Rap A lot records, Dungeon Family, Suave house, No limit , Cash Money

Discover the groundbreaking journey of Southern hip-hop and its profound influence on the broader hip-hop culture. We'll tackle misconceptions and heated debates, like whether the East Coast truly had animosity towards the South, featuring candid commentary from Southern artist Gip. Our conversation delves into the competitive nature of hip-hop and the significant resistance Southern styles faced from New York, with historic moments such as the infamous Source Awards spotlighting these tensions. Uncover the rise of Southern dominance in the scene and the crucial need for mutual respect and understanding amongst hip-hop communities.

Our episode takes you through the rich history and evolution of Southern hip-hop, starting with the pioneering efforts of Rap-A-Lot Records and the game-changing contributions from artists like the Ghetto Boys and 2 Live Crew. We explore the seismic impact of Southern movements like LaFace Records with OutKast and Goodie Mob, and the revolutionary influence of No Limit and Cash Money Records. Learn how Southern artists like Master P, inspired by the Bay Area's independent hustle mentality, crafted a unique sound and cultural imprint that reshaped the landscape of hip-hop.

Immerse yourself in the diverse and vibrant culture of Southern hip-hop, celebrating the legacy and contributions of powerful artists and movements. From the lyrical mastery of Scarface and UGK to the cultural phenomenon of “trap” music, we delve into the social contexts and regional differences that gave rise to these sounds. Pay tribute to the Dungeon Family's pivotal role in Atlanta's hip-hop scene and honor the impact of female MC Lady Rage. Join us for an enlightening journey through the history, culture, and industry-shaping influence of Southern hip-hop, underscoring the critical role of culturally aware individuals in the music industry.

Transcript

Speaker 1: 0:00

Hold on. They're not letting me go live because of schedule. Okay, we're on. What's going on? Everybody? It's Ron Brown LMT, the People's Fitness Professional alongside my co-host.

Speaker 2: 0:09

Mikey Fever.

Speaker 1: 0:10

And this is a New Yorker's Perspective the music edition. The music edition. Thank you guys for joining us today. I really appreciate it. Today we're talking about Southern hip-hop, southern rap hip-hop and its influence on just hip-hop in general. You know, contrary to popular belief, brothers from the East Coast hate the South or don't like the South. That's a lie. Gip is one of them who likes to throw flames at New York a lot.

Speaker 3: 0:42

Shout out to Gip, because that's my guy.

Speaker 1: 0:44

Shout out to Gip. The thing is I don't understand his gripe with New York or whatever, maybe because I didn't thoroughly look at what he was saying. But I love Gip though.

Speaker 3: 0:55

I've spoken to Gip plenty of times. Gip is a very cool dude. He doesn't hate New York, he just hates the perception that New York was bringing in the early 90s and the late 80s.

Speaker 2: 1:09

Does that stem from that whole Source Award thing, when it was booing hundreds?

Speaker 3: 1:12

of thousands. It stems from that and a few other things that New York was. We was on our BS, so yeah, it stems from that.

Speaker 2: 1:19

Yeah, that was wrong, though, but they showed us years later they dominated.

Speaker 3: 1:23

They did what they had to do and we couldn't be mad at them for it, because the only thing that we can be mad at is ourselves for not embracing each other for one as black people. That's a fact, right. Two, for not understanding what was going on away from this little area that we're in. Granted, we are the creators of this culture. New Yorkers are the creators of this culture. It's birthed from other things, but we are the creators of this culture. So our arrogance, because we created something, is what caused other regions to have a dislike for us, and on top of that, we was going down there slinging wild keys and taking their girls. So there's a lot of things that was going on that they didn't like about us.

Speaker 4: 2:19

Right, all right, on that note, hip-hop is competitive and it's like, it's like not really for the sensitive. So, looking back, can, can we say that that was a sensitive move to a certain extent? Because I'm listening to it, right, and I and I and I and I remember the time where coastal representation was at its finest. Like I remember that time. So if you already understand that that's the star that's being stood on, why not let it shine Like? Why say, oh, I hate New York, but why just aim it at New York? Because it was like that in LA too?

Speaker 3: 3:01

But we was the Mecca. But because we was the Mecca, the first thing they wanted to do was be accepted by us first and foremost, and we rejected them right.

Speaker 4: 3:10

But that's the spirit of hip-hop is what I'm trying like. When we was creating it it was a, it was a, a battle for supremacy kind of a thing off the rip. Yeah, so for you to come in and say, yo, we want that acceptance, and for us to just say, okay, it's crazy Because we don't even do that with each other, so earn that. Just like Mikey said years down the line, it was like, oh, all right, but you can't just try to just say, hey, yo, this is what we do. Can't just try to just say hey, yo, this is what we do and then expect to bypass everything that everybody else went through and just say, oh, nah, it's because we rapping something positive, or you don't like our slang, or you start taking it personal.

Speaker 4: 3:58

But it wasn't ever to be took personal. That's just how it was. It was a real. It's coming from a real protective angle. It's like going to dc and trying to bang on some go-go or something like that and say y'all, accept me, no, no, put the work in, show me that. Or let's say what, what did they do down south? Funk, funk was they thing heavy like.

Speaker 4: 4:23

So imagine just, well, funk is a worldly thing, but funk is really like a South African thing right, it's originally in New Jersey, but to say that Shawnee, but you know what I'm saying, though, but funk is like, where they kind of built their whole sound and feel from, so for us to say yo, now we jumping on that and that's what we do now, and it's like nah, that's not what y'all do, do what y'all do or you do what we do for a while and then come to the table and say yo look, or take the ridicule.

Speaker 2: 4:52

I got you. This may be taken out of context though, but you know they wanted to be accepted, like the West Coast say. At one point they weren't accepted as well. But when Vanilla Ice came in, he was embraced to a certain degree. He was embraced by the white masses. He wasn't embraced by us. We still like, come on, people were still singing Vanilla Ice and all that.

Speaker 3: 5:10

It was a worldwide mainstream hit record. You was going to hear it everywhere. We wasn't rocking our G-Bone, we wasn't rocking. I don't know about the inner city that was riding around to that.

Speaker 4: 5:23

Name three more songs that Vanilla Ice did, and then we could talk about that Name three more songs outside of Ice Ice Baby.

Speaker 2: 5:31

What you said last week Clip Go Ninja.

Speaker 1: 5:33

Go Ninja.

Speaker 2: 5:41

I don't know.

Speaker 1: 5:42

I only know one song. He had that drink posted up in the drop top.

Speaker 3: 5:44

I don't know. I only know one song and that's Posted up in the drop top styling. Trying to talk to the ladies I forgot the name of the record, but I know the song when I hear it.

Speaker 2: 5:57

On a real note, though, because you know, as he said, hip-hop is competitive, but we also got to take in part that New York is a melting pot of people from southern regions, l, la, everywhere else. You get what I'm saying, so I don't know why we were shutting them out in the beginning. You know what I'm saying.

Speaker 3: 6:12

Because New York is just a dog eat dog city and everywhere else is not like New York. So when they come here, they come here with their hospitality and they get met with the get out of here the aggressiveness. Yes, for with the, get the fuck out of here your aggressiveness. Yeah, for no reason, dog, why you coming at me like this? You know how New Yorkers get. We know how we are Like. We got to keep it above Ignorant, let's keep it real. We be ignorant at times yeah. They coming in like yo.

Speaker 4: 6:35

We like I don't think it's ignorance, right, Because we live fast here People will try to get over on you. If you don't tell them get out of here, people will try to. And then from here it's like if you try to play too nice, what you being so nice for, how you trying to get under my. I think it's a culture clash Like all right, especially from the North to the South. We already have had our just before, even before hip-hop just ideologies from the beginning here in america. So the the culture clashes is bound to happen, especially when it gets tighter and we start to find something to share because we didn't really, how you say it, we don't share hospitality like southern hospitality is a thing we don't have northern hospitality like there. Our cultures are different and but we have enough space where we could respect it from afar.

Speaker 4: 7:33

But once you come into the realm of hip-hop and it closes in, it closes the doors and it's like can you withstand the pain? Or even when you move from down south to new york, you end up with a new york swag because we move swiftly. Down south things is a little bit more lackadaisical. I would never use the word slow because they sharp as shit down there. So I would never use the word slow, I would just say things is lackadaisical down there, gives a man a lot of time to think. Yeah, you know what I'm saying. So that culture clash and with it being brand new at the time, I can see the path that allows that to happen.

Speaker 1: 8:17

All right, let me ask you a question. So we're talking about Southern hip hop, and so I want to. I like to start from the foundation, the origin, the knowledge, right. So southern hip-hop? What set off southern hip-hop? Would it be rap?

Speaker 3: 8:32

a lot records they broke the, they broke the trick. They were the first ones to break through in new york okay I don't disagree with that.

Speaker 4: 8:43

Him and Luke, I heard.

Speaker 3: 8:44

Luke and uh Scarface, the Ghetto Boys yeah, ghetto Boys rap a lot, so the Ghetto Boys rap a lot. And 2 Live Crew and Luke. The funny thing about 2 Live Crew? The funny thing is they broke through the mold, being from Miami, but two members are originally from New York.

Speaker 1: 9:06

Oh, that's wild. I had no idea.

Speaker 3: 9:11

Which members? The Darskin one I forgot his name the Darskin one and the Asian one. They both from New York, oh wow.

Speaker 2: 9:17

The DJ. I forgot his name DJ.

Speaker 3: 9:18

something right, they both from New York and they migrated to Miami and created a scene in Miami.

Speaker 4: 9:25

Come on Clebs, come on you talking it baby.

Speaker 3: 9:30

Come on, man. A lot of these regions. Of course we're the Mecca for a reason, but a lot of these regions, a lot of us were moving to different places and setting up shop and networking with these people, bringing them our culture from New York to these other places. But these other places had their own little thing going on. We was just adding pieces to the culture, to what they was already doing.

Speaker 3: 9:57

We didn't understand Texas hip-hop because we're not Texans. They originally started out trying to rap like New Yorkers and got shunned. Dog, you're not from here. Remember we still had a thing called biting. You cannot sound like us, sound like yourself. When the ghetto boys started, embracing their Texas ways and being exactly who they were, they broke through the mold. They kicked the door down for the South. They was the first ones to. As far as MCs, it was Scarface yeah, like for us. We all recognize that Scarface was the guy that really kicked the door down for the South to get in, to at least get some recognition. Then you had you know what I'm saying Then you had remnants of a little remnants of eight ball and MJG Swab house, right.

Speaker 1: 10:47

Swab house.

Speaker 3: 10:52

You know, you know that eight ball and MJG came, came next, and then the Atlanta movement came. Well, Luke Luke was there, but the Florida movement. But then the Atlanta movement came and the Atlanta movement came with with the LaFace records, with Outkast and Go and good mob and all of them. So they're like in atlanta, they're like what we would consider melly, mel and and kaz, and all of them for atlanta yeah you know what I'm saying?

Speaker 3: 11:18

like they're the ones who really broke, who was able to knock the door down and get recognition in atlanta and put and put Atlanta on the map.

Speaker 1: 11:27

Okay, so let's, let's, let's break down a timeline. So you would say rap, a lot is first rap.

Speaker 3: 11:32

A lot is first to live crew is second to live crew is second when they were on the same time.

Speaker 1: 11:37

So I would say they were on the same time.

Speaker 3: 11:40

So it didn't look face.

Speaker 1: 11:43

Then the face records and then after that no Limit. No Limit came and then Cash Money, then Cash.

Speaker 3: 11:53

Money but no Limit really kicked the door down. They did. He really opened the lane. He showed New Yorkers that they get way more money down there than we realize. They got all that money independently. They didn't have no labels. They was getting all that money out to Trump.

Speaker 1: 12:14

I was going to say that, yeah, what's funny about Master P's story is he started out in Richmond.

Speaker 3: 12:23

LA, richmond, california, close by the Bay. He learned from the Bay Area.

Speaker 2: 12:29

He was working with Tupac. He was touring with Tupac.

Speaker 3: 12:34

He was working with EA Ski from the Bay Area as the producer. He was working with EA Ski and the Bay Area was already on an independent hustle. That's their thing. They've been doing independent hustles from the beginning of hip-hop. Well, since the beginning of hip-hop merged over there, they was doing that independent out-the-truck. That's what Master P learned. Oh, y'all selling independent CDs out-the-truck, or tapes and all that out-the-truck. Let me take this down south, let me hustle, let me show y'all how we really get it out the trunk.

Speaker 4: 13:08

Where does Tushot fall into this thing? Because when you mention the Bay, I have to think of Tushot, and then Mac Drake. Yeah, fizz, face himself. But what about E-40? Where do these guys fall in that, especially someone like E-40,? Right, like, where do these guys fall in that, especially someone like E-40, who you? Have to buy a dictionary to understand or actually be from the area Like what about dudes like that, who stuck true, who stuck true to the rules that they came from?

Speaker 2: 13:43

We got Rapper Forte as well. Yeah, they were independent.

Speaker 3: 13:46

Well, short was independent for a very short period of time and then he got a deal. And then when he got a deal he just was on a major label. Since then, 40 was out the trunk from the gate and him and the Click, they was making their rounds around the Bay and Kansas and all those areas where they was getting their money and then they started to deal with Jive. And that's when, you know, that's when we started to hear Sprinkle Me man and all of that. It was around that time. That was like 94, maybe 93, 94, going into around that time. That's when we really started hearing about them and we were still looking at them like they were strange and we're missing somebody, because before Master P we're missing 3-6 Mafia. So we got to give them 3-6 Mafia their flowers because they came in the door before the P era and was tearing stuff up, would tear the club up, and they were tearing their hands, taking control of their rules, taking control of everything they do, telling you about the drugs they kept it 100%.

Speaker 4: 14:52

They kept it 100%.

Speaker 3: 14:53

They were the first to bring hardcore rap into hip-hop. Indeed.

Speaker 1: 14:59

You saying they were the first to bring hardcore rap into hip-hop, before the Gravediggers?

Speaker 3: 15:04

Yes, yeah.

Speaker 4: 15:05

Yeah.

Speaker 1: 15:05

Way the Gravediggers.

Speaker 4: 15:05

Yes, yeah.

Speaker 3: 15:06

Yeah.

Speaker 4: 15:07

Way before Gravediggers, because you always did Gravediggers way after Wu-Tang Clan. That's 98.

Speaker 2: 15:16

Who really did it too, was Lord Infamous from 3-6 Mafia. May he rest in peace.

Speaker 3: 15:22

Legend Legend you gotta give the powers. Legend.

Speaker 2: 15:25

I'm not going to lie. I'm a Project Pat fan.

Speaker 3: 15:27

That's my guy. He's pretty cool, but he's the most Pat is another.

Speaker 4: 15:33

Give it to you how you feel. Kind of guy. You got to respect it.

Speaker 2: 15:36

You got to love it and leave it alone. Now, that's a fact. Wood, orange, mound nigga.

Speaker 4: 15:44

You like the project baby, right. So how do you feel about the new project baby? And I'm talking about Kodak Black.

Speaker 2: 15:53

How do you feel about?

Speaker 4: 15:54

the new project, baby, how do you feel about it?

Speaker 2: 15:56

He gets busy. On certain tracks he has his moment, he has a melody with him. It's like the style of him that's unorthodox, I like.

Speaker 3: 16:03

Kodak. Kodak can really rap. You just got to sit and listen to his twang. His twang will throw you off at first because you're like, what type of accent is this? It's so deep you got to understand he's a deep Florida dude. So if you really get into the deep trenches of Florida, they all talk like that.

Speaker 2: 16:21

Yeah.

Speaker 3: 16:26

We need to look at it like what are you saying, dog?

Speaker 2: 16:28

he's saying something, but you gotta right here to listen to what he's really saying. When I first heard cold at black, the first song I heard from him was that skirt, skirt.

Speaker 3: 16:35

But that's the first work I heard was the, um was the, it was, it was. It was something yellow, not bodak yellow, but it was like something you know, because that's what cardi cardi b got that whole flow. It was something yellow, not Bodak yellow, but it was like something. You almost see it in here, because that's where Cardi B got that whole flow. Yeah, that whole flow. You know what I mean? This dude, this dude, this dude. That's the first time I heard a whole different type of bounce.

Speaker 1: 16:57

What is this Now? I want to take it back right. So if we take it back right, we take it to, we rewind, we go to rap a lot of records. So if we go down to the different record labels and we talk about lyricism and the contributions of lyricism style, different sound and style meaning way of dress, way of dress, the different, different sound, the different ways they flip the lyrics, uh, uh, um, you know, um, you know, let's talk about that, right. So we talk about rap, rap a lot records. I would say, uh, scarface, or the ghetto boys, they weren't the most. I would say Willie D had a little style and he, he dressed more like um I forgot the name from Houdini, um, I forgot the brother name, but um, he dressed like the, he had a little bit more, he had a little style like like um, like Houdini. I would say um, you know which you had.

Speaker 3: 18:00

You had. See, we'll wrapA-Lot. Rap-a-lot they had at that time. They had Scarface, willie D Bush, mcneil, big Mike. Doa Da, who else they had Doa Da. Wait, rap-a-lot had Doa Da. Yeah, rap-a-lot had Doa Da. They had Doa Da they had. Devin the Dude. Yeah, Wow, they had Trader Truth. At one point they had Zero and they had UGK Quiet as Kep. A lot of people don't know that.

Speaker 4: 18:40

I know that about UGK.

Speaker 3: 18:42

Yeah, ugk was with them at one point in time too. You know what I'm saying, and I was a huge Scarface fan. That's my guy. To me, scarface is one of the greatest MCs that I've walked the turf. Big Mike was super fire, but he was really really Texas. He was really really Texas and if you listen to some of his Something Serious album and all those other projects that he was dropping back then, see, I was one of them.

Speaker 3: 19:10

Kids from New York that got tired of listening to New York music. Right, like, I love New York music, but when you hear it every day walking around outside and everybody playing it, after a while you get bored Like all right, dog, I don't want to hear this. So I will be the kid to go and listen to other music and I will be opening up these magazines and seeing these advertisements for all these other artists, like OK, so who is these? Who is this guy and what does he sound like? Which taught me? It taught me how to understand regions and understand their cultures. So when I take these trips to these places, the music is is reflective of what I'm seeing, and a lot of us weren't going to these places or we wasn't traveling enough to see how these regions were actually operating.

Speaker 3: 20:03

You know, I would go down south and I would hear them play New York music. But then I'd go to the club and I would hear them play all of their music and I'm like yo, what is this? Because I've never seen, I've never heard an 808 hit like this. Like, why is it hitting like this? But it's not hitting like this up here. Up here we hard with the kick drum, boom, boom, boom. Down there they big on sub frequencies. What is this? You know what I'm saying. So it was like it was a different feel that you got. And then to see how the people react to it, it makes you fall in love with the music a little bit more, because you're starting to see how, how people socially are.

Speaker 3: 20:44

Are, you know, saying reacting to this music? Now, rap a lot. They broke when they broke the door down. The only the up here, the only pass we gave to, was scarface. Willie d had a couple of joints, but we really wasn't checking for willie. That doesn't mean willie was whack, because he wasn't whack to me by any means, but Scarface was the guy that we felt you can get on a record with us East Coast cats and hold your own. Yeah, you know what I'm saying.

Speaker 1: 21:13

That's true what contributions have they made to hip hop? You know, as far as style, did they make any contributions?

Speaker 3: 21:24

They introduced us to how Texas style as far as cars they basically introduced candy paint to us.

Speaker 2: 21:34

That term rot and dirty and all that.

Speaker 3: 21:36

All of that slang, that type of Even some of the beats and the way they were slaying. You know they were dressing like texas people. They even think about screw music. They was doing screw music back then yeah, these guys. Like like 20 years before we got on it They've been doing that down there. We didn't understand it because, like, why does this joint sound so slow? They're listening to the music like this.

Speaker 2: 22:09

While on their meds.

Speaker 4: 22:11

Right, while screwed up.

Speaker 2: 22:13

Yeah.

Speaker 4: 22:14

Which is amazing, right? Because when you think about, when you think about, when you honestly take the time out to think about how somebody was able to figure out a way to slow the music down to the point where it sounds normal to people who are already slowed down, like that's amazing, Like I've always felt like that, like that's amazing, like you basically created something for a certain section of people that was right where you from and that, if it would have came out think about it at the time when we was talking about where things melded it that would have had to been respected. Right, that whole attitude, that whole thing, that whole thing, that whole. Oh nah, that's y'all. I ain't even nothing to talk about with that, that's y'all. But that came with the time, that came with laying it down, that came with the and sending that back. It kept coming back, it kept coming back and then, what you know, it came back and it took over. You know, at least for a while, right?

Speaker 3: 23:21

Yeah, think about UGK, when they dropped Sippin' on Scissor. We didn't know what they was talking about. What are y'all talking about? Sippin' on Scissor? We seen them in the video with the baby bottles. What is?

Speaker 1: 23:33

this I mean the 3-6 mafia. 3-6 mafia when 365.

Speaker 3: 23:37

When they came in doing three them and UGK, because it was UGK but UGK was on that same train, though, so I get where that came in. We thinking they talking about liquor. No, they talking about a whole nother thing.

Speaker 2: 23:51

You know what?

Speaker 1: 23:54

They sip that stuff too.

Speaker 4: 23:57

But to the point where, when it kind of hit the city, sip that stuff too. To the point where when it kind of hit the city, when it hit the city, it still was such a slow understanding of it that Cameron was able to capitalize off of it and just make an alcohol called.

Speaker 3: 24:15

Scissor.

Speaker 4: 24:17

Because he's seen the confusion, he was able to capitalize on that mix up of the cultures and that lack of understanding. Can people forget.

Speaker 3: 24:25

Cam went to school to play ball in Houston yeah, a lot of people forget that. So he in his travels before he was a rap star, he got a taste of the culture from Texas. He took that culture and brought it back up north but he mixed it with New York slang so he was able to hit markets that other people couldn't hit because he knew, yeah, all my records might not pop in New York, and I tell people this all the time Some records, that be on certain projects or mixtapes or whatever, some of those records are not geared for our region.

Speaker 4: 25:07

That whole time when he was screaming about Ohio. That whole time he was screaming about Ohio and he was actually out there. I was on the house with him. I was in Cleveland. I was in Cleveland all over Chicago.

Speaker 2: 25:25

I remember before TI blew up I was in the Southwest 2000 before his first album dropped that I'm Serious album. I remember hearing that album out there the whole time I'm like who is this guy? They're like oh, that's TIP. Before he was called TI it was just TIP that they're like oh, that's TIP. Before he was called TI it was just TIP. That first album is a tough album.

Speaker 3: 25:42

It's a classic to me when I first heard the Ying Yang Twins. I heard the Ying Yang Twins in 98. There they were. I went down to Florida to see my family, my cousins from up here. He's down there like yo, you gotta hear this. He throws the record on. Hear this. He throws the record on and go Whistle while you twerk. Go get it started, make a little bit hard and whistle while you twerk. Whoop, whoop, ying yang and the stang. And I'm like what is this? He's like wait till we go out tonight. He said I'm listening. Like what is this? What are you listening to? Right? He said go out tonight, you're going to see exactly what this song does. Right.

Speaker 2: 26:23

Now they got club bangers. I'm not going to lie, that's when the South got lyricists, but they got club bangers.

Speaker 3: 26:27

When that song specifically came on because they was playing All Types of Fire. But when that song came on, the club erupted. I've never seen it before up here. You know how, up here, when the Benjamins was taking off and they're in and Pussyfuck Mons can see what's going crazy up here. When that song came on down there in Florida, I kid you not.

Speaker 2: 26:49

The club tilted.

Speaker 3: 26:50

It felt like the whole club was shaking and I'm like, oh my God this is amazing.

Speaker 1: 26:59

Yo can you compare the impact between the East Coast and the South?

Speaker 3: 27:07

Yeah, there's a huge impact. The South's impact is insane because the South remember, we're comparing about 11 states to one city, about 11 states to one city Our records weren't moving through all of those states. Their records was floating through all these states that we wasn't thinking about. We wanted to go to Miami and LA, maybe Chicago and Philly and Connecticut. That's where I basically our reach basically was that's all we cared about. We wasn't thinking about Alabama, louisiana you know what I'm saying. We wasn't thinking about Arkansas, st Louis and all these other places. Meanwhile, scarface and them is floating through all these states with this music in hand and they are going crazy to this music. New york's impact was big for us because we're the, we're the mecca of this culture. So for us it's going to hit us different than all of them anyway, because we basically saw this thing from his, from his inception, right, our, our, our classic records in New York, our timeless classic records, like, like Slick Rick's and all of those records. They're classic hip hop records for those who know hip hop. But in the South you're not going to a club and you hear a throwback. You're not hearing a throwback playback playlist with Slick Rick in the plane. You know what I'm saying? You barely hear. You don't hear a Nas record down there, but if you ask them to play some of their stuff, you'll hear. You might hear a little Kiki Southside. You know what I'm saying. You'll hear a little Kiki. You'll hear a Zero record or or, or, or juvenile record or, you know, or masterpiece.

Speaker 3: 29:07

I was down there, I was down in Texas. What? Maybe all-star weekend one year. We in the, we in the, we in the party, sns, dj. Sns is the DJ. Wow. He goes into a whole Southern set and all the New Yorkers that was there was like what is he playing? Everybody's looking at the New Yorkers. You could tell who didn't know what the New Yorkers is looking around like what is this guy playing? Meanwhile I know all the records. But the New Yorkers is like what are they playing? The females is going crazy to all of those Southern records. That was old, like 20 years old.

Speaker 2: 29:42

You know, when I saw a big Southern impact was when Master P on a large scale dropped Bout it, bout it in the movie. Everybody was talking about the movie, yep. The original music video and he shot it in a project.

Speaker 3: 29:54

It really kicked the door down. Master P came through the Bout it, bout it movie and then he had the soundtrack and then, right after that, he dropped Ghetto Deep.

Speaker 2: 30:01

Yeah, Ghetto.

Speaker 1: 30:03

What you know. One thing y'all missing Something that was very impactful. His album covers yeah, the no Limit album covers the plastic.

Speaker 3: 30:15

No Limit was dropping albums every week.

Speaker 4: 30:19

Yeah, I mean that was cool right, like I like hearing that I really do right. I remember when that was a thing I really liked hearing that I did right. But let's be real about that situation Just because you were dropping albums every week don't mean much, because a lot of those albums wasn't really moving like that because they were dropping too much.

Speaker 2: 30:39

They were moving independently.

Speaker 4: 30:42

No, but what I'm saying is you're looking at a roster of 20 artists. All 20 of them was going gold and platinum.

Speaker 2: 30:51

Gold and platinum. You had Kane and Abel.

Speaker 4: 30:54

I don't believe that I would say physical. I would say perhaps my gene. You know, say I would say perhaps my G you know what I'm saying Not like no Golden Platinum, come on now.

Speaker 3: 31:10

They were, I promise you, it was independently doing Golden Platinum. You had Mr Servant. You had Silk the Shocker. You had C Murder. You had Mr Servo. You had Silk the Shocker, you had C-Murder. You had Cain and Abel.

Speaker 4: 31:23

Okay, so they just went going. So where did all them album sales come from? Because I remember people listening to it, right? But like. I don't remember nobody buying no no Limit album. That wasn't a Master P joint.

Speaker 1: 31:39

That's me personally. I remember Bowdy.

Speaker 4: 31:43

Bowdy came out. I remember how you fucked the game up with Bowdy Bowdy in the movie right behind you here.

Speaker 2: 31:49

I bought the TRU album, but that's what I'm asking.

Speaker 4: 31:52

So you're saying that 20-something artists with gold and platinum and from one place?

Speaker 3: 31:59

Yes, they were selling those albums in the South. Master P showed the South that they didn't need New York to make money and sell records.

Speaker 2: 32:13

Hold on clip. We got to remember too, man, texas hip-hop. Texas is such a large state alone you could run a whole mixtape.

Speaker 3: 32:22

Houston alone. I don't know if y'all ever been to Houston, but Houston, to get from East Houston to West Houston Is like us driving from New York to Atlantic City.

Speaker 3: 32:30

Yeah it's pretty, the state is huge, so you gotta and there's pockets of hood niggas everywhere in that state, just that state alone. We ain't gonna talk about Louisiana. We ain't gonna talk about Alabama, you ain't gonna talk about Florida. You gotta talk about all of those southern states. And it was hitting the Bay Area. They was going all the way from down there, all the way up to the Bay. They was getting all this money independently. You had Mercedes. Then, when Snoop got there, then you had Magic, you had hold on, you had Cain and Abel, magic, soldier Slim.

Speaker 4: 33:16

You're naming a lot of people. You're not going to convince me that a lot of them do assault like that, soldier Slim. You're naming a lot of people. You're not going to convince me that a lot of them do assault like that, soldier Slim. I'll bang with you because I know a lot of people who felt that pain, but, like Kane and Abel, you're not going to convince me that two people who ended up going back to jail got golden platinum albums Like you, just like, so that all I'm saying is it sounds really good. All I'm saying is it sounds really good. The push was phenomenal. I feel like the frontrunners for sure did their thing. Everybody in the back.

Speaker 1: 33:46

The frontrunners were going three, four five times Maya G I think that's her name.

Speaker 4: 33:54

Yeah, I mentioned Maya G, mia X. She's a chef now. She's a chef now. I think that's her name.

Speaker 1: 33:56

Yeah, I mentioned my Me, a ex me, a ex me, a ex me a ex.

Speaker 4: 34:00

She's a chef.

Speaker 2: 34:00

now let's see she's a chef now. Yeah, she's a chef.

Speaker 4: 34:08

I reached out to her on Twitter, maybe like a couple of years ago. She put out a new song. I reached out to her, let her know her drip was fire. She gave me a little conversation, she cool.

Speaker 3: 34:16

You. I let her know her drip was fire. She gave me a little conversation. She cool, you had Let it Bleed.

Speaker 4: 34:19

You had Steady, marvin, you had oh.

Speaker 2: 34:21

You know they had Matt joint. But every week, though back to the Source magazine, you see the whole Low Limit Page album. I'm like damn how many albums they dropping in one year. But they were selling, though, independently, it was true bro, bro, that's how Master P got his money.

Speaker 3: 34:35

That's how he got or tours alone.

Speaker 2: 34:37

Tours. Snoop said it himself. Snoop said they were going on tour with a bunch of vans. Whatever he said, they would have like three, four vans just of merchandise CDs, dvds and shit.

Speaker 3: 34:49

No, he said. Snoop said I was in the rap game way before Master P and him came out. No record label had money like these dudes. No, he. No record label had money like these dudes. No, he said every artist had mansions. Yeah, every single artist at the time had mansions.

Speaker 2: 35:03

But they still love the streets and the majority of them like Streets.

Speaker 3: 35:09

Steve Murder had an apartment in the projects too, he said. When I signed the loan limit, p said P drove around the neighborhood and said pick a house, just pick one.

Speaker 4: 35:18

Yeah.

Speaker 2: 35:19

I see so far that.

Speaker 4: 35:21

Master P got six platinum albums and five gold albums. I see Master P has that. Master P has a lot. I'm looking at it right now. I'm looking it up. I'm actually looking it up.

Speaker 4: 35:34

I see, master P has six platinum albums. He has five albums that win gold. I'm trying to figure out, I'm trying to find the information on the rest of them dudes, because I could have sworn to god can't enable. Like a lot of them dudes they was good on, like solo, like how you say it features, and so on and so forth. Like to me, like that just don't sound, don't sound logical to me. I need numbers, bro. Like I need numbers on that. Like I mean, give me numbers at least on canada naval, give me numbers at least on that. Like like, ease my mind a bit, give me numbers at least on canada naval. Cain and Abel got a platinum joint. Then I'll second guess myself.

Speaker 3: 36:21

They sold 250,000 copies the first week of the album. That's gold, it's gold. They sold half of gold in their first week.

Speaker 4: 36:31

How did it end up, though, is what I'm asking.

Speaker 3: 36:33

It probably went gold. I got to check Hold on.

Speaker 2: 36:38

A lot of artists had core fans.

Speaker 4: 36:39

If we ended up in platinum, then I have to reconsider everything that I'm thinking A lot of artists have core fans too.

Speaker 2: 36:45

Shawnee, A lot of artists had those, you know, those main core fans that support them. No matter what, it's like that man.

Speaker 4: 36:52

They have what.

Speaker 2: 36:53

Core. What Core fans?

Speaker 4: 36:56

Oh, there's no limit. Yeah, they certified gold.

Speaker 1: 37:01

Certified gold yeah they came out with.

Speaker 3: 37:06

They certified gold. They debuted number five on the Billboard 200, and they was number one on the top hip-hop R&B albums. And they were certified gold Okay.

Speaker 4: 37:17

Okay, I'm forced to reconsider that Okay.

Speaker 2: 37:21

I wouldn't believe that. He's like hell nah.

Speaker 4: 37:24

Nah, nah yo. I would've yo bro, yo Cliff, if you weren't and I respect your knowledge because you'll be spilling it. You've been spilling it. I respect everybody's knowledge, but I just had to stay on that star for a minute.

Speaker 3: 37:40

I'm not in tune because I'm not in tune because in the 90s, when I was rocking with no Limit, New Yorkers was like yo, what are you listening to? Why are you listening to this? We didn't care Up here, the region itself did not care for anything if it wasn't Master P and Silk and the rest of them, no one. Let me do it. I ain't checking for them. We didn't care, Right, but in the South we're checking for them.

Speaker 4: 38:14

I'm going to be real with you. I'm a victim of promotion, right? Because at that time I was too young to get around for myself. That's why what you're saying it just makes so much sense, because you said something that killed me, right? You said you asked no wrong. You asked that question about comparing the east coast to the south, right?

Speaker 4: 38:42

yeah, yeah, the impact and then once, once, once clip brought up that you talking about one city against several states. Yeah, it fucked me up, because then when I'm thinking about east coast rap, I'm like, well, what the fuck is? Well, what the fuck is that? What the fuck is that? At a time we had Jersey right, jersey rap and so on and so forth, but everybody else was from this borough. That borough, the third borough, cleveland rappers, is still having a hard time getting heard if it wasn't for Bone Thugs-N-Harmony and they had to get put on by somebody from.

Speaker 2: 39:19

LA.

Speaker 4: 39:20

And they had to get on a bus and go. Yeah, so when you said that, you kind of fucked me up, because that's true, it's like New York and that might have been another reason we had to hold so tight, because maybe it's more people like you that realize that, like nah, it's us against the world and the man that's speaking with something that we created.

Speaker 3: 39:42

Think about this According to America right, the southern states are Alabama, arkansas, delaware, florida, georgia, kentucky, louisiana, maryland, mississippi, north Carolina, oklahoma, south Carolina, tennessee, texas, virginia and West Virginia.

Speaker 2: 40:01

That's considered South.

Speaker 1: 40:03

That's all considered South.

Speaker 3: 40:06

All of that is considered the South? Yes, delaware, delaware is like right there.

Speaker 2: 40:13

But they do say that in Virginia, like you're up North, you come from up North, so yeah, oh yeah, virginia stay calm with that.

Speaker 4: 40:18

That's a fact. But they do say that in Virginia, Like you up north you? Come from up north. So yeah, oh yeah. Yeah, Virginia, they call it that. That's a fact. What do you think about that?

Speaker 3: 40:22

I remember Delaware is like right on the border of the Mason-Dixon line, so they'll consider that to be somewhat south, but up here we're like that's kind of north, but we do Three hours away, four hours away Exactly.

Speaker 4: 40:35

I'd walk there if I so felt the need he is.

Speaker 3: 40:40

Dc is four and a half hours away. Dc is four and a half hours away. That's considered technically the South Tubs, but I'm going outside where I'm about to hit DC VA area.

Speaker 2: 40:50

In the DMV oh shit yeah.

Speaker 4: 40:52

Hell yeah, some DMV shit yeah.

Speaker 3: 40:57

Hell, yeah, you get what I'm saying. So we got to understand our little region and our little bubble of New York, the tri-state Connecticut, new York and Jersey. That's really this little small. And think about this when we talk about New York, we ain't talking about upstate, we talking about New York.

Speaker 4: 41:13

City? Yeah, we ain't talking about. We ain't talking about New York State yeah, we ain't talking about New York State until maybe 10 years ago when Griselda started popping up and started blazing. Yo, you know who else? He from Syracuse, and I know we're going up north with this and we're going up north and we're going low, but y'all know about the boy Riggs. Yeah, riggs is crazy.

Speaker 3: 41:40

Yeah, riggs is crazy, but what I'm saying is think about this. Even Griselda, they had to go to Atlanta and all these other places to get their name known. They wasn't making all that money in Buffalo. They had to break out and go down south and gain a fan base that wanted to hear. Here's the thing about a lot of people down south they don't like when New Yorkers make down south music. They want us to make New York music. New York City is so caught up in trying to be trendy we don't realize that we lost our footing trying to mimic what they're doing down there. But that's what they naturally do down there. That's their natural bop, that's their natural swing. We do what we do up here and they get mad when they come up here because when they come to New York they want to hear New York music.

Speaker 2: 42:28

Didn't Cam say in that song Let Me Know since when New York started bouncing.

Speaker 3: 42:31

Yeah, wow, remember that which was a sub shot at Drag On at the time.

Speaker 2: 42:41

Yes, yes, because they say we don't sound alike. Yeah yeah, the drag that that Down Bottom song, which was I'm not going to lie, was a blazing track for that year. That was a hot track, look who he did it with.

Speaker 4: 42:51

Look who he did it with. Is that the joint with? Did that have Young One on it, though?

Speaker 2: 42:55

No, it was Young Juvenile.

Speaker 4: 42:56

They remixed it with Young One, but it was really Juvenile, it was Young Juvenile though right, Juvenile right.

Speaker 3: 43:00

Right, remember Hove jumped on High because they was already gaining steam down there with that High record. Yeah, that High record was huge in the South.

Speaker 1: 43:10

Yeah, I want to talk about Dungeon Family real quick because we've been on Master P and we kind of moved around a little bit. But the Dungeon Family, we got to mention the Dungeon Family.

Speaker 3: 43:20

The Dungeon Family is the architects of Atlanta.

Speaker 2: 43:23

Lyrical and they got the best producers.

Speaker 3: 43:25

Yes, they are the architects of Atlanta. Rest in peace Rico Wade, one of the greatest hip-hop producers ever. Rest in peace to Rico Wade. He is a super legend. If you don't know who he is, go look up his catalog of work.

Speaker 2: 43:41

He is an animal. Remember Cool Breeze, the C-snap of Cool Breeze. Knowing the champion, remember that dude.

Speaker 3: 43:45

Cool Breeze, witch Doctor, all of them. I love them all, bro. Shout out to them Atlanta dudes. Shout out to them. Shout out for them for making classic pop records, that Atlanta. If you've never been to Atlanta and you want a visual of what Atlanta is, listen to the Goody Mob, listen to Outkast. You will see Atlanta when you go down there, just by the visuals of their music you will feel Atlanta. It's not trap and they're the ones who introduced that word to the culture Quiet as Cap. They introduced that on the Soul Food album. A lot of people don't want to give that up and that was 95. When I first heard the word trap being used the way it's being used.

Speaker 4: 44:31

But the funny thing about that word is it's a Southern word, yes, like. If you know the origins of that word, is the southern word, yes, like, it's. It's like, if you know the origins of that word, right, like, and you know it come from slavery. If you know trap or die come from slavery. All of that, right, yes. And it's so crazy because in my, in my, in my how you say it? The, the, the, uh, the old me was the young me. You feel me. So when the old me was the young me, I was in Buffalo, right, and I'm on the ground.

Speaker 4: 45:07

You know what I'm saying. I'm on the ground, I'm riding around on my bike and this is around the time Jeezy came out. So you know, we got the snowman shirts. Can't bend the snowman. On the back of my shirt it says trap or die.

Speaker 4: 45:24

Right, I'm living the lifestyle. I'm out here, I'm in the street, I'm willing and I'm doing. I ride by this white man. He stops me. He's kind enough to stop me. Yo, what's up? I'm always polite. And he asked me. So do you know? Do you know what trap of die means like? Do you know where that comes from? Do you know where that phrase comes from. So now I'm intrigued, I'm like, no, I have to, I have to express my ignorance, no, I have no idea. And I'm wearing it on my back, I'm really looking foolish. Right, and he explains to me that yo, that's a term, that's a slavery term, that's a term that white people use, it was trap or die, it was either enslave you or starve, and can't make it here in America. And it's like wow. So when you say what you say from the time period that you say, I fully believe you. I fully believe you.

Speaker 1: 46:25

So now this trap or die thing comes from the goody mob. You're saying the word trap.

Speaker 3: 46:33

Right, the word trap was the first time that we heard it up here in Atlanta. They've been saying that up here. The first time we heard on a global scale to where it reached us, to what we know we were talking about, was on that Goody Mob soul food album. That's the first time we heard about the Red Dogs. The Red Dogs was the fez that was kicking down the doors. That was on the Goody Mob album, the music that. What I try to tell people is that Goody Mob was a socially conscious, what we would call a socially conscious rapper. Right, they were Southern, but they were very politically, politically thinking and forward moving. Soul Food is about how all of this fast food is killing us. That's what the whole song is really about. It's about fast food is killing us, but we're going to eat the food that came from our ancestors, who were slaves, which is still killing us. But it's better than this fast food junk.

Speaker 2: 47:33

And they were going to rap with Pox. They were supposed to go to Pox label.

Speaker 3: 47:37

Yep, they were trying to rap with Pox.

Speaker 4: 47:41

They were supposed to go to Pox label. Yep, they were trying to get with Pox label, yeah, yeah, but I think still that stems back to Southern culture, right, and Northern culture and again that clash, that ideology of capitalism that rings so heavy in these northern states and the ideology of stay. Stay aware of who came before you and what you still got left to go through. Ideology of the south. When you think of, like martin luther king and the time that he spent down there, right, even the different ideologies between him and malcolm meck shine Right and just and just the way that we move. We move way more militant, like made more clothes, then way more stoic here in the north, the same way Malcolm would have put it down in the same kind of stoicism he put down, same kind of stoicism he put down. And then in the south, that same kind of walking, hold hands and I, I alert to it is so you alert me of that ideology still exists in, in, in the music from the southern cultural standpoint.

Speaker 4: 48:50

That's beautiful, right, because it's like we have. We have very few, we have very few east coast down south tracks. That where we land on a point like that, I think right, like we've always had albums like what was, what was that america's slowly remember? We had that album. We always had albums where we have people come together for a certain message, but it never was longstanding. I think if that walk would have happened, we would have more control over our culture. I think it would be less industry driven.

Speaker 1: 49:31

That's a good point, and we'll make more money that way.

Speaker 3: 49:35

It's not even that the thing is. During that time we had people at these labels who were actually of the culture. We had people in these offices that were people that was actually of the culture. That started shifting when the label started hiring people that weren't of the culture. So Sorry. So when that shift started to happen, that's when the divide started going even more Right.

Speaker 3: 50:06

At first it was a divide because of cultural differences and then we started slowly embracing these regions and started understanding okay, cool, they're getting money out there, they're doing their thing, cool, let's try to collab and see what we can do and see how we can network with them down there and make some things happen. So you started seeing these little collaboration right, like collaboration features and and us trying to mingle with them and get cool. And then the labels was like oh no, these brothers are getting too smart and they're getting too much money. We have to shut this down. It's the same way they shut down the political rap in the early 90s X-Clans and all of that. Oh no, these brothers are getting too. We're not going to keep pushing this message. Let's push the violence, let's push the drugs, let's push the crack, let's push all this other stuff. Let's not push the conscious rap community. We was walking around New York City with African pendants on and black Bart Simpson shirts.

Speaker 4: 50:59

That's a fact. You spilling the truth right now In college.

Speaker 3: 51:06

You college kids. That was fashion, that's fashion. We didn't care about Louis Vuitton and all of that at one point in time. We didn't care about them there we was wearing whatever was black. Carl Kani Walker wear Cross colors, cross colors, black owned businesses and black companies that we were all supporting Yo that's a good point, bro.

Speaker 1: 51:34

Hold up Tom out bro, Yo, if we kept going in that direction, we would have loved it, bro. Hold up Time out, bro. If we kept going in that direction we would have loved it, man. We would have been competitive in the fashion arena, music business.

Speaker 3: 51:53

This was after the. What's my name? Harlem Dapper Dan. This was after the. The, the, the, the. What's my man? Harlem Harlem. Harlem Dapper Dan. It was after the Dapper Dan era. Right, they shut down Dapper Dan and we said, nah, we're going to do our own thing still. We're going to make our fashion, we're going to make our brands pop. Then, all of a sudden, people like Kanye West, hov and all these other brands I mean all these other rappers started bragging about European shit all day, of course.

Speaker 2: 52:25

Yeah, some of them weren't even getting a check from them.

Speaker 3: 52:29

No endorsement, nothing like that why do we still keep putting money in their pockets for our culture?

Speaker 4: 52:36

you know, I would have to say this is why you got to love the gods so much, you got to love the all so much. Right, Because we know the all came from. He come from the bottom and he come from the bottom of us all. We know this about the all, right? And then, you see, when they tried to snatch him, they put him on the boat, put a bunch of snow bunnies around him. Next thing, you know, you don't hear from the awe, no more. You understand the awe like nah, that ain't it. I don't like where it's headed. I don't like where it's headed. I don't like where it's headed. I don't like where it's headed. And it's like look, the guard stepped off the boat and it's floating in the same river. He knew it was going and I just think that's crazy.

Speaker 3: 53:25

Think about the female rappers at the time Latif Mutiny Love Sister Soldier Miss Melody.

Speaker 4: 53:34

Please don't forget some of the songs.

Speaker 3: 53:37

That was like my damn damn near two of my favorite mcs, right, because they was even still conscious, too quiet as hell. A lot of people don't want to realize that it was rap about safe sex. It's your thing, right, like look at the. Look at the female rappers that we had at the time.

Speaker 4: 53:53

That was not about don't forget left that.

Speaker 2: 53:55

Don't don't forget left that I was scientific with it, she was scientific with it, bro. Yeah, yeah, let oh, don't forget left eye, don't forget left eye. I was scientific with it, she was scientific with it, bro.

Speaker 4: 53:59

Yeah, yeah, let's not. Don't forget the goddess. They're rappers.

Speaker 3: 54:03

Right. Then came the little Kim image. Right, that's Biggie's fault.

Speaker 1: 54:11

You know what I would say? That's Puffy's fault.

Speaker 3: 54:15

Kim was signed to Big, it was Biggie. Puffy for Not that. Puffy never signed Kim. Kim was signed to Big, it was Biggie. Oh, biggie folded her. Puffy never signed. Kim was never signed to Puff. That was a big creation, that was a big thing. We always compare Kim and Foxy, but if you really look at Foxy, she wasn't doing what Kim was doing. No, she wasn't, not at all Just wanted to rap?

Speaker 4: 54:33

Nah, not at all, I don't mind. I don't mind the little kim, all right, right, because and, and, and. Just just just roll with me on this, because it's not going to sound like I was starting to sound. I don't mind the option of sexuality on the table. I don't mind the option when it became the whole meal. That's when it became the problem, exactly.

Speaker 3: 55:03

Exactly right. So after little Kim came, you had Trina who snuck her way in Boom.

Speaker 4: 55:10

Jackie O, jackie O, oh nice.

Speaker 3: 55:15

Jackie O and Kaya right so you had right, so you had them. You had them. Three was like the little, those are like the raunchy females. But then then we had another female come back with the bars, which was Lauren Hill, Rap, Lauren Hill, Rod Digger, Eve Eve. Yeah, the bars who all were three beautiful black women, right, but it just wasn't about sex.

Speaker 2: 55:45

That's a fact it just wasn't about sex. Let's keep it real.

Speaker 4: 55:51

The brat is sexy the brat was beautiful, yeah, yeah, yeah, especially on the introduction to it, right, because you ain't never seen a badass tomboy like that, a badass tomboy that can rap with the curls. That shit was fucking all on us.

Speaker 2: 56:08

So, niggas was like ow. I remember that what you got me at was that song, what you Like. When I saw her, I'm like damn.

Speaker 4: 56:16

I remember that too. I remember her from the whole glow up.

Speaker 3: 56:20

Foxy caught the health issue. He branched off, married a billionaire, Remy, who was up next. She was up next for the female spinners. She got locked. The lane was wide open for Nicki Minaj and then she became the blueprint for all the young chicks that didn't know the history of the culture in the art form. She became the blueprint. So then we got stripper rap.

Speaker 2: 56:48

That's where it's at Ron's girl on Sexy Red yeah.

Speaker 3: 56:54

But we got all the stripper rap that came after that. We got the Cardi B's, we got the Lottos, we got the sexy reds and the Sukianas and the city girls and all of that.

Speaker 4: 57:05

They had their push-in stripper rap before that. The push-in stripper rap came from reality TV actually.

Speaker 3: 57:12

It did. You're absolutely right. You're absolutely right. That contributed to it too. That's a big part of contributing to it. But then we missed out on the 3D Noughties, the Rhapsodies and the Sonya Blades. You know what I'm saying?

Speaker 4: 57:25

Oh, and the Lady Jades and all of that. Yeah, jade and Lady Jane. Yeah, yeah, we missed out. You know who would have smoked them. That's what I wanted to talk about. You wanted to talk about you know who's a spitter, who don't get hurt.

Speaker 2: 57:35

Storm from the Outlaws. If she was around she would have smoked him. Storm was the female part.

Speaker 4: 57:39

Storm was fire, Rain was fire. That's who I wanted to speak with. I really wanted to touch on the way we go and talk about female rap right and she thick. She a rapper. That's the point. Mikey, you like the rapping girls? Yeah, mikey, like the rapping girls.

Speaker 2: 58:00

Boy, I'm saying Rage, I seen Rage. I'm like Rage ain't ugly. I don't know.

Speaker 4: 58:09

No, nah, not by far. Nah, nah, not by far. No, no, not by far. She's such a nasty rapper. She's such a nasty rapper. She's such a nasty rapper that a lot of the dudes in the west didn't even want to rap with her real quick, real quick, fellas.

Speaker 1: 58:24

We gotta wrap this up. We got another. We got an interview with Arnil Bay coming up. We gonna premiere tomorrow night. This was a dope build about southern hip hop, I think, you know. Depending on how this video goes, I think we should.

Speaker 3: 58:40

She thinks too.

Speaker 2: 58:42

She thinks too yeah, yeah.

Speaker 1: 58:46

Would y'all want to do a part two of this right here?

Speaker 3: 58:49

We have to. I'm down.

Speaker 1: 58:52

We didn't talk about a lot.

Speaker 3: 58:54

No, we got to. We got to do a part two of this. We have to Rage. Female MC from Farmville, va. So what you got to?

Speaker 4: 59:03

say Can we pick it up from Lady Rage? Can we pick it up from Lady Rage? That's a golden star right there who do not get her flowers. I was just trying to toss in real quick. She is so nasty she almost got banned Like a silent ban on the West Coast because nobody wanted to get on track with her. Niggas was feeling in they heart like, oh my God, and that's kind of how she started fading off the thing. Ain't nobody want to get out Sean.

Speaker 2: 59:37

That's right, and she thick. That's what I'm going to say