you say, yeah, what's up now, player? [01:02:49] Speaker C: Oh, yeah. [01:02:51] Speaker B: I'm like, that gotta be improv. [01:02:53] Speaker C: Yeah. I mean, but it's good. I mean, that was that. Those are fun. We with the homies. We know what we doing. You know. That was a remake of a classic film. [01:03:04] Speaker B: Oh, I'M learning a lot today. [01:03:05] Speaker C: Yeah, DJ Pooh, genius, his insight and his humor is beyond what people understand. You know what I'm saying? And. And, you know, when he came with that concept and, and got Dre and Snoop to be, you know, in that movie, and they got all the homies that those, those are feel good moments. That's when you, when you, when you are able to get your people and have them involved in. In a passion project. It was dope, man. Yeah, but I mean, probably that was improvised. [01:03:36] Speaker A: King Maker is. Is. I remember us having a conversation. I don't know if it's public or not. If not, then don't mind it. But you were saying this is like, it, like, as far as, like, you being an artist, putting yourself out there in the forefront. I want my final thing to be. I'm a King Maker. Meaning it's not about X, it's about the people that I'm empowering, the people that I'm leaving, people that I'm putting on. Is that still the sentiment? [01:04:08] Speaker C: Not now. This going up. I ain't going. I'm getting. I ain't getting out my seat. Wait a minute. [01:04:16] Speaker A: Because that's what I remember. I remember us having a conversation. I'm like, why would. [01:04:19] Speaker C: Why? [01:04:19] Speaker A: Like you was. [01:04:20] Speaker C: No, but look, but look, but look. You got to understand where I was coming. [01:04:22] Speaker A: This was a long time ago in Vegas, by the way. [01:04:24] Speaker C: You gotta understand. [01:04:24] Speaker A: You've been making this album for a while. [01:04:26] Speaker C: Yeah, for sure. I started to stop this album like four or five different times. And really, it was like I was looking at the state of hip hop. I was looking at where, where, what am I doing here? [01:04:44] Speaker A: What's your what is your why? [01:04:46] Speaker C: Or. Yeah, yeah, what? Like, I'm looking for what I fell in love with hip hop for, and I can't find it. I can't find it. I don't hear it. I don't see it. I don't. I mean, it's the fluff in the, in the, in the, in the wwe. And the semantics are bigger than the sounds. It's like, I don't give a fuck who you're fucking. I don't give a fuck who you're fighting. I don't give a fuck who you said fuck. You know saying. You know saying, can you rhyme, nigga? [01:05:15] Speaker A: Yeah. [01:05:16] Speaker C: Are you going to say something where I'm going to be like, oh, that's tight. Or do you just. Or is it just that because you. The semantics around you are so, so amazing and so real and so Attention grabbing, that it, it's. Now we just listen to your music because of that. I'm not doing that. You suck, nigga. [01:05:37] Speaker A: Yeah, that part. [01:05:39] Speaker C: You can't. You can't rap, nigga. [01:05:41] Speaker A: That's genius. [01:05:42] Speaker C: You not on beat, nigga. You are using six words, nigga throughout the whole fucking song. [01:05:49] Speaker B: I need this as a sound bite. I just need this that you don't. [01:05:52] Speaker C: You don't know how to read. [01:05:55] Speaker A: Yeah. [01:05:58] Speaker C: Your comprehension skills is in the trash. So I don't want to hear that. Yeah, I don't give a. Who you who offended. Yeah, I don't give a. This was built on a communication before there was Internet, before we found the only reason we knew what was happening in New York is cuz New York was putting on records and, and we listening to it and understood it and it was clever and it was dope and people invested in that. Only reason we knew what was happening down south and, and, and, and beyond was because of the music that we get it. We listen to 2 Live Crew, we know they shaking ass down there, you know what I'm saying? We know. We want to hear. Hey, we want some pussy. We going right out there to Miami and we gonna listen to them records. And we know what time it is. [01:06:43] Speaker A: You already know. [01:06:44] Speaker C: We already know. But now everybody's trying to sound the same. Everybody wants to be on the same beat and the same cadence and, and because they have access to the audience way better than we had when we first started, they think they're better, but that's not the case, you know what I'm saying? You guys just have. You guys have access, you know what I'm saying? But now we gotta. We're to a point where anybody with WI Fi thinks they're a fucking artist, you know what I'm saying? [01:07:12] Speaker A: Can you rap, nigga? [01:07:13] Speaker C: Can you rap, nigga? Can you rap on beat? Can you rap in the circle? Can you, can you battle? Can you, can you make a hit record? You know what I'm saying? And I think that's been lost in the sauce. So that's why, that's how I feel about it, you know what I'm saying? Like, I'm not intimidated by none of this shit. Like I know the genuine connection I have to hip hop. It cannot be broken. And so I know when I hear it, I know when I see it, and it exists. Just like, you know, you know, the Chef Boy. The Chef Boy got a huge record. I love that fucking record, you know what I'm saying? I love to hear Coyote. I love to hear Domo Genesis. I love to hear motherfucking Compton. Av Yeah, like there's some cats out there that got it. And it ain't because they like using like all kinds of metaphors and all that. Look, it's. Look, you. You could hear it in a spirit and you could hear it in the way that they care for the craft, you know what I'm saying? Kendrick put a battery in the whole city at that Pop up concert. He put a battery in the city. So we was out here looking at each other like we didn't tried everything else. We didn't killed each other. We didn't dissed each other. We didn't, but we didn't did. We ain't tried unifying might as well. We ain't tried that one. [01:08:36] Speaker A: That's one thing we didn't try. [01:08:37] Speaker C: Oh, nigga, yeah. [01:08:40] Speaker A: Oh, oh. [01:08:42] Speaker C: We ain't try that one. [01:08:43] Speaker B: It look good when we did. [01:08:44] Speaker C: Oh, man, that. You see that? [01:08:46] Speaker A: Oh, this is inside. [01:08:46] Speaker C: I know. [01:08:47] Speaker A: I saw it. Look, I saw it. [01:08:49] Speaker C: Yeah, push, push. I think that when the city felt that, I was like, ooh, this is this. It gave me chills. Cause I was in New Zealand. [01:08:58] Speaker A: Yeah, I remember that. [01:08:59] Speaker C: When I was in New Zealand, I put that shit up. I hooked this up on the tv. Nigga. I was in there like I was watching the Super Bowl. Yeah, I was out. I was like, they always yell at people like, you all right, nigga, get in here. [01:09:11] Speaker A: Check this out. That was one of them ones. [01:09:16] Speaker C: That was. That. That was the one. Yeah, that was the one. I think, you know, when we were putting together, you know, our records and going out on the. On the bigger tours and up and Smoke was a real big. It was a. It was a big movement, big piece to the west. It feels like Kendrick is having that run, like he's single handedly having that run. And the way that he is unapologetically standing on his square is really admirable, you know what I'm saying? It gave me hope. It was like, yo, David and Goliath, we understand that aspect of it. I think people severely underestimated Kendrick and to their detriment, you know, But I mean, look, at the end of the day, the spirit of competition has always been part of hip hop, you know what I'm saying? You're in a fight, you're gonna get punched in the face. You don't fucking, you know, you don't fucking sue when you get punched in the fight. You know what I'm saying? [01:10:23] Speaker A: Right, right, right. Especially if you wanted in on the fight. [01:10:26] Speaker C: Yeah, nigga, you started the fight. [01:10:29] Speaker A: You want the fade. [01:10:30] Speaker C: Yeah. [01:10:30] Speaker A: And he's like, well, this hit me. What? Yeah, it's a fight. [01:10:35] Speaker C: Come on. [01:10:36] Speaker A: This hit me. [01:10:37] Speaker C: Come on. [01:10:38] Speaker A: It's a fight. [01:10:39] Speaker C: Beating his head against the wall. Yeah. Yeah. He didn't understand, bro. That little quiet stint where he didn't say nothing. He was just talking. The AI. The Tupac thing came out, thought he was in there. He was in there punching himself and hitting himself on the wall. [01:10:55] Speaker A: I know. I knew, but I was like. [01:10:58] Speaker C: Yeah. I was like, okay, come on, man. I was like, you guys don't understand what's about to happen. [01:11:03] Speaker A: Yeah. [01:11:03] Speaker C: And I just sat back and just watched a little popcorn. Ooh. [01:11:08] Speaker A: What was the record for you? What was the most. What was the record that you thought was the one from the battles? [01:11:15] Speaker C: Well, I mean, everybody's obvious is not like us, but that was how you. That was how you put a bow on it. [01:11:19] Speaker A: Yeah. [01:11:20] Speaker C: I think when the. Start talking to the nigga's son. [01:11:22] Speaker B: Meet the grams. I told you. That's the one. [01:11:25] Speaker A: I don't like that record. [01:11:26] Speaker B: That's the one. [01:11:27] Speaker A: It's. That's too much. [01:11:28] Speaker C: Well, I'm. You know. [01:11:29] Speaker A: Yeah. You had an AK47 at the homie mom house. [01:11:34] Speaker B: He talked to his son, his daughter. [01:11:37] Speaker C: His mama, his daddy, that said, I'll get to you in a minute. Yeah, let me talk to your family. Hold on, man. [01:11:46] Speaker B: Hello, Sandra. [01:11:46] Speaker C: Talk to your family. Yeah, that's talking to a nigga's kid. Hey, Adonis, how do you come up with that thought? That thought, like, like, you know what? Let me address the important people in the room. That's a whole. He. You can't play. You can't play jacks with a who like to play professional chess. You know what I'm saying? [01:12:07] Speaker A: Yeah. [01:12:08] Speaker C: And I think. I think that they was going to walk through him, and it. It didn't happen that way. And so, yo, like I said, like, we like that in the West Coast. A fade is like. A good fade. Is this. [01:12:19] Speaker A: Sometimes I just got done explaining. [01:12:21] Speaker C: Yeah. You don't understand. Like, Like. Yeah, a good fade. Oh, man, let me get a good seat and get. Look at this. Ain't nobody gonna jump in. Ain't nobody gonna. Y' all got it. Yo, yo, yo. Hey. Anybody jump in, you gotta deal with me. Yeah, yeah. Y' all let these fight. You let them get this out the way. [01:12:40] Speaker A: Yeah, yeah. [01:12:41] Speaker C: You know what time it is? [01:12:43] Speaker A: And it was quiet. You know, also, too. To. To your Point. Nobody was dropping no music. [01:12:48] Speaker B: Yeah, nobody was dropping. [01:12:49] Speaker A: I'm going to sit right here. [01:12:50] Speaker C: Yeah, I'm about to. [01:12:51] Speaker A: You didn't drop. He didn't drop. She didn't drop. Everybody was like, they got it. [01:12:55] Speaker C: No, they got it. Yo, yo. They. It's. It's. It's. It's. It's a fight in the middle of Tokyo with Godzilla. And, and, and, yeah, it's not playing. [01:13:07] Speaker A: Yeah, I agree with you. [01:13:08] Speaker C: So. But again, after all, that's all that's to be said and done, you know, Drake is by no means dead. He's going to come and make more music. He's going to find that hit record and put it out, and he's going to be right back where he was. Right. But Kendrick is. Has definitely solidified his place as one not to be with at all. And, and, and, and also, it also could have backfired on him, but it didn't. It actually. It destroyed any kind of misconception or any kind of. Where everybody thought he was. He is seriously not there. He was somewhere totally different. It's just catching everybody up and catching everybody up. And I'm talking about the planet to that space that fast is awesome. [01:13:57] Speaker A: I just was. We was. I was telling everybody, like, on the radio, like, at the end of the day, people just forgot he's a nigga from Compton. You know what I'm saying? And I think that's the main thing. Like, yeah, he's all that. You could say. He's. He's a. He's a revolutionary and he's spiritual and he's, you know, meditating. He's still in the Compton nigga off. [01:14:16] Speaker C: The blocks that our forefathers came from, you know what I'm saying? You know, Eazy E and Dr. Dre and Yella and, you know, Ren and, you know what I'm saying? Like, DJ Speed, all these guys, you know what I'm saying? Like, like, he came from that cloth, you know? [01:14:31] Speaker A: Thank you for coming to. I mean, for inviting me to the video shoot. The Shut your mouth yeah. Video. I'm in the video. Thank you for that. Appreciate you. But the Kingmaker, a lot of familiar face, a lot of familiar voices on this project. More. More than I expected, to be honest with you. Because, I mean, I don't know which version this is. Like, you played me a version of Kingmaker? Maybe did what, two years ago? [01:14:55] Speaker C: Oh, yeah. No, it's way better. All the records on this version have been down within the last eight months. [01:15:02] Speaker A: Okay. [01:15:02] Speaker C: There's only two Records. Really? There's only two records on here that made it from the first original Kingmaker sessions. [01:15:09] Speaker A: Got you. Okay. So the song with you, and I was just talking about it, you TYDE Alison and Dr. Dream, that's one of my. One of my choices. But you send people love in the Ice Cube record. [01:15:20] Speaker C: Yeah. [01:15:20] Speaker A: Do you. [01:15:21] Speaker C: We just put that out. Yeah. [01:15:22] Speaker A: Do you have a specific one that you feel like is the one that people need to fuck with? Because I ain't gonna lie. I'm gonna just tell you, play this at my funeral. Kind of dark, you know what I'm saying? I remember you playing that for me. [01:15:32] Speaker C: Yeah. [01:15:33] Speaker A: And I'm like, why would you make a song called Play this at my funeral? Eminem did the same thing on. Was the Coupe de Grasse. [01:15:40] Speaker C: Yeah. [01:15:41] Speaker A: On his last album where he wanted his daughter to, like, listen to this. [01:15:45] Speaker C: Yeah. [01:15:45] Speaker A: Is that, like, not morbid to y' all? Like, y' all forecasting this? [01:15:48] Speaker C: No. I'm not afraid of death. I think death is a part of life. I think it's a natural part of life. I think my relationship with death, you know, it hit me early on, like, my mother. I experienced death at nine. Like, trying to comprehend your mother dying at nine years old and not really having the. You know, my family, really. They weren't big in therapy. Like, they didn't talk to me about it. It was just, like, I cut. Like, I just sat with that. So I've been struggling with the concept of death and dying for a long time. So that's why I was, like, running into a brick wall. You know what. At a thousand miles an hour. When I was a kid, like, I wanted to die. You know what I'm saying? [01:16:33] Speaker A: Wow. [01:16:34] Speaker C: And so when I say so, I'm not afraid of the subject or the. The meaning or the journey of death. It's just part of life for me. So when I say, play this at my funeral, that has nothing to do with me dying. I wrote that song because it was, like, we discussed, like, if this was going to be my last record, what do I want to say to people? What would be my finite statement? What would be my final things? What would be the things that I. That I've learned? And that's kind of like. That gave me the nod to write the rest of the record. I was like, oh, this is about transferring the information that has made me successful to the audience. [01:17:14] Speaker A: Got you. [01:17:15] Speaker C: Not threatening them, not telling them how strong I am or. Or what I've been through. You ain't. And look how much Money I got. And I feel like I survived some, you know what I'm saying? Never went to college, never been classically trained as an actor. Never, you know, like, everything I got from elbow grease, from fighting for it, you know what I'm saying? So when I look at, you know, songs like that, it's. It's from a perspective where, you know, look, it's gonna happen to all of us, you know what I'm saying? Regardless how you take that journey is up to you, though, you know what I'm saying? So I look at it like, look, it's an eventuality. It's not like maybe it's gonna happen. We all on the clock, you know what I'm saying? We all on the clock. So let me take something that people shy away from and let me own it. [01:18:14] Speaker A: Yeah. [01:18:15] Speaker C: So when I pass, like, do I want people to play that song when I pass? Probably not, you know what I'm saying? You know, But. But I mean, if. So I feel like I. I feel like I did it justice. And those are the. If. If the state of the union for my life, where I am at this very moment and what I'm doing and what I feel like that song embodies all of that, because you don't have to sell the truth, you know what I'm saying? You just got to tell it. And so that's where that song came from. [01:18:44] Speaker A: I feel you. Well, yeah, this project, to me is. Is like. It seemed like you've been, like, working for this, Your, like, whole career for this project. [01:18:54] Speaker C: You right, you right. You right, Head. Like, this is the album. When I started making records or when I started rapping, before I even got a deal, when I started rapping. And if I could imagine a record, this is the one. This is the one I've been trying to make my whole life. [01:19:12] Speaker A: That's how. That's the sentiment I got from it. But, yeah, thank you for sharing this. Thank you for always being open to criticism. [01:19:19] Speaker C: Yeah. [01:19:20] Speaker A: One of my first conversations with you, he was like, I wanna know what you think. I'm like, for real? You like, Yeah. I was like, I ain't fucking with it. He was like, respect. [01:19:29] Speaker C: Damn. [01:19:29] Speaker A: Exhibit a Real n. That's crazy. And I just always respected you from that day. [01:19:33] Speaker C: Absolutely. [01:19:34] Speaker A: But I appreciate it, dude. [01:19:35] Speaker C: But look, man, look, if I wanted to, If I wanted, yes, men, I know plenty of them. I can call them. [01:19:44] Speaker A: Gotcha. [01:19:45] Speaker C: But I called you specifically for a reason. Because we didn't grow up together, you know what I'm saying? And I know me. And I was like, trying to find that sound. Remember? Remember? I was like, yeah, it was a couple years ago, and I started to stop this album a whole bunch of times, and I'm. And I wanted to play it for you to see where it was at. And it didn't move him. And I didn't take it personal. I made the records, you know what I'm saying? Like, if anything, be mad at you, but. But it was dope. Because I respect your opinion, and respect doesn't mean that you're always going to get a positive response from. From what we're talking about. So I wanted that honesty from you. And honestly, that's what made me like, oh, I. I got more work to do. [01:20:38] Speaker A: Really? [01:20:38] Speaker C: Yeah. I took that and went back and, like, it's not ready. You see, you gotta understand, every 10 years, this. The. The. The change of the guard happens. People grow up. People go. The audience changes. Artists change. You're right. People grow up. They graduate, start families, get jobs, move, have different lives. Those people that bought the Restless album are damn near in their 50s, you know what I'm saying? Or late 40s. They not fucking with rap music like that, you know what I'm saying? So there's a new changing of the guard problem. Jason Martin is. Is. Is catalyst to. That's my doorway to all of y' all. [01:21:26] Speaker A: Yeah. [01:21:28] Speaker C: Like, he's old enough to kick it with us, but young enough to kick it with y' all. [01:21:32] Speaker A: It's a good doorway, you know what I'm saying? [01:21:34] Speaker C: Like, he's. He's my guy. Like, when I don't understand something, I call him. I'll be like, what this talking about, you know, saying, oh, well, he's saying this because he from over here, and he did. Oh, got it. That's just weird happening, you know what I'm saying? Like, oh, got it. Okay. Got it. I understood. So that's how I communicate. So I know it's a different time in a different pace, in a different pulse. So I went out like, listen, I'm not trying to. I don't need to chase a sound. I don't need to find. I don't need to change my sound. I just need to do exhibit music extremely well. [01:22:06] Speaker A: Yeah. [01:22:06] Speaker C: You know what I'm saying? And that's what I wanted. That's what I was striving for. And when we had that conversation, I didn't take it personal. I honestly respected what you said, Went back, you know, and. And took the. To constructive criticism and was like, yo, well, this is. This is what I need to do. When a get mad at you for telling you for. Well, first of all, you asked for the opinion, right? And he tell you something unfavorable, don't get mad at the. For telling you the truth. You know what I'm saying? Because then when you put this out and then don't do nothing, you're gonna be like, oh, man, is tripping. They don't. No. Told you that wasn't moving. You know what I'm saying? Niggas told you. [01:22:48] Speaker A: But thank you, though. [01:22:48] Speaker C: No, thank you. [01:22:50] Speaker A: I really appreciate that about you. Make sure you tap in the King Maker. Oh, you got. Sorry. Go one more. [01:22:56] Speaker B: Oh, yeah, I want to go. I just got one more. Pimp. My right question. [01:22:59] Speaker C: Okay. Yeah. [01:23:02] Speaker B: Did he drive home with his water in the hot tub in the van? [01:23:07] Speaker C: Once they yelled. Once they said, it's a rap. I left. [01:23:10] Speaker B: You left. [01:23:11] Speaker C: Yeah, yeah. [01:23:14] Speaker A: Once they say cut, I'm out. [01:23:15] Speaker B: There's no way he drove home with all that water in that hot tub. [01:23:18] Speaker C: I mean, there's so much stuff online about the shows and what it was about. [01:23:22] Speaker A: The Cars don't work. [01:23:23] Speaker C: Yeah. [01:23:23] Speaker B: It's like, yo, man, the Cars didn't work. [01:23:25] Speaker A: Yeah, it's all. [01:23:26] Speaker C: Yeah, it's all kinds of. But you know what? [01:23:28] Speaker B: He was the host. You don't even know. [01:23:29] Speaker C: I don't. I never worked on the Cars, but I know. I think. I think what people are missing from that show is that in the midst of reality shows being about somebody else's demise or somebody's embarrassment or making, you know, or. Or. Or. Or knocking the legs out from somebody. That show was about wish fulfillment. It wasn't about me. It wasn't about the car. It wasn't even about the kid. It was about the. The viewer. Looking at that is everybody has a piece of beater that they wish they could do something to or they have a parent or a loved one that has some car that's special to them. I think people thought that, you know, this can happen to me, like, he can actually come and, like, publishing clearing. Publishers Clearing House, come to my door and make this happen for me. [01:24:10] Speaker B: We don't have no shows like that now. [01:24:12] Speaker C: No, not at all. [01:24:13] Speaker A: Not shows dealing in hope. [01:24:15] Speaker B: No. [01:24:15] Speaker C: At all. [01:24:16] Speaker A: Yeah. [01:24:16] Speaker C: Yeah. Everything is about the end of the world. Absolutely not. [01:24:19] Speaker A: Okay. [01:24:20] Speaker B: They're. They're celebrating 106 and parks 20. [01:24:23] Speaker C: That's good. [01:24:24] Speaker B: 25 years. [01:24:25] Speaker C: That's good. You know, that they've never again. We. We talking about viacon, Viacom, mtv. They Would rather bury the show than actually do right. And they built the show off my back. But, you know, never once has anybody said, hey, you know what? Here's ownership in Pimp My Ride. We know we built this off your back. If you brought it back, could you do it, like, if we took that show out tomorrow? They've tried. They tried to do it with everybody else except me. [01:25:00] Speaker B: They tried to bring it back with other host. [01:25:02] Speaker C: Oh, yeah, yeah. They tried to do a web series. They tried to put Fat Joe in Europe and do all kinds of other shit. And it's like, yo, man, like, just do right. But look, I feel like Ms. Celie, until you do right by me, everything you do gonna fail. [01:25:19] Speaker B: One last thing. Was it intentional to. I know you lived out here for a long time, but was there any intention to brand you as a LA artist? Or did us as fans think that you were branded as a LA artist? Or why were you never branded as a Detroit artist? [01:25:36] Speaker C: Cause I left when I was nine. I had to be inside when the lights came on. You know what I'm saying? [01:25:41] Speaker B: How long have you been here? [01:25:43] Speaker C: Since I was 17. [01:25:44] Speaker B: Oh, you from LA? [01:25:45] Speaker C: Yeah. I keep telling everybody that. You know why they keep bringing that up? It's because I was able to do something here that people born and raised here haven't been able to do. [01:25:58] Speaker A: Yeah, damn. Talk to him. [01:25:59] Speaker C: You know, and it's not because I did anything out of character or anything out of wit. I mean, it's like when that's the only thing you have to pull on is that little. Oh, well, n. You ain't from here. Yeah, okay, you are. What's your excuse? [01:26:13] Speaker B: Early on, did you have to establish yourself as a LA artist or did people automatically assume you was from here? [01:26:19] Speaker C: I didn't know I had to. When I first got here, I was 17 years old, had my girl got pregnant, and I was about to be a father, and I had no idea how I was going to feed my family. And two months before I got, you know, my first son was born, I got signed, and it was 150 grand for the whole entire deal. And. And standard was 10% advance for the artist. So this is my first legal $15,000 I ever made. And my girl at the time, she was in a. In a difficult situation, right? She had got caught in Kentucky moving pounds, right? So she was in a halfway house. So it was really intense at the time, man. I walked in that house, I walked into law because I got a little apartment next to where she was, and she Walked in there and I was like, I got signed. I threw that money in the air like it was a million dollars. And that was like a real. Like. That was like. That was like my introduction to being in la. Like, this music saved my life. My first son was born here. My legitimacy started here. I became a man here. Like. Like, all the big things that are supposed to happen and transition from a boy to a man happened here in la. So I never felt like it's like, oh, I gotta make it comfortable for y' all to know where I'm from, y' all. [01:28:02] Speaker A: Yeah. Yeah. [01:28:03] Speaker C: I gotta make y' all comfortable. Yeah, you. You saying that because I'm whooping ass and I'm. [01:28:09] Speaker A: Nobody would care if you wasn't. [01:28:10] Speaker C: Yeah, yeah, yeah. If I wasn't doing. They'd be like, oh, you. [01:28:12] Speaker B: Me. [01:28:12] Speaker C: He tight. No, it's a problem. You can't. You can't say I'm whack. Cause I'll burn your ass down. And now what? You know what I'm saying? Like, is that a thing? Like, it's weird. So, look, I always tell people like this. I was born in Detroit. I was raised in Albuquerque, but I was made in la. And that's. That's how I do it. [01:28:36] Speaker A: As you should, man. I've been waiting a long time for this conversation, bro. Thank you. [01:28:41] Speaker C: Yeah. [01:28:41] Speaker A: Come on, King Maker. Go. Go tap into that. Like I said, I'm advocating for the one I'm going to play on the radio. [01:28:48] Speaker C: Is. [01:28:48] Speaker A: Is. [01:28:48] Speaker C: Is the ty$sign joint. Leave me alone. [01:28:51] Speaker A: You and you. Dre and Ty $sign. That ain't the combination we didn't know we needed. [01:28:55] Speaker C: Yeah. And you know what? And. And I don't think people understand. I haven't really told nobody this, but Swizz Beats and Dre did the track together. Swiss Swiss Beats shot the track. Dre did co production on it with icu. Shout out. Focus. Shout out the whole team. Dip Joint, everybody. Yeah, I don't think that's happened before. So this is. This is. [01:29:13] Speaker A: This is the first time. [01:29:14] Speaker C: Yeah. There's a bucket list moments happening on this record for me, man. [01:29:17] Speaker A: Shout out to. [01:29:18] Speaker B: Congratulations. [01:29:19] Speaker A: Shout out to them, man. Congrats, bro. More to come. [01:29:23] Speaker C: Absolutely. [01:29:23] Speaker A: But right now, we locked in on this, King Maker. Hopefully you come back then. [01:29:26] Speaker C: Yeah, absolutely. [01:29:27] Speaker A: With me and Gina. [01:29:28] Speaker C: Yeah. Come on, man. Let's do this. [01:29:30] Speaker A: Let's do this. The legend is here. Come on. Exhibit Mr. X to the Z. Effective immediately. [01:29:35] Speaker C: Let's go.