Nov. 25, 2020 - The Joe Rogan Experience
03:01:25
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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the joe rogan experience train by day joe rogan podcast by night all day willie d and mike judge together at last Good to see you, man. | |
| Absolutely. | ||
| You're the first guy in the studio to bring his own headphones. | ||
| The first guy ever in 1,500 shows. | ||
| Is that right? | ||
| Yeah. | ||
| Oh, man. | ||
| Well, you know that where there's a will, there's a way. | ||
| Well, they fit too. | ||
| They're unique. | ||
| And Mike, you just happen to be rolling with Willie, so you're here today as well. | ||
|
unidentified
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Yes, thanks for having me. | |
| My pleasure, man. | ||
| I wanted to get a hold of you and find the good spots in Austin anyway, man. | ||
| You've been here for a long time, right? | ||
|
unidentified
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Yeah, since 94. And I'd come down here a lot before that. | |
| I lived in Dallas. | ||
| What's going on with Beavis and Butthead? | ||
|
unidentified
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It's coming back. | |
| It really is? | ||
|
unidentified
|
Yeah. | |
| In fact, that's why I'm going to have to split in a little while for some Zoom meetings. | ||
| But yeah, no, it really is. | ||
|
unidentified
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Yeah, we're doing... | |
| I think it's going to be good. | ||
| Dude, I was a gigantic fan of Beavis and Butthead. | ||
| Right around the time I started smoking pot was when I really got into Beavis and Butthead at the same time. | ||
| Yeah, we had a lot of stoners that liked it. | ||
| Also, a lot of people talking about it, like watching it after you come home from a bar, that sort of thing. | ||
| Yeah, it was one of the silliest shows ever. | ||
| It was ridiculous. | ||
| Now everyone will be drinking at home and getting stoned. | ||
|
unidentified
|
Well, you always get stoned at home. | |
| You'll be stoned everywhere, right? | ||
| I've been a fan of the Ghetto Boys since the very beginning. | ||
| So when I first met you in Houston, I rarely geek out. | ||
| But when I met you, dude, when I used to deliver newspapers, I used to listen to Ghetto Boys while I was delivering newspapers. | ||
| I didn't know you delivered newspapers. | ||
| We got something in common, man. | ||
| We got something else in common. | ||
| You did that too? | ||
| Well, I delivered newspapers and I also sold door-to-door subscriptions for the Houston Chronicle. | ||
| No kidding. | ||
| Yeah. | ||
| I did the Boston Globe and the Boston Herald. | ||
| When did you guys start? | ||
| When did Ghetto Boys start? | ||
| The incarnation that everybody know right now is myself, Scarface, and Bushwick with Reddy Red. | ||
| We started in 89, but the group actually was formed in 87. Wow. | ||
| That's a... | ||
| Man, 1980. Because you gotta think, like, when was Sugar Hill Gang? | ||
| That was 81? | ||
|
unidentified
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That's like 83. 83. Yep. | |
| Dude, you... | ||
| No, no, no, no. | ||
| More than... | ||
| Less than... | ||
| Oh, no, no. | ||
| Sugar Hill Gang, 79. Yeah, that was... | ||
| Wow. | ||
| Yeah. | ||
|
unidentified
|
In high school. | |
| Yeah, that's like 79. 79. So you were there in the earliest days of hip-hop. | ||
| That's an amazing thing to be a part of. | ||
| Like when an art form emerges. | ||
| How many people can say that they were there when an art form emerged? | ||
| Yeah, as a fan, because I was into blues, but that was all before I was born. | ||
| And then when this stuff was happening while we're alive watching it, it was just really cool to see. | ||
| I was in Jamaica Plain. | ||
| I guess I was in like 7th grade or something like that. | ||
| And Jamaica Plain was a suburb of Boston. | ||
| And I was in school and some kid had a beatbox that he brought to school. | ||
| And he was playing Sugar Hill Gang. | ||
| I'll never forget this. | ||
| I was like, wow, that's different. | ||
| Yeah. | ||
| And that was the beginning. | ||
| Man, that sugar-haired game, man. | ||
| I remember I used to play football for Hester House. | ||
| It's a community center in Fifth Ward. | ||
| And I used to play for the Houston Cowboys. | ||
| Go figure. | ||
| Right? | ||
| So we played in the Astrodome. | ||
| That was a big deal, you know? | ||
| That's what Houston Oilers played at. | ||
| And so I remember being on the bus and the whole team singing that song. | ||
| They played the song and everybody was singing it word for word. | ||
| That's my greatest experience when I think about that song. | ||
| Like everybody knew every single word. | ||
| I mean, you had to know the word, every single word to the song. | ||
| Or else you wasn't cool. | ||
| It's kind of like knowing every single word to Mo City done freestyle by Zero in Houston. | ||
| If you don't know that song, you're not a Houstonian. | ||
| I'm not aware of it. | ||
| Yeah, it's a song by Zero. | ||
| Zero, he's done some collaborations with Ghetto Boys, but he stands on his own. | ||
| Huge throughout the South mainly. | ||
| Do go platinum in the South by itself. | ||
| Just the South. | ||
| Zero, if you're not up on it, man, get up on it, man. | ||
| I'll have to get up on it after the podcast is over. | ||
| I will most likely get up on it. | ||
| Yeah. | ||
| But you were there, like, you were there when hip-hop was also getting censored, too. | ||
| Remember those, the Tipper Gore days? | ||
| Like, a lot of people don't remember. | ||
| Al Gore's wife. | ||
| Tipper Gore, I can't stand you, girl. | ||
| Don't get your head knocked off like Daniel Pearl. | ||
| From what I hear on the streets, you a big old freak. | ||
| What gives you credibility to Peterborough Police? | ||
| Sharp as a crease, impetuous. | ||
| As the Middle East, sit on your... | ||
| Okay, I'm forgetting. | ||
| Hey, but I had it, man. | ||
| I had it for a moment. | ||
| People forgot that Al Gore's wife was trying to censor hip-hop. | ||
| A lot of times people think of the right wing as being the people that try to censor speech, but back then it was Tipper Gore that was on this mission. | ||
| What was it? | ||
| Parents for Music something censorship. | ||
| Yeah, there was morality in media. | ||
| Yeah, that's right. | ||
|
unidentified
|
They went after Beavis and Butthead, too. | |
| Well, then they went after two live crew. | ||
| That's when things got serious, because that actually went to court. | ||
| That was crazy. | ||
| People that don't remember, there's some people in this country that are... | ||
| They were on the front line of censorship. | ||
| And Two Live Crew was one of the big ones. | ||
| They went to court in Florida. | ||
| Broward County. | ||
| In Broward County, they have crazy laws in Florida. | ||
| They put people in jail for all kinds of weird shit. | ||
| And they just decided that that was obscene. | ||
| Yeah. | ||
| They made that move on us. | ||
| Pull us forward a little bit. | ||
| Just so it's not on your back there. | ||
| Yeah, they tried to make that move on us and We were defined to the end, man. | ||
| Like, I remember going to one city and we stood on stage and they was like, yeah, y'all can't play. | ||
| Because we had planned on going... | ||
| Well, this was in Florida. | ||
| I can't remember exactly what city it was, but... | ||
| We went there and our goal was to play no matter what. | ||
| We was going to rap our lyrics exactly as they were. | ||
| And we get there and then they say, well, the city has changed their mind. | ||
| You can't play at all. | ||
| So they got us on that one. | ||
| So you had to shut down the show? | ||
| Yeah, we couldn't do it at all. | ||
| The Ghetto Boys was the first group to have a manufacturer Decline, or to say that, you know, decline the distribution of our music. | ||
| Really? | ||
| It was the first group in music history where a manufacturer said, we're not going to press. | ||
| Which album? | ||
| That was the Ghetto Boys self-titled album. | ||
|
unidentified
|
Wow. | |
| Yeah, that was 92. That was the Rick Rubin remake. | ||
| So we did the... | ||
| It was... | ||
| The Gripp It On That Other Level album, right? | ||
| So it was like a remake of that with two extra songs that Rick Rubin produced, and the other songs were like songs that he kind of just kind of remixed a little bit, but they had the same sound for the most. | ||
| So sonically, they were pretty much the same, but there was two new songs added. | ||
| So that's when we changed the name of the group to G-E-T-O, the spelling of the group, G-E-T-O from G-H-E-T-T-O. But yeah, you know, the funny thing was that, well, it wasn't funny at the time, but well, it still ain't funny. | ||
| You know, this Geffen Records, David Geffen, he decided that he was not going to distribute our music, but he was cool with distributing Andrew Dice Clay and Guns N' Roses. | ||
| And you know what type of music these guys were doing at that time. | ||
| We're talking about 1990, you know? | ||
| So, of course, I mean, we was like, yeah, man, this is censorship and we know why. | ||
| Wink, wink. | ||
| You know? | ||
| We know. | ||
| Yeah. | ||
| You know, so that's when we came with the We Can't Be Stopped album. | ||
| That album cover. | ||
| Yeah. | ||
| Jesus Christ. | ||
| When you see Bushwick Bill with a patch over his eye in the hospital gurney, and you guys are rolling with him behind, and that's the album cover. | ||
| Look at that. | ||
| Yeah. | ||
| I mean, come on. | ||
| That is classic. | ||
| Yeah. | ||
| That is a classic album cover. | ||
| It can't be stopped. | ||
| And Bushwick's on the old school cell phone. | ||
| The brick. | ||
| And that's done. | ||
| That was done like... | ||
| Totally spontaneously. | ||
| Wow. | ||
| It was totally unplanned because we had finished the album. | ||
| And then Bushwick gets shot. | ||
| And this would happen a lot with Bill. | ||
| Bill could get a job done. | ||
| If he had something major to do, he'd get it done. | ||
| But then after he get it done, something starts going on. | ||
| Stuff just starts happening. | ||
| So we had finished the album and, you know, get a call. | ||
| Bill got shot. | ||
| Go up to the hospital. | ||
| Immediately in my mind, this is my cowboy western days, mind you. | ||
| I'm thinking revenge. | ||
| Like, I don't care who shot him. | ||
| You know, like, let's get him. | ||
| So I get to the hospital. | ||
| I go into the room and Bill is laying there and he's kind of, he's dazed. | ||
| But he's conscious. | ||
| And he's like, Well, don't hurt her. | ||
| I made her do it. | ||
| Your Bushwick Bill impression is wrong. | ||
| It's so wrong. | ||
| So that was that. | ||
| You know, I checked on him. | ||
| He was good. | ||
| He's gonna survive. | ||
| He lost his eye, but he's gonna survive. | ||
| How did he make her shoot him? | ||
| He said that they were arguing this is Bill's version that they were arguing over something and he was mad so he pulled out the gun and he threatened to throw the baby downstairs and then He has the gun and his girlfriend is like, they're tussling over the gun. | ||
| And so Bill's like, shoot me, shoot me, shoot me. | ||
| This is what he's saying that he told her. | ||
| So the gun goes off. | ||
|
unidentified
|
Boom! | |
| Bill gets shot now. | ||
| Now, knowing Bill like I know Bill, I know Bill didn't purposely shoot himself in the eye, have anyone shoot him in the eye. | ||
| Bill just likes walking on the edge. | ||
| You see? | ||
| He'll walk that edge, like, I'll do it, I'll do it, I'll do it, I'll do it! | ||
| Oh, shit! | ||
| Damn! | ||
| You know? | ||
| So that's what I believe happened. | ||
| But Bill say, you know, he made a shooter. | ||
| So, get to the hospital. | ||
| We go downstairs and Cliff Blodgett is there. | ||
| And at the time, Cliff is the co-owner of Rap-A-Lot Records. | ||
| And Cliff say, you know, everybody, you know, we have a little meeting in the lobby and your bill's okay, you're gonna survive. | ||
| That was our first thought, you know what I'm saying? | ||
| Everybody just wanted him to be okay. | ||
| He's safe, he survived. | ||
| Cliff's like, back to business. | ||
| Cliff's like, okay, so what are we gonna do about the album cover? | ||
| And I said, well, we can shoot it. | ||
| He alive. | ||
| So Cliff is like, well, how are we going to do that? | ||
| I said, man, we just go up there and shoot it. | ||
| He said, well, who's going to ask him? | ||
| I said, I'll ask him. | ||
| So I went up there and I was like, Bill. | ||
| I said, man, we want to shoot this album cover, man. | ||
| You down? | ||
| Bill was like, I don't care. | ||
| He's like, yeah. | ||
| He said, yeah. | ||
| I went back down and told him it was a go. | ||
| Me and Brad went upstairs. | ||
| Cliff went to his car, got the camera. | ||
| We went We went upstairs and back to the room. | ||
| The nurse put Bill on another gurney. | ||
| And me and Brad rode him down the hall. | ||
| So the nurse was in a... | ||
| The nurse knew you were gonna... | ||
| There it is! | ||
| We rode him down the hall. | ||
| And we didn't roll him far. | ||
| I mean, like, maybe the room was, like, right behind us to the right. | ||
| Whose idea was it for him to be holding the phone? | ||
| I don't know. | ||
| But I know Chief was there, too, our role manager. | ||
| So I don't know if Chief told him to, you know, grab the phone or something. | ||
| I don't know. | ||
| But... | ||
|
unidentified
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Was the hat already on him? | |
| No, he put the hat on too. | ||
| So, yeah, I think that was chief idea to put the props on, but he started rolling down the hallway and Cliff shot the picture and that's how you got the cover. | ||
| Wow. | ||
| One of my great regrets is not having him on the podcast. | ||
| They reached out, whoever was representing him reached out, and I had a, you know, my shit gets, I book it myself. | ||
| I do it on my phone. | ||
| So I have months in advance, and I'm trying to coordinate shit, and it took a couple weeks for me to find a date, and I got a hold of him again, but then he was sick. | ||
| He was real sick. | ||
| He was in the hospital, and they said he couldn't travel anymore. | ||
| And then shortly after he died. | ||
| Yeah, it happened fast. | ||
| Like once he started, once he made the announcement, his health deteriorated really fast. | ||
| I think, what was it? | ||
| Yeah, I think it was. | ||
| That's one of those ones. | ||
| Yeah, it was. | ||
| It was pancreatic. | ||
| That's one of those ones that gets you quick. | ||
| That's a bummer. | ||
| How did you guys all get together? | ||
| Very carefully. | ||
| So, I started off as a solo artist. | ||
| I was writing some songs for the Ghetto Boys' new album. | ||
| This is the first, well, not even the first incarnation of Ghetto Boys, but this is like one of the incarnations. | ||
| So, the group has changed members several times. | ||
| By the time that I wrote these songs for the group, They had changed memories maybe about three times. | ||
| So, he asked me, Jay asked me, Jay Prince asked me to write some songs for the new album. | ||
| And I wrote, let a ho be a ho and do it like a G-O. Prince Johnny C didn't want to perform no song. | ||
| Well, he didn't want to perform Let A Ho Be A Ho. | ||
| He was married. | ||
| By the way, I quote that. | ||
| I quote you. | ||
| I told you when I met you. | ||
| I've said that on the podcast at least 30 times. | ||
| Whenever someone says something, let me quote the great Willie D, you gotta let a ho be a ho. | ||
| Real talk, man. | ||
| That go a long way. | ||
| And that's male and female. | ||
| Yes. | ||
| Yes. | ||
| True. | ||
| I'm glad you said that. | ||
| Yeah. | ||
| So... | ||
| I write the songs. | ||
| Jay give them an ultimatum. | ||
| Look, man, y'all perform these shows or go solo. | ||
| But this is the direction I'm taking the group. | ||
| Prior to that, the first incarnation of the Ghetto Boys had more like a Run-DMC style of rap. | ||
| Jay wanted more Southern, H-Town, Houston experience. | ||
| So... | ||
| That's what I gave him. | ||
| And he liked it. | ||
| The people around him liked it. | ||
| And he decided, I'm going to take the group in this direction. | ||
| So when he gave him the ultimatum, Johnny C decided that he didn't want to do it. | ||
| But he did perform on the original Do It Like a G.O. Jukebox decided that he wanted to do it, so the first day of going into the studio to create this new group and this new sound, I didn't know Brad, Scarface. | ||
| I didn't know him at all. | ||
| I had met Bill before, because me and Bill had a run-in before. | ||
| So I had met him before. | ||
| Well, I didn't really meet him. | ||
| What kind of run-in? | ||
| It was a physical altercation. | ||
|
unidentified
|
I've heard all these stories. | |
| That's so good. | ||
| But that happened, and that was water under the bridge as far as I was concerned. | ||
| Jay comes to me one night, and I'm kind of skipping around the place because I'm trying to piece it together so you can make as best as I can for it to make sense. | ||
| Okay, so Jay comes to my house one night. | ||
| He said, look, man, I got an idea. | ||
| I want you to be in the Ghetto Boys. | ||
| I guess this is when he's having this problem with Johnny C. dropping out. | ||
| He's trying to figure out what he's going to do with the group. | ||
| So he comes to me one day. | ||
| He said, I got an idea. | ||
| I want you to be in the Ghetto Boys. | ||
| I said, no, I don't want to be in the group. | ||
| And he was like, I said, man, you know, this is what I want to do. | ||
| I said, yeah, I want to be in a group. | ||
| And he was like, well, do it for me. | ||
| So I looked at it like Jay was investing in my dream of becoming a rapper. | ||
| So when he said it like that, he convinced me. | ||
| And I was like, okay, I'll do it. | ||
| But after I do it, I'm going back solo. | ||
| So, my time in the ghetto boys was supposed to be temporary. | ||
| All alone. | ||
| So, I agreed to do it. | ||
| And he told me, he said, I got this other boy on the south side named DJ Action. | ||
| That's who everybody know as Scarface now. | ||
| He said, I got DJ Action. | ||
| I want to put y'all in the group. | ||
| You... | ||
| He said DJ Action and Jukebox. | ||
| Y'all be the new ghetto boys. | ||
| So that's the group. | ||
| He come to pick me up. | ||
| He's in an Astro van. | ||
| Scarface aka DJ Action, he's in the van. | ||
| Beto, his producer, is in the van. | ||
| Reddy Red, our DJ, is in the van. | ||
| Bushwick is in the van because he's hanging out. | ||
| You know, that's Jay Buddy, so he's just hanging out. | ||
| And I hop in to see if I'm missing anybody. | ||
| So Jay, Beto, Brad, Bill, Red, Jukebox, and me. | ||
| We're all in the van. | ||
| We're going to make this album. | ||
| We don't even know the title of the album. | ||
| We're just going to go make an album. | ||
| We go out to Jay's Ranch about an hour from my house. | ||
| We get there and I think the first or second night Jukebox decided that he was going to quit the group. | ||
| Now, from what I understood from the conversation was that he was having Kids, twins or something, or a baby or something, and this woman wanted him to get a real job. | ||
| So he quit the groove. | ||
| So now we decide, okay, it's going to be me and Scarface. | ||
| It's us. | ||
| At this time, he's still DJ Action. | ||
| So it's me and Action, and Ready Ready is our DJ. So maybe like the second day or something, I'm in a studio, and Red is making music and stuff, and Bill is rapping Public Enemy's song. | ||
| Yes, the rhythm, the rebel. | ||
| Without a pause, I'm lowering my level. | ||
| So I look, and he's drinking a 40 ounce too. | ||
| He got a 40. And a light comes on. | ||
| I say, let's put Bill in the group. | ||
| Let's get Bill to take Jukebox Place. | ||
| So everybody start laughing. | ||
| I say, yeah, see, that's what the world going to do. | ||
| But they going to stop laughing when they hear this gangster shit I'm going to write for them. | ||
| So I said, Jay, I say, let me write something. | ||
| I say, if he do it, is he in the group? | ||
| And Jay was like, man, I don't know, man. | ||
| Bill, what you think? | ||
| Bill said, I don't know, but I can try. | ||
|
unidentified
|
Wow. | |
| I took Bill to the kitchen and we sat at the breakfast club. | ||
| I mean, that's the breakfast club. | ||
| We sat at the breakfast table. | ||
| I asked him some questions about himself and I embellished it with what I thought it might be like to walk in his shoes. | ||
| And I came up with size ain't shit. | ||
| Three days later, he recorded it. | ||
| That's how Bill became a rapper, and that's how he became a ghetto boy. | ||
| Wow, so a lot of people don't know that you were writing all that shit. | ||
| I was on ghetto boy records. | ||
| I would say 70, 80% of everything ever came out of Bushwick Mouth came out of my head first. | ||
| It's crazy that you saw him rapping and the light went off and that formed the Ghetto Boys. | ||
| This is like one of those stories. | ||
| Yeah. | ||
| He was only a dancer first, right? | ||
|
unidentified
|
He would break dance at the shows? | |
| Yeah. | ||
| And so, like, we wasn't... | ||
| Like, Bill actually was opening, like, an opening act for the Ghetto Boys prior to becoming an actual rapper and a member. | ||
| He was on the cover of the first album. | ||
| But he wasn't an official member of the group. | ||
| He didn't even have a contract. | ||
| He was just there for aesthetic purposes. | ||
| So he performed. | ||
| I mean, he performed before the group would come out. | ||
| He would warm the crowd up. | ||
| He'd dance, you know? | ||
| Lil' Billy. | ||
| They used to call him Lil' Billy. | ||
| And he would dance. | ||
| And so after he'd do his thing, then the group would come out and start rapping. | ||
| So that was his role at first. | ||
| And we wasn't going to have that in our group. | ||
| We wasn't going to have a dancer in our group. | ||
| But once Bill became a rapper, we said, well, let's utilize his dance skills. | ||
| So we would have parts in the show where Bill would do a little dancing and stuff. | ||
| But if you listen to that first album that he, me, Scarface, and Ready Red made, That album, Bill is only on like maybe four songs. | ||
| That's because he came in late. | ||
| And those songs originally wasn't for him. | ||
| That's why he's only on, like, I think we did maybe 12, yeah, we did 12 songs and he's only maybe, he's only like maybe five songs or something. | ||
| I can't remember. | ||
| The dude who quit? | ||
| What's his name again? | ||
| Jukebox. | ||
| How does Jukebox feel about all this? | ||
| When you guys blew up, he had to be like... | ||
|
unidentified
|
Yeah. | |
| Well, you know, you got to ask him how he feel. | ||
| But, you know, look, I've seen a number of people go through that in this business. | ||
| I've been in the game 31 years. | ||
| So I've seen really, really talented people who are not making money initially. | ||
| It's not happening fast enough. | ||
| And I've seen dudes not make it in this game because their woman told them, you need to get a real job. | ||
| Look, we got a baby. | ||
| Look, keep coming back here. | ||
| You go in the studio, you spend all this time hanging out, rapping and all this shit. | ||
| You need to get a job. | ||
| And one of the dudes, I remember this white guy, he's probably a fan of your podcast, little kid, man. | ||
| When I met him, he was like 17 years old. | ||
| He rapped like too short. | ||
| Cold-blooded. | ||
| Think of it, a white dude rapping like too short. | ||
| And he was authentic with it. | ||
| Dope, dope, dope. | ||
| So, I was going to put him on, and when we had the meeting, he didn't show up. | ||
| He didn't show up for the meeting. | ||
| And then he gives me this story, this sob story about this girl, this and this and that, or whatever. | ||
| And then, so, maybe six months later, We tried again. | ||
| And then something else came up, and then I cut him off after that. | ||
| So fast forward, I seen him about maybe three years after that, and he tells me that he's working at some grocery store stocking groceries. | ||
| And he got a baby with the girl, but she's gone now. | ||
| So this is a cautionary tale, and this is the reason why I'm telling it, is because that could have been me. | ||
| When I was Twenty-one, twenty-one, twenty-one, twenty-two. | ||
| That was this girl I really, really liked, man. | ||
| You know, I was dating her, and she made me work for it. | ||
| You know, I had to work to get in the dough. | ||
| So I liked her. | ||
| You know, I'd earned her. | ||
| When I would write, I would put a sign on the door, do not disturb, and I would unplug the phone. | ||
| I would give myself five minutes to dedicate toward my craft every single day, no matter what was going on in my life. | ||
| Didn't matter if I was broke. | ||
| Didn't matter if there was a death in the family. | ||
| Didn't matter if I was in a bad mood. | ||
| Didn't matter if I was going out that night. | ||
| It didn't matter. | ||
| Five minutes minimum. | ||
| That means research, planning, plotting, writing, doing something. | ||
| Towards my goal. | ||
| I would unplug that phone and she would try to call me and couldn't reach me. | ||
| So one day we'd get on the phone and she said, I think we need to break up because you don't ever have time for me. | ||
| So I tried to explain it to her, but she wouldn't listen. | ||
| But I was okay with it because I had made my mind up well before that, that I was not going to let anything get in the way of me becoming a successful rapper. | ||
| So that meant everybody. | ||
| That meant any family members, friends, girlfriend, whatever. | ||
| Because I just felt like that rap was going to last longer. | ||
| My music, my talent. | ||
| My gift was going to last longer than any relationship. | ||
| Where did you get this belief in yourself? | ||
| Did this come from boxing? | ||
| Because a lot of people don't know. | ||
| You're a really good boxer. | ||
| Yeah. | ||
| And I remember there was a... | ||
| We talked about this when I met you. | ||
| That one of the things that I didn't know that you were a boxer until I saw that rapper versus rapper boxing event they put on. | ||
| And you... | ||
| Was it Marley Marr? | ||
| Marley Mel. | ||
| I mean, Melly Mel. | ||
| Melly Mel. | ||
| Yeah. | ||
| Forget who it was. | ||
| Yeah. | ||
| You fucked that dude up. | ||
| That was wrong. | ||
| Like, that was... | ||
| Whoever set that up... | ||
| Well, it was either him or me. | ||
| I understand, but it wasn't either him or you. | ||
|
unidentified
|
But he had won a bunch before that, though, hadn't he? | |
| Hadn't he won a bunch of those... | ||
| That's great. | ||
| I'm not sure. | ||
| But when you watch this, look at the way he's holding his hands. | ||
| And look at Willie. | ||
| This is a terrible fight. | ||
| Like, if I was in the guy's corner, I would have thrown the towel as soon as I saw him holding his hands up. | ||
| Well, it wasn't one of my greatest... | ||
|
unidentified
|
Well, you could tell right away that you really knew how to box. | |
| Mel was unorthodox, so it took longer to really zero in on what I wanted to do with him. | ||
| Well, he's a big, strong guy. | ||
| When you see him moving, you can tell he's athletic and he hits hard, but you were setting it up. | ||
|
unidentified
|
Wasn't he known for street fights, you said, or something like that? | |
| See, there's a lot of people that are known for street fights. | ||
| When you're fighting in the streets, a lot of times you're fighting people that don't actually know how to fight. | ||
| But me as a person who was a fight fan who had done martial arts my whole life, I was looking at Will, I was like, he knows how to fight. | ||
| Like, you could just see by the way you're moving. | ||
| That's it. | ||
| Not some good camera work, but clear. | ||
|
unidentified
|
Yeah. | |
| Yeah, it was a clean punch. | ||
| So male... | ||
| For maybe five years, him and his manager would call and say, we want a rematch. | ||
| And I was like, the first one was for charity. | ||
| I'm going to have to get paid if you want to. | ||
| You want to get that rep restored, bro? | ||
| You're going to have to pay for it. | ||
| I'm not going to do it for free. | ||
| But look, When I look back at it, I wish it was somebody else that I had the squabble with, right? | ||
| Because Mel is a good dude. | ||
| I like Mel. | ||
| I like his team. | ||
| I like his people. | ||
| They're good people. | ||
| But for a while, though, we was going back and forth. | ||
| I was like, man, I know what happened, and I know what you want to do. | ||
| So if you want to get back in the good graces of the knockout artists, you're going to have to pay for that. | ||
| So we never could work out a number. | ||
| But you had a legit boxing pass, though. | ||
| Yeah. | ||
| What was your boxing history? | ||
| You'd won Golden Gloves events. | ||
| 84. Yeah. | ||
| Texas. | ||
| Yeah. | ||
| So you had a legit... | ||
| How many fights did you have? | ||
| 32. There's no substitution for that. | ||
| There's no substitution for that. | ||
| If you've actually been in there 32 times and you've got a guy who's good at fighting, I'm sure he's a tough guy, but that's a mismatch. | ||
| Yeah. | ||
| When you had that kind of discipline, that had to play a part in your rap career. | ||
| Because to get that good as a boxer, you got to put that time in when you don't want to. | ||
| You have to grind. | ||
| Yeah. | ||
| You know, my greatest motivation was just... | ||
| changing my lifestyle. | ||
| Because I come from insufficient... | ||
| Insufficient living, insufficient love, insufficient clothing, insufficient housing, you know, insufficient care. | ||
| Everything was insufficient except the bad stuff. | ||
| I want it out. | ||
| It's like, I got to change this trajectory. | ||
| I don't like it. | ||
| And I'm not going to bring my children into this world like this. | ||
| I'm not going to bring my children and put my children at a social disadvantage. | ||
| So this is why it was very important for me to get some money first before I started having children. | ||
| You know, and if somebody is already in that position, then it's already happened and you didn't plan it out the right way. | ||
| But as soon as you can, you got to get it right. | ||
| You got to make it right. | ||
| Because children don't ask to come into this world. | ||
| And you bring these children to this world and a world of insufficient, you know, living even in an insufficient love is even worse. | ||
| Because if you got sufficient love, love will make you grind so hard that you'll get it. | ||
| You know, because once you give life, life is bigger than yours. | ||
| And them children you realize is more important than whatever it is that you want to do. | ||
| And you look at, and really, when you put that energy into that and you let that be your driving force, you actually become a greater person. | ||
| Because your motivation is bigger than you. | ||
| It's greater than you. | ||
| You may sometimes wake up and don't want to do it. | ||
| But because you love those babies so much, I gotta do it. | ||
| Sometimes you might want to snap. | ||
| Sometimes you want to tell the boss, man, kiss my ass, go to hell, you funky motherfucker. | ||
| You know what I'm saying? | ||
| You want to just go off on the boss. | ||
| And you be thinking about them kids, you're like, ooh-wee, nah, I can't do that. | ||
|
unidentified
|
Right. | |
| Where did you get this wisdom from when you were young and you were experiencing these hard times? | ||
| How did you... | ||
| I mean, a lot of people make the same mistakes their parents make, the same mistakes other people around them make. | ||
| It's very few people that dig their heels in the ground and go, no, no, no, this shit stops with me. | ||
| Yeah. | ||
| Where did you get the wisdom? | ||
| I just kind of like... | ||
| A lot of it was trial and error. | ||
| Baptism through fire. | ||
| A lot of it. | ||
| I just... | ||
| I listened to Stevie Wonder's music. | ||
| It's very inspirational, Stevie Wonder music. | ||
| Very inspirational. | ||
| Probably saved my life. | ||
| I watched manly examples, like examples of fatherhood, like James Evans from Good Times. | ||
| Yes. | ||
| John Amos. | ||
| I met John Amos at the Comedy Store. | ||
| Is that right? | ||
| Oh, he was cool as fuck. | ||
| Yeah. | ||
| Yeah, I hear he's a real cool dude. | ||
| I need to meet him. | ||
| That's one of the things, like, that's one of the people, you know, in this game that I'd like to meet one day. | ||
| He's so down to earth, so natural. | ||
| When you talk to him, he grabs, he's laughing, he's great. | ||
| Yeah. | ||
| Well, it was him, man. | ||
| It was watching his example of fatherhood, his undying love that he had for his children, his wife. | ||
| He was a man. | ||
| When you went to the Evans house, you knew it was a man on the other side of that door. | ||
| You couldn't just come in there and do whatever you wanted to do and mess with his family or whatever. | ||
| It was a man on the other side of that door. | ||
| Isn't it crazy that sitcoms like that can they can have so much value? | ||
| Even though it's an entertainment show for a lot of people, you look at that guy and you say, that's who I want to be. | ||
| I want to aspire to have that kind of family. | ||
| There's an example of a man, even though it's a comedy. | ||
| Right. | ||
| And you're right about that, man. | ||
| The only thing that I wanted to make sure that I did not repeat was... | ||
| The cycle of not ever making it out. | ||
| Because James never made it out. | ||
| In fact, he died. | ||
| Right. | ||
| You know, he got a new job and went out. | ||
| I think he got killed. | ||
| They killed him off like an accident in the snow. | ||
| Why does he kill him off? | ||
| Did he want off the show? | ||
| Well, they killed him off because he didn't like the direction the show was going in. | ||
| You know, they was doing a lot of... | ||
| He didn't like the... | ||
| It had a lot to do with the Jimmy Walker character. | ||
| You know, quite frankly, it was a lot of buffoonery, right? | ||
|
unidentified
|
He thought it was getting too broad, too big and dynamite stuff. | |
| Yeah, exactly. | ||
| The dynamite stuff and all that. | ||
| And he wanted to have more social stuff. | ||
| He thought that they could continue that trend of making funny stuff but also being socially astute. | ||
| And they... | ||
| You know, they just couldn't see eye to eye. | ||
| Well, Jimmy Walker at the time, if you remember, he was a gigantic character. | ||
| He was. | ||
|
unidentified
|
He was huge. | |
| He was. | ||
| That dynamite, that haunted him forever. | ||
| Yeah. | ||
| Because, you know, Jimmy became a comic. | ||
| Right. | ||
| And we would see Jimmy at the Laugh Factory, and he was always doing stand-up, and people demanded that he say dynamite. | ||
| Yeah. | ||
| It was a trap. | ||
| Yeah, it was, man. | ||
| But it was, to me, the greatest sitcom ever because it really helped shape my life as a type of person that I became. | ||
| So now, along the way, you know, like I said, it was baptism through fire. | ||
| I made a lot of mistakes along the way, but one of the things that I try to do is not repeat the same mistakes. | ||
| I am not going to ever be perfect. | ||
| I don't aspire to be perfect. | ||
| But what I do aspire to do is learn from my mistakes and not make the same mistakes. | ||
| Oh, I got some more mistakes to make. | ||
| I'm going to make a few more big ones before I get up out of here. | ||
| But not the same ones. | ||
| But not the same ones. | ||
| And I will grow. | ||
| I will grow. | ||
| But I think that I got through, man. | ||
| I think I was spared. | ||
| I think part of it was my My will to leave my mark and then a lot of it was luck and then the rest of it was favor. | ||
| Well, you know, I think it's amazing what you're doing because I think what happened with you with watching Good Times, you're, you know, I know you know this, but your social media presence and what you put out there, like, You're a man. | ||
| You know what I'm saying? | ||
| Like, you're a man of your word. | ||
| You stand for things. | ||
| And when you call people out on their bullshit, and you call men out on their weakness, you're setting examples that a lot of young guys are seeing. | ||
| And they're looking at you as a guy who not just got out, left his mark, but evolved. | ||
| Evolved as a man. | ||
| You know, when you were running for, what were you running for? | ||
| City Council. | ||
| And, you know, you and I had a conversation about it. | ||
| You're like, well, my past came back to haunt me. | ||
| You know, this is one of the... | ||
| Like, people have to have a past. | ||
| And a guy like you who has a past is... | ||
| More valuable. | ||
| A guy who can show people. | ||
| Just because you're fucked up, just because you've done dumb shit or you were in a bad situation when you were younger, that doesn't define you. | ||
| Who you are now is who you are. | ||
| Right. | ||
| I like to tell people, my past don't define me. | ||
| It refine me. | ||
| I like it. | ||
| You see? | ||
| Yeah. | ||
| Because... | ||
| It's so much that I see. | ||
| I have foresight now. | ||
| So much that I see, that I've seen, I've witnessed, I've done myself personally, or, you know, I've been very, very close to the action. | ||
| And I'm an odd man. | ||
| I say, well, you know, if you do this, then more likely this will be the outcome. | ||
| That's why I never joined a gang. | ||
| Because I was like, not that I didn't do anything wrong, but I felt like if I'm going to do something wrong, I trust me to not snitch me out. | ||
|
unidentified
|
Best reason for that. | |
| I'm going to tell you a story I've never told publicly. | ||
| In the mid-80s, There was some cab killings in Houston. | ||
| It was killing cab drivers, right? | ||
| The guys who were involved, who started it, came to my house first to get me to go with them to hit a lick. | ||
| We poor, we in the hood. | ||
| You know, like, everybody needs money. | ||
| Some of us, we're not gonna eat. | ||
| You know, if we don't go out there and kill something, not literally kill a person, but kill something, you know, so that we can, that we can nourish our bodies, right? | ||
| It came to me. | ||
| Hey man, look, we finna go do this. | ||
| And I look out and I see like, it's the dude that wanted to catch that's, you know, in the neighborhood, that tough guy. | ||
| And then I look out and I see like three other dudes with him. | ||
| Hell no, that's too many dudes. | ||
| If he wouldn't have had that many people with him, I probably would have went with him. | ||
| If it would have just been him and another cat, all right, I probably would have went. | ||
| I don't know. | ||
| But he had like three other dudes with him. | ||
|
unidentified
|
And... | |
| The next morning, I hear a cab driver, old black dude, in the neighborhood. | ||
| Well, he wasn't from the neighborhood, but they killed him in the neighborhood. | ||
| And he was an elderly dude. | ||
| And they only took like 30-something bucks. | ||
| And so I know that's what happened, right? | ||
| So then over the next like maybe three weeks, four more cab drivers get killed. | ||
| I know I got a pretty good idea who's doing this, right? | ||
| Because I'm not the only one that knows. | ||
| It's other people that know these guys and they're talking. | ||
| So there's murmurs in the streets about this happening. | ||
| So then they get caught up and each of these guys, they end up with The one that got the less years was like 15 years. | ||
| All these guys were minors except the main one. | ||
| They were 14 to like 19 years old. | ||
| So they ended up with a minimum 15 years and then the one that got the max was like 40 years. | ||
| So my life would have been very, very much different had I walked out that door that night. | ||
| That's some heavy shit. | ||
| I can see a lot of things happening. | ||
| I can see a lot of things happening from my own experience but other people's experience too and I personally do believe that experience is not the best teacher. | ||
| Other people's experience is the best teacher because if I see you go out and if you walk around the corner And you come back, running back, bleeding profusely. | ||
| Oh man, these guys around the corner just stabbed me, man. | ||
| Why would I run my silly ass around the corner? | ||
|
unidentified
|
UJ just stabbed you. | |
| What's going to happen to me? | ||
| What's likely to happen to me? | ||
| What could happen to me if I go around that same corner? | ||
| And them motherfuckers might stab me next. | ||
| So no, I'm not going around that corner. | ||
| I'm going in the opposite direction. | ||
| In fact, get from by me, man, because they might come stab you again and get me while I'm with you. | ||
| Yeah, I think you're right. | ||
| I think you can learn from both, but you can learn the terrible lessons from other people without having to do it. | ||
| Without ever having to do it. | ||
| If you stick your hand in the fire and it burn you, why the hell would I stick my hand in that fire and let it burn me unless I want to be burned? | ||
| So that's why you know these these The gang thing, I could never get with it. | ||
| I've never been a gang member, so I don't know what these guys be thinking. | ||
| I don't know what they be thinking, man, but I just don't see an upside to it. | ||
| It has a terrible retirement plan. | ||
| You know, most of the dudes are killed before they're 30, are maimed, they have a Extensive criminal history. | ||
| Their opportunities are severely limited because of the record. | ||
| People are afraid to do business with them. | ||
| You know, it's just way too much. | ||
| And I just feel like, you know, well... | ||
| I'm just going to go ahead and avoid that. | ||
| Plus, I'm a black man in America. | ||
| There's all kinds of ways to get killed in here. | ||
| There's all kinds of ways to die already. | ||
| Besides natural stuff like natural death, diabetes, cancer, lupus, obesity, all these type of things that can kill you. | ||
| Stroke. | ||
| You got accidents. | ||
| You might get hit by a car or something like that. | ||
| You got domestic disputes. | ||
| Why would I say, man, you know what? | ||
| I need one more motherfucking thing to die to help me rush this death. | ||
| I gotta get there, baby. | ||
| I gotta get there. | ||
| I'm gonna join the gang. | ||
| I'm trying to eliminate the things that can kill me. | ||
| I'm trying to avoid those type of things. | ||
| Why would I walk right into something? | ||
| But again, a lot of people do. | ||
| Where did you get the wisdom? | ||
| The way you think right now, have you always thought this way, where you plot ahead and look at things like you're playing 3D chess? | ||
| I did to an extent, but I got a lot better at it in my 20s, like late 20s. | ||
| I got really better. | ||
| And the reason why I say that is because the true part about it is that there are dudes that are my age that tell me, man, you was like a big brother to me. | ||
| You know, because I've been knowing them since we were like teenagers or early 20s or whatever. | ||
| And I've always been just a few steps ahead and, you know, seeing what was going on, you know, watching, you know. | ||
| So, but I still had some things that I had to learn. | ||
| Primarily conflict resolution. | ||
| Conflict resolution. | ||
| It should be taught in schools. | ||
| I agree. | ||
| Americans have a big problem with conflict resolution. | ||
| It should be taught in schools. | ||
| Any of you politicians out there, y'all want to work on a bill with me? | ||
| Come on with it. | ||
| I'm down. | ||
| Conflict resolution should be taught in schools. | ||
| Because I remember being on stage, man, and somebody would heckle. | ||
| It would be a dude, always a dude. | ||
| Heckled. | ||
| Like, oh man, talking crazy for no reason. | ||
| And I would jump off stage, knock them out, get back on stage and finish the show. | ||
| You know, I would do stuff like that. | ||
| I mean, once we were in Jackson, Mississippi, let me see, Statue of Limitation. | ||
| Okay, I'm past. | ||
| Yeah, okay. | ||
| We're in Jackson, Mississippi, and the promoter owes us our back end. | ||
| You know, they pay you the front end, you know, for signing the contract, agreeing to do the show. | ||
| Then you show up, they pay you the rest. | ||
| We get there, it's cars everywhere. | ||
| It's cars line the streets everywhere. | ||
| They're all on the grass. | ||
| We know this is big. | ||
| And for artists, I don't care how many sold-out shows you do, you love to see the people turn out. | ||
| And you go like, wow. | ||
| So this is one of those nights. | ||
| Our manager, our role manager, chief comes back to the limo, and this, you know, this was long ago, long time ago. | ||
| People were still, we were still riding in limousines. | ||
| So our manager comes over, he's like, he said, Hey man, he say he ain't got all the money. | ||
| The promoter don't have all the money. | ||
| I say, what do you mean he ain't got all the money? | ||
| Man, all these people out here? | ||
| Man, we like, man, fuck that. | ||
| I grab my cousin Dre and we go in there. | ||
| Say, man, you're going to come off that money. | ||
| At first, he chuckled. | ||
|
unidentified
|
Thank you. | |
| Say, man, hey, look here, bring that money back here and da-da-da-da-da. | ||
| He gave us the money. | ||
| We came back to the limo. | ||
| I like how you're being careful with this. | ||
| Even... | ||
|
unidentified
|
It's just emotion. | |
| We got the money. | ||
| We got the money. | ||
| And now everything is good. | ||
| Went on the stage and did the show. | ||
| And then left. | ||
| This is me, like, again, Cowboy Western days. | ||
| Right. | ||
| Not really thinking, like, all kinds of things that could happen in that situation. | ||
| Sure. | ||
| Like, going back on the stage, like, listen, just going back on the stage, back up. | ||
| Just taking that money like that in the first place, you know, that's the case. | ||
| That could be a case, okay? | ||
| Then you go on stage and do the show. | ||
| We're in his hometown. | ||
| He could be rallying the troops. | ||
| We come out, it's over. | ||
| I'm not thinking on that type of level. | ||
| I'm like... | ||
| He violated. | ||
| You get this. | ||
| And that's it. | ||
| And it's whatever. | ||
|
unidentified
|
Who else want to get it? | |
| What would you have done different now? | ||
| Oh. | ||
| In that exact same situation, I would try to convince him to pay up. | ||
| Like, he still wouldn't get away with it. | ||
| But I would just do it differently. | ||
| Yeah. | ||
| I get it. | ||
| Yeah. | ||
| Still... | ||
| He would have to pay up. | ||
| But there's a long history of promoters not paying people. | ||
| They must pay. | ||
| They must pay. | ||
| They must pay because what you don't want to do is you don't want to be in a situation where people owe you money and look, man, it's an honest day's work for honest day's pay. | ||
| Nothing more, nothing less. | ||
| Same way with record contracts and stuff. | ||
| I've heard people talk bad about executives and stuff. | ||
| Well, they didn't pay. | ||
| Well, you know, what happened to all that gangsta shot? | ||
| That gangsta talkie. | ||
| You can't go get your money? | ||
| You're not going to go get your money? | ||
| Like, I don't understand that. | ||
| Right. | ||
| When did you guys meet? | ||
| Did you guys meet for Office Space or did you know each other before that? | ||
|
unidentified
|
It was after. | |
| It was after? | ||
| Through Brad, yeah. | ||
| I mean, I was a huge fan. | ||
|
unidentified
|
I put all those songs in Office Space. | |
| The beginning of Office Space, when he's in the car rapping by himself, is one of the classic all-time scenes. | ||
| Yeah, I met Mike in 2013 at South by Southwest. | ||
|
unidentified
|
Yeah, Brad was in town. | |
| I also put Brad in Idiocracy. | ||
|
unidentified
|
He's in there briefly. | |
| But yeah, we met in 2013 and I nerded out probably like you did. | ||
| But I just think all these stories are incredible. | ||
| Yeah, we stayed in touch since then. | ||
| That's pretty cool. | ||
| But I'm a giant fan of people who overcome adversity because I think it's not just a testament to your character, but it's a lesson for other people. | ||
| That's why I think it's so important. | ||
| That's why I jumped on social media. | ||
| I knew I was risking a lot of disrespect, right? | ||
| Because people on social media and on the internet, period, can be the most disrespectful bastards ever. | ||
| And you know, like, they say things that you know they would never, ever, ever say to your face. | ||
| But they just be. | ||
|
unidentified
|
Yeah. | |
| So I knew. | ||
| What I was doing. | ||
| I knew that that would be people that would just oppose just to oppose. | ||
| There are people out there that they see you doing it, they want to oppose just to oppose. | ||
| I knew that would be people that would try to leverage my history, my past against me. | ||
| I knew that would happen. | ||
| Sometimes people do stuff like that because they don't want you to give up information that could save somebody else. | ||
| They don't want people to be saved. | ||
| You think that's true? | ||
| Oh, yeah. | ||
| There are some really evil people in the world, bro. | ||
| When I was younger, I was an idealist. | ||
| I didn't think that I knew it was people out there like that, but I didn't think it was that many. | ||
| The internet opened it up. | ||
| It really exposed it. | ||
| There's some really, really bad people in the world. | ||
| There's some bad people in the world. | ||
| You know how to say hurt people hurt people. | ||
| Yes. | ||
| Right. | ||
| Yeah. | ||
| So a lot of these people are hurt. | ||
| They don't know how to channel that anger into something positive, right? | ||
| Right. | ||
| So they just take the ease around and do the negative thing. | ||
| Yeah. | ||
| Right. | ||
| And they just go like, however they feel at that moment, they just respond. | ||
| Well, when you're in a position, like you're in the public, and you have that comment section, it's a honeypot for those kind of people. | ||
| Just looking for an opportunity to try to get under your skin. | ||
| Yeah. | ||
| And what I do to them... | ||
| I try to be as disrespectful as I possibly can. | ||
| I noticed that. | ||
| Look, let me tell you, man, when I say I try to be disrespectful, I try to make them crawl back under that rock that they came from under. | ||
| But you're giving them attention in doing so. | ||
| No, no, no. | ||
|
unidentified
|
When I... No, no, no. | |
| When I smash them, I destroy them. | ||
| I let them know nobody likes you. | ||
| You have a hard time getting a girlfriend. | ||
| Your children don't like you. | ||
| Your mama and daddy didn't like you. | ||
| So you come on here and you see people having a good time and you see people are in good spirits and you want to destroy that and make them feel like you're a miserable lowdown ass. | ||
| You are an uncivilized mutt. | ||
| Nobody likes you. | ||
| And then I block them. | ||
| One of them had the audacity to come under a different name and say, oh, you're so Mr. Big Shot, you want to block somebody when they say something back? | ||
| Look, bastard, you're not finna come up off my name. | ||
| You're not finna come up, get on my platform, and handle me. | ||
| I got time. | ||
| So, I got moderators on my platforms, and I do a lot of it myself too. | ||
| So, when they come, our goal is to destroy trolls. | ||
| I got moderators like LaShawn and Miss Meachie and Lele, you know? | ||
| Man, we destroy them. | ||
| Miss China. | ||
| White China. | ||
| We ain't playing no games, man. | ||
| You have to destroy them, make them feel like the lowlife that they are. | ||
| And I'll tell you what's happened numerous times. | ||
| They'll delete their comment. | ||
| Sometimes I'll give them a chance to do the right thing. | ||
| I'll give them a chance to do the right thing. | ||
| And if they don't do the right thing, if they try to continue on that lonely road, I will hit them with the block. | ||
| And that hurts them more. | ||
| Blocking is the ultimate ignoring of a person. | ||
| When you block them. | ||
| Imagine somebody block you on their phone. | ||
| It could be somebody that you don't really care too much about, but the idea that they block you, what did I do, man? | ||
| What's going on? | ||
| Who are you to block me? | ||
| They don't like it. | ||
| It hurts them. | ||
| And that's what I try to do. | ||
| I try to make them, first of all, just really feel worse than they already feel. | ||
| And, you know, sometimes... | ||
| If I can get a suicide out of it, you know? | ||
| I have the exact opposite approach. | ||
| I don't pay attention to anything. | ||
| I think of my time as bandwidth. | ||
| I feel like if I have 100 units, that's all I have. | ||
| If I'm concentrating on something that is the most important thing in my life, like having a conversation with my daughter, doing stand-up, something that's super important, that requires 100 units. | ||
| That's all I have, all my bandwidth. | ||
| Any time I spend talking with some fucking idiot, that's just time I'm stealing from the things I love. | ||
| There's no time for that. | ||
| There's zero time. | ||
| I'm not changing people. | ||
| I might make them feel bad, but they already feel bad. | ||
| And you're not going to make me feel bad. | ||
| I know I am. | ||
| And that's beautiful. | ||
| But. | ||
| I feel a but coming. | ||
| Well, I'll give you a however. | ||
|
unidentified
|
There's some sort of a conjunction on the way. | |
| I'll give you the however. | ||
| However is just as good. | ||
| Somehow, you know, however seems to not be as brutal as a butt. | ||
| Butt is like, you know, like... | ||
|
unidentified
|
However's got more comedy, comedic flair. | |
| It's kind of subtle. | ||
| However! | ||
|
unidentified
|
However. | |
| I... I think that it's possible to walk and chew bubblegum, right? | ||
| So for me, I just... | ||
| I look at it like walking and chewing bubblegum. | ||
| Like, I can do both. | ||
| I can... | ||
| I can... | ||
| Give the information to the people that want it, and that's cool about it, and keep it moving. | ||
| But every now and then, I can take a little quick pause and make him feel worse than he already feels. | ||
|
unidentified
|
Like, eh, doop, doop, block, boop. | |
| Destroyer! | ||
| Look, one day, I was at this restaurant in Houston. | ||
| And this white dude, he's probably about 35 or something, you know, around about that white terrorist age. | ||
| White terrorist age? | ||
|
unidentified
|
White domestic terrorist age. | |
| He comes walking up to me, right? | ||
| He's like, hey man, you Willie D? And the first thing I do is I take a step and I'm watching everything. | ||
| Now I'm really intense. | ||
| I lock in on him. | ||
| And I say, yeah. | ||
| He say, hey man, I'm the one that was on Facebook, man. | ||
| You told me my kids were ugly. | ||
| I say, yeah, that sounds like something I would have said. | ||
| I say, but what did you say? | ||
| He said, oh man, it's nothing, man. | ||
| I ain't tripping, man. | ||
| It was just social media banner, man. | ||
| That's all. | ||
| I said, alright. | ||
| But I locked in on him a little bit more to make sure. | ||
| But Yeah. | ||
| I remember when I said that. | ||
| The dude was talking reckless, so I checked out his profile, saw his little kids, saw him on there with his kids, and I was like, yeah, don't try to check me, check your baby. | ||
| Check the DNA for your little ugly ass babies. | ||
| Oh my goodness. | ||
| And it broke him. | ||
| It broke him. | ||
| Well, most trolls have private accounts. | ||
| If you ever do pay attention to your comments, if you go into their accounts, most of them block everybody. | ||
| You can't look at their pictures because they know they're out there causing shit and it's going to come blow back onto them. | ||
| They're cowards. | ||
| Most of them that don't have a picture, they have like avatars and stuff like that. | ||
| They have cartoons and a picture of a car or something. | ||
| A brick. | ||
| I don't even respond to those type of people most of the time. | ||
| I just block them. | ||
| I just immediately block them. | ||
| Because I don't feel like it's cool. | ||
| It's not a fair game. | ||
| It's not. | ||
| It's like I'm putting myself out there. | ||
| Right. | ||
|
unidentified
|
100%. | |
| You know who I am. | ||
| You see me. | ||
| You know where I be. | ||
| But you hiding. | ||
| You low key. | ||
| You are dialed up right now. | ||
| It's hilarious. | ||
| You immediately ramped up. | ||
| When you started talking about trolls, you could see. | ||
| Did I do that? | ||
| Yes. | ||
| Intense. | ||
| You got very intense. | ||
| You enjoy it. | ||
| It's real. | ||
| Oh, it's real. | ||
| All right. | ||
| It's interesting that that guy came up to you. | ||
| Probably felt bad. | ||
| Probably felt bad for being a dick. | ||
| People see a famous person like you and they don't think you're a real person. | ||
| They feel like they got a free shot at it. | ||
| Like they could just say something and nothing's going to happen to them. | ||
| This is what people don't understand, Joe. | ||
| I love people for real. | ||
| Just on the strength of human beings. | ||
| I love people. | ||
| I love who love me, but I hate who hate me. | ||
| It's simple. | ||
| I'm not the religious dude or God forgive, turn the other cheek. | ||
| No! | ||
| That is not me. | ||
| That is not me. | ||
| It's never gonna be me. | ||
| And I'm fine with that. | ||
| People say, well, you should forgive for yourself. | ||
| How about getting some vengeance for myself? | ||
| It makes me feel better. | ||
|
unidentified
|
That's what makes me feel good. | |
| Well, it clearly doesn't bother you. | ||
| No, it doesn't. | ||
| You seem to be enjoying it. | ||
| Everybody has a different mental constitution. | ||
| I don't want them in my head. | ||
| I have too much time. | ||
| I have too many things going on. | ||
| That's how I look at it. | ||
| But I used to engage with people all the time. | ||
| I used to treat it like writing exercises. | ||
| I would say, well, let me treat this dude like he's a heckler. | ||
| And just fuck him up like a heckler. | ||
| But then after a while, I'm like, this is robbing me of my time. | ||
| That's how I look at it. | ||
| But when they come to your platform, you have the ultimate power. | ||
| It's like having the mic and being a comic. | ||
| You know how that go. | ||
| You got the mic. | ||
| The dude in the audience has no chance of winning. | ||
| Right. | ||
| No matter what he says, I mean, you get to drown him out. | ||
| You got the mic. | ||
| Yes. | ||
| So when somebody comes onto your social media account, you have the mic. | ||
| They cannot win. | ||
| I understand. | ||
| I'm looking forward to it. | ||
| Well, he basically threw the bat signal out for trolls. | ||
|
unidentified
|
They're all going to come swarming towards Willie D's page now. | |
| No, they're not. | ||
| You know why they're not? | ||
| Because they don't... | ||
| Trolls are bullies. | ||
| Yeah. | ||
| They're just like any typical bully. | ||
| You have to bully bullies. | ||
| Bullies don't like to be bullied. | ||
| They don't like hard fights. | ||
| Yeah. | ||
| They like easy fights. | ||
| Right. | ||
| Bullies only strike when they have a clear-cut advantage. | ||
| Right. | ||
| Size, numbers, weaponry. | ||
| Yeah. | ||
| And when they think that they have someone who is afraid, it's the only time they strike. | ||
| You have to understand the psyche of a bully. | ||
| You know how I understand that? | ||
| I used to be one. | ||
| Yeah. | ||
| I used to be a bully. | ||
| I was a bully till seventh grade, but I backed up off of it. | ||
| When did you start boxing? | ||
| What year? | ||
| I was 11, so whatever that was, 77? | ||
| That's right around 7th grade. | ||
| Yeah. | ||
| Yeah. | ||
| So that's when you probably figure... | ||
| Listen, I was an angry fucking kid until I started doing martial arts. | ||
| I was around 14. Once you can figure out how to get your aggression out and also realize you get humbled. | ||
| Get your ass kicked a bunch of times. | ||
| Get humbled and you realize there is no reason to be angry for no reason. | ||
| Right. | ||
| And you understand that... | ||
| It's almost like you understand that you're going to have conflict at some point. | ||
| When you do, you just reserve all your energy for that. | ||
| You don't waste your energy. | ||
| You don't waste your resources. | ||
| It's such thing as being calculative and picking your battles, right? | ||
| And so that's what you do. | ||
| It's like when you box, You don't have anything to prove. | ||
| Everybody knows you box. | ||
| Everybody knows you whoop ass. | ||
| That's what you do for a living. | ||
| You whoop ass. | ||
| That's what you do. | ||
| So everybody knows. | ||
| So you have nothing to prove. | ||
| And so... | ||
| You want to save your energy, you got a fight coming up. | ||
| You don't want to mess your hands up. | ||
| You don't want to mess your knuckles up. | ||
| You don't even want to get yourself injured in no kind of way. | ||
| Plus, you're tired. | ||
| You're tired from training all the time. | ||
| Well, but you can muster up the energy to not fool out if you have to. | ||
| Oh, yeah. | ||
| But the point is, when you are... | ||
| When you fight, you know. | ||
| Like, my hands are still registered. | ||
| I know what I can do with my hands. | ||
| I know that I can kill somebody. | ||
| And so, the liability is much greater for me than anybody or some regular dude, just a couple regular dudes in the streets fighting. | ||
| It's just a regular fight. | ||
| Yeah. | ||
| But if I fight, the prosecutor would just, aren't your hands registered, Mr. Dennis? | ||
| And you knew your hands was registered. | ||
|
unidentified
|
Do you actually have to go somewhere to register your hands? | |
| Can you hold your hands up? | ||
| Well, they do it when you fight. | ||
| So when you registered a box. | ||
| Yeah. | ||
| When you register for a fight, like pro fighting. | ||
| Right. | ||
| Yeah. | ||
| So then they say, okay, you are a professional fighter. | ||
| You have a higher liability if you enter into some sort of a conflict. | ||
| Exactly. | ||
| Yeah. | ||
| Well, if you beat somebody up, for sure, they're going to go on the internet. | ||
| They're going to go, look at this. | ||
| This ain't fair. | ||
| Yeah, there's so many people out there that could benefit from learning how to fight. | ||
| And there's this funny thing that I always tell people. | ||
| The best way to get rid of bullies is to teach bullies how to fight. | ||
| The problem with most bullies is they're trying to boost up their own confidence by intimidating and diminishing other people. | ||
| But they're really lacking confidence. | ||
| If you taught them how to fight, they would abandon all that shit. | ||
| The baddest motherfuckers are very rarely bullies. | ||
| Occasionally. | ||
| Occasionally you got some real tough dudes that just enjoy hurting people because they've been hurt so much in their life. | ||
| No matter what, even just learning how to fight is not enough to eliminate whatever bullshit they have rolling around in their head. | ||
| Speaking of fighting, speaking of old dudes fighting, Mike Tyson and Roy Jones Jr. this weekend, what do you think of that? | ||
| Woo! | ||
| Interesting. | ||
| Crazy, right? | ||
| Yeah. | ||
| I think it's not too crazy to me, you know, because I know they're fighters and, you know, they... | ||
| A fighter is... | ||
| As long as a fighter knows that people want to watch, they'll get in the ring if the money is right. | ||
| Yeah. | ||
| But Roy fought as recently as two years ago. | ||
| Yeah. | ||
| Yeah, but it's still ring rust. | ||
| Yeah. | ||
| Not as much as Tyson. | ||
| Right. | ||
| It's still ring rust. | ||
| And so it's going to be interesting, man, because both guys are not just champions, but they are Hall of Fame champions. | ||
| Most people that I've heard talk say Roy's going to get ran through. | ||
| I don't know. | ||
| I don't know what's gonna happen. | ||
| I think it's gonna boil down to which one of them are more prepared. | ||
| Yeah. | ||
| That's what I think is going to happen. | ||
| It's going to come down to who's more prepared. | ||
| Well, they definitely have different sizes. | ||
| You know, Roy's a legend. | ||
| They're both legends. | ||
| But Roy championed at 168 pounds, championed at 175, beat Ruiz at, he was about 200 when he won the heavyweight title. | ||
| But he was never really like a big guy. | ||
| He was not a natural heavyweight. | ||
| Tyson's a tank. | ||
| Right. | ||
| Physically, he's a different person. | ||
| And I don't like that they're switching it to two-minute rounds. | ||
| That drives me crazy. | ||
| But how many rounds is it? | ||
| Eight. | ||
| Eight two-minute rounds. | ||
| Well, that just means more action. | ||
| Yeah. | ||
| It does. | ||
| But a guy like Roy, and one of the things that Roy said is that he wants to drag Tyson out. | ||
| He's like, if Tyson's going to beat me, he's going to beat me quick. | ||
| He's like, I want this fight to go. | ||
| He goes, I want to get him tired. | ||
| And I have much more of a chance to get him tired if he's fighting three-minute rounds. | ||
| He's like, we're grown men. | ||
| And I guess the WBC was pointing to Julio Cesar Chavez, I think, had a boxing exhibition recently. | ||
| I think it was Chavez. | ||
| It was some legend that was retired that had a boxing exhibition recently, and he was real tired. | ||
| And their thought was, you know what, instead of letting them get this tired, let's make them just fight shorter rounds. | ||
| But Roy's like, well this is like what women fight. | ||
| The women fight two minute rounds. | ||
| So it got, shit got sexual. | ||
| So sexist. | ||
| But he didn't, I don't think Tyson wanted two minute rounds either. | ||
| Yeah, it would have been nice. | ||
| What's up, Jamie? | ||
|
unidentified
|
There's some rules. | |
| Have you seen the rules for the fight? | ||
| Well, there's no judges and there's no decision. | ||
|
unidentified
|
Celebrity judges, they said. | |
| Celebrity judges? | ||
|
unidentified
|
Yeah. | |
| What kind of celebrities? | ||
|
unidentified
|
They haven't announced that yet. | |
| Oh, Jesus. | ||
|
unidentified
|
And there's no winner going to be announced. | |
| Well, there's going to be a winner if Mike Tyson connects on Roy's face or if Roy connects on Mike Tyson's face and knocks him out. | ||
| Any cut? | ||
| Any cut? | ||
|
unidentified
|
It says bad cut, it says, but... | |
| Get the fuck out of here with that. | ||
| It should be a boxing match. | ||
| These are legends. | ||
| They both get a belt when it's over. | ||
| Oh no, no. | ||
| We can't have participation trophies. | ||
|
unidentified
|
That's what it is. | |
| But what happens if someone gets knocked out? | ||
| There's no winner. | ||
| Listen, if Tyson knocks him out, he wins. | ||
| If Roy knocks Tyson out, he wins. | ||
| This is nonsense. | ||
| Listen, I think to get it sanctioned in California, they had to agree to some stupid shit. | ||
| I guarantee you, when that ding, when that bell goes off, that is going to be a fucking fight. | ||
| Mike Tyson is not fighting any exhibitions. | ||
| He's gonna come bobbing and weaving, swinging death with each hand, and Roy Jones Jr. is gonna be moving and throwing that nasty left hook and let the best man win. | ||
| But that is going to be a fight. | ||
| I cannot imagine those two legends are just gonna move around. | ||
| Like, if you watch Roy Jones Jr. hit the pads, have you seen him hit the pads lately? | ||
| He looks fucking fantastic. | ||
| He's fast as shit. | ||
| His hands look amazing. | ||
| Mike looks amazing. | ||
| I mean, both of them look like they're taking this very seriously. | ||
| I can't imagine a world where someone doesn't connect and some crazy shit doesn't happen. | ||
| Yeah, um... | ||
| Man, this is one of those things, man. | ||
| I gotta see it. | ||
| Yes! | ||
| That's what I'm saying! | ||
| I gotta see this, man. | ||
|
unidentified
|
Well, you were gonna go, right? | |
| Yeah, I was going to go, man. | ||
| I was going to go, too. | ||
| Then, you know, they said there won't be any people allowed. | ||
| Yeah. | ||
| And I was going to go down there for the weigh-in and everything. | ||
| Want to hear something crazy? | ||
| The distance that we are apart from each other on this table, I was going to make it closer because this new studio is a little more compact. | ||
| But I had Mike in at the last podcast. | ||
| Mike's been on twice. | ||
| He was on once about 11 months ago. | ||
| And when he was on 11 months ago, he said he couldn't even work out. | ||
| He goes, if I work out, my ego will get ignited. | ||
| And then I just want to destroy again. | ||
| I want to be the Mike Tyson of old. | ||
| I don't want to have nothing to do with that. | ||
| That's my past. | ||
| I'm done. | ||
|
unidentified
|
Wow. | |
| Then, I think his wife called him fat, and he started working out. | ||
| And he goes, I started out with like 15 minutes on the treadmill. | ||
| Next thing you know, I'm doing two hours. | ||
| So he's doing two hours on the treadmill. | ||
| He gets in tremendous shape, and then someone says, you know, would you box? | ||
| He goes, oh, I'm not boxing anybody. | ||
| And then they go, what about for $30 million? | ||
| What? | ||
| 30 million? | ||
| And so he decides. | ||
| Is this today? | ||
| Is that what they're each getting? | ||
|
unidentified
|
That's just a shirt I checked. | |
| Oh, wow. | ||
| So he lost almost 100 pounds. | ||
| That's incredible. | ||
| Yeah, he was probably pushing 300 pounds at one point. | ||
| Not when I saw him. | ||
| Not 11 months ago, he wasn't. | ||
| No, probably overall. | ||
| But 11 months ago, he was probably about maybe 250 or something like that. | ||
| So he definitely lost about 30 pounds. | ||
| So the distance between us is because he was so amped up. | ||
| It was like a different human being. | ||
| The first time we were smoking weed, he's relaxed. | ||
| He's got Tyson Ranch now. | ||
| He's selling his own weed. | ||
| By the way, strong as shit. | ||
| His weed is like his punches. | ||
| They're no fucking joke. | ||
| So first podcast we did, we got barbecued. | ||
| We had a great time. | ||
| I'm like, holy shit, I'm getting high with Mike Tyson. | ||
| Second podcast we did, he was so intense. | ||
| And we were talking about great conquerors and shit. | ||
| He was talking about all these different things. | ||
| And I'm like, I'm nervous in the room with him. | ||
| He's so amped up. | ||
| His forearms, his whole body changed. | ||
| He's got golf balls under this forearm muscle. | ||
| He had just been training. | ||
| And you could tell he's like Mike Tyson of all. | ||
| His mindset, whether or not he's physically capable of it, His mindset is like the Mike Tyson of old. | ||
| It was legitimately nervous to be in the room with him. | ||
| Because I was just like, wow! | ||
| Like, he's ready! | ||
| He's ready to go right now! | ||
| And I'm like, you know what? | ||
| I'm gonna make my table a little wider. | ||
| Because if I was even closer to him than this, because this is the exact distance of the old table. | ||
| But the new table, I was like, I'm going to make it about a foot closer. | ||
| But if I was a foot closer to Mike like this, I'd probably be nervous. | ||
| I'd be more nervous. | ||
|
unidentified
|
It wasn't COVID or anything. | |
| No, it was Mike Tyson. | ||
| He was so intense. | ||
| I'm like, in order for me to do my best job of communicating with people, in case I'm across from some amped-up killer like Mike Tyson, it's not like I think he's going to hurt me, but you get nervous. | ||
| And Jamie said it best after he left. | ||
| You were like, that was a totally different person. | ||
|
unidentified
|
I was nervous. | |
| I wasn't that close. | ||
| I know, man. | ||
| He's amped up. | ||
| I'm trying to find this video. | ||
| I'm trying to surprise you with this video, man, if I can find it. | ||
| Is it of him? | ||
| No, no. | ||
| This is something else. | ||
| He's... | ||
| Yeah, yeah. | ||
| Okay. | ||
| Mike, thank you very much. | ||
| Next time, I'll have you come in by yourself. | ||
| I'd love to see you. | ||
|
unidentified
|
Yeah. | |
| Well, we're going to do dinner at 6 o'clock. | ||
| Okay. | ||
|
unidentified
|
Beautiful. | |
| Beautiful. | ||
| Awesome. | ||
| Well, thank you, Mike. | ||
|
unidentified
|
Yeah. | |
| All right, Mike. | ||
|
unidentified
|
All right. | |
| Mike Judge, ladies and gentlemen. | ||
| Mike Judge. | ||
| But yeah, so that's the reason why this table is so far apart. | ||
| I'm interested because, you know, Evander Holyfield wants to fight him too. | ||
| And Evander Holyfield has been steady training ever since Mike decided to come out of retirement. | ||
| And I've been watching that. | ||
| I've been paying attention to Evander's social media. | ||
| I think that this is going to awaken a lot of sleeping giants. | ||
| Yeah. | ||
| Like, I can see. | ||
| Because Holyfield was supposed to fight him the first time. | ||
| Really? | ||
| Initially, this was supposed to be a Holyfield Mike Tyson thing, I believe. | ||
| Well, Mike said they offered him a bunch of different people, but he didn't say Holyfield. | ||
| He said they offered him Bob Sapp. | ||
| Oh, okay. | ||
| At one point in time, and then there's a few different... | ||
| And Shannon the Cannon was trying to get in on it. | ||
| You know, Shannon was trying to... | ||
| Like, a lot of people don't want to fight Shannon. | ||
| Right. | ||
| He's got a real hard time getting fights, which is unfortunate because, you know, Shannon's still got talent. | ||
| And he's been wanting to fight people for quite a while now. | ||
| But, you know, with this, they're all, you know, it's this weird situation where I feel like a person should be able to do whatever they wanted to. | ||
| You know, if people can go bungee jumping, people can ride bulls, people can do all sorts of crazy shit. | ||
| Like, why are we trying to stop legends from fighting? | ||
| Well, they don't want the liability. | ||
| Yeah. | ||
| You know, if somebody go out there and get hurt, you know, first thing, everybody's going to look for somebody to blame. | ||
| And the family's going to be like... | ||
| You should have never let him get out there. | ||
| 100 million dollars. | ||
| WBA, WBC, IBF, whoever's... | ||
| Who's sanctioning this? | ||
| I think it's WBC. They have a weird belt. | ||
| What is the belt called? | ||
| It's like some weird name to the belt. | ||
| Some legends or something like that or something. | ||
| Yeah. | ||
| I just... | ||
| I don't like the idea of both guys getting a belt. | ||
| That seems ridiculous. | ||
| No, no. | ||
| That's not a good idea. | ||
| Both guys should get a paycheck, but they should be a winner. | ||
| Frontline heavyweight title. | ||
| The frontline heavyweight title. | ||
| Well, it will be interesting if they decide to do a Legends tour, because it's one of the things that Mike came on to talk about. | ||
| He wanted to have Legends play basketball, Legends play baseball, Legends. | ||
| Like, you know, guys who you grew up watching, and they still want to do it. | ||
| They still want to compete. | ||
| And maybe they can't compete with young guys, but you could still watch them compete against guys of their era. | ||
| Yeah, that would be kind of like what Ice Cube is doing with the Big Three, the basketball league. | ||
| Yes. | ||
| Yes. | ||
| Very similar. | ||
| Very similar. | ||
| Yeah. | ||
| He get the right kind of guys. | ||
| I mean, yeah, people would watch that. | ||
| Yeah. | ||
| But the thing about it is the only difference is that you go play basketball, maybe you have a sore back, your knees a little swollen or whatever. | ||
| You go in there and get in that ring, it might not come out. | ||
| Yes. | ||
| That's true. | ||
| That boxing is something. | ||
| That's true. | ||
| That's a total different beast. | ||
| Yeah. | ||
| I can see somebody getting hurt though. | ||
| 100%. | ||
| I think someone's going to get hurt. | ||
| Somebody will be hurt. | ||
| I think someone's going to get hurt. | ||
| I think both of them know someone's going to get hurt. | ||
| You know? | ||
| And... | ||
| I think they're okay with that. | ||
| You know, Roy said on the show that if he dies boxing, he'll be happy. | ||
| He said, if that's how I die, he goes, I'm a warrior. | ||
| If that is how I die, he goes, that's what I love to do. | ||
| If that's how I die, I'll die happy. | ||
| That is what he said on the podcast. | ||
| And he didn't say it to be braggadocious or to be full of bluster. | ||
| He was sincere. | ||
| I mean, he's a multiple division world champion legend. | ||
| Who will go down in history is without a doubt one of the greatest fighters of all time. | ||
| Yeah. | ||
| Yeah, I think if you can go on your terms, man, that's the way to go, however. | ||
| We all go. | ||
| However that is. | ||
| Yeah, we all go. | ||
| And that's how his perspective was. | ||
| He's like, we all die. | ||
| If he dies that way, then so be it. | ||
| Do you have two phones? | ||
| I can respect that. | ||
| No, this is Mack Ola's phone. | ||
| Oh. | ||
|
unidentified
|
I think he's probably looking for it. | |
| Yeah. | ||
| I was confused. | ||
| Yeah, I hope no one gets hurt. | ||
| I hope no one dies, obviously. | ||
| But I feel like they should have the right to do whatever they want to do. | ||
| These guys are legends. | ||
| I feel like with Mike Tyson, his glory days were probably beyond anything that anybody else other than him or maybe some other world champions could comprehend what that must have been like. | ||
| Yeah. | ||
| You know, for people that didn't grow up during that era like you and I did, when, you know, Sports Illustrated just sent me the cover of Sports Illustrated back when he was 19. It said Kid Dynamite. | ||
| Yeah, I saw you post that on Instagram. | ||
| Because I remember that. | ||
| Yeah. | ||
| I remember I bought that Sports Illustrated. | ||
|
unidentified
|
I'm like, wow. | |
| Oh, 19. This is crazy. | ||
| And then I remember watching him fight on TV and I was like, holy shit. | ||
| Because he would send people flying. | ||
| Like, people don't remember. | ||
| When he was coming up and he would be on television, like ABC Wide World of Sports, when he knocked out Marvis Frazier, he was a destroyer. | ||
| It was like nothing we had ever seen before. | ||
| Like, the heavyweight division had gotten boring. | ||
| You know, there were some good fighters, you know, but it was boring in comparison to what Mike Tyson was doing. | ||
| Yeah. | ||
| He's... | ||
| In my opinion, the last great, really exciting heavyweight, him and Holyfield. | ||
| I'm talking about exciting. | ||
| Every time out, you don't know what's going to happen, but you know they're going to give it. | ||
| They're going to bring it. | ||
| You get those goosebumps when the first bell's about to ring. | ||
| It's just beautiful watching those dudes fight. | ||
| I was never a Lennox Lewis fan. | ||
| Never. | ||
| Never. | ||
| If you met him, you'd be a fan. | ||
| He's a great dude. | ||
| And he's thinking about coming back too. | ||
| They're starting to throw some money at Lennox. | ||
| What I didn't like about Lennox was that it was just a jab and then overhand right. | ||
| Just keep you at bay, keep you at bay, keep you at bay, keep you at bay, and then bam. | ||
| I just wanted more excitement. | ||
| And I heard that about Lennox. | ||
| I heard that he's a great guy. | ||
| But I like to see danger. | ||
| I want to see something really like I like to see explosiveness. | ||
| I understand. | ||
| But he landed, when he landed, it was explosive. | ||
| But he just played it smart. | ||
| I know. | ||
| Especially after Emmanuel Stewart started training him. | ||
| He played it cautious. | ||
| Yes. | ||
| But I thought he was too cautious of a fighter. | ||
| I just thought he was too cautious. | ||
| And not even like... | ||
| Not even cautious like Floyd Mayweather, because Floyd is very cautious too, but Floyd knows how to go in and put on a show too. | ||
| Floyd is a different kind of cautious in that Floyd can stand right in front of you and be cautious. | ||
| Yeah. | ||
| He's got a whole different kind of game. | ||
| With that shoulder roll and his understanding of movement and where the punches are coming from, Floyd can stand right in front of you and still be safe. | ||
| He's an unusual dude that doesn't get nearly enough respect. | ||
| Yeah. | ||
| The average person that doesn't really totally understand boxing, when you're watching him, you're just hoping someone gets knocked out, those kind of people, you don't know what he's doing. | ||
| But if you're a boxing fan and you watch him, you're like, Jesus Christ. | ||
| He's been hit hard maybe four times in his whole fucking career. | ||
| I mean, it's amazing. | ||
| I was just watching the Sugar Shane fight. | ||
| He cracked him. | ||
| Yeah, he cracked him. | ||
| But Floyd immediately held on, came back, and started boxing his ears off. | ||
| Yeah, he recovered. | ||
| Yeah. | ||
| Now, Floyd's a master. | ||
| He's a master. | ||
| Yeah. | ||
| No matter what anybody says about him, I mean, also a master troll. | ||
| Like, became super famous and super successful by getting people to root for him to lose. | ||
| Yeah. | ||
| I mean, it's half of his thing. | ||
| It's like talking tons of shit, showing you all his money, showing you all his cars, and then fucking up the guy you're hoping is going to beat him. | ||
| Yeah. | ||
| Florida's like, you're right. | ||
| You know, I never thought of Florida as a troll, but if he's a troll, he's the troll that only responds once. | ||
| Like, you know what I mean? | ||
| Like, you put it out there. | ||
| If you got something, you don't like what he did, he'll come back. | ||
| Say what he gotta say, and then bam, he gone into the stratosphere to go do something else big and put that in your face. | ||
| Yeah. | ||
| Yeah. | ||
| Yeah, he doesn't go back to those old guys. | ||
| Right. | ||
| Yeah. | ||
| I'm interested to see what he's going to do, because apparently he's going to come back. | ||
| One of the things about Floyd is he loves to spend money. | ||
| And no matter how much money you make, and he's made over a billion dollars in his career, a guy like that, even though he's 40 years old, he could burn through that, which just sounds crazy that you could burn through a billion dollars. | ||
| But you ever seen his garage... | ||
| It's just Bentley, Bentley, Bentley, Ferrari, Rolls Royce, Rolls Royce, Rolls Royce. | ||
| He probably got 100 cars. | ||
| Each one of them is worth $300,000. | ||
| You start doing the math on that, you're like, holy shit. | ||
| You could burn through a billion dollars. | ||
| Well, I think, what did Tyson say he burned through? | ||
| Hundreds of millions. | ||
| 200 million? | ||
| Hundreds of millions, yeah. | ||
| So if Tyson can burn through 200 million, or 300, or 400, whatever it was... | ||
| Yeah, I mean, it's possible. | ||
| It's crazy, though. | ||
| It seems impossible, but it's possible. | ||
| No, it's totally possible. | ||
| The way Floyd lives, I mean, I just don't... | ||
| I mean, who knows? | ||
| Maybe he leases some of them. | ||
| Maybe he's very smart about it. | ||
| Maybe a lot of it is for show, so he gives people the impression that he's going to run out of money. | ||
| Even a lease on those type of things is very expensive. | ||
| Very expensive. | ||
| That stuff is expensive. | ||
| Yeah. | ||
| You've got to think about it. | ||
|
unidentified
|
If you're leasing... | |
| Let's say a $200,000 vehicle. | ||
| Yeah. | ||
| You know, you're still looking at 10 racks. | ||
| Yes. | ||
| You know? | ||
| Every month. | ||
| Yeah. | ||
| Yeah. | ||
| When you consider the tax, I mean not the tax, but when you consider the lease and the insurance on those things, you know, you're talking about minimum. | ||
| Yeah, it's a lot of money. | ||
|
unidentified
|
Yeah. | |
| And then he's got watches. | ||
| His watches are ridiculous. | ||
| He's got watches that are worth more than a million dollars. | ||
| But also, that's part of his PR. His PR is he's Floyd Money Mayweather. | ||
| He's got to show the money. | ||
| Got to show the money. | ||
| Got to put the money in your face. | ||
| Yeah, and he'll tell you, this is for the haters. | ||
| This is for the haters. | ||
| I want to show you this. | ||
| And he'll take you on a tour of all those cars. | ||
| So people that are like, ah, they want him to lose. | ||
| They get so angry. | ||
| I was at the Floyd Mayweather. | ||
| There he is. | ||
| Oh, this is when Mike Tyson walked up to him and flexed on him. | ||
| Him and Mike Tyson apparently had had some words and Mike had said some negative things about him. | ||
| That's an uncomfortable feeling if you're Floyd. | ||
|
unidentified
|
I thought it happened yesterday. | |
| No, it was like 2017 or something. | ||
| It was quite a while ago. | ||
| Yeah, I was going around. | ||
| Tyson has said some things about him in the past. | ||
| But I'm interested to see what he does. | ||
| Because Manny Pacquiao just beat Keith Thurman. | ||
| And that's a respectable victory. | ||
| That's a huge victory for a 40-year-old guy. | ||
| Who's that? | ||
| Manny Pacquiao. | ||
| He just beat Keith Thurman. | ||
| He did? | ||
|
unidentified
|
Yeah. | |
| When? | ||
| A couple months ago? | ||
| Four months ago? | ||
| Five months ago? | ||
| What was it? | ||
| Pre-COVID or during COVID? It might have been pre-COVID. It might have been like right around March or something like that. | ||
| That's interesting. | ||
| So they're talking about that rematch because, you know, the first time they fought, apparently Manny had a fucked up shoulder. | ||
| I still cannot. | ||
| What are you trying to find? | ||
| I can't find it. | ||
| What's that? | ||
| Oh, no. | ||
| What are you trying to find? | ||
| So that was this other match that I wanted to show you. | ||
| From you? | ||
| Yeah. | ||
| Oh, okay. | ||
| Yeah. | ||
| I can't seem to find it, though. | ||
| Well, send it to me later and I'll put it up on my Instagram. | ||
| I will. | ||
| Okay. | ||
| I will. | ||
| Here it is. | ||
| Conor McGregor versus Manny Pacquiao. | ||
| Fight will definitely happen, says manager. | ||
| Fuck out of here. | ||
| What manager? | ||
| Who says that? | ||
| Who's the manager? | ||
| Scroll down. | ||
| Let me see if this manager's full of shit. | ||
| Who is it? | ||
| Does it say Conor McGregor's manager? | ||
|
unidentified
|
Oh. | |
| I mean, is this a testament of how bad boxing has really gotten now, man? | ||
| No, you know what it is? | ||
| We've got to go back and get dudes that are washed up MMA fighters, you know, like, I mean, well, I won't say washed up, but got washed by a rival of yours in boxing already. | ||
|
unidentified
|
Yeah. | |
| Try to do this again. | ||
| We've already seen this fight. | ||
| I think it's just for money. | ||
| I think for Manny, he realizes that Conor is such an enormous superstar that if they fight, he's going to make a shitload of money. | ||
| It's going to be the same thing, though. | ||
| Manny's going to beat the brakes off of him. | ||
| But in a worse way. | ||
| Manny's going to beat him in a worse way because Manny's going to come storming the gates. | ||
| Manny's not going to box him until he gets tired and then beats his ass. | ||
| Manny's probably going to fuck him up from the jump. | ||
| If I had imagined. | ||
| Conor's a very athletic, very fast, and powerful guy. | ||
| In the first couple of rounds, he's always dangerous. | ||
| Just because he hits hard and he's fast, but he doesn't have the efficiency or the fluidity like a world champion boxer like a Floyd Mayweather or a Manny Pacquiao. | ||
| It's just not the same. | ||
| The idea that a guy with one professional fight ever as a boxer, and it's against Floyd Mayweather? | ||
| Yeah. | ||
| That's crazy! | ||
| And this would be his second one. | ||
|
unidentified
|
But it is pretty amazing that he made it to the 10th round. | |
| That's pretty crazy too. | ||
| I don't think it went 10 rounds. | ||
| I believe it did. | ||
| I think he stopped him in the 9th or 10th round. | ||
| It was quite a while. | ||
| Because I remember a lot of people thought that Floyd placed a bet that the fight would go to the 10th round because there were some crazy odds. | ||
| Yeah. | ||
| Because Floyd was an enormous favorite. | ||
| I mean, what was the favorite? | ||
| I mean, he was probably like, I've got to imagine he was like a 50-1 favorite or something crazy. | ||
| Yeah. | ||
| What were the odds of the Manny Pacquiao? | ||
|
unidentified
|
25-1. | |
| That's it? | ||
| Perfect. | ||
| I mean, a 1 to 25 favorite is how you word that, technically. | ||
| That's crazy that that's it. | ||
| I would have thought it would have been like Mike Tyson, Buster Douglas, which was like 60 to 1 or something crazy. | ||
| That makes more sense to me. | ||
| Because, like, you know, Conor could have won. | ||
| I mean, anything's possible. | ||
| Weird shit happens when two dudes decide to punch each other in the face. | ||
| Yeah, you're right. | ||
| I mean, you're talking about two professionals. | ||
| Anytime you get in the ring, somebody throwing punches. | ||
| Yeah. | ||
| A person always has a chance, even against the greatest. | ||
| Yeah, it's not a good chance. | ||
| But it's a chance. | ||
| But it's a chance. | ||
| Anything can happen. | ||
| Because if you throw that punch and you land it... | ||
| In the right place. | ||
| Haseen Rahman, Lennox Lewis. | ||
| It's a wrap. | ||
| Yeah. | ||
| Remember that fight? | ||
| Where Rahman knocked out Lennox Lewis and everybody's like, holy shit. | ||
| And I remember when he got knocked out too when Lennox came right back. | ||
| Yes. | ||
| Yeah. | ||
| Lennox starched him. | ||
| Yeah. | ||
| Yeah. | ||
| He said that was one of his finest moments. | ||
| He did. | ||
| Yeah. | ||
| Just because it was so hard to get that rematch because Rahman knew that it was... | ||
| Not likely he's going to repeat that lightning in a bottle from the first fight. | ||
| Yeah, Rockman is another good guy. | ||
| You know, he's another good guy. | ||
| Tough dude. | ||
| That's in boxing, you know? | ||
| Yeah. | ||
| I'm talking about like a good person. | ||
| Yeah. | ||
| He's got a good spirit, you know? | ||
| Do you still train? | ||
| I don't. | ||
| I don't. | ||
| I don't go anywhere near the gym, but I do... | ||
| I hit the track. | ||
| Yeah? | ||
| Four to five days a week. | ||
| Really? | ||
| Three miles. | ||
| Just for health? | ||
| Just running and stuff, yeah. | ||
| Just to clear your head? | ||
| I think it's important. | ||
| To clear my head is a big part of it, but the bigger part of it is the health. | ||
| Yeah. | ||
| You know, to keep that heart pumping, keep the blood flowing good, you know, Stay ready so I ain't got to get ready. | ||
| Yeah. | ||
| Yeah. | ||
| Never know. | ||
| Stay healthy too. | ||
| Never know. | ||
| Never know? | ||
| You never know. | ||
| Never know? | ||
| Like you're thinking. | ||
| Hey, you never know. | ||
| So if someone comes knocking. | ||
| You never know. | ||
| Willie, we'd like to talk to you about an opportunity. | ||
| You never know. | ||
| But you don't hit the bag or anything? | ||
| Nothing like that? | ||
| No? | ||
| I don't. | ||
| Don't you want to every now and then? | ||
| I do. | ||
| I do. | ||
| Every now and then. | ||
| But see, I know me. | ||
| See, if I go in the gym, I start working out, like training and stuff, I'm going to want to spar. | ||
| Yes. | ||
| Once you start getting into spar shape, sparring is different from hitting bags and running and all that stuff. | ||
| When you get in that ring and you spar, It's a different beast. | ||
| You can run five miles a day, six days a week, do a thousand sit-ups and push-ups and hit that bag for 10 rounds, 10 three-minute rounds. | ||
| You can do all that stuff. | ||
| You can do your jump rope six rounds. | ||
| You can do all that stuff. | ||
| And get in that ring the first time in the spa and you'd be lucky to get out of the first round if it's high intensity. | ||
| You know? | ||
| Yeah. | ||
| You'd be lucky to get out of that first round. | ||
|
unidentified
|
You forget to breathe. | |
| You gotta spar. | ||
| That's how you get in fight shape. | ||
| You spar. | ||
| The gym that you came up in, was it a gym where you sparred hard or was it a gym where you sparred technical? | ||
| It was more technical because we were all on the same team and we were young. | ||
| So it was actually George Foreman's gym. | ||
|
unidentified
|
Really? | |
| It was called the main event. | ||
| His brother, Roy Foreman, ran it. | ||
| Really? | ||
| Yeah. | ||
| Did you meet George? | ||
| Yeah. | ||
| That's a dude I'd love to meet. | ||
| George, before he made his comeback, I lived on Collinsworth Street, Collinsworth and East Tix Freeway in Houston, in these apartments called Collinsworth Apartments. | ||
| And right across the street was an empty field where a gas station used to be. | ||
| And George would be out there on Sundays preaching. | ||
| Wow! | ||
| Had a mic, PA system, but 20 chairs, two people. | ||
|
unidentified
|
Wow! | |
| And I used to look down, like look out of the window and I looked down and I'm like, I don't want to be like him. | ||
| I remember when George was 36 and he weighed like 300 pounds and they announced that George Foreman was making a comeback and everybody laughed. | ||
| Yeah. | ||
| And I remember he was big, like real big, way overweight and he wound up winning a fight and everybody's like, oh, poor guy. | ||
| Like, look at him. | ||
| That's silly. | ||
| Well, I'm going to be the heavyweight champion of the world again. | ||
| And everyone's like, get the fuck out of here. | ||
| But then slowly, he started slimming down and flatlining people. | ||
| And then he fought Jerry Cooney. | ||
| You remember that? | ||
| And just beat the fucking shit out of him. | ||
| And everybody was like, oh my god. | ||
| Like, George Foreman... | ||
| Can crush people still at this age and then knocked out Michael Moore. | ||
| Remember that? | ||
| Right. | ||
| And that Michael Moore knockout, it looked like a flash knockdown, but it finished him. | ||
| It was like this. | ||
| But his hands are like the size of a canned ham. | ||
| They're enormous. | ||
| He had crazy power. | ||
| Like, George always had crazy power. | ||
| But the knockout of... | ||
| It's almost like he just threw his arm out there and caught him perfectly in the chin and dropped Moore. | ||
| But Moore was a light heavyweight. | ||
| He was a destroyer. | ||
| Do you remember that? | ||
| I didn't watch a lot of fights. | ||
| I think I watched Mike fight at lightweight maybe twice. | ||
| At light heavyweight, Michael Moore was a fucking murderer. | ||
| He's one of the great light heavyweights ever. | ||
| But it was just too hard for him to make that weight. | ||
| And he wanted to make the money of heavyweight. | ||
| So he moved up and went up to heavyweight. | ||
| But he was never that frame. | ||
| He didn't have that same frame. | ||
| He also seemed to be overwhelmed in that fight. | ||
| See, there is. | ||
| There is. | ||
| Boom! | ||
| Like, his eyes didn't have that will. | ||
| I didn't see that hunger in his eyes when he fought that fight. | ||
| That kind of power is just bizarre. | ||
| When you watch that punch again, watch this again. | ||
| He was winning the fight, too. | ||
| He was out boxing, George. | ||
| Boom, that's it. | ||
| That's the way he would throw that punch. | ||
| Look at how he throws it. | ||
| Just perfect execution, lands right on the button, and more is gone. | ||
| But he just never had that frame. | ||
| Shook up the world! | ||
| But that let me know also that... | ||
| You can't just underestimate people. | ||
|
unidentified
|
No. | |
| Because, like I said, I saw the shadow of... | ||
| The former shadow of George Foreman. | ||
| You know? | ||
| And I was like... | ||
| Man, I'm thinking, like, this guy was the heavyweight champion of the world. | ||
| Now there's two people watching him preach. | ||
| Out on the corner, you know, talking to the air. | ||
| And then 20 years later, he's worth a billion dollars from a grill. | ||
| Yeah. | ||
| That George Foreman grill, he's made an insane amount of money off of that. | ||
| You know what, though? | ||
| He don't get enough credit for inspiring people. | ||
| Like, I know he didn't set out to go out and inspire people. | ||
| But people watching him come back and win that heavyweight championship at, what, 40 years old? | ||
| 45, I believe. | ||
| I believe he was the oldest person ever to win the heavyweight title. | ||
| I believe he was 45. Is that right? | ||
| To see him come back and win that championship at that age, it made a lot of people think, you know what, I can do this. | ||
| And I'm sure that probably played out in Tyson and Roy's head. | ||
| Well, George did it. | ||
| There's not much difference between 45 and 51. Yeah. | ||
| Yeah. | ||
| It's kind of crazy. | ||
| George was a different kind of human being, though. | ||
| Just the way he was built. | ||
| He's such a tank. | ||
| Oh, that's right. | ||
| He had that George sitcom. | ||
| Kind of amazing, man. | ||
| I mean, he really is an American success story when you stop and think about it. | ||
|
unidentified
|
That's right. | |
| I forgot about this sitcom. | ||
| It's so ridiculous. | ||
| It was funny because if you go back to the early days of George Foreman's career, like when he fought Muhammad Ali, he was a scary guy. | ||
| He was scary. | ||
| Everybody was terrified of him. | ||
| And then in the later incarnation of his career, he was a sweetheart. | ||
| Everybody loved him. | ||
| It's a different human being. | ||
| When he knocked out Joe Frazier, everybody was terrified of him. | ||
| He lifted Joe Frazier up in the air with punches. | ||
| He destroyed him. | ||
| And he just was this guy that was just a brooding, Sonny Liston-type character. | ||
| And then he loses to Muhammad Ali. | ||
| And then he had, I think, two more fights and then retired. | ||
| It's like, I don't want to do this anymore. | ||
| And then took a long time off. | ||
| I think it was about 10 years. | ||
| Got fat. | ||
| Became a preacher. | ||
| And that's when you saw him. | ||
| Again. | ||
| Yeah. | ||
| Isn't that nuts? | ||
| Yeah. | ||
| Yeah, you can't underestimate people. | ||
| Human beings, they vary so much in their will. | ||
| And some people have an indomitable will. | ||
| They figure out a way to win. | ||
| Those people are so valuable to everybody else. | ||
| Because you see a guy like that, and when you start counting yourself out, like, well, I can never do that. | ||
| Well, I can never... | ||
| And then you see a guy like that, and you go... | ||
| Almost anything's possible. | ||
| Everything's not possible. | ||
| I'm short. | ||
| I can't play basketball. | ||
| I'm not fast. | ||
| I can't jump. | ||
| I'm never going to be in the NBA. I'm 53. That's not possible. | ||
| But there's things that are possible. | ||
|
unidentified
|
They're just not likely. | |
| And if you have a will, you can make shit possible that most people don't think is likely. | ||
| And when a person like that does things like that, when they achieve these goals that don't seem possible, it changes your idea of what's possible. | ||
| I like the possibilities. | ||
| Yes, yes. | ||
| I like. | ||
| Yeah. | ||
| I like how you broke that down. | ||
| But we need winners, man. | ||
| Winners are important. | ||
| It's not just important because people like to watch people win, but important because it gives people hope. | ||
| It gives people an understanding that there's levels to commitment. | ||
| You know who David Goggins is? | ||
| No. | ||
| David Goggins is a friend of mine. | ||
| He's a Navy SEAL that is probably one of the most inspirational people you ever run into. | ||
| And he's got this Instagram page. | ||
| And he used to be fat. | ||
| He used to be like 300 pounds. | ||
| And now he runs ultra marathons, like runs like these 240 mile races, gets done with them, does 50 push-ups. | ||
| But every day he's out there grinding and he'll make these videos and talk about The thing that's in your mind. | ||
| He made this video. | ||
| He goes, the other day, he goes, I got tired. | ||
| He goes, I didn't want to run, so I recorded myself. | ||
| And I listened to myself. | ||
| And he goes, then I played it back, and I sounded like a straight bitch. | ||
| And I'm listening to myself. | ||
| Fuck that! | ||
| And I went out and ran. | ||
| And he does this all the time, because he's letting you know that he's experiencing some internal struggles. | ||
| Right. | ||
| But he overcomes those struggles... | ||
| And accomplishes his goals. | ||
| And when a person like that does those kind of things... | ||
| You gain, like the people that are like me or anybody else that's tuning into his page, you gain inspiration from that that's like super valuable. | ||
| There's Goggins. | ||
| That's him. | ||
| That's my man. | ||
| Check it out. | ||
| He's hilarious too. | ||
| He's a funny guy. | ||
| He's like real honest about, like sometimes I'll stare at my shoes, I'll stare at those motherfuckers for like a half hour before I run. | ||
| Because even though he's got an iron will, Still, procrastination and doubt and weakness will creep into his mind and fuck him. | ||
| He always wins. | ||
| He always beats it, but he's letting you know. | ||
| The battle never ends. | ||
| It never ends. | ||
| You never wake up in the morning, this indomitable person that can never, no doubt at all, you just get up. | ||
| No, he's like, no, no, no. | ||
| I stare at my fucking sneakers. | ||
| I don't want to do this, but I do it. | ||
| So when I hear about a person like that and I feel tired or weak or lazy, I recognize I'm not alone. | ||
| This is not the only person. | ||
| I'm not the only person that has these weak thoughts creep into my mind. | ||
| I'm with that. | ||
| I'm with that. | ||
| Because I go through the same thing. | ||
| What's crazy is that I know you hear it like I hear it. | ||
| People say, man, how do you do it? | ||
| They think that you are this person that's bulletproof. | ||
| You don't have those moments of self-doubt. | ||
| You know, sometimes that doubt creeps in because things aren't happening fast enough in your life, you know, how you want things to happen. | ||
| And you can't control everything, even being as influential and having the resources that we have. | ||
| You know, sometimes, you know, certain things are just out of your control. | ||
| And so, you know, you have doubt. | ||
| Doubt creeps in. | ||
| But for me, I know one of the things that makes me push forward, when I'm afraid of something, I go toward it. | ||
| Because every time that I've been afraid of a challenge, it's made me grow. | ||
| I grew from it. | ||
| I learned something. | ||
| I got something out of it. | ||
| I benefited from it. | ||
| So, sometimes I'm going in, I say, ooh, man, this is scary. | ||
| You know how they say, if your dreams aren't big enough, you're not dreaming big enough? | ||
| If your dreams don't scare you, you're not dreaming big enough? | ||
| Yeah. | ||
| That's how I am sometimes. | ||
| And I dream big. | ||
| So I'm like, Am I scared? | ||
| Hell yeah. | ||
| Okay. | ||
| I'm on the right path. | ||
| Let me just do it. | ||
| I'm just going to do it and see what happens. | ||
| Because you said that, people are going to hear that and they're going to realize you don't have to be this bulletproof person to get shit done. | ||
| To be scared is not a weakness. | ||
| It's just a part of being a human being. | ||
| And if you don't ever get scared, that means you don't ever take any chances. | ||
| And if you don't ever take any chances, you don't get anything done. | ||
| Right. | ||
| And you especially don't get anything done that's interesting. | ||
| Right. | ||
| I think it's like, it's kind of like, you know, courage being the, it's like that motivating factor that where you, you know, it's like having the courage to face your fears, right? | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| You know, I think that's where a lot of people fall off. | ||
| A lot of people don't have courage to face their fears. | ||
| I do. | ||
| When I was growing up, I used to fight all the time. | ||
| And people thought that I was just like this brave dude. | ||
| Man, really, we don't care. | ||
| You'll fight anybody. | ||
| You'll fight anybody. | ||
| It wasn't that. | ||
| You know, like, they didn't understand. | ||
| Like, I fought so hard because I didn't want to lose. | ||
| Sometimes I was scared of these dudes that I was fighting, you know? | ||
| But I didn't want to lose. | ||
| So I fought harder. | ||
| And where I'm from, Fifth Ward, if you lose a fight, they're going to make you remember that. | ||
| For life. | ||
| Yes. | ||
| Until you do something about it. | ||
| So if you lose a fight, typically you have to fight the same person at least two times. | ||
| Two times minimum Mostly times, well, three times. | ||
| You gotta fight multiple times if you beat somebody. | ||
| Because you can be walking to the store and you can ask your friend, say, man, let me borrow five dollars. | ||
| Man, I ain't got no five dollars. | ||
| Yeah, but you got your ass whooped. | ||
| You know what I'm saying? | ||
|
unidentified
|
Oh, they'll call you out, man. | |
| Like, they won't let you forget it. | ||
| Right. | ||
| And so you got to go back and try to redeem yourself. | ||
| And you might have to take another ass whooping. | ||
| Sometimes you might take three. | ||
| From the same person. | ||
| Because you're worried about what these other dudes are saying about you, man, and it's that pride. | ||
| A person might even be afraid, but they face that fear because they don't want... | ||
| I think the consequences sometimes are a lot worse. | ||
| The consequences can motivate you to do things, though. | ||
| The thing about losing, it's a terrible feeling, but it's one of the best things for you. | ||
| It's one of the best motivators. | ||
| If you lose, just even lose in a sparring match. | ||
| To this day, I think there's times I've been tapped out in jiu-jitsu class that I'll be driving my car. | ||
| I'm like, fuck. | ||
| Just out of nowhere. | ||
| I'll think about a triangle I got caught in. | ||
| I'll think about a time I tapped. | ||
| Maybe I could have got out, but I tapped early. | ||
| And it'll fuck with your head. | ||
| But those are the things that make you work harder. | ||
| I think about that shit when I'm in the gym. | ||
| I think about that shit when I'm training. | ||
| It's like... | ||
| Everything being good and all good feelings is actually bad for you. | ||
| It seems like it's good for you, but it's like eating dessert every day. | ||
| It's bad for you. | ||
| You want to have some uncomfortable... | ||
| You can lose your edge when you're comfortable. | ||
| You want some discomfort. | ||
| Discomfort is good. | ||
| It's good. | ||
| It feels like shit. | ||
| And this is what a lot of people can't get past when they're trying to achieve their goals. | ||
| They have some setbacks. | ||
| Some things don't go their way. | ||
| They have some failures. | ||
| And they feel terrible. | ||
| And they don't like that feeling. | ||
| So they just back off. | ||
| But you've got to keep going. | ||
| That's when you have to keep going. | ||
| And you will learn over time that there's a bunch of those. | ||
| You'll have a lot of failures. | ||
| They're going to come. | ||
| But as long as you keep going... | ||
| They will propel you. | ||
| That bad feeling is inevitable. | ||
| It's unavoidable. | ||
| But you have to have faith in the process. | ||
| You have to understand that that's part of the process. | ||
| Some people never internalize that those bad feelings are a part of the process. | ||
| So when they try to achieve anything, whether it's physical or a business or whatever they're trying to do, there comes a time where it doesn't work out well and they feel bad. | ||
| They feel uncomfortable and they back off. | ||
| You've got to keep going. | ||
| Yeah. | ||
| That lesson is a lesson of failure. | ||
| You've got to learn through failure. | ||
| But it's such a motivator because it feels so bad. | ||
| If you lose a fight, I've lost fights, it feels terrible. | ||
| It feels terrible. | ||
| But there's no better motivator to get you in the gym than losing a fight. | ||
| There's no better motivator to get you to keep your fucking hands up and keep moving and train correctly and fight correctly. | ||
| Perfect example. | ||
| I get into the gym after I hadn't been in the gym like 10 years, like since I boxed in amateurs. | ||
| So I'm in the gym training. | ||
| I go in, I did all of the exercising that I just talked about, hitting the bags, jump rope, and all this stuff, running miles and miles a day. | ||
| Getting in the gym, I get into a sparring match the first time, first round. | ||
| I'm sparring a guy who's a heavyweight. | ||
| At the time, I'm fighting lightweight. | ||
| I'm like 175. At the time, I wasn't really in shape. | ||
| I was getting into shape, so I'm like 190. I'm at 190. This dude is like 225 or something. | ||
| And he's taller than me, so he got size, reach, everything. | ||
| Getting in the ring. | ||
| I'm thinking that he's just in the ring to help me with my mechanics because I know this guy We're friends. | ||
| I'm thinking. | ||
| I've been knowing this guy since high school. | ||
| Thinking he's going to help me work on my mechanics. | ||
| Ding, ding. | ||
| This motherfucker. | ||
| When I say this motherfucker drug me, man. | ||
| I Hit me. | ||
| Man, this dude hit me so hard, man. | ||
| He hit me so many times, I thought it was two people in the ring. | ||
| Hey, man. | ||
| Boom, boom, boom, boom, boom, boom, boom. | ||
| And look, the punches were coming in slow motion. | ||
| It looked like the punches was... | ||
| I saw the punch coming, but I couldn't get out of the way. | ||
| You know what I mean? | ||
| You can see it coming, but you can't move. | ||
| You can't get out of the way fast enough. | ||
| But I see the punch coming, and it looked like it's coming in slow motion. | ||
| It's like... | ||
| Boom! | ||
|
unidentified
|
Boom! | |
| And after that first round, man... | ||
| Head to toe. | ||
| I know you had this feeling before. | ||
| Body just sore. | ||
| Head to toe. | ||
| Can't even really get out of the ring fast enough. | ||
| I don't even want to take a shower, man. | ||
| I can't, damn, they can't move. | ||
|
unidentified
|
So... | |
| I go home. | ||
| I'm talking to my dude. | ||
| I'm like, yeah, man, this fool set me up, right? | ||
| He set me up. | ||
| Because I'm not thinking I'm going to go into a real fight. | ||
| I'm thinking he's just going to move around a little bit, work on mechanics. | ||
| He's like, yeah, he set me up. | ||
| Okay. | ||
| Now I'm motivated to get him back. | ||
| How old are you at the time? | ||
| Oh no, this is just, I'm like 30. I'm 28. I'm 28. I want him now. | ||
| I want him. | ||
| I want to get him back. | ||
| So, for the next two weeks, oh, first of all, the very next day, I'm sore. | ||
| Heard. | ||
| They had to tell I'm sore, man. | ||
| And I don't want to get out of the bed. | ||
| It's 5.30. | ||
| I normally get out at 5.30 to go run. | ||
| And I'm thinking to myself, if I don't get out of this bed, I'm never going to get out of there again. | ||
| I'm never going to go and fight this dude. | ||
| So I got out of the bed and I went out of there. | ||
| I went out there and I ran. | ||
| It wasn't the best run, but I got through it. | ||
| I worked myself back into shape. | ||
| Every day I went back and I trained harder. | ||
| I sparred with Reggie Johnson, you know, three-time world champion, Reggie Johnson. | ||
| Sparred with Reggie. | ||
| And I'm doing this on the low. | ||
| Dude don't know. | ||
| I'm in the gym. | ||
| Are you doing it specifically when he's not going to be there? | ||
| Yeah. | ||
|
unidentified
|
The same way you treat trolls. | |
| You see how I answered that? | ||
| I was like, yeah. | ||
| Yeah, I see, I see. | ||
| Okay, so I'm like, I'm training. | ||
| At every punch, every run, every sweat, everything, every lift, push-up, I'm thinking, I'm going to get this motherfucker, I'm going to get him, I'm going to get him, I'm going to get him, I'm going to get him, everything. | ||
| So, I'm calling him after a week and I'm telling him, hey man, you know, let's do it again. | ||
| And I'm playing possum. | ||
| I was like, yeah man, you know, come work out with me, man. | ||
| Because, man, I needed that, man. | ||
| I needed that, you know. | ||
| I needed that workout, man, with you. | ||
| You know, because I got to get in shape, man. | ||
| You know, that's what I need. | ||
| So, I'm pumping his head up. | ||
| Mind you, after he... | ||
| Drag me. | ||
| Right after he dragged me, this fool got on the canvas and started doing push-ups. | ||
| Started doing sit-ups. | ||
| And then he turned around and he... | ||
| Push-ups. | ||
| And I'm watching this fool do all of this stuff, right? | ||
|
unidentified
|
So... | |
| Letting you know he's not tired. | ||
| Yeah, not tired at all. | ||
| So I'm calling him, trying to bait him back into the ring. | ||
| At first he was like, nah, man, you know, I'm busy, this, this, you know. | ||
| So finally, I got him to agree. | ||
| He's like, okay. | ||
| How many weeks later? | ||
|
unidentified
|
Oh, it's only two weeks. | |
| Came to the gym. | ||
| I played possum. | ||
| He came in. | ||
| Hey man, what's up, what's up, what's up? | ||
| Got in the ring. | ||
| Ding. | ||
| I came out looking kind of timid. | ||
| But in my mind, I just got all this energy, man. | ||
| And I'm like, I'm going to kill this motherfucker. | ||
| So I threw a dummy out there and he faded just like I thought he would. | ||
| And I just everything was just everything I threw was just connected. | ||
| So he's on the ropes like this. | ||
| And now I'm pounding. | ||
| I'm still pounding. | ||
| Now the guys come running, rushing into the ring like, all right, man, stop, stop, stop, stop. | ||
| So after we break it up, they break it up. | ||
| He's on the ropes like, And he get his senses. | ||
| He's like, yeah, I know y'all set me up. | ||
| Yeah, I know y'all set me up. | ||
| Yeah, but y'all set it up to break it up right when I was going to make my move. | ||
| Oh, no. | ||
| He finna make a move on me. | ||
| Like, I'm beating the bricks off this fool. | ||
| They broke it up right when he was about to make his move. | ||
| So, So I'm like, nah, nah, you got your ass whooped, take it like a man. | ||
| So I get on the canvas, I start doing a sit-up. | ||
| So he's talking, he's just barking. | ||
| He's barking. | ||
| So he said something that was threatening. | ||
| And that's when it was not about boxing anymore. | ||
| You know, so then, ding ding fries and shake on them, and it's over. | ||
| You dig what I'm saying? | ||
| Yes. | ||
| Yeah. | ||
| Yeah, I understand what you're saying. | ||
| Yeah, yeah, yeah. | ||
| So, long story short, this fool Call the police. | ||
| Imagine having a gym fight and somebody calling the police. | ||
| That's a cardinal sin in any gym. | ||
| Well, not only that, it's like, what the fuck are the cops going to do? | ||
| Like, you were fighting and then you fought after you were fighting? | ||
| Yeah. | ||
| Huh. | ||
| Yeah, so... | ||
| What do you want us to do? | ||
| Yeah. | ||
| Anyway, man, you know, the dude tried to push it. | ||
| He was trying to get a payday, but none of that, you know. | ||
| So he ended up walking away with an empty bag and pride damaged and totally disrespected because I thought he was a real cat at first, you know, because I seen him get down before. | ||
| So I thought, hey, you know. | ||
| Right. | ||
| Dude's solid. | ||
| But you were already famous then, though. | ||
|
unidentified
|
That's the problem. | |
| Yeah, and that's what he was trying to do. | ||
| He was trying to make a name for him. | ||
| He was trying to roach up off my name. | ||
| Roach up. | ||
| To get a name for himself, you know? | ||
| Of course. | ||
| Yeah. | ||
| Well, when someone sees someone that's that prominent and that famous, and yet you're still in the gym, like, they... | ||
| There's always, if you're just a regular dude, there's always a little green envy monster inside your head that you've got to beat down. | ||
| Most people can beat it down, but some people can't. | ||
| Some people let that fucker out of the bag. | ||
| Some people can't be inspired. | ||
| They have to be envious. | ||
| Some people can be inspired. | ||
| Some people can see a guy like you and go, wow, I want to do what he's doing. | ||
| Let me ask him what he did. | ||
| Maybe I can learn something. | ||
| Maybe I can apply it to my own life. | ||
| That's what I would do. | ||
| Well, that's why you're a winner. | ||
| Yeah, because I remember growing up, there were guys who would see dudes in the neighborhood. | ||
| They would see these guys with the nice cars and pretty girls, jewelry, money, and they'd be like, I want that. | ||
| Not something like that. | ||
| They want your girl. | ||
| They want your car, your money, your jewelry, and they're plotting to take it from you. | ||
| I would see it and I would use it as motivation to get it for myself. | ||
| I was like, because I knew, well, I'm not going to always be struggling. | ||
| I am going to make something out of myself. | ||
| I'm going to get to this bag. | ||
| I'm going to get it. | ||
| So I had that type of mentality. | ||
| This is what I want to know. | ||
| Where did you get that? | ||
| Did you model that off someone you knew? | ||
| Did you just figure it out on your own? | ||
| I figured it out, like trial and error, man. | ||
| Baptism through fire. | ||
| I know, but a lot of people fall apart. | ||
| They have these great ideas, but then the reality of their environment overcomes them, and they never follow through with that. | ||
| And that could have happened to me too, Joe. | ||
| That could have happened to me because I had to live. | ||
| Keep in mind, I still had to navigate through all of this stuff while I'm trying to pursue my goals. | ||
| So that was some hiccups there. | ||
| That was some bumps in the road along the way. | ||
| I just got through it through sheer determination, luck, and the grace of God. | ||
| I got through. | ||
| That was people that did less than I did who we're walking on right now. | ||
| They ain't here, man. | ||
|
unidentified
|
They dead. | |
| They gone. | ||
| They ain't never coming back. | ||
| And I think that one of the reasons why I'm still standing is because my good, I weigh my bad. | ||
| I was never really a mean person. | ||
| People thought I was mean. | ||
| I remember one time being at Walmart. | ||
| I was standing in line behind this guy. | ||
| And he was with his girl. | ||
| He was checking out. | ||
| He had just checked out. | ||
| I'm standing in line behind him. | ||
| And the cashier says, whatever that greeting is that they said, you know, welcome to... | ||
| They don't say welcome to... | ||
| What do they say when they're greeting you? | ||
| When you first walk up, it's so generic greeting that they have, like, I don't know... | ||
| Welcome to Walmart? | ||
| No, no. | ||
| That's at the door. | ||
| You got to be at... | ||
| That's at the door. | ||
|
unidentified
|
What do they say? | |
| No, they say something like... | ||
| At the counter when you're ready to pay? | ||
| Yeah, when you're ready to pay, like, hello, or something like, you know, how are you today, or something like that, right? | ||
| And I responded. | ||
| And the guy looked back. | ||
|
unidentified
|
Willie D, man, I know that voice from anywhere, man. | |
| And he's like, fanning out. | ||
| And his woman is like, looking all bewildered. | ||
| And he's like, baby, that's Willie D from the Ghetto Boys, the mean one. | ||
| I was like, what? | ||
| The mean one? | ||
|
unidentified
|
Yeah. | |
| I was like, what do you mean? | ||
| I'm the mean one. | ||
| Brad the mean one! | ||
|
unidentified
|
You know? | |
| That's hilarious. | ||
| But I'm like, man, you know, like, I was like, that's how people really think. | ||
| They think that I'm the mean one in the group. | ||
| So, I, you know, it gave me A sense of how, you know, people think about me, you know, who are on our side looking in. | ||
| Most people who don't know me, they just judge by the records. | ||
| Well, they also think you're strong. | ||
| Wear that too. | ||
| That when people see someone strong or if someone just took a clip of you talking about what you want to do to trolls and why you attack them and destroy them. | ||
| Right. | ||
| People might say, oh, Willie's mean. | ||
| Right. | ||
| Right. | ||
| Yeah. | ||
|
unidentified
|
And I'm not a mean guy. | |
| No, you're not a mean guy at all. | ||
| You know, the thing is, is that, like I said, man, I just... | ||
| I'm just okay with hating people who hate me. | ||
| I'm just okay with that. | ||
| And I love people who love me. | ||
| See, that's the part people need to focus on. | ||
| I love who love me. | ||
| Focus on that part. | ||
| Don't worry about the other stuff, man. | ||
| That don't include you. | ||
| That ain't got nothing to do with you. | ||
| Stop trying to take up for other people. | ||
| But people try to piece you together like a mosaic. | ||
| They like to look at all the different things you do, but the things that concern them. | ||
| The anger. | ||
| The concern of the strength. | ||
| The nice part is great and everything, but what if this part comes out? | ||
| What if that angry, mean part comes out? | ||
| People get nervous about strength. | ||
| But I'm the guy to have on your team if that has to come out. | ||
| You see? | ||
| That's why... | ||
| You look at my career, right? | ||
| Ghetto boys and everything. | ||
| We have always... | ||
| We've always been champions for the voiceless, the underdog, the underserved, the disenfranchised. | ||
| We've always been there for those type of people, right? | ||
| That's where we come from. | ||
| That's us. | ||
| So this is what fuels my fire. | ||
| I'm going to talk about the establishment. | ||
| I am going to call out the guy that everybody's afraid of, just like I fought the guy that everybody was afraid of when I was in high school, in middle school, in elementary. | ||
| I will fight the neighborhood bully that everybody else is afraid of. | ||
| I'll fight him. | ||
| I'll go to war with him, you know, because I just refuse to be identified as anything less than a man. | ||
| It has nothing to do with this so-called toxic masculinity. | ||
| First of all, let me address that. | ||
| Please do. | ||
| I don't think it's a such thing as toxic masculinity. | ||
| I couldn't agree more. | ||
| Masculinity and you have femininity. | ||
| Which one are you? | ||
| Well, it has nothing to do, it's not toxic masculinity. | ||
| It's just assholes. | ||
| It's just like an asshole who's a woman is not toxically feminine. | ||
| Exactly. | ||
| It's just an asshole. | ||
| Right, right, right. | ||
| So, you know, you know how they do, man. | ||
| They try to do that type of stuff to us, man, to try to separate us and create division, this whole gender war thing and all that stuff. | ||
| And that's another thing. | ||
| That's a war that we cannot survive. | ||
| Right. | ||
| We can survive a lot of wars. | ||
| We cannot survive a gender war. | ||
| No. | ||
| Impossible. | ||
| Well, it's a stupid war, too. | ||
| Yeah. | ||
| It's a very stupid war, man, because first of all, who want to walk around with women? | ||
| Like, mad at women? | ||
| Man, do you know that's a woman? | ||
| Women? | ||
| God, man, God showed off when he made women. | ||
| He was showing off, man. | ||
| He's like, I've made men. | ||
| He had a whole bunch of dudes. | ||
| Okay, what do we do now? | ||
| Watch me work. | ||
| What do you think now, my little guys? | ||
|
unidentified
|
Oh, God. | |
| That's why they did this to God. | ||
| You do this. | ||
| The problem with men and women is women that are unattainable and it hurts them, bothers them. | ||
| Those are the also, again, weak men. | ||
| It's the same sort of people that would be jealous of someone's success or angry that a woman is completely unattainable. | ||
| When they see a beautiful woman, they know that woman has no interest in them. | ||
| Their admiration or their lust for her turns into anger. | ||
| Right. | ||
| I knew a dude, and he was a nice guy, but he was an unfortunate-looking fellow. | ||
| And as he got older, he became more and more bitter and then just angry towards women because he associated women with rejection. | ||
| Mm-hmm. | ||
| He always associated women with, you know, they didn't want to have anything to do with him and they always made him feel bad. | ||
| So in his mind, women make you feel bad is a very simplistic version. | ||
| That's where a woman hater comes from. | ||
| A woman hater is not a guy who does well with women who women like. | ||
| Those guys very rarely hate women. | ||
| They love women. | ||
| It's the dudes who associate women with rejection. | ||
| Hmm. | ||
| And for some of them, it's like they're just unfortunate. | ||
| We all have a roll of the dice. | ||
| This is what you get. | ||
| And that's very true when it comes to matters of the heart. | ||
| It's one of those things where if you're going to play this game, so to speak, you got to understand what comes with it. | ||
| Rejection is part of the game. | ||
| It's... | ||
| It's just as much as part of the game as acceptance. | ||
| Love is part of the game, but also hate is. | ||
| Betrayal is just as much a part of the game as loyalty is. | ||
| And all of these things are interchangeable depending on the mood of the particular person at the time. | ||
| There are no guarantees. | ||
| So Everybody is not qualified to actually be in a romantic relationship because they don't have the emotional capacity to accept all of these different things. | ||
| You have to be able to take your bitter with your sweet in a relationship. | ||
| Listen, I've had relationships where I've been The guy that broke hearts and then I've had my heart broken. | ||
| Now, if I've broken a heart already, if I get my heart broken, then if I'm a man, if I'm a real dude, if I'm true to myself, then I take my bitter with my sweet. | ||
| You learn that. | ||
| You take your bitter with your sweet. | ||
| And so... | ||
| Yeah, I'm a human being, and I think that because she broke my heart, she was wrong because I gave my all. | ||
| Because that's the thing about men, we give our all. | ||
| You know, I cut off all of the holes, and man, and then she gonna do me like this? | ||
| Oh, hell no! | ||
| Uh-uh. | ||
| So, we lose it. | ||
| And then, you know, we start getting out of character and doing all kinds of stuff. | ||
| Well, some dudes be in character, but a lot of us, we get out of character because we can't accept the consequences that are a part of being in a relationship. | ||
| It's the game that all of us play. | ||
| That's the chance that we take when we go in it. | ||
| And when you understand that, and when you understand that relationships are not guaranteed, no relationship is guaranteed. | ||
| All relationships have an expiration date, sometimes by choice, sometimes by force. | ||
| But there is an expiration date. | ||
| And once you understand that, you can respect the process. | ||
| Some people can't respect the process. | ||
| The process meaning that, okay, she don't want nothing to do with me anymore. | ||
| Okay, I'm going here. | ||
| I'm going to cry my heart out or I'm going to go over here and I'm going to drink my troubles away, drink myself to sleep or whatever, and I'm going to do it as long as I got to do it until I can just stop thinking about her or whatever. | ||
| Maybe I'll go out and go to the club and try to come up on something at the club just to help me do it. | ||
| I ain't talking about falling in love. | ||
| Just help me through it. | ||
| You know, maybe I grieve a while, but all of this is part of the process. | ||
| So you have to respect the process. | ||
| And when you learn to respect the process, you can actually get through these times when it happens. | ||
| And you get better at it. | ||
| You do get better at it. | ||
| You get better at relationships. | ||
| You do. | ||
| Like everything else. | ||
| Yeah, that's a good point. | ||
| You gotta take those L's. | ||
| Take the L's, man. | ||
| That's important. | ||
| But you know, I was gonna say that I don't know how we switched the subject. | ||
| I think I switched the subject. | ||
| But going back to what I was about to say about the speaking your mind thing and speaking against the establishment, Ghetto Boys being that type of group, me being that type of artist, that type of person. | ||
| Oftentimes, if you're in America and you attack the establishment, if you say something about the establishment and you're white, you're considered a rebel. | ||
| If you do that and you're black, you're considered a racist or a radical, right? | ||
| So, I look at it like... | ||
| I'm going to keep on doing what I do, regardless of how anybody may look at it, because I'm responsible for what I say, not how you interpret it. | ||
| Right? | ||
| So that's the way I rock. | ||
| Some people like the idea of you suppressing your thoughts or speaking out against a wrongdoing because it makes them uncomfortable. | ||
| So me, I'm never going to be that dude who not speak out against injustice to make somebody else comfortable. | ||
| I don't care who it is. | ||
| Well, you know what I think would help you is one of the things we talked about when we were in Houston when I first met you. | ||
| I'm like, you should do a podcast because people might have the wrong impression of you from little snippets of things like things you said today. | ||
| They might have seen snippets and things here that, oh, Willie's angry. | ||
| He's mean. | ||
| If they understood you more, if they heard you speak on things more, they would get a better understanding of the way you view the world and a better appreciation of your ethics and your morals, your values, and why you say the things you say and what you stand for. | ||
| There's no better way to do that than something like this, like a podcast, like tonight. | ||
| I'm actually... | ||
| I actually got a whole network that I'm pushing forward. | ||
| Because, you know, we did speak on that before. | ||
| But I'm going to actually do... | ||
| I'm actually putting together a whole... | ||
| In fact, I'm shopping the network right now. | ||
| So any of you... | ||
| What do you mean by shopping? | ||
| Spotify, our heart, whatever. | ||
| Like other podcasters. | ||
| But what about just you? | ||
| But I'm doing it also. | ||
| Right. | ||
| Oh, so you're bringing other people with you. | ||
| I'm bringing other people with me. | ||
| Okay. | ||
| I understand. | ||
| I understand. | ||
| Yeah, yeah, yeah. | ||
| Have you recorded anything yet? | ||
| Yes, I have. | ||
| Oh, beautiful. | ||
| Yes, I have. | ||
|
unidentified
|
Is it available? | |
| Not available yet. | ||
| Not yet. | ||
| Oh, so you're banking things. | ||
| I'm putting it together. | ||
|
unidentified
|
Okay. | |
| I'm putting everything together and hopefully, you know, the second quarter, by the second quarter, You know, of 2021. Oh, you've got a long-term plan. | ||
| Yeah, yeah. | ||
| Yeah, Rec Media, man. | ||
| Rec Media. | ||
| So, you know, all y'all executives out there looking to go in a different direction or whatever, looking to increase your portfolio. | ||
| Holla at me. | ||
| Well, that's a good time, too, because right around then, I think things will be opening up again, right around April. | ||
| Yeah. | ||
| That's what I think. | ||
| I think once they start vaccinating people and people start opening up businesses again and everything gets back to... | ||
| I think we have a good shot of things being, you know, at least on the road back to normal somewhere around the spring. | ||
| Yeah. | ||
| That's my guess. | ||
| My unqualified guess. | ||
| But I think whatever you do, whether you do it this way with this idea of pushing a network or just you doing it, you should do this. | ||
| Yeah, yeah. | ||
| Because I think you have a very valuable mind, like the way you think about things. | ||
| It's very valuable to people. | ||
| You're calculated, you know? | ||
| And I think people learn from people like you. | ||
| Listen to the way you think things through and the way you look at big picture and That's very valuable to people. | ||
| Yeah, I appreciate you saying that, man. | ||
| I appreciate you saying that. | ||
| It's really like a boomerang compliment, you know? | ||
| Because that's the way I feel about you. | ||
| Oh, thank you. | ||
| You got one of our greatest minds, period. | ||
| So this is why you've been able to have the success that you've had. | ||
| And to be able to reach so many different people from so many different walks of life, it says a lot about your character. | ||
| Oh, thank you very much. | ||
| I'm a lucky moron. | ||
| That's what I am. | ||
| I'm a lucky moron. | ||
| I'm a moron who learned a lot of things. | ||
| It's a very rare thing, podcasting, where you have a platform where you could show who you really are with no one interfering. | ||
| That's why I think you would shine at this. | ||
| Because if you were doing anything else and you got a producer or an executive and then after this was over, the story about people going out and robbing cab drivers and killing them would be like, stop! | ||
| Really? | ||
| I understand that's part of your past, but I just don't think it's a good idea that we leave that in. | ||
| So let's edit that part out. | ||
| People would want to change things or edit things or twist things around. | ||
| That's not good. | ||
| Where your value comes is from your honesty and the full perspective of your life. | ||
| Someone else would fuck that up. | ||
| They would get involved in it. | ||
| You had a radio show, and it was on some radio network. | ||
| They would fuck with it. | ||
| They would ruin it. | ||
| They would get in there and get their greasy little fingers on everything and fuck it all up. | ||
| Yeah, it actually happened before. | ||
| I used to do a show on a radio station in Houston. | ||
| And it was big, man. | ||
| It was really big. | ||
| It was late 90s. | ||
| And it was so big, people used to barbecue on Monday nights. | ||
| And listen to the show. | ||
| One dude told me that his wife divorced him because she sent him to the store to buy something and he was supposed to come right back and he sat in the parking lot and listened to the show. | ||
| Now, obviously he must have did something else, and that piled it on. | ||
| That was the straw that broke the Campbell's back. | ||
| But, yeah, he said his woman, that was it. | ||
| The woman walked out on him after that. | ||
| That's hilarious. | ||
| So, yeah, I had that going on, and I was actually... | ||
| I was actually about to, like, take it to the next level. | ||
| It was Monday nights, and then I, once I pulled the numbers, I seen what was happening. | ||
| I had a 15% share of the market, you know, and I was like, whoa! | ||
| Okay, we should do this five nights a week. | ||
| So I went to the station and told them about it, and they was like, yeah, but we're not a, we're not a Talk show station. | ||
| We're not a talk station. | ||
| We're not a talk station. | ||
| We're a music station. | ||
| And so I went somewhere else and did the deal. | ||
| And when I went to this other place... | ||
| They tried to change the message. | ||
| They wanted me to talk about the cum stains on Monica Lewinsky's dress. | ||
| Every day. | ||
| It was a thing. | ||
| She had cum stains on her dress. | ||
| So they would bring it up to you? | ||
| No, no, no. | ||
| If it was in the news. | ||
| I would talk about something that was in the news. | ||
| Right. | ||
| I'm not going to talk about the same thing. | ||
| You know how CNN does? | ||
| Yes. | ||
| You know, or MSNBC, any of them, Fox. | ||
| They just take the same thing and just tell the same story a thousand different ways. | ||
| You know, they go and get the janitor who knew you to say something. | ||
| They find a guy walking down the street. | ||
| Did you see anything, sir? | ||
| No, I didn't see. | ||
| Are you sure? | ||
| Now, was it raining when you walked down the street or what? | ||
| You know, they just be digging, trying to make the story out of something. | ||
| And So they wanted me to talk about this in different ways. | ||
| And I'm like, I'm not doing that. | ||
| My people don't care about Monica Lewinsky. | ||
| They don't care about the Combs fans on her dress. | ||
| You know, like, they care about what's really happening out here in these streets. | ||
| You know? | ||
| So... | ||
| We had an amical split, you know? | ||
| So would they sit down, like when you would come to the office, they would say, Willie, this is what we want you to talk about? | ||
| What would they do? | ||
| No, what would happen is that I produced my own show. | ||
| So, look, I must have been doing something right. | ||
| I had a 15% share of the market. | ||
| That's huge. | ||
| In a major market. | ||
| Yeah, that's gigantic. | ||
| So, I would have my own show. | ||
| Me and... | ||
| Me and my producer, you know, that I had working, we worked the show out and said, okay, these are the topics we're gonna talk about, blah, blah, blah. | ||
| We get on the air and once they hear it, they go like, hey, you think you can talk about Monica? | ||
| That's a good story. | ||
| People are interested in that. | ||
| Like, you know, they can get that story anywhere. | ||
| Yeah. | ||
| You can't get Willie D anywhere. | ||
| You know, you can't get what I'm talking about anywhere because people are scared of these topics. | ||
| They're afraid. | ||
| They're afraid to call out these people and say what's really going on. | ||
| They're afraid of that. | ||
| I'm not. | ||
| And plus, I like to do stuff that I feel I'm making a difference in. | ||
| I got to do something where I feel like I'm making a difference. | ||
| I don't want to just make money. | ||
| I want to make a difference. | ||
| I understand what you're saying. | ||
| So I couldn't just do that. | ||
| Yeah. | ||
| So you quit? | ||
| Yeah. | ||
| Good for you. | ||
| Yeah. | ||
| Well, it was too early. | ||
| It was before the time of the internet. | ||
| Because if you had a podcast back then... | ||
| Oh, man. | ||
| Yeah. | ||
|
unidentified
|
Whoa. | |
| Whoa. | ||
| That's what you should be doing right now. | ||
| Yeah. | ||
| Because no one can tell you what to do. | ||
| As long as you stay away... | ||
| One of the things that when I switched over to Spotify, we had to make sure that they didn't want to change anything. | ||
| I was very hesitant. | ||
| And that I wouldn't sell the podcast. | ||
| I would only do a licensing deal. | ||
| But Spotify was adamant. | ||
| They were like, I want you to do exactly what you're doing. | ||
| We don't want to tell you who the guests are. | ||
| I book everything myself. | ||
| I do it all myself. | ||
| No one tells me what to talk about or what not to talk about. | ||
| That's the only way I can do my show and be me. | ||
| That's the same thing with you. | ||
| It's the only way you could do your show and be you. | ||
| As soon as you got some guy going, well, you know, Monica Lewinsky and that dress. | ||
| That's gonna fuck with your head. | ||
| Even if you go, get the fuck out of here. | ||
| Then you have to think, that guy out there wants me to talk about Monica Lewinsky. | ||
| You don't even want that guy in your life. | ||
| You don't want anybody there. | ||
| There's no need. | ||
| What you should have is just you and a microphone and whoever you want to talk to, and that's it. | ||
| Well, that's kind of what I do on YouTube already. | ||
| Yeah. | ||
| So my YouTube channel is pretty big, you know? | ||
| So I'm really in that space, like strong. | ||
| So the podcast would be like an extension of that. | ||
| Well, it should be both things. | ||
| The video version of the podcast should also be on YouTube too, right? | ||
| Right. | ||
| Yeah. | ||
| And then, listen, man, if you build it, they will come. | ||
| It's not 100%. | ||
| Yeah. | ||
| And again... | ||
| As long as you're just you. | ||
| That's what people want. | ||
| As long as people know that it's coming from your mind, then it resonates with them. | ||
| As soon as they feel like you're some sort of a concoction and there's a bunch of producers and writers and all these people tweaking. | ||
| And they can smell it. | ||
| Oh, they smell it. | ||
| They're used to it in certain places, like with late night talk show hosts. | ||
| They're used to bullshit. | ||
| If there was anything other than bullshit, they'd probably be nervous and confused. | ||
| They wouldn't know what it was. | ||
| A late night show is a, hello, ladies and gentlemen, welcome to the show. | ||
| It's bullshit. | ||
| If that guy was talking to you like that in real life, you'd be like, who is this dude? | ||
| Right? | ||
| If someone talked to you the way a late night talk show host talks to the audience, you'd be like, this is the weirdest shit ever. | ||
| The way the guy was talking to me. | ||
| You'd be like, hey, do that voice again. | ||
| Do that again. | ||
| With notes and shit. | ||
| Oh, you hear about this in the news. | ||
| It's a weird way of talking. | ||
| I know they're doing a monologue and it's supposed to be just like stand-up comedy. | ||
| I get it. | ||
| But even the way they talk to guests is weird. | ||
| It's like, so I heard you went to the zoo! | ||
| Tell us about the zoo, Willie! | ||
| It's just weird. | ||
| But we're used to it. | ||
| We're used to that kind of communication. | ||
| Wait a minute. | ||
| That almost sounded a little like Johnny Carson. | ||
| I like Johnny Carson, man. | ||
| Well, he was original. | ||
| Johnny Carson would say something like that. | ||
| A little bit, yeah. | ||
| That's how he went to the zoo. | ||
| That was also how they would set up a comedian for a story. | ||
| He pets and pets. | ||
| Yeah. | ||
| If you would go on those shows, they would talk to you beforehand, and they would ask you what you want to talk about, and you'd say, oh, I got this great story about going to a NASCAR race. | ||
| So you like racing, do you? | ||
| Yeah. | ||
| But either way, it's that method of communicating with people, putting together a show. | ||
| It's like smoke signals. | ||
|
unidentified
|
Yeah. | |
| It's like some antiquated shit that we don't need anymore. | ||
| It's like Morse code. | ||
| You don't have to do it that way anymore. | ||
| That way is dumb. | ||
| We'll be right back in five minutes! | ||
| So you cut every seven minutes for a fucking commercial, and then everybody goes to the... | ||
| You don't have to do that anymore. | ||
| It's an antiquated way of making a program, of delivering information. | ||
| And it doesn't feel real. | ||
| When you're talking, whether it's... | ||
| I like when you sit in your car and you got your phone and you're like, what's up, family? | ||
| Free game. | ||
| And you just express yourself. | ||
| There's no producers. | ||
| There's no nothing. | ||
| It's Willie D and that's it. | ||
| That's what resonates with people. | ||
| Because people know that there's no one fucking with the message. | ||
|
unidentified
|
So whether they like you or not, they know it's you. | |
| If they like you, they like you. | ||
| They don't like something that a bunch of producers are putting together. | ||
| They don't want that. | ||
| No one wants that shit anymore. | ||
| The genie's out of the bottle. | ||
| When you see people talking with no filter, That makes sense. | ||
| Like you go, oh, he's a regular dude. | ||
| He's just like me. | ||
| When you see someone talking like they're talking like a president, they're using that thing with their thumb, and they're like, what we're going to do is build this and build that. | ||
| You know that's bullshit. | ||
| Even if you like what they say, it doesn't resonate with you. | ||
| People in this day and age, we're dissolving the boundaries between people. | ||
| People want, they want to know you're real in there. | ||
| Right. | ||
| Yeah, and they can sniff it out. | ||
| Fuck yeah, they can. | ||
| They can sniff it out. | ||
| They can sniff it out. | ||
| Try it one time. | ||
| And they'll be like, hey man, I don't know what the hell that was you just did. | ||
| Yeah. | ||
| But, oh. | ||
| In fact, they'll be like, You must have got paid. | ||
| Yes, exactly. | ||
| Oh, I've been accused of that. | ||
| You got paid quick. | ||
| I've been accused of that a lot. | ||
| You must have got paid. | ||
| Yeah, I've been accused of ducking subjects and trying not to have certain guests on. | ||
| Right. | ||
| Spotify has never told me anything. | ||
| And this is the crazy thing about it. | ||
|
unidentified
|
Like, dude. | |
| You know me. | ||
| Like, no, no, no, dude, you know me. | ||
| Know you for real. | ||
| Like, you know me. | ||
| For real. | ||
| Like, so, that trips me out when people say stuff like that, you know? | ||
| Yeah, I hear that type of stuff from time to time, but it don't really bother me because these people really don't know me, right? | ||
| But this is always going to be a certain percentage, like the hecklers, like the people that are the trolls. | ||
| No matter what, you're never going to get rid of those, but the vast majority of people who tune into your Instagram page or your YouTube page... | ||
| After a while, they fucking know you. | ||
| It might take a week. | ||
| It might take watching you four or five times. | ||
| But they get it. | ||
| They get it. | ||
| That's where the value is. | ||
| That's where someone who's like, hey, Monica Lewinsky, they're dressed. | ||
| That fucking guy, he's never going to get it. | ||
| They don't understand. | ||
| The more you do that, the more you water it down. | ||
| The more chefs come in the kitchen, start throwing bay leaves into the soup, the more you're going to fuck it up. | ||
| Right. | ||
| Yeah. | ||
| That's the beautiful thing about the internet. | ||
| It's the beautiful thing about being able to do a podcast or a YouTube video or anything like that is the fact that this is the only time in history, in human history, I don't want to try to make this sound any bigger than it is, but this is the craziest moment in all of time, in all of the time where human beings have been communicating with each other. | ||
| There's never been a moment where a person can just talk into a microphone and it will instantaneously reach millions and millions of people and literally change the way they think about a subject. | ||
| There might be something that happens in the news And you will sit in your car and put your phone on and just express yourself. | ||
| And then that video will go viral. | ||
| And when that video goes viral, millions, millions of people. | ||
| The number millions, everybody knows it's big, you think about it. | ||
| But if you could see a million people in front of you, you'd be like, holy shit! | ||
| I remember Be Real came on the podcast once and he was talking to us about when he did Woodstock. | ||
| What was it like? | ||
| 600,000 people? | ||
| Like 500,000 plus people? | ||
| And he showed us the video and you're like, oh my god! | ||
| Like you don't know what 500,000 people looks like until you see this vast expanse of humans. | ||
| That's fucking normal for you. | ||
| Ten football fields. | ||
| Ten football stadiums. | ||
| Right, but that's normal for you. | ||
| Field, yeah. | ||
| You get that all the time. | ||
| You put up a video, you get that kind of shit all the time. | ||
| Yeah. | ||
| Yeah, that's what I'm saying. | ||
| That is a crazy moment in time. | ||
| There's never been, in all of human history, where a person... | ||
| Oh man, I never thought about it like that, man. | ||
| Look at that! | ||
|
unidentified
|
Look at that! | |
| Uh-uh. | ||
|
unidentified
|
Look at that fucking crowd! | |
| That's madness! | ||
| Hey, I'm going back in to ask for more money, man. | ||
| Get more money! | ||
| More money, man. | ||
| There's so many people out there. | ||
| I'm going to get more money. | ||
| I mean, that crowd is fucking bananas. | ||
| Look at that. | ||
| That's a half a million. | ||
| So this podcast, just this podcast, would most likely reach 10 times more people than that. | ||
| Right. | ||
| There's no executive. | ||
| There's no network people. | ||
| There's nothing. | ||
| There's just you talking. | ||
| And that's how many people it can reach. | ||
| This is a crazy moment in time. | ||
| And this is what drives networks crazy. | ||
| It drives them nuts. | ||
| You ever get the idea that they're going to try to Do something to try to corral it? | ||
| Yeah, I think they probably will. | ||
| I mean, I think they probably would have if the blowback wouldn't have been so hard. | ||
| I think they, you know, they do certain things, like certain controversial figures, they'll de-platform you or they'll throttle you or they'll, you know, the thing is like someone like YouTube, they could kind of control, like one of the things that happens they do is they'll stop things from trending. | ||
| You know, they can do that. | ||
| Like Kanye West was on the podcast and it reached, how many people did it reach? | ||
| Fucking some crazy number. | ||
| And it wasn't trending. | ||
| And we're like, well, what's trending? | ||
| And you look at what's trending. | ||
| And what's trending is like 500,000, 300,000, a million. | ||
| And the Kanye one was like 5 million. | ||
| And we're like, well, what is trending? | ||
| Tell me what trending is then. | ||
| They decide what's trending. | ||
| It's not really what's trending. | ||
| That fucking podcast was trending like crazy amongst actual human beings, but not amongst their little algorithm. | ||
| They just decide. | ||
| They can do that with you. | ||
| They can pull back and not suggest your videos or not hide things. | ||
| They do that. | ||
| Right. | ||
| They'll decide they don't like your message. | ||
| They decide you're not progressive enough. | ||
| You're not liberal enough. | ||
| You weren't this. | ||
| You're not that. | ||
| So there's a lot of gatekeepers with social media and a lot of gatekeepers with certain... | ||
| But as long as the people can get a hold of something and share it, then you have viral responses. | ||
| And they can't stop that. | ||
| And the only way they can stop that is by censoring you and deplatforming you. | ||
| And I do worry sometimes that things can get really... | ||
| You think we made them too powerful though? | ||
| Politicians or video platforms? | ||
| YouTube, Facebook, Instagram. | ||
| They didn't even know it was coming. | ||
| They didn't know that they were ever going to get this powerful. | ||
| I've had Jack Dorsey on the podcast, the CEO of Twitter, a couple times. | ||
| And I've talked to him about it and he's like, we had no idea what we were doing. | ||
| He goes, we thought we were just going to have this little thing where people would put up what they're doing. | ||
| Like it used to be, the way Twitter used to be, like at Willie D, you would say, going out with the family to get some food. | ||
| Like that's what people would do. | ||
| They would just like tell you what they were doing for no reason. | ||
| It didn't mean anything. | ||
| It was just like, oh, getting some pizza. | ||
| Oh, taking a nap. | ||
| That's what people used to use Twitter for. | ||
| And now it's shaping the social, political landscape. | ||
| It's toppling regimes. | ||
| I mean, they're using it to share information. | ||
| Rebels are using it to try to share information to topple dictatorships. | ||
| I mean, it's crazy what's going on with it. | ||
| And it's doing all sorts of other things, too. | ||
| It's breaking news. | ||
| When news happens, you find out about it on Twitter long before you see it on CNN or any of the other news networks. | ||
| Oftentimes, it's used to... | ||
| But it's also, they can decide who talks and who doesn't talk. | ||
| And they have a very set standard of ideas of what's acceptable and not acceptable. | ||
| And they can decide. | ||
| There was a crazy moment during the election where they got a hold of Hunter Biden's laptop. | ||
| And there was some talk in there where Hunter Biden's emails were indicating that his dad knew that there was some standard shit that politicians have always done. | ||
| Corruption where they're going to pay him a certain amount and they have access to his father. | ||
| There's some influence there. | ||
| And then there were some pictures of him getting foot jobs from hookers and crazy shit. | ||
| A foot job? | ||
| What the hell is a foot job? | ||
| Well, the girl was laying on her stomach with her knees bent and his dick was on her feet. | ||
| Some crazy shit. | ||
| But whatever. | ||
| The guy's smoking crack. | ||
| He was smoking crack. | ||
| He was losing his fucking mind. | ||
| Okay, foot job, hand job. | ||
| Okay, I got it. | ||
| Exactly. | ||
| He was doing a lot of wacky shit. | ||
| The dude was on drugs. | ||
| But anyway, New York Post publishes this story. | ||
| And then Twitter bans the New York Post. | ||
| Twitter blocked the New York Post from posting. | ||
| They couldn't post any more stories. | ||
| They literally censored one of the biggest newspapers in the world. | ||
| I think it's the oldest newspaper in America. | ||
| And it was a real story. | ||
| It was a real story, real laptop, real pictures. | ||
| No one's denying the emails were real. | ||
| But they just decided that this was, whether it's hacked or whatever it is, that this is going to interfere with the election. | ||
| They didn't like it. | ||
| And it was a giant dust-up amongst the journalists and people that are for the truth and for sharing information. | ||
| They're like, you can't do this. | ||
| You can't tell people what they can and can't talk about. | ||
| It's not your decision. | ||
| A bunch of nerds sitting in Silicon Valley somewhere can decide what people can and can't say. | ||
| Like, based on what? | ||
| And then where does that end? | ||
| It doesn't end. | ||
| Because as soon as you censor one person from talking about one thing that you might not agree with politically, the problem with that is that shit is a slippery slope. | ||
| And then people can decide they're going to censor more things and censor this. | ||
| And they're going to try to shape society into the ideas that they have. | ||
| And only let the information go that coincides with their ideas and their beliefs. | ||
| Yeah, that's happening now. | ||
| It is happening now. | ||
| You think they're going to... | ||
| I think they're going to ban him! | ||
| The day he gets out of office, fuck you! | ||
| I don't know. | ||
| I don't think so. | ||
| I think it's too blatant if they do that. | ||
| But what he's doing, I think, is dangerous. | ||
| Here's what I think is dangerous. | ||
| What he's doing by saying, I won this and I won this big in a landslide, all that crazy shit is undermining people's ideas of the democratic process. | ||
| It's all those people that ride or die with him, that believe him no matter what, Whatever percentage of his fan base that is, those fucking people will never trust the legal system again. | ||
| They'll never trust the judicial system again. | ||
| They'll never trust the voting system again. | ||
| That's what's dangerous about it. | ||
| Because this is not the first time he's done this either. | ||
| You know, when Ted Cruz won the Senate, he was saying that Ted Cruz stole the election. | ||
| Like, he's been saying that voting is rigged forever. | ||
| Yeah. | ||
| And the problem is, it's a little rigged. | ||
| The problem is he's not wrong. | ||
| Totally. | ||
| Like, it's not zero percent. | ||
| If you said, like, what percentage voter fraud is? | ||
| It's not zero. | ||
| Maybe it's... | ||
| I don't know what the number is. | ||
| But it's not like no one cheats. | ||
| It's definitely less than what they say. | ||
| I can't say definitely. | ||
| I ain't counting the damn votes. | ||
| But, you know... | ||
| That's the problem, right? | ||
| I'm thinking, like, it's got to be less than a half percent. | ||
| I don't know what the number is. | ||
|
unidentified
|
They don't think it's enough to make him win. | |
| But you know, political duopoly has always been a problem in America. | ||
| Huge. | ||
| And so this is why, you know, we got to come out and know what it's going to be, but it's got to be something for the people. | ||
| Because the people don't run the country. | ||
| A bunch of old folks... | ||
| And Congress runs the country. | ||
| A bunch of people that has job security no matter what. | ||
| Yes. | ||
| They run the country. | ||
| And even when it comes to those Supreme Court justices, man, they should not be lifelong... | ||
| Appointees. | ||
| Appointees. | ||
| No, they should... | ||
| It should be a limit. | ||
| I mean, I'm thinking, like, at this rate, you know... | ||
| Every 45 days. | ||
| Every 45 days? | ||
|
unidentified
|
Is there enough judges for that? | |
| Keep rotating them? | ||
| Man, I'm like, man, nah. | ||
| You might run out. | ||
| I just believe that... | ||
| I believe it's too many people that don't put the people first. | ||
| And I think if we had people in Congress... | ||
| We had people in local municipalities, statewide, these officials. | ||
| If these people put the people first, this country really could be great. | ||
| I think it would be. | ||
| I know it would be great. | ||
| I'm talking about great. | ||
| We wouldn't have all the racial tension that we have. | ||
| Because they wouldn't allow... | ||
| I mean, that would be like a crime like stealing. | ||
| Like, no. | ||
| You know, like, there's a such thing as freedom of speech. | ||
| But when you create public chaos, and you create... | ||
| When you're going out there and you're creating unrest, that's a problem. | ||
| And look, how many people out here right now On either side, on either side, Democrat, Republican, whatever, liberal, conservative, whatever, how many people feel safer today than they did 10 years ago? | ||
| 20 years ago? | ||
| 30 years ago? | ||
| Five years ago? | ||
| One year ago? | ||
| Not too many. | ||
| Well, not right now. | ||
| Not too many. | ||
| Now everything's a mess. | ||
| But... | ||
| A lot of things were a mess even when Barack was in office. | ||
| Yeah, but I mean, post-COVID and the economy shutting down. | ||
| That's when things get dangerous. | ||
| What I'm saying is that if you take COVID out, the trajectory that we were already on in terms of racial harmony... | ||
| It's bad. | ||
| Have you seen that movie, The Social Dilemma? | ||
| No. | ||
| They talk about that. | ||
| They talk about the differences in people's groups, whether it's Republicans versus Democrats and ideologies, that social media is separating us and it's forcing people to fight. | ||
| And these algorithms that they've created for YouTube and for Facebook, all these algorithms are set up so that people argue with each other. | ||
| They're set up so that people get upset. | ||
| And the people that created these algorithms, they're talking about it now after they've left these companies. | ||
| And they're like, I had Tristan Harris on last week or a couple weeks ago. | ||
| He was one of the guys who was there at Google at the time. | ||
| And he saw the writing on the wall. | ||
| He's like, this is going to lead to civil war. | ||
| The way we all communicate on social media, we're more divided now than ever. | ||
| Right. | ||
| Yeah, and look man, it's a major problem that I don't see being solved anytime soon because they've created an environment where you get incentives to create There are people out there that get paid to be race baiters. | ||
| It's a whole career. | ||
| It is, because you get attention from it. | ||
| Absolutely. | ||
| It's a total lane for that. | ||
| It's also an easy lane. | ||
| You can talk about If you talk about bringing people together, that's kind of corny. | ||
| Nah, I don't even care about that post. | ||
| But if you get on there and you say something that's inflammatory, you know what I'm saying, people go like, they respond. | ||
| Going back to that agorism thing. | ||
| Yeah, the algorithm is scary because it's designed to do that. | ||
| I mean, they've figured out what gets people to engage. | ||
| What gets people to engage is getting them angry. | ||
| And so it ramps up the anger. | ||
| And the more it ramps up the anger, the more money they make. | ||
| So it's all designed. | ||
| The AI, artificial intelligence, is figuring out what upsets you. | ||
| And it's putting that in front of your face all the time. | ||
| And the overall tension of the country has ramped up. | ||
| And when you have two different sides, like the Republicans and the Democrats, this duopoly that you talked about, that accentuates it. | ||
| Because it's not like 30 choices to pick from. | ||
| Like some countries, like Holland, I think they have... | ||
| Holland has a lot of parties. | ||
| I think it has like seven or eight different political parties. | ||
| And there's no duopoly. | ||
| So they have a bunch of different people with different ideas. | ||
| You're like, oh, I like this guy's idea. | ||
| Oh, she's making sense. | ||
| And there's no, like, we have to vote blue or we have to vote red. | ||
| When you only have two teams like that, it creates a giant problem. | ||
| And that's all accentuated, like everything else, by social media and these algorithms. | ||
| And again, the people that made them, the people that created these platforms, they never saw it coming. | ||
| YouTube was just going to be cat videos. | ||
| It was just going to be, here's my son playing football. | ||
| Hey, here's my dog doing a crazy trick. | ||
| This is my new car. | ||
| Look at that. | ||
| Pretty cool, right? | ||
| That's what YouTube was. | ||
| Then, along the way, it became all kinds of crazy shit that shapes the way human beings talk to each other and shapes the way we feel about the world. | ||
| And they didn't see it coming. | ||
| They didn't prepare for it. | ||
| There's not enough rules in place. | ||
| There's not enough laws in place. | ||
| And there hasn't been a real study of what the overall impact of these things is going to be long term. | ||
| They didn't see it. | ||
| So when a documentary like The Social Dilemma comes out, I mean, what did Tristan say? | ||
| It got 39 million views within the first week? | ||
| It's resonating with people. | ||
| They're like, holy shit! | ||
| And they're realizing they're all addicted to their phones. | ||
| They're addicted to these social media apps and they're addicted to getting angry You mentioned documentary Yeah. | ||
| I got one of the coldest documentaries ever. | ||
| Hip Hop to Death. | ||
| Ooh. | ||
| It's about how These label executives and radio execs, TV execs, conspired to derail hip-hop, the positive messages that were in hip-hop, get rid of the groups that had those positive messages, and bring in more of the gun-busting. | ||
| Really? | ||
| Yeah. | ||
| So I'm doing it with Deion Taylor and Roseanne Taylor. | ||
| So it's not out? | ||
| No, it's not out. | ||
| We're producing it right now. | ||
| But it'll be out at the top of the year. | ||
| So what happened? | ||
| It's exposing that. | ||
| What did they do? | ||
| There was a meeting in California of a bunch of executives, top executives, And these guys got together and decided that they didn't want the positive measures in hip-hop, that arrested development, you know. | ||
| De La Soul. | ||
| De La Soul, the Tribe Called Quest, the public enemies got to go. | ||
| Really? | ||
| But they were profitable. | ||
| They were profitable, but they wasn't good for the overall business of controlling Black people. | ||
| So they set out. | ||
| They purposely conspired to change the message. | ||
| When you say set out to control black people, who's involved in this? | ||
| Some very high-up people, and this is one of those things that's going to be revealed in the documentary. | ||
| Like, we have the players, some of the players who was there in that meeting. | ||
| So is it, can you tell me, is it just executives, or does it have to do with government as well? | ||
| It's a bit of both. | ||
| I can imagine it has to be a bit of both. | ||
| Yeah. | ||
| Because the executives, they want to go towards what's profitable. | ||
| But if there's influence by government and people, especially in intelligence agencies, that have plans... | ||
| This is one of those documentaries that people will tell you, watch your back. | ||
| Maybe we shouldn't have talked about it. | ||
| No, I'm good. | ||
| Maybe we should wait until it comes out. | ||
| No, I'm good because I think it's important. | ||
| I like the idea that these fools are nervous right now. | ||
| I mean, this is the first time it's being heard. | ||
| Nobody's ever spoke about this. | ||
| So you have this all documented? | ||
| You know all the players? | ||
| Yes, yes, yes. | ||
| And some of the biggest people in hip-hop are going to be seen talking about it too. | ||
| You're going to see. | ||
| I mean, it's going to make a bunch of noise. | ||
| And some people are going to get exposed. | ||
| When do you think this is going to come out? | ||
| It's top of the year. | ||
| Top of the year. | ||
| Oh, so soon. | ||
| Oh, yeah. | ||
| Okay. | ||
| We'll come back when it's on. | ||
| Yeah. | ||
| When it's on, come back. | ||
| Absolutely. | ||
| We'll let it come out. | ||
| Come back. | ||
| We'll promote it. | ||
| We'll talk about it. | ||
| We'll talk about the reaction to it. | ||
| Absolutely. | ||
| Yeah, we're going in hard, man. | ||
| Yeah. | ||
| Coming from that, for me, the reason why I'm really excited about being involved in it is because I was there while this meeting is going on and didn't know it. | ||
| If I'd have known that meeting was going on and these people felt this way, I think I would have done something. | ||
| I don't know what exactly, but I probably would have been more I probably would have been more cognitive of my message, what I was going to say and how it was being received. | ||
| Right. | ||
| And even the artists that I did business with. | ||
| It's a very complex web of deceit for the entire purpose of control and manipulation. | ||
| It would have been really hard to get the word out back then. | ||
|
unidentified
|
Yeah. | |
| Yeah. | ||
| It would have been buried. | ||
| I mean, we're talking about the biggest of the biggest people. | ||
| Power. | ||
| Real power. | ||
| There's no internet back then. | ||
| Yeah. | ||
| It's not like today where you could just get that word out. | ||
| And, you know, the major stage networks, they wouldn't have carried it, you know? | ||
| They would have been able to stroke the check because they played a part in it, too. | ||
| So they definitely wouldn't have spoke on it. | ||
| Yeah, but it's dirty, man, because you see now, you see what happened to hip-hop, where you see all this gun talk, and you turn on, you see these videos, and every video, somebody got a gun, they waving guns, and even on social media, they waving guns, you know, just sitting in the kitchen, sitting on the bed, you know, just waving guns and talking about killing each other. | ||
| And then you see, when the killings happen, I mean, we got to take responsibility. | ||
| I think everybody, we're at a point like we don't have a choice. | ||
| And so anybody that may have even been involved in the past and they got a conscience or they think that they want an opportunity to get right, make it right, They can't be worried about what somebody's saying. | ||
| Well, you did this and what about you? | ||
| No. | ||
| If you can contribute to changing the trajectory of what this music is, you should. | ||
| I think this is the first generation of music lovers who are not going to get the best generation of music makers. | ||
| Because a lot of great music makers, they don't want to make the music. | ||
| They don't like it. | ||
| They don't want to play this game. | ||
| They don't want to be in this kind of game. | ||
| So what are we getting? | ||
| We're getting a whole lot of dudes who are just mumbling and aren't qualified to really be in this game. | ||
| When I was coming up and I saw rappers rapping, you know... | ||
| It was people I was looking at like, man, you got to be good to do that. | ||
| Right. | ||
| People would say, man, you got to really be good to be a rapper. | ||
| Biggie. | ||
| And now you see it today and everybody's like, I can do that. | ||
| Right. | ||
| You know, I can do that. | ||
| Why do you think that got popular? | ||
| What's that? | ||
| Mumble rap. | ||
| I don't understand that. | ||
| It was part of the narrative. | ||
| It was part of the conspiracy to destroy hip-hop, to kill the message in the music. | ||
| If we let them mumble and just say anything, ha ha ha ha ha, the people that are pulling the strings, just let them come on and say anything. | ||
| So they're promoting that, and they can profit off that, and then hip-hop has no message now. | ||
| Because, look, if they couldn't profit off of it, then they would say, all right, okay, it ain't working. | ||
| They would've changed courses. | ||
| Right, but they could profit off of it. | ||
| But they saw that they could... | ||
| Wait a minute, we could still make money. | ||
| In fact, we can make more money with them saying nothing. | ||
| I mean, listen, man... | ||
| This is documented? | ||
| There's documented conversations? | ||
| Yes. | ||
| Wow. | ||
| Listen. | ||
| My partner in rhyme, Brad Jordan, Scarface, He spoke on this a few years ago. | ||
| He said that you can't tell me that there's not a conspiracy to destroy hip-hop. | ||
| Look at the type of artists they're signing. | ||
| Look at the type of black artists they're signing. | ||
| And look at the type of white artists they're signing. | ||
| The white artists, white hip-hop artists, most of them have a message in their music. | ||
| You listen to most of the black artists, they just mumbling, talking about anything. | ||
| So there's a high grade. | ||
| So enforcing. | ||
| They're enforcing that kind of hip-hop. | ||
| They're promoting it. | ||
| Yeah. | ||
| And they're letting people know, you go this way, you're going to make it. | ||
| You go this way, there's success and money. | ||
| But if you try to have a message, we're not interested. | ||
| Right. | ||
| If you're black. | ||
| But if you're white. | ||
| If you're white, you are right. | ||
|
unidentified
|
Wow. | |
| Man, look. | ||
| You gotta take my word. | ||
| I believe it. | ||
| Just listen. | ||
| I've always wondered. | ||
| I have zero understanding of the music industry, but I've always wondered. | ||
| But just listen to the music. | ||
| Just listen to the difference. | ||
| Yeah. | ||
| Go listen to some of the white artists. | ||
| Go listen to any top white artists. | ||
| Listen to those white artists. | ||
| And then listen to the top black artists. | ||
| You know, you got some top black artists that's a real good and got a message like the Kendricks and the J. Coles and stuff like that. | ||
| We all know who those artists are. | ||
| But there are a lot of top black artists ain't saying nothing. | ||
| They mumbling. | ||
| They ain't saying nothing. | ||
| And people comparing them to Tupac, out of all people, Yeah. | ||
| The internet is this sort of Wild West when it comes to distribution. | ||
| Like, if you are an artist and you have something that people find that's good and you could put it out on the internet, the way you do a podcast, you can avoid a lot of these executives, can't you? | ||
| I always wondered, like, what value do executives have today? | ||
| Well, that's where Toby Nguigwe comes in. | ||
| He's an artist out of Houston. | ||
| He's independent. | ||
| He's drawing crowds of 4, 5, 6, 7,000 people. | ||
| A lot of guys have done that now, right? | ||
| By themselves. | ||
| He's totally independent. | ||
| That seems to me to be the way to avoid this in the future, right? | ||
| Yeah. | ||
| Artists, straight artists to the people. | ||
| He's going artist. | ||
| No fucking... | ||
| What good does a record executive do you today? | ||
| No one sells records. | ||
| Yeah, well, the record executives still wield a lot of power and influence in... | ||
| Streaming. | ||
| ...giving you resources and putting... | ||
| When, let's say, Joe Blow, independent, wants to be on the front cover of, on the first page of Apple Music. | ||
| Well, Universal has an artist. | ||
| One of the top tier artists that they want to put on that same page. | ||
| Who do you think Apple's going to get a space to? | ||
| They have an influence. | ||
| But they have less influence now than they used to, right? | ||
| They have less influence, but they still have influence. | ||
| And this is why they're still called majors. | ||
| And they still make a lot of money. | ||
| And they still have the power when it comes to award shows, influence that they have in getting people... | ||
| Considered for awards. | ||
| And even when it comes to winning them. | ||
| You know, getting on the midnight shows and stuff like that. | ||
| People need their own award show. | ||
| People need to make award shows with no executives. | ||
| That would be interesting. | ||
| They'll sell it out. | ||
| They'll sell out though. | ||
| Because the execs, the big guys will just come and just offer a fat check. | ||
| And most of them are not going to be firm like you was When Spotify came to you, you said, no, I'll do this. | ||
| I'm interested in this. | ||
| I'll talk to you, but I got to be able to do me. | ||
| On Spotify's defense, they literally never even tried. | ||
| They liked the show as is. | ||
| It was part of the... | ||
| Well, that's good. | ||
| That's good for them. | ||
| And good for you also, because it's important, man, when you have a vision, you got something that works and people see that vision and they say, look, man, we like you. | ||
| We like you just the way you are. | ||
| Think about being in a relationship. | ||
| Yeah. | ||
| And, you know, a romantic relationship. | ||
|
unidentified
|
Exactly the same. | |
| And that person likes you exactly like you are. | ||
| Or the worst. | ||
| Yeah. | ||
| Someone's like, hmm, Willie's alright, but I can change him and make him what I want. | ||
| Right. | ||
| And then they get you in there under false pretenses and start manipulating you and shift you. | ||
| I want to change the way you dress, Willie. | ||
| Hey, you know, I'm open. | ||
|
unidentified
|
I'm open, baby, what you look like, baby. | |
| That's a simple thing. | ||
| That doesn't change much. | ||
| Listen, man, we're already more than three hours in. | ||
| Is that right? | ||
| That's crazy. | ||
| How long are we going to do it, Jamie? | ||
| Yeah. | ||
| That's good work. | ||
| So yeah, I enjoyed it very much. | ||
| So let's plan on coming back after the documentary comes out. | ||
| We'll come back and we'll talk about that and this way I can watch it and we'll talk about the documentary. | ||
| Absolutely. | ||
| In the meantime, I'm glad you're doing a podcast. | ||
| I tell too many people, people get mad at me because I'm always like, you should do a podcast. | ||
| But I say it because... | ||
| It's the freest form of expression I think the world's ever known. | ||
| There's never been an opportunity like this where people can express themselves. | ||
| And I know you got a lot of shit to say. | ||
| Yeah. | ||
| I want you to also, man, you got to come to my restaurant, man, when you come to Houston. | ||
| I would love to. | ||
| The Station Seafood. | ||
| I'm in. | ||
| The Station Seafood. | ||
| I'm in. | ||
| All right. | ||
| We are right now franchising. | ||
| All right. | ||
| Put that out there, y'all. | ||
| Put that out there. | ||
| Yeah, if y'all want to be involved, go to ilovetestation.com and you'll see our franchise information. | ||
| But yeah, the station seafood, man, we killing the game. | ||
| If you love seafood, come on out and eat and break bread for real with your boy, Willie D. Sounds good. | ||
| Beautiful. | ||
| H-Town. | ||
| Appreciate it, bro. | ||
|
unidentified
|
In the house. | |
| Thank you very much. | ||
| Thank you, Joe. | ||
| Thank you. | ||
| Willie D, ladies and gentlemen. | ||
| Good night. |
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