June 29, 2023 - The Joe Rogan Experience
02:22:51
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| Speaker | Time | Text |
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unidentified
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Joe Rogan Podcast, check it out! | |
| The Joe Rogan Experience. | ||
| Train by day, Joe Rogan Podcast by night, all day. | ||
| Oh no. | ||
| Man, that's what you was doing. | ||
| You just wanted to go smoke weed with Joe and shit. | ||
| I couldn't keep up with Snoop. | ||
| Snoop just keeps going. | ||
| Man, Snoop, he got a... | ||
| Fucking professional bud roller. | ||
| I think he's paying 40 grand a year or some shit. | ||
| Really? | ||
| I don't know how much, but I know it's a dude who's eight hours a day, he just bringing Snoop like a hundred blunts in a bag. | ||
| Here you go, Snoop. | ||
| He's the one dude that's exempt anywhere he goes. | ||
| No one's gonna fuck with Snoop with weed. | ||
| He smoked weed at the White House. | ||
| Did he really? | ||
| Yeah, he went in the bathroom and got down. | ||
| I said, oh man. | ||
| I said, yeah. | ||
| He blazed anywhere. | ||
| Church, swimming pools. | ||
| He inside the pool blazing. | ||
| Underwater. | ||
| He's got a card. | ||
| You can just let him slide. | ||
| Yeah. | ||
| Yeah. | ||
| He's Snoop. | ||
| You know, what you gonna say? | ||
| What are you gonna say? | ||
| What you gonna say, man? | ||
| Everybody loves Snoop. | ||
| The same thing with Chappelle. | ||
| When we go out with Dave, Dave would just fire up at a restaurant. | ||
| Hey man, you know. | ||
| Gotta let him know you in the house. | ||
| Nobody says anything. | ||
| Yeah, what they gonna say. | ||
| I mean, who wants to be part of his next comedy special? | ||
| The person that told Dave Chappelle, you can't blaze in Ruth Chris. | ||
| Nah, nah, nah. | ||
| Well, hey man, thank you very much for being here. | ||
| I really appreciate it. | ||
| You want some coffee? | ||
| No, thanks for having me. | ||
| You know, I probably had too much coffee. | ||
| Yeah, today, you know what I mean? | ||
| I probably had about two cups already, so I should be cold too. | ||
| This afternoon. | ||
| So I saw this video where you said you're doing just a podcast tour. | ||
| Yeah. | ||
| I'm here to everybody. | ||
| Everybody that want to talk to me, you know what I'm saying? | ||
| I just want to be able to get the message out to the people, talk to the people. | ||
| I've been trying to push my league, and mainstream sports media have really basically ignored what we're doing for the last six years. | ||
| Why do you think that is? | ||
| I think they're nervous about the NBA. They're nervous about their relationship with the NBA could be damaged if they promote the Big Three. | ||
| I would think it would help everybody. | ||
| Yeah. | ||
| I mean, it's basketball in the summer. | ||
| They got the WNBA, but we really don't play at the same time. | ||
| They got the games, we got our games. | ||
| And what's crazy is we got their... | ||
| You know, former Hall of Famers as a part of this league. | ||
| And they wanted to be a part of this league. | ||
| So it's not like we hijacking them or we, you know, kidnapping them. | ||
| They want to be a part of this league. | ||
| They want it to be successful. | ||
| And they want to make money in the summer. | ||
| So I don't know what the NBA is thinking about trying to deprive... | ||
| Dr. J and Rick Barry and Iceman, George Girvin, a little check in the summer. | ||
| Like, what's the problem? | ||
| Yeah, it doesn't seem like it would compete at all. | ||
| It seems like it would enhance. | ||
| When you have more basketball, basketball fans, they have a season. | ||
| When it's over, it's over. | ||
| The fact that there's more basketball seems to me, but I'm a person that's like, I feel like there's enough pie for everybody with everything. | ||
| I feel like that with fighting, with MMA. When there's a new organization comes out, I'm like, good, good. | ||
| Give people more opportunity to make money. | ||
| Without a doubt, you know, and it's about who do it the best. | ||
| And we're not trying to compete in any way, shape, or form with the NBA. We're very complementary. | ||
| So I don't understand why they would, you know, do some of the things that's being done behind the scenes. | ||
| Are they, like, encouraging people to not do it? | ||
| Encouraging people to not sponsor us. | ||
| I mean, like... | ||
| Really? | ||
| Yeah. | ||
| I mean, encouraging networks not to play us. | ||
| Really? | ||
| Yeah. | ||
| Those things... | ||
| We've been able to survive, but, you know, at a certain point, it's just redundant and ridiculous, and we got to fight back some way, shape, or form. | ||
| In my mind, it seems silly. | ||
| It seems like it would only enhance. | ||
| But that's what happens when you get big corporations, man. | ||
| Yeah, and you know what, Joe? | ||
| It's not the players. | ||
| It's not the owners. | ||
| It's not GMs or scouts because they, you know, name a big owner. | ||
| He probably loves the league. | ||
| And we've heard from a lot of them that they love the league. | ||
| They would love to invest. | ||
| And the players love the league. | ||
| They come to the games. | ||
| They play in the league when they're done with the NBA. GMs, scouts come sitting next to me on the front row and be like, oh man, you know. | ||
| And they even pull some of our guys, put them in the G League. | ||
| A couple of our guys made it all the way back to the NBA. You know, 10-day contracts, things like that. | ||
| So... | ||
| It's not the culture of the NBA. It's just the suits. | ||
| It's the corporate people. | ||
| It's the brass. | ||
| It's the top guys that are scared of what we got. | ||
| Just scared of competition in general always. | ||
| Well, they think they own basketball. | ||
| They think, like, we own basketball. | ||
| Isn't that crazy? | ||
| But it's nuts. | ||
| It's fucking nuts. | ||
| Because I don't hear kids running out saying, Mom, I'm about to go play NBA. Right. | ||
| No, they say, Mom, I'm about to go play basketball with my friends. | ||
| Yeah. | ||
| So basketball doesn't have an owner. | ||
| And they are, I think, intimidated that we have changed the game. | ||
| And we haven't changed it just to change it. | ||
| We've changed it for the better, and we've changed it within our own version of the sport. | ||
| So we're not trying to change five-on-five. | ||
| We're just trying to introduce three-on-three and elevate it to the professional level, which we have. | ||
| I only think that would be a good thing. | ||
| Those suits are silly. | ||
| It is a good thing, man. | ||
| They are silly. | ||
| That's why I'm here, man. | ||
| You know, it's like it's time for these, you know, suits to get out the way and, you know, let the relationship flourish if it's going to flourish. | ||
| And even if it don't, look, we're doing fine. | ||
| On our sixth season, our ratings are growing. | ||
| You know, we did, you know, 500,000 people on CBS this Sunday. | ||
| That's awesome. | ||
| It's crazy. | ||
| Where'd this idea come from? | ||
| Me and my guy Jeff, you know, we've been working together for over 25 years. | ||
| Everything in the last 25 years, we've kind of been cooking it up. | ||
| So, you know, we see Kobe score 60 points in his last game. | ||
| Now, this idea had been brewing in me, but it was like, you know, it's sports. | ||
| I'm an entertainment guy. | ||
| You know, I'm in rap. | ||
| I'm in, you know, music and movies and television and that. | ||
| So it had just been sitting there, and this dude hit 60 points in his last game, and then there's nowhere else you can see him play. | ||
| He's done. | ||
| Bye. | ||
| Wave going to tunnel. | ||
| And we're like, that sucks. | ||
| It sucks that we cannot ever see Kobe Bryant playing a professional basketball game again. | ||
| It's got to be other guys that people want to see that still got it. | ||
| They may not be able to play 82 games, but You know what I mean? | ||
| They may not be able to play back-to-backs in three games in four nights, but half-court, three-on-three to 50, they're going to look like all-stars. | ||
| And so that's where the idea started to germinate. | ||
| That makes sense, too, that it's just the breakdown as you get older. | ||
| You just can't do as many games. | ||
| That makes sense. | ||
| Yeah. | ||
| I mean, they still can play. | ||
| Like... | ||
| If you put them out there one game, give it all you got against the 20-year-olds, they'll do great. | ||
| But if you have them play the next day, they just can't recover as fast as the 20-year-olds. | ||
| So they look like they can play the next day. | ||
| So by having a week off... | ||
| You get to recover. | ||
| It's like football. | ||
| You know, you get a chance to let your body recover, heal. | ||
| So by the time that next weekend come around, you're 100% ready, good to go. | ||
| Let's do it. | ||
| Especially with the way guys train today, where older guys can train today, you know, with the science of sports nutrition and science of recovery. | ||
| They're just so much better at it now than they've ever been before. | ||
| We changed our mind. | ||
| We got rid of the seats. | ||
| We heard you was on Joe. | ||
| What can we do? | ||
| This is so stupid. | ||
| That's the thing with older fighters, too. | ||
| They have a hard time getting through camps. | ||
| They can still fight, but getting through an eight-week camp is two-a-days, all the sparring. | ||
| Yeah, too much. | ||
| I remember, I forgot the football player. | ||
| He played for the Giants. | ||
| Receiver. | ||
| Plexico Burris. | ||
| Plexico Burris. | ||
| The coaches hated him. | ||
| I ain't going to say hated him. | ||
| I'm just exaggerating. | ||
| They didn't like the fact that he would not practice at all. | ||
| Come in the game on Sunday and score a touchdown. | ||
| It's like it goes against everything that they preach. | ||
| You have to practice, you have to practice, you have to practice. | ||
| Then you are conditioned to score the touchdown. | ||
| But he's like, no, I gotta recover, I gotta recover, I gotta recover, and then by Sunday I can go out and score a touchdown. | ||
| And that goes against Coach's philosophy. | ||
| But he knew his own body. | ||
| Of course. | ||
| And We all know our own body to a certain extent. | ||
| And I think you should always save an athlete from himself, but you shouldn't push an athlete before he's ready to go. | ||
| Yeah. | ||
| It's always different for different people too. | ||
| Some people recover quicker. | ||
| You know, as athletes get older in particular, they get more and more wise to that. | ||
| More and more wise to like how their body works and what they need to do and not need to do. | ||
| Yeah, you know, I heard one player say that, man, they don't pay me to play in the game. | ||
| Like, I'll do that for free. | ||
| 70,000, 15,000 fans, who wouldn't do that for free? | ||
| They pay me to practice. | ||
| They pay me to show up on time. | ||
| They pay me to do all the stuff I don't want to do. | ||
| And, you know, that makes sense. | ||
| You don't practice somebody just because you're paying them. | ||
| Yeah. | ||
| Well, the difference between, like, you can never do this when football players are done, they're kind of done. | ||
| Because just the damage they take. | ||
| Some. | ||
| I think it depends on the style. | ||
| I think you could do an interesting flag version of football. | ||
| I think you could sell it if it was thought about and really worked on to be pleasing to the fans. | ||
| How would you do that? | ||
| Because people love touchdowns, but they also love tackles. | ||
| They love people getting hit. | ||
| Yeah. | ||
| I mean, there's a few ways to do it. | ||
| You could do pads, 7-on-7, and kind of open the game up a little bit so it's not so... | ||
| Many collisions coming from so many different angles. | ||
| Less people, more space, more skill set, not so brute but a little bit of hitting. | ||
| Could do it that way too. | ||
| Yeah, that could work. | ||
| The flag one, I would think, would be kind of tough. | ||
| It's tough because people look at flag as kind of like a side, you know, a byproduct of football, not real football. | ||
| Almost like football for kids. | ||
| Yeah. | ||
| But guys that go out and play two-hand touch all day, you know? | ||
| Yeah. | ||
| So maybe that's it. | ||
|
unidentified
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Hmm. | |
| Who knows? | ||
| Well, it's interesting when fighters figure out ways to do that, too, like what Floyd is doing. | ||
| What Floyd is doing is so interesting. | ||
| He retires from fighting, and he says, I'll just start boxing people who have no chance. | ||
| Hey, why not, you know? | ||
| I mean, exhibition. | ||
| Like, we saw that in, what, Rocky III or something? | ||
| Yeah. | ||
| He started doing exhibitions with Hulk Hogan. | ||
| Yeah, exactly, exactly. | ||
| And got caught. | ||
| I mean, got hurt, like, you know, dealing with that. | ||
| So, I mean, I think people want to see Floyd fight You know, some people want to see him lose. | ||
| You know, I never wanted to see Floyd lose. | ||
| And so he'll always have some interest. | ||
| You know, even if he's fighting, you know. | ||
| What he did is just complete genius. | ||
| Yes. | ||
| First of all, from just changing his style, right, he broke his hands a lot. | ||
| So when he was younger, they called him Pretty Boy Floyd. | ||
| Yeah. | ||
| And then he changes his name to Money. | ||
| And when he changes his name to Money, he turns heel. | ||
|
unidentified
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Yeah. | |
| He became like this guy, and everybody wanted to see him get beat. | ||
| Yeah. | ||
| He's the most unhittable guy in the history of the sport. | ||
| Yes, sir. | ||
| He's right up there with Pernell Whitaker. | ||
| Those are the two guys that I say are the most elusive guys in modern, you know, past Willie Pep, in modern era. | ||
| Pernell Whitaker and Floyd. | ||
| Floyd's even more impressive because he stands right in front of guys. | ||
| He stands right in front of you and you can't hit him. | ||
| Right in front of you. | ||
| And you can't get a good one on him. | ||
| You can't get shit on him. | ||
| It's one of the most amazing skill sets. | ||
| He's like one of those Minnesota Fats kind of pool players that know all the trick shots. | ||
| You can't beat him. | ||
| A guy that can play a hand or a board game or ping pong, you just can't beat him. | ||
| He's that way in boxing. | ||
| He just knows all the tricks of the trade and he's just better. | ||
| He has way more information about where you should be for where he can hit you and where he should be where you can't hit him. | ||
| It's just he's got it all in his head. | ||
| He knows what punch can be thrown at what time and what punch can't. | ||
| And so he just, when he knows you can't throw a punch, that's where he is. | ||
| And when he knows you can, That's where he ain't. | ||
| My favorite fight, I've had a lot of favorite fights of his, but one of my favorites was the Canelo fight. | ||
| Because it was just a master class. | ||
| Yeah. | ||
| Master class. | ||
| And just a young, incredibly promising champion, a guy who's going to be an all-time great, but not yet. | ||
| Not yet. | ||
| You're not ready for that guy. | ||
| You know, Floyd always catch him young. | ||
|
unidentified
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Yeah. | |
| He'd catch him coming up. | ||
| Yeah, he'd catch him young or old. | ||
| Yeah, you know. | ||
| And he'd tap you up and then he'd say, thank you. | ||
| Yeah. | ||
| You know, next. | ||
| He did a smart thing, too. | ||
| He got him to cut down 152 pounds. | ||
|
unidentified
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Yeah. | |
| Got him a little lighter. | ||
|
unidentified
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Yeah. | |
| A little smaller. | ||
| A little more dehydrated. | ||
| A little weaker. | ||
| Yeah, a little weaker. | ||
| And then just box him up. | ||
|
unidentified
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Yeah. | |
| But if you see what it did to Canelo's game, like you see Canelo when he fought Danny Jacobs later on, he was moving like Floyd. | ||
| Like he mirrored that. | ||
| You have to. | ||
| I mean, you're dealing with a master. | ||
| And when you fight a master, or if I rapped against a master, or if you spar against a master, you better take a few tricks of the trade with you. | ||
| That's the whole thing about respecting the game. | ||
| Daniel Cormier always says you get the rub like when someone fights for the title and you fight a world champion you feel what that's like like okay and you either get way better or you kind of like realize I'll never beat that guy. | ||
| You'll never get that level. | ||
| There was like a lot of like during the Tyson era nobody got the rub. | ||
| He got in there and you were like fuck this. | ||
| I mean, Tyson had you so many... | ||
| He had so many psychological advantages. | ||
| Everybody else, you know, give me the pretty robe. | ||
| Put this satin on the robe. | ||
| I need to look... | ||
| I had to have flares coming from my tassels. | ||
| You know, I have to be right. | ||
| You know, I got to look pretty coming in there. | ||
| Floyd come in there gladiator style. | ||
| Mike had a towel over his head with a hole in it. | ||
| And no socks on. | ||
| He ain't here for none of that. | ||
| He just here to whoop your ass. | ||
| It was the best. | ||
| And, you know, he psychologically beat a lot of people before he even landed that fatal punch. | ||
| Oh, yeah. | ||
| Even after the Buster Douglas fight, that didn't even take it away from him. | ||
| A lot of times when a guy gets knocked out, their aura of invincibility goes away, but with Mike, it was still there. | ||
| Yeah, because people are always scared of the, you know, when you snap. | ||
| Nobody want to deal with crazy. | ||
| You know what I mean? | ||
| Everybody can deal with everything, but, you know, everybody get out the way of crazy. | ||
|
unidentified
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Yeah. | |
| Yeah. | ||
| When Mike was screaming, I'll eat your children. | ||
| Man. | ||
| Yeah. | ||
| This is the walkout. | ||
| Look, he's just pushing everybody out of the way. | ||
| Nobody even want to give him a dap, because they don't know if he's going to knock them out on his way to the ring. | ||
| Yeah, that's, I mean, this is some of the G-est shit ever. | ||
| You know what I mean? | ||
| Like, just a towel, cut the towel in half, man. | ||
| You know what I mean? | ||
| I ain't got time for this shit. | ||
| I'm ready to knock somebody the fuck out. | ||
| It was a special time in boxing because it was a long time where the heavyweight champion, you know, Larry Holmes didn't get his due because he beat up Muhammad Ali. | ||
| So everybody was always mad at Larry. | ||
| And then when Mike Tyson came along, it was like all of a sudden there's like a real heavyweight champion where everybody wants to see him fight. | ||
| Yeah, you know, he was my first experience of a guy who was just, you know, the incredible Hulk. | ||
| Like, going and knock people out. | ||
| You know, two or three rounds, it's over. | ||
| You know, I grew up watching Muhammad Ali and Larry Holmes and all the other fighters in between. | ||
| You know, I wasn't really, you know, old enough to appreciate Joe Frazier or nothing like that, but... | ||
| When Tyson came around, he was like, oh, this is what you want in a fighter. | ||
| That's why he was a superhero. | ||
| I was like, this is what you want. | ||
| You want that attitude. | ||
| Pretty fighters are okay, but you want a ferocious fighter. | ||
| Yeah, pretty fighters are fun to watch. | ||
| Look, as a person who appreciates what Floyd can do, the way he expresses himself, it's genius. | ||
| It's genius boxing. | ||
| A lot of people want to know who's the best ever. | ||
| I feel like you go on who got hit the least, who won the most fights and who got hit the least. | ||
| If you look at that, Floyd's at the top of the heap by far. | ||
| No one's even close. | ||
| Yeah, and count the money. | ||
| Yeah. | ||
| And count the money, yeah. | ||
| I gotta say, he is the best. | ||
| But when you want to see a destruction, the Mike Tyson fights were a completely different kind of an event. | ||
| Yeah, you know, the thing is, you know, I think people would love Floyd if he, you know, had a little more pop on the punch, you know? | ||
| I mean, he can hit you and get you and pop you and drop you and back you up and do all those good stuff and make you look bad. | ||
| And I think, you know, he's just... | ||
| People, you know, fault him for not, you know, when he hit it, you know, it hurt. | ||
| Yeah, well, he always had hand problems. | ||
| He had multiple hand breaks. | ||
| Yeah. | ||
| Which was very unfortunate. | ||
| But that also probably contributed to how skillful he was because he couldn't get guys out with one shot. | ||
| So he had to just always be in the right spot, piece you up, hit and not get hit. | ||
| Just the way he did it standing in front of people, I don't think folks understand how hard that is to do. | ||
| It's so crazy. | ||
| Yeah, it's almost like magic. | ||
| It's almost like magic. | ||
| You're standing there and you're saying, come on, come with your best shot, and you can't get it. | ||
| You can't land it. | ||
| How? | ||
| Why? | ||
| Why can't I land this shot? | ||
| You know what I mean? | ||
| Everybody thinks they can too. | ||
| That's what's interesting. | ||
| Yes. | ||
| Especially in this whole promo tour he's doing where he's just running around doing these exhibitions. | ||
| They all think, I could probably land a shot. | ||
| No. | ||
| He's 46. Nah. | ||
| They're talking about him fighting Pacquiao. | ||
| About them doing it again. | ||
| I'd watch that. | ||
| Yeah. | ||
| I mean, hell yeah. | ||
| Fuck yeah. | ||
| I don't think age should... | ||
| Really keep you from checking out somebody you know who's a master. | ||
| Yeah. | ||
| Especially if he's fighting someone his age. | ||
|
unidentified
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Yeah. | |
| It's two masters going at it. | ||
| And age is just a number. | ||
| It's really just a number. | ||
| It's not reality. | ||
| Reality is how you feel. | ||
| It's a saying, if you didn't know how old you were, would you know how old you are? | ||
| Mmm. | ||
| Some people would. | ||
| It's an indicator of how well your body's functioning. | ||
| It's a pretty good indicator, though. | ||
| Like if you said someone wants a fight and they're 60, you go... | ||
| 60? | ||
| Yeah. | ||
| 60's too old. | ||
| Yeah, you know, it's too old to see fast skills. | ||
| But have you ever seen an old man fight? | ||
| It's pretty interesting, you know? | ||
| A couple of old dudes, you know what I mean? | ||
| I've seen on the internet a couple of old dudes get at it, and it's fun. | ||
| You know, one round get down? | ||
| Yeah, you know, it's like, we got the 60-year-olds with the one round get down. | ||
| We're going to go as long as they can before they fall out. | ||
| You get fucked up as a 60-year-old, though, you don't recover. | ||
| Yeah, that's true. | ||
| You get your ass kicked as a 60-year-old, you might be fucked for the rest of your life. | ||
| Yeah. | ||
| You're risking a lot. | ||
| Yeah. | ||
| Some people would do it, though, you know? | ||
| I've seen some guys that are young that got fucked up that were never the same. | ||
| You know, it's the roughest way to make a dollar in sports. | ||
| The roughest. | ||
| And UFC even take it to another notch because, you know, somebody can kick your mouth open. | ||
| Kick your jaw open. | ||
| Knee you in the face. | ||
| Elbow you in the eye socket. | ||
| Yeah. | ||
| Or just, you know what I mean, you know, pull your shit out of socket. | ||
|
unidentified
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Yeah. | |
| Yeah. | ||
| It's a rough game. | ||
| It is. | ||
| It's a rough game, you know. | ||
| Tap out, baby. | ||
| Tap out. | ||
| Yeah, it's just, but it's the most exciting thing to watch. | ||
| Combat sports to me is just like, man, when you watch like a world title fight, there's very few things. | ||
| Whether it's boxing or MMA, like when Terence Crawford's gonna fight Earl Spence. | ||
| Yeah. | ||
| That fight is going to be crazy. | ||
| Yeah, man. | ||
| That is a crazy moment where you got two undefeated champions in their prime. | ||
| Yes. | ||
| And no one knows what's gonna happen. | ||
| You're like, I don't know. | ||
| Yeah, you know, it's interesting. | ||
| You know, sometimes those fights, they're just too skilled. | ||
| You know, have you ever seen guys just fight? | ||
| They're too skilled and they're just both missing because they can't hit each other because they both got the skills, you know? | ||
| And they don't want to take too many chances and open up. | ||
| Yeah, so hopefully it's not one of them. | ||
| You know, hopefully it's one of those, they take it personal from the first couple of rounds and Yeah, I can't imagine. | ||
| Terrence Crawford's never been in a boring fight ever. | ||
| Neither has Earl Spence. | ||
| I think they're going to go after each other. | ||
| Well, they know how to tattoo their opponent, so I can imagine them just tattooing each other, you know, back and forth. | ||
| Yeah, I'm interested to see how Terence, what stance he uses too. | ||
| Because he, in my opinion, he's the best switch hitter since Marvin Hagler. | ||
| Nobody switches like Terence. | ||
| Terence is just, he's southpaw, then he's orthodox, and is just as good from both sides. | ||
| And you gotta do all this calculating in the middle of the fight and switch it up. | ||
| Everything's coming from a different angle now. | ||
| Yeah, your brain is not moving as fast as it should be. | ||
| That's such a big advantage. | ||
| The body can't move that fast if your brain is thinking so much. | ||
| It should be instincts. | ||
| But yeah, it's going to be an amazing fight. | ||
| And I'm worried a little bit about Earl. | ||
| He's been in those car accidents. | ||
| Was it one? | ||
| The Ferrari. | ||
| That's a crazy car accident. | ||
| He could have died in that 100%. | ||
| If he didn't have a seatbelt... | ||
| I mean, he wasn't wearing a seatbelt, but if he was wearing a seatbelt, he might be dead. | ||
| If he was wearing one? | ||
| Yeah, he got thrown from the Ferrari. | ||
| He was in a convertible. | ||
| Have you seen it? | ||
| No, I haven't seen the car. | ||
| Have you seen the video? | ||
| I haven't seen the video. | ||
| Oh shit, watch this. | ||
| This video is crazy. | ||
| Here it goes. | ||
| Wow! | ||
| Yeah, so he got thrown out of the car, and that's how he survived. | ||
| I didn't know it was like that. | ||
| Yeah. | ||
| Jeez. | ||
| Dude, 100% could have been dead. | ||
| Yes. | ||
| 100%. | ||
| I mean, that was a terrible accident. | ||
| It's hard to say that you 100%. | ||
| I mean, he rolled like five, six, seven times. | ||
| Look at that card. | ||
| If he wasn't a master athlete, could he have survived that? | ||
| And who knows what happened to him when he survived, right? | ||
| Did he hit his head? | ||
| Did he hit his neck? | ||
| Is he okay? | ||
| Is he 100%? | ||
| Or is he always going to be a little fuck from that? | ||
| There's another angle? | ||
| Wow. | ||
| Jesus. | ||
| Oh my God. | ||
| That's one of the most horrific ones I've seen. | ||
| But he was okay. | ||
| That's good. | ||
| Amazing. | ||
| Amazing. | ||
| Because a talent like that, to take that guy at a young age is so horrible. | ||
| Yes. | ||
| Yes. | ||
| It would be devastating. | ||
| Give these dudes money. | ||
| You could just go buy one of those cars. | ||
| It's kind of crazy. | ||
| You could just go buy a 700-horsepower car. | ||
| You don't even know how to drive. | ||
| Yeah. | ||
| You just have money. | ||
| Yeah, I know. | ||
| There was a trip because I remember being at the studio, Echo Sound one time, and Tupac came. | ||
| He pulled up and, like, Benz. | ||
| I was like, oh, man, Pac, you got your Benz. | ||
| He's like, yep, I don't have my license, man. | ||
| I hope I don't wreck it. | ||
| Yeah. | ||
| I'm like, damn! | ||
| Man, park that car, man. | ||
| You don't know how to drive it? | ||
| He's like, nah, man. | ||
| I've been in New York, man, for so long. | ||
| Don't worry about driving. | ||
| I'm like, oh. | ||
| You know, I think he did wreck it a few times, you know what I'm saying, before it was all said and done. | ||
| Learning how to drive. | ||
| First car is the Benz. | ||
| Yeah, Benz, you know. | ||
| It was like 500. What was the first thing you bought when you started making money? | ||
| Oh, man, the first thing I bought... | ||
| Like the first car? | ||
| Man, I bought a Honda Accord. | ||
| I bought a Honda Accord, you know. | ||
| They had just come out with a new model. | ||
| It was about 20 G's. | ||
| And I was like, you know, I'm sick of rolling around here. | ||
| You know, at first I had like a sidekick, you know, a Suzuki sidekick. | ||
| Suzuki made cars. | ||
| I remember those. | ||
| And I was like, man, I need some luxury. | ||
| You know what I mean? | ||
| I'm starting to make money. | ||
| You know, let's go down here and get this Honda Accord. | ||
| Kim, she's my wife, but she was my girlfriend at the time. | ||
| So we went down there. | ||
| Place on, I think it was La Cienega. | ||
| They had a Honda spot. | ||
| And I just went in there and bought a black Honda Accord. | ||
| Cash! | ||
| Wow. | ||
| Yeah. | ||
| That's a pretty reasonable car. | ||
| But you didn't go crazy. | ||
| I only had 20 Gs, so... | ||
| If I'd have had 40, I'd have bought, you know, probably a BMW, you know what I mean? | ||
| Three series or something. | ||
| So, you know, at the time, it was the first cool thing I was able to buy and not sweat it. | ||
| You know what I mean? | ||
| Like, that's the key is to buy it and not sweat it. | ||
| Right. | ||
| You know, if you're buying it and you're sweating it still, you're like, damn. | ||
| I remember one day, I remember Dre and Yella, they got checks. | ||
| I think they got checks for like $35,000. | ||
| Next thing I seen them, they both had vets, I think. | ||
| Corvettes. | ||
| And I was like, how much did you pay? | ||
| $31,000. | ||
| How much did you pay for yours? | ||
| $33,000. | ||
| I'm like, y'all broke now. | ||
| So what? | ||
| We look good. | ||
| It's funny, but that's the temptation, you know? | ||
| Yeah, I mean, you know, you... | ||
| Man, you only live once. | ||
| And we know a lot of people that die young. | ||
| And so it's kind of like, get it while getting is good. | ||
| Yeah. | ||
| It's also you're young. | ||
| When you're young, when I first started making money, my manager thought I had a gambling problem. | ||
| Yeah. | ||
| He called me up and said, are you having a gambling problem? | ||
| Because he knew how much money I was burning through. | ||
| I go, no, man, I'm eating lobster every night. | ||
| I grew up poor. | ||
| I'm like, I'm eating steak and lobster. | ||
| I'm taking my friends out. | ||
| I'm spending money. | ||
| Yeah, I mean, that's what you do, you know, and it feels good. | ||
| Yeah, it feels good. | ||
| It feels good to finally be able to treat and not, you know, worry about what it's going to look like. | ||
| That's the big thing is the worry. | ||
| I remember the first check I got, I got a check from Disney for a development deal from Disney in like 1993. And when I got the check, it was like weight lifted off my shoulders. | ||
| It was like, whew. | ||
| I could look at my bank account and go, I got money in the bank account. | ||
| I could pay the bills. | ||
| I don't have to think about the bills right now. | ||
| It was like I was lighter. | ||
| Without a doubt. | ||
| I mean, it does weigh on you when you don't know exactly where the money's going to come from. | ||
| You know, the bill's here. | ||
| You know when you got to pay it, but you really don't know exactly how it's all going to come together. | ||
| You know, you hope the universe bless you with an opportunity. | ||
| And so to not have that worry, it is a weight lifted off, you know. | ||
| And I wish more people could feel... | ||
| The weight lifted off. | ||
| But there's another thing. | ||
| The more you make, the more you spend. | ||
| So sometimes the weight comes back on. | ||
| You know what I mean? | ||
| The weight comes back on. | ||
| And then you have employees, and that's another weight. | ||
| That's a different weight. | ||
| That's like you think about other people's families. | ||
| Yes. | ||
| You're making money for them, too. | ||
| Yeah. | ||
| That's why I don't do nothing crazy. | ||
| I'm not into skydiving or nothing like that. | ||
| I'm definitely not going down in no damn submarine to look for more Titanic. | ||
| I don't take those crazy chances because I got generations depending on me. | ||
| And so, you know, got to take that responsibility serious because you never know when others in my family bloodline or whatever are going to be able to have the opportunities that I have, you know. | ||
| Even though my son, O'Shea Jr., you know, he's working constantly. | ||
| He's in Spain right now. | ||
| Yeah, he is. | ||
| That's amazing that he's just carrying on. | ||
| That's beautiful. | ||
| It is. | ||
| That must make you very proud. | ||
| Man, it's like the best. | ||
| One guy asked me, you know, how does it feel seeing your son, you know, straight out of Compton? | ||
| And, you know, he does so well. | ||
| I said, it's like winning the Super Bowl on a team, and then your son comes and wins the Super Bowl for that same team. | ||
| That's the feeling. | ||
| I don't know if anybody has ever had that feeling, but it seems like that's how I feel. | ||
| It's like I won with NWA and he won with NWA. That's amazing. | ||
| And what a perfect person to play. | ||
| Who would be better to play you? | ||
| Exactly. | ||
| It's perfect. | ||
| I mean... | ||
| Before he, you know, decided to take the movie, you know, I would take him on tour with me and we would do... | ||
| We was doing that anyway. | ||
| He would jump on stage. | ||
| He would do Dope Man. | ||
| And, you know, I'm like, yo, this is my son, you know. | ||
| And I'm like, man, he... | ||
| He got that swagger up here. | ||
| You know what I mean? | ||
| Remind me of a young me. | ||
| Okay, so when it was time to do the movie, when it was really a go, I went to him and I said, hey man, this NWA movie looked like it's gonna go. | ||
| He was like, cool, man. | ||
| That's good. | ||
| Good luck, man. | ||
| That's great. | ||
| I'm like, hold on. | ||
| Hold on. | ||
| I said, I want you to play me. | ||
|
unidentified
|
He was like, Okay. | |
| And I'm like, wow. | ||
| That was too easy. | ||
| You know what I mean? | ||
| That was like, you know, that was, he was like, okay. | ||
| And he just kept on walking. | ||
| I'm like, wait a minute. | ||
| And then I said, I gotta see if he's serious or he's just, you know, saying okay, just to say okay. | ||
| But it's a hell of a lot of work. | ||
| So I started putting him through the ringer a little bit. | ||
| You know, I was like, Hey man, we got an acting coach for you. | ||
| You know, LA, you need to go down there on Thursday. | ||
| You know, you need to be there at this time and that. | ||
| Boom, boom, boom. | ||
| He's like, oh, all right, all right. | ||
| And he would go. | ||
| And I'm like, okay, he's starting to go. | ||
| But is he just going? | ||
| Is he participating? | ||
| Is he into it? | ||
| You know, boom. | ||
| So I said, I'm going to try something else. | ||
| I sent him to New York to a guy for, you know, training, acting. | ||
| I'm like, I'm sitting all the way to New York to see if he'll do that. | ||
| Because that's when he'll bail and be like... | ||
| I got something to do. | ||
| So he got on the plane, flew to New York, worked with his cat, flew back. | ||
| Now when he flew back, I was checking him out, seeing what he was doing. | ||
| You know, we was far from actually casting a movie at that time. | ||
| And then he was like, he came up, he was like, I'm gonna go work with my coach today. | ||
| I'm like, what? | ||
| He said, yeah, me and my acting coach, we're going to get together. | ||
| We're going to do a couple of things. | ||
| I'm like, he's into it. | ||
| He's into it. | ||
| Yeah. | ||
| So then I let him do that. | ||
| So now I have to approach Gary Gray. | ||
| Now, Gary Gray is the director of Straight Outta Compton. | ||
| He also directed Friday and he directed It Was A Good Day. | ||
| You know, these are some of my biggest projects. | ||
| And when I told him He was like, yeah, man, it's cool, you know. | ||
| He was just thinking about who we gonna get to play him. | ||
| I said, okay, guess who I want to play Ice Cube? | ||
|
unidentified
|
He was like, who, who, who? | |
| I said, my son. | ||
| He was like, ah. | ||
| Cube. | ||
| I said, what the fuck, man? | ||
| I thought we was making a real movie, man. | ||
| I said, we are making a real movie. | ||
| What you talking about? | ||
| I said, he's going to be great, isn't it? | ||
| He's going to be great. | ||
| If you get the part, he'll have to audition and Universal will sign off on him. | ||
| But you're going to work with him, just like John Singleton worked with me. | ||
| You know what I mean? | ||
| John put me in Boys in the Hood. | ||
| I didn't act. | ||
| I wasn't no actor. | ||
| I was just a rapper. | ||
| And he saw something in me, put me in the movie, and he helped me through it. | ||
| And the rest is history. | ||
| And you're going to do the same thing. | ||
| So, make a long story short. | ||
| It's audition time. | ||
| Screen test time. | ||
| Now, my son go in there and he said he got pissed off because there's five other fucking ice cubes there to audition. | ||
|
unidentified
|
Yeah. | |
| He's like, these dudes think they're about to take this? | ||
| He said, man, I felt like I had the family name on my back. | ||
| I had to go in there and house this shit. | ||
| And he said, you know, when he left the screen test, Donna Langley from Universal called me. | ||
| And it was like, your son was great. | ||
| He was actually the best one, and we're gonna sign off on it. | ||
| Wow. | ||
| Yeah. | ||
| It's cool. | ||
| Cool story. | ||
| That's a great story. | ||
| It's a great story the way you made him do it, too. | ||
| That's so smart. | ||
| He worked harder than any of the other actors. | ||
| Like two years of... | ||
| Grinding. | ||
| Because, you know, the coach's son always, he get it the worst. | ||
|
unidentified
|
Right. | |
| You know what I mean? | ||
| Yeah. | ||
| And it was no different on this movie. | ||
| Of course. | ||
| I had to make sure that he won and he set up himself for a career in this game. | ||
| That's amazing. | ||
| That's amazing. | ||
| Your career, one of the things that's so fascinating about your career is there was never anyone like you before that did what you did. | ||
| You went from gangster rap to family movies. | ||
| Yeah. | ||
| Like, no one's ever done that. | ||
| And then, sports entertainment. | ||
| Like, you branched out into so many things, but the key part of it that people need to understand today is when you guys came out, when NWA came out, the whole world went, what the fuck?! | ||
| Yes. | ||
| The whole world. | ||
| I remember I was in Revere, Massachusetts. | ||
| I was on an elliptical machine at the gym. | ||
| And a friend of mine told me, you gotta listen to this shit. | ||
| And I had a cassette Walkman. | ||
|
unidentified
|
Yeah. | |
| So I'm there with a cassette Walkman on an elliptical machine, listening to Straight Outta Compton, going, holy shit. | ||
| Like, this is wild. | ||
| There was nothing like that before that. | ||
| And I remember, like, laughing while I was riding the elliptical. | ||
| I'm like, these guys are out of their fucking minds. | ||
| This is crazy. | ||
|
unidentified
|
Yeah. | |
| And then there was like the Tipper Gore shit where Al Gore's wife was trying to censor rap music. | ||
| The PMRC, Parents Resources Against Music Council or something like that. | ||
|
unidentified
|
Ugh. | |
| And, um... | ||
| That was the Democrats, folks. | ||
| That's the reason you have an advisory sticker on the record. | ||
| Because that was the compromise. | ||
| They were saying, you know, I sent my daughter To the record store to buy a record. | ||
| She came home with the fucking two live crew. | ||
| I know this shit was gonna be like this. | ||
| You know, so, you know, the compromise from the record industry was we'll put a parental advisory sticker. | ||
| On the record. | ||
| So if a parent was buying a record for Christmas, you know, their parents was like, I want Too Short. | ||
| You know what I mean? | ||
| They go buy the Too Short record, put it in, and they're like, what the hell? | ||
| So we were the first group to put that sticker on our records. | ||
| We were the very first group. | ||
| Wow. | ||
| Priority Records designed that parental advisory sticker. | ||
| Yep, that sticker. | ||
| And it was actually, it had to be stuck on a record, like a sticker. | ||
| And they had to go through all our records in every record store and put the sticker on. | ||
| So the next time we did artwork, we just planted it in the artwork. | ||
| Wow. | ||
| And then kids wouldn't buy your shit if it didn't have the sticker. | ||
| It's like people was putting the sticker on clean records. | ||
| That's hilarious. | ||
| It's like a clean record, not one ounce of profanity on it, but they was putting the parental advisory because kids was looking at it and it was like, where's the sticker? | ||
| That's the opposite effect. | ||
| It promotes it. | ||
| Yes, that's exactly what happened and promoted it. | ||
| Two Live Crew was the first band that got arrested though, right? | ||
| Weren't they the first band that got arrested? | ||
| On stage, I believe. | ||
| I'm not sure. | ||
| Rap got a long history. | ||
| I don't know if somebody tackled Cool Herc or somebody. | ||
| But that's the one that went nationwide news and yeah, he got arrested. | ||
| Yeah, Luke fought for all of our freedom of speech, to be honest. | ||
| You know, if they would have took Luke down and the 2 Live crew at the time and said that this music is too obscene and you can't sell stuff like this, you know, Everything would probably be so sterile right now. | ||
| Yeah, for sure. | ||
| That's the same thing with Howard Stern and radio. | ||
| Yes. | ||
| They went after Howard Stern. | ||
| They fined them insane amounts of money for the Howard Stern show. | ||
| Yes, I remember. | ||
| And if he just folded and gave into that, there'd probably be no podcasts. | ||
| Or it would have taken a lot longer for people to figure this out. | ||
| Yeah. | ||
| It's incredible when When you stand up at the moment of truth, it's important for us to stand up at the time that is going on and not back down and then try to regroup and then go at it. | ||
| It's really important. | ||
| It is. | ||
| For people to stand up for themselves. | ||
| But it's hard. | ||
| Yes. | ||
| It's hard today more than ever because you get so much pressure. | ||
| People, like, especially during COVID, people ganged up on people. | ||
| People were doing the man's work for the man. | ||
| It's like, who the fuck are you trusting? | ||
| Like, why are you trusting these people that have been lying forever? | ||
| Yeah, man. | ||
| It was wild during that time. | ||
| Like, you know, people... | ||
| Being bullied into doing things that they didn't want to do. | ||
| A lot of them didn't want to do it. | ||
| They did it because of their work or their situations. | ||
| A lot of them are hurting right now. | ||
| I know a guy that's been dealing with tinnitus since he got it. | ||
| I know a lot of people that got fucked up. | ||
| I know quite a few people that got fucked up. | ||
| Some of them pretty bad. | ||
| It's just, it was just, there was, if you wanted to do it in a textbook way, like if it was a conspiracy, that's how I would do it. | ||
| I'd isolate people, make them stay at home, take away their livelihood, make them scared, give them small checks, you know, and then give them this thing that you gotta take to get back to normal. | ||
| Wanna get back to normal? | ||
| Yeah. | ||
| Go take that. | ||
| Don't worry. | ||
| It's safe and effective, safe and effective, safe and effective. | ||
| And then you have all this pressure and everyone is yelling at you if you don't do it. | ||
| If you don't do it, we're not gonna get back to normal. | ||
| And everybody got scared and everybody just stepped in line. | ||
| It was strange. | ||
| It's strange. | ||
| Yeah, it was. | ||
| You know, stepping in line sometimes is not the way to go. | ||
| No, it's not always the way to go. | ||
| You know, you're trying to prevent and trying to make things all smooth and easy and no issues and back to normal and all that. | ||
| The world might be back to normal, but are you normal? | ||
| Well, you got to be able to make informed decisions. | ||
| Yes. | ||
| And when you can't make an informed decision, you're being pressured anyway. | ||
| It's like, how long? | ||
| And this is the thing that was driving me crazy. | ||
| Before the election, When Donald Trump was president, all they were talking about is, I'm not going to take the shot. | ||
| You're going to take a shot that Trump made? | ||
| Who's going to take that shot? | ||
| Even Biden was saying it. | ||
| Who's going to take it? | ||
| Kamala Harris is saying it. | ||
| They were all saying it. | ||
| Don't take that. | ||
| I would never take that. | ||
| And then all of a sudden, Biden becomes president, and they're like, you've got to take it. | ||
| Is this the same thing? | ||
| This is the same thing. | ||
| You know how long it takes to develop a vaccine? | ||
| This is the same vaccine. | ||
| Same one. | ||
| You guys were just talking shit. | ||
| And, you know, no matter who tried to give it to you at the end of the day, it wasn't ready. | ||
| It's not ready. | ||
| You know, six months to try to turn this thing into something effective that was totally, you know... | ||
| Experimental. | ||
| Totally experimental. | ||
| And everybody who took it was basically signing up to take an experimental drug. | ||
| And I'm not anti-vax. | ||
| I've been vaxed before. | ||
| Me too. | ||
| I've had vaccines. | ||
| I've had all of them. | ||
| Everyone I was supposed to get. | ||
| Exactly. | ||
| But those have been, some have been around 80 years, some have been around 50, 40 years. | ||
| And I just wasn't comfortable after six months. | ||
| I was ready to take it. | ||
| The UFC allocated 150 vaccines, I think, for all their employees. | ||
| And this was when we were doing shows during the lockdowns. | ||
| So we'd go. | ||
| There was a COVID bubble. | ||
| You'd get tested. | ||
| You'd get tested the day of the event. | ||
| And I was there, and they said, oh, we got the vaccines. | ||
| You want to take it? | ||
| I said, yeah. | ||
| So I called up the doctor. | ||
| I said, hey, man, can I take it? | ||
| And they said, yeah, hold on. | ||
| We'll set it up. | ||
| I was going to take it, like, before the show. | ||
| I thought it was just like a flu shot. | ||
| Give me that thing. | ||
| It's normal, right? | ||
| And they called me up, and they said, no, we can't do it until Monday. | ||
| It has to be done at the clinic. | ||
| Can you go on Monday? | ||
| I said, I can't. | ||
| I'd better be back for another event in two weeks. | ||
| Okay, we'll do it then. | ||
| And during that time, it got pulled. | ||
| During the time, it got pulled for blood clots and two guys I knew had strokes. | ||
|
unidentified
|
Wow. | |
| Two guys I knew. | ||
| Wow. | ||
| Yeah. | ||
| Wow. | ||
| And then I was like, okay, what is going on? | ||
| And then my friend got it and got over it quick. | ||
| And I was like, what's going on? | ||
| My real estate lady had it and she didn't even have any symptoms. | ||
| She tested positive twice. | ||
| And she's like, well, I got to isolate, but I feel fine. | ||
| And I was like, what is this? | ||
| Is this a death sentence? | ||
| Or is this like, how many people are asymptomatic? | ||
| And you find out like 65% of the people are asymptomatic. | ||
| Like, what the fuck is going on here? | ||
| Yeah. | ||
| And then I knew some people that got in and got real sick. | ||
| But they were fat, or they were out of shape, or they had other problems. | ||
| And then I knew a few friends that were real healthy that got it. | ||
| They got wrecked because they didn't take it seriously and they kept working out. | ||
| So there was a lot of confusion. | ||
| Yes. | ||
| And, you know, it was a lot of fear. | ||
| But when I finally got it and I got over quick, and then they started attacking me for taking horse medication, I was like, what the fuck is going on? | ||
| Shouldn't you be more interested in the fact that this deadly disease hit this 55-year-old dude and he was better in three days? | ||
| Isn't that more interesting? | ||
| Like, why don't you ask what I took? | ||
| Like, why did I get better? | ||
| Yeah, I wasn't vaccinated. | ||
| Yeah, I wasn't vaccinated, but I got over it quick. | ||
| So what's wrong with that? | ||
| In any other fucking rational, sane world, when there's a disease and someone goes to a doctor and gets medication for that disease and gets better in three days, you go, oh, well, that's a way to get better from that disease. | ||
| It's not that this is one singular thing that you have to do that I can't even do now because I already have antibodies. | ||
| Like, this is stupid. | ||
| It's crazy. | ||
| And, you know, the thing is, is when money is the driving force, and, you know, I don't know if they can even get money off of what you took. | ||
| You know what I mean? | ||
| It seems like something that's been around for a long time. | ||
| That's just one of the things I took. | ||
| And there's no money in it. | ||
| No new money in it. | ||
| Yes, zero money in it. | ||
| So that's really what it's all about. | ||
| You know, it's not about if it worked or if it's effective. | ||
| It's about they can't make no money off of it and we got this new stuff that we can make billions. | ||
| So that's where the pressure comes from and that's why they're pushing it. | ||
| That's why you have to think for yourself because Money is driving these people to give you bad advice or give you the wrong advice or to hide. | ||
| um you know solutions and cures and remedies uh from you and and um you know you gotta once once you peep that out you have to take a step back and make sure that you're you're following the money to make sure it's not it's just so hard to do in the middle of a pandemic that's why it was so hard because everybody was just like locked in their house and scared Especially in California. | ||
| The attitude in California was so much different than the attitude here. | ||
| We came to Texas, I'm like, they only have some fucking masks on. | ||
| This is crazy. | ||
| They're just out normal. | ||
| Yeah, Cali, they went crazy with it. | ||
| You know, I was using the mask really as a disguise. | ||
| Yeah. | ||
| I can finally walk through here and nobody asks for a selfie. | ||
| You know what I mean? | ||
| Cool. | ||
| So, you know, I kind of like, I got the mask in my pocket for that, too. | ||
| You know what I mean? | ||
| Pop it on, go to the airport. | ||
| It's just a disguise now. | ||
| Yeah. | ||
| Well, finally, you can wear a mask. | ||
| Yeah. | ||
| Any other time. | ||
| That's what I tripped off, too. | ||
| I was like, they letting all these people stand around in these stores, walking through these stores with their face covered. | ||
| Yeah. | ||
| And banks. | ||
| Yeah, exactly. | ||
| When is a guy just going to pull out a pistol? | ||
| I don't know. | ||
| They all have masks. | ||
| We don't know who it was. | ||
| Who's that masked man? | ||
| Well, it's happening so often in New York City. | ||
| They made people take their masks down when they went into stores. | ||
| They made that a rule so that the camera can get a shot of your face. | ||
|
unidentified
|
Lord. | |
| It's so stupid. | ||
| It's so stupid. | ||
| I'm supposed to keep this on to protect everybody. | ||
| Well, and then they found out real early that it didn't even work. | ||
| They knew early that those things were bullshit. | ||
| But it was a thing that would get you to comply with. | ||
| Yeah. | ||
| And it's also, you did it so you didn't feel like an asshole. | ||
| If everybody had a mask on, you didn't, you felt like an asshole. | ||
| It's like, ah, I'll put a mask on. | ||
| Yeah, and you know, people were looking at you like, you're the one spreading all the COVID around here, huh? | ||
| Yeah, yeah. | ||
| It was crazy. | ||
| Um, I knew a guy got sick wearing the mask. | ||
| Like, he had this cloth mask that he just felt it was the thing that was gonna protect him. | ||
| I'm like, dude, you're breathing in and like, wash that thing. | ||
| Yeah. | ||
| You know what I'm saying? | ||
| You're breathing that. | ||
| I don't know what you're breathing. | ||
| You're breathing in last week's... | ||
| Bad breath. | ||
| Yeah, Fatburger. | ||
| Like, dude. | ||
| You know what I'm saying? | ||
| Take that off your face. | ||
| Yeah, you wouldn't want that on a wound. | ||
| No. | ||
| Right? | ||
| A dirty-ass rag over a cut. | ||
| Yeah. | ||
| And you're breathing through it all day, every day. | ||
| Getting right in your bloodstream. | ||
| Yeah. | ||
| You're smoking weed through that thing, man. | ||
|
unidentified
|
Come on. | |
| Take it off. | ||
| Yeah, it was just weird. | ||
| This is a weird time. | ||
| I saw that you would have to pass on a movie because they wanted you to get shot. | ||
| Yeah. | ||
| You know, they... | ||
| Strangest thing, you know. | ||
| Say, we're doing a movie, we're doing a movie. | ||
| I'm like, okay. | ||
| And then... | ||
| All the producers... | ||
| In Hollywood decided that they don't want anybody on their movie set that haven't gotten a vaccine. | ||
| And what year was this? | ||
| This is 2020. Okay, so it's in the middle of it. | ||
| Yeah. | ||
| I mean, we're coming out of it. | ||
| I think it might be 21 when we know, okay, everything is going back to normal. | ||
| But I believe the news came out during 2020. And so, you know, I never thought it was a producer's mandate. | ||
| You know, I thought it was a studio mandate. | ||
| But I think the studios really... | ||
| Wanted to have, you know, kind of a little out, so they put it on a producer. | ||
| Like, this is not us. | ||
| This is this production, that production, this production, that production. | ||
| I'm like, but it's every production. | ||
| So you mean to tell me every producer in Hollywood has this mandate? | ||
| Give me a break. | ||
| It has to come from the studio to hit every producer, because every producer don't think the same. | ||
| Some producers had their own different opinions. | ||
| So anyway, it was a studio mandate. | ||
| They put it on individual producers. | ||
| Producers talking to my people, and they're like, if he don't take it, you know, he can't be in the movie. | ||
| It's like, he's not taking it. | ||
| It's not taking it. | ||
| It's like, okay, can't do the movie. | ||
| Okay, no problem. | ||
| Now, I didn't go out telling everybody what happened. | ||
| I didn't put the word out. | ||
| I didn't even tell people that I wasn't vaccinated. | ||
| I didn't tell people not to go get vaccinated. | ||
| I didn't tell people that I'm not doing this movie because I don't want to be vaccinated. | ||
| But somehow, someway, the news hit the... | ||
| I don't know if the Hollywood Reporter or somebody put it out that... | ||
| This is why Cube is not doing the movie. | ||
| And I thought it was chicken shit. | ||
| I thought it was, you know, it's like, what happened to the HIPAA laws? | ||
| You know, or OSHA, one of them, I forgot, I think it's HIPAA, you know, where you're not supposed to reveal a person's medical status. | ||
| And here it is, they print in mine. | ||
| And so I just thought it was bullshit and it just kind of snowballed, you know. | ||
| I'm like, what they want is for people to tell me I'm stupid. | ||
| You know what I mean? | ||
| They want people to tell me... | ||
| You turning down $9 million, you stupid. | ||
| You know, I'll do anything for $9 million. | ||
| How stupid can Q be? | ||
| And I don't care about that. | ||
| You know, it's like, I didn't lose $9 million. | ||
| Because I never had it. | ||
| Like, if you never have some shit, you can't lose it. | ||
| Okay? | ||
| You lose it when it's in your bank account, then you look up and it's gone. | ||
| You know what I'm saying? | ||
| But if you never had it, I didn't lose it. | ||
| It just was never given to me. | ||
| And so, you know, they tried to, you know, put my business in the street. | ||
| Put pressure on me, everybody around me telling me how stupid I am so I can go get vaxxed and say, you know, please let me do the movie. | ||
| You know, that was never going to happen. | ||
| I don't care if it was 20 million. | ||
| That was never going to happen. | ||
| And if you got injured from that vaccine, you would have paid that $20 million to be healthy again. | ||
| Damn right. | ||
| Damn right. | ||
| Yeah. | ||
| Damn right. | ||
| There's a lot of people out there that wish they weren't forced into making that decision. | ||
| And that's where the real lawsuits are going to come from. | ||
| The real lawsuits, since you can't sue the vaccine companies, they're going to start suing these businesses, and they're already lining up. | ||
| Without a doubt. | ||
| Without a doubt. | ||
| It was a gigantic error. | ||
| And they're... | ||
| You know, they fired a lot of people. | ||
| You know, I think they fired a lot of cops in New York. | ||
| And they had to hire them back. | ||
| And give them back pay. | ||
| And give them back pay. | ||
| But what about the ones that were injured that took the vax? | ||
| You know, they got to have some kind of repercussion because, you know, They just proved that... | ||
| They just kind of told on themselves that we got this wrong. | ||
| Yeah. | ||
| And nobody wants to talk about it. | ||
| That's the crazy thing. | ||
| Because all the news stories... | ||
| Nobody can. | ||
| You know, that's what I'm talking about. | ||
| The gatekeepers. | ||
| Nobody can talk about it because somebody above them told them no. | ||
| From this outlet, that outlet... | ||
| You know, the NBA... Going back to that, you know, I'm just... | ||
| Kind of putting it in perspective, but the guys in the NBA used to talk about the big three. | ||
| If you go back to year one, all the time. | ||
| And then they just stop. | ||
| And then I ask my guy, you know, what happened, man? | ||
| Why y'all stop? | ||
| They told us we couldn't mention the Big Three anymore on air. | ||
| So, I'm like, that's chicken shit. | ||
| You know, that's that bullshit that I'm talking about. | ||
| That, you know, I'm talking about what happened to me, but it obviously happens everywhere to all of us. | ||
| You know what I mean? | ||
| And we gotta somehow, someway, get these people out of our way. | ||
| Or not support what they're doing and producing. | ||
| You know, some of these mainstream outlets are really just... | ||
| An extension of these corporate conglomerates who want to, you know, kind of control our emotions, control our movement, control our spinning, control our personalities, control our mind. | ||
| And, you know, what we gonna do about it, like, at the end of the day? | ||
| You know what I'm saying? | ||
| Like, we gonna just sit here and Let it happen day after day till we're steamrolled and wore out and have no fight in us. | ||
| Or are we going to stand up where we can? | ||
| You know what I mean? | ||
| And push back when we can. | ||
| I know everybody can't in all situations. | ||
| And don't feel bad when you can't. | ||
| But when you can and you know you can't. | ||
| Do it. | ||
| Yes. | ||
| Do it. | ||
| When you have the leverage, take it. | ||
| Take it. | ||
| UFC, when you got the leverage, you gotta go. | ||
| Use that to your advantage. | ||
| You might not always have the leverage. | ||
| You might not always have the right timing. | ||
| But when you can, we gotta buck back. | ||
| If not, we're just gonna continue to get steamrolled and Not be heard and cancelled and all this kind of stupid stuff. | ||
| Yeah, we're just repeating patterns that have played out throughout history. | ||
| Yes. | ||
| When people get power, they want to have ultimate power. | ||
| They want more power. | ||
| Any obstructions they see to their goals, any things that people were doing that would get in the way, they want to silence that, stop that. | ||
| They want to bust unions. | ||
| They want to do whatever the fuck they can to consolidate their power. | ||
| Yeah, and at a certain point, it's just ridiculous. | ||
| It was not good for us. | ||
| These are some of the most unhappy people in the world who are just consigned with more and more power, and they're powerful. | ||
| Whenever you saw a guy who was maxing out, You know, bench pressing or whatever and blew out her shoulder. | ||
| Lunchtimes. | ||
| It's like, you was maxed out the last time you maxed out. | ||
| Why are you trying to max out even more and more and more and more and then you blow out your shoulder? | ||
| You see what I'm saying? | ||
| So, at a certain point, you got to know when you got enough of this and enough of that. | ||
| I think the money people, though, they never think that way because it's all about numbers. | ||
| Like, the whole thing is numbers. | ||
| It's not like, look, I put out a new album. | ||
| Look, I put out a new movie. | ||
| I'm creating a thing. | ||
| I'm putting together stuff. | ||
| For them, it's always numbers. | ||
| It's all numbers. | ||
| It's just numbers. | ||
| And so you never feel satisfied. | ||
| And there's always a guy with a bigger jet. | ||
| There's always a guy with a bigger house. | ||
| There's always a guy with more of this, more of that. | ||
| Yeah. | ||
| Yeah. | ||
| And usually, you know, you can find happier people with way, way, way less. | ||
| Way less. | ||
| Way less. | ||
| Yeah. | ||
| If your goal is happy, that is not the occupation you should be in. | ||
| That's not it. | ||
|
unidentified
|
No. | |
| Yeah. | ||
| Those people are miserable. | ||
| Yeah, and they're always chasing and they're never satisfied. | ||
| You know, that to me is torture in itself. | ||
| Well, it's also stupid. | ||
| And if you're running a corporation, it's actually your obligation. | ||
| Your obligation to your shareholders to continue to make as much money as possible. | ||
| So you're trapped in a system that obligates you to behave and think that way. | ||
| And if you don't, you won't be competitive. | ||
| Yeah, it's... | ||
| It's an ugly game, you know, and I don't see where people are being thought about in these type situations, you know. | ||
| It's all about, you know, capital don't care. | ||
| Capital has no emotions. | ||
| Capital only respects capital. | ||
| Yeah, the only time it respects people's opinions is when people boycott shit and it works, like this Bud Light thing. | ||
| Yeah. | ||
| And now people are like, don't do that again. | ||
| Yeah. | ||
| Like, be careful. | ||
| Because look what happened to Bud Light. | ||
| Well, who controls Bud Light? | ||
| That's the question. | ||
| Why would they make a dumb decision like that? | ||
| Are they trying to ruin Bud Light? | ||
| And why would they want to ruin Bud Light? | ||
| Are they trying to take down some of our most iconic American brands? | ||
| And why would that help? | ||
| I don't think they had any idea this was going to happen. | ||
| It's this ESG thing that everybody has to dedicate a certain amount of their time to, you know, woke stuff. | ||
| Who mandates that? | ||
| It's a good question. | ||
| Where does the ESG money come from? | ||
| Is that government? | ||
| Like, where does that come from? | ||
| And they have scores, and the ESG score of your corporation determines what you get. | ||
| And the problem is also you get these people that are coming out of college, like this lady who made the decision for Bud Light. | ||
| You know, she's gone through the university system, she's in the corporate system, and she's a woman, and she thinks, you know, we have to be more inclusive, and that's all the language everyone's using today. | ||
| So they don't know any real people. | ||
| They don't know regular people. | ||
| They have no idea that if you take a brand, Bud Light, which is, like, known for, you know, blue-collar drinking people, that they like to fucking watch football and drink Bud Light, and then all of a sudden you have this Mentally ill person who's just an attention whore and you make a big deal out of putting this person 365 days of womanhood you put that on a Bud Light can and they freak the fuck out Yeah, and then Kid Rock shoots a bunch of them and then it's on once Kid Rock shoots your cans you got real problems. | ||
| Yeah I'm pretty sure you do Yeah, man, it's kind of like I think you gotta You gotta still ask why. | ||
| You think there's like a conspiracy? | ||
| Well, you know, who's getting hurt? | ||
| Who's getting hurt in this whole thing? | ||
| Is it the Bud Light? | ||
| Anheuser-Busch. | ||
| Brass. | ||
| Will their bonuses be affected? | ||
| Will their checks and salaries be affected? | ||
| You got this lower-level person fired, and a bunch of middle-class guys are paying the price because you got distribution centers, you know, guys that deliver the beer nobody want, and now they're out of a job. | ||
| Now you're really... | ||
| Attacking the middle class by making a brand that's so big take a hit like that. | ||
| It says here, the quickest destruction of a company in history. | ||
| Bud Light sponsors Toronto Pride Braid. | ||
| So, you know, it's... | ||
| When was this? | ||
| That was just the other day? | ||
| Oh, that's so silly! | ||
| They're leaning into it. | ||
| Meanwhile, the gays are mad at them. | ||
| The Pride people are mad at them because they didn't support Dylan Mulvaney, so they kicked it out of gay bars. | ||
| You don't win either way at the end of the day, but I think about the companies that own these companies, the people that own these companies, and why would they let a decision like that take the company down? | ||
| I don't think they thought it was going to. | ||
| I think this is a legitimate public outrage one, where they just pushed too far and people went, fuck you. | ||
| And it wasn't even like a real promotion. | ||
| It was a thing they sent a can to this person, this Dylan Mulvaney person, but I don't think it went anywhere else. | ||
| I think it was just like, here, this is for you, and you put it on social media. | ||
| They made some sort of a partnering deal, you know, and that was it. | ||
| So why'd Target do the same thing? | ||
| Well, I think that's an ESG thing. | ||
| That's an ESG thing, right? | ||
| And Target lost billions of dollars, too. | ||
| Because people are sick of this shit. | ||
| They're sick of social things like that that are controversial getting stuffed into your face and where you have to accept it. | ||
| And people are like, I don't want to accept it. | ||
| I'm just coming here for fucking toilet paper. | ||
| Yeah, I think, you know, people got to keep it in perspective as well, too. | ||
| You know, I don't think people grab a beer to be so, I mean, to, you know, to learn about the newest social event or the social situation going out. | ||
| Grab a beer because you want a beer, hang with your buddies or hang... | ||
| You know, with people that enjoy beer and y'all shoot the shit and politics really shouldn't be in somebody's beer mug, you know? | ||
| They just don't get it. | ||
| They think it has to be in everything. | ||
| Everybody, because of social media, everybody feels like they're fighting some sort of social battle with everything they do. | ||
| This is another one. | ||
| It's like forced compliance. | ||
| You're forced to comply with this. | ||
| It's fucking up women's sports in a huge way. | ||
| In a huge way. | ||
| Some organizations are pushing back against that, and some people are pushing back against the organizations that are pushing back against it, which to me is insane. | ||
| If you care at all about biological women, you should be against that. | ||
| I mean, what if LeBron said he wanted to play in the WNBA? I'm retiring from the NBA because I'm 49 and I'm going to play in the WNBA. Well, they wouldn't be able to stop it. | ||
| If he just decided to say publicly, I identify as a woman, what are they going to do? | ||
| They can't do anything. | ||
| And then that would be the end. | ||
| Dave Chappelle has a bit about it. | ||
|
unidentified
|
Yeah. | |
| Brown scores 100 again tonight. | ||
| Well, there was some fucking knucklehead that was getting an interview. | ||
| They said, if Mike Tyson identified as a woman, should he be able to fight women? | ||
| And they were like, well, the short answer is yes. | ||
| Ah! | ||
|
unidentified
|
Lord. | |
| It's so crazy. | ||
|
unidentified
|
Yeah. | |
| It's okay. | ||
| And there's also different specifications. | ||
| It's like what you have to do and how long you have to take hormones before you can identify as a woman and compete as a woman. | ||
| Like, just fucking stop. | ||
| I mean, who's gonna check all that? | ||
| Yeah. | ||
| There's a reason why there's women's sports. | ||
| And there's a reason why there's men's sports. | ||
| And you're not talking about who you are or what your truth is. | ||
| Live your truth. | ||
| I mean, Title IX just got, you know, just turned, what, 30 or something like that. | ||
| Protecting women's sports. | ||
| Yeah, which is great because it forces schools that make a lot of money teaching whatever they teach in them schools and they should carve out some for women to be able to play for their school. | ||
| That's great. | ||
| So I don't understand You know, sometimes things don't make crazy man sense. | ||
| When they don't make crazy man sense, I just back out. | ||
| Stop thinking about it. | ||
| Yeah, it's probably a good move because you're not going to solve it. | ||
| I mean, I think ultimately it gets solved where people just don't accept it anymore. | ||
| And then hopefully it'll go. | ||
| I mean, maybe they could just develop a transgender league where trans people play against trans people. | ||
| That would be great. | ||
|
unidentified
|
Why not? | |
| But you can't pretend you're a biological female just because you wish you were. | ||
| You can't pretend when it comes to women's sports. | ||
| You can't pretend when it comes to women's rights issues. | ||
| You don't want men dominating that. | ||
| Because that's what it is. | ||
| It's men entering into women's spaces. | ||
| Yeah. | ||
| Ultimately. | ||
| They identify as a woman, that's great. | ||
| But physically, you're a biological male. | ||
| Yeah, yeah. | ||
| And you want to compete against them? | ||
| You want to play rugby against women? | ||
| Get the fuck out of here. | ||
| Get the fuck out of here. | ||
| That's crazy. | ||
| They want to dominate. | ||
| They want to dominate. | ||
| There's a lot of that. | ||
| They want to dominate. | ||
| They want to be winners. | ||
| Yeah. | ||
| If all of a sudden you can be a woman and a winner and just fucking kick everybody's ass. | ||
| Yeah. | ||
| You know how you used to, like, play the kids in basketball? | ||
| Like, they ate, you know, just shack out there. | ||
| Yeah, you just shack. | ||
| Yeah. | ||
| It's the ultimate sandbagging, you know? | ||
| It's like, you know you have a giant advantage. | ||
| Like, the one that drove me the craziest was the MMA fighter. | ||
| Yeah. | ||
| Because that person became a woman for two years and then started competing as women. | ||
| And not telling them. | ||
| And saying it was a medical issue. | ||
| I don't have to disclose a medical condition. | ||
| No, no, no, no. | ||
| That's not what that is. | ||
| If that person said that they were a woman and competed against women, that's deception. | ||
| That's a fucking lie. | ||
| But if you said you're a biological male and the women still want to fight you, okay. | ||
| All good. | ||
| Yeah, you know, it's tricky, man. | ||
| It's like a slippery slope, you know, that really starts to get bizarre after a while, you know, because where does it actually end at the end of the day, you know? | ||
| Yeah. | ||
| What if somebody say, I don't identify as black. | ||
| I want to be another color. | ||
| Yeah. | ||
| Purple. | ||
|
unidentified
|
Yeah. | |
| What, you laughing at me? | ||
| You can get purple. | ||
| You laughing at me or cancel your ass? | ||
| You laughing at me because I'm purple? | ||
|
unidentified
|
Yeah. | |
| That's basically... | ||
| Yeah. | ||
| Well, you know, you might as well, you know, I'm a chicken dinner. | ||
| I'm macaroni and cheese. | ||
| I'm rice. | ||
| I'm the rolls. | ||
| I'm a chicken dinner, man. | ||
| I identify as... | ||
| These people identify as younger people. | ||
| It is a slippery slope. | ||
| Yeah, because people can... | ||
| You know, people always can be extreme with stuff like that. | ||
| They're extreme, and they keep pushing boundaries. | ||
| And they're pushing boundaries on the age of consent now, which is crazy. | ||
| You know, there's people that are also pushing back against calling people pedophiles. | ||
| They're saying you should call them minor attracted persons. | ||
| Man, come on. | ||
| It's insane. | ||
| I mean, you're getting academics that are saying this. | ||
| It's insane. | ||
| Yeah, it is. | ||
| You know, it's borderline madness somewhere almost there. | ||
| Yeah, well, it's the end of an empire. | ||
| There's this guy, Douglas Murray, he's this British intellectual, and he said that every time a civilization is close to collapsing, they become obsessed with gender. | ||
| It happened with the ancient Greeks, the Romans, it's just some weird thing that happens when everything is just going too good, and life is too easy. | ||
| People get obsessed with the weirdest things, and now we're obsessed with gender. | ||
| It's the beginning of the end. | ||
| Stay tuned. | ||
| Yeah, who knows? | ||
| Maybe we'll bounce back. | ||
| You know? | ||
| Get a good president in there, you know? | ||
| Turn it around. | ||
| I don't put a lot on the president. | ||
| I don't put a lot on the president, for sure. | ||
|
unidentified
|
I wonder what would happen if Robert Kennedy Jr. got in there. | |
| Very interested to see what happens with that guy. | ||
| Yeah. | ||
| You know, he's... | ||
| You know, he seemed like a guy who at least is down a deep dive. | ||
| Yeah. | ||
| And talk real and, you know, really try to dissect what's really going on instead of just going with the herd. | ||
| Which would be easy for him to do, like go with the herd, you know. | ||
| He may be, you know, even ahead more, or he may even be doing better, you know, when they poll, thinking like 20% of people or something. | ||
| Yeah, he'd probably be doing better. | ||
| Probably be doing better, and, you know, instead of... | ||
| You know, maybe he'll be one of their guys. | ||
| And so by him going this route, it seems like he's on a more noble route. | ||
| And we just check him out and see how he navigates some of this stuff. | ||
| He's definitely on a more noble route, and it's definitely not something he planned to do initially. | ||
| I mean, he was an environmental attorney. | ||
| He was the guy that cleaned up the Hudson River. | ||
| They would go after these corporations that were dumping toxic waste, and that was his thing. | ||
| It was like mercury in the water and trying to hold corporations accountable. | ||
| And then these women started showing up every time we would give these speeches, and they said, we want you to look into mercury and vaccines. | ||
| And so this is 18 years ago. | ||
| And so for 18 years, this guy's been saying all this stuff about environmental concerns. | ||
| And that was what his whole thing was. | ||
| And it wasn't until COVID came along. | ||
| And then he wrote that book, The Real Anthony Fauci, detailing what it is that these people are actually doing and how they are engineering these viruses. | ||
| And they give grants and it's dangerous gain-of-function research. | ||
| And then they give you one medication that you have to take. | ||
| And everybody gets on board with it, and they're making fucking billions of dollars. | ||
| Yes. | ||
| And no one's talking about what he's saying. | ||
| And he's saying it in a well-informed way, and he's expressing it to people like, this is the playbook they always use, and they just used it on everybody. | ||
| Look, he's dealing with the same people we probably all are dealing with. | ||
| And it's really time for us to really... | ||
| Come up with a plan on how we're going to deal with this because it's just going to continue to happen. | ||
| It's just going to continue to happen. | ||
| I don't have all the answers. | ||
| But I think we need to collectively start to not just give a pass to people doing things like this. | ||
| And we've got major outlets that's not Delivering the right message to the people. | ||
| Not delivering the right message. | ||
| Basically steering them the way that these super rich people want us to go. | ||
| And it's not cool. | ||
| No, it's not. | ||
| And I'm hoping people wake up enough to at least slow it down. | ||
|
unidentified
|
Yeah. | |
| Because these people are pushing in a very obvious and very specific direction. | ||
| They want digital currency, centralized digital currency that they control. | ||
| And they want to get everybody on a social credit score system. | ||
| They'll probably connect it to some sort of a vaccine app. | ||
| Or if you want to travel around, all they would need is another pandemic to try to push that shit through. | ||
| And they're already talking about that. | ||
| It's very spooky. | ||
| Because when you look into the history of this lab and them funding it and this getting out and the way they responded to it, the whole thing is so scary because it was effective. | ||
| It was effective and very, very financially effective. | ||
| I mean, they made a lot of fucking money. | ||
| Yeah. | ||
| And if they could do something similar again and then clamp down more on people, that's what scares me. | ||
| This talk of centralized digital currency, that's what they have in China. | ||
| If you fuck up in China and you get a bad social credit score because you tweeted something they didn't like, now you can't buy a plane ticket. | ||
| Now you can't buy a car. | ||
| Now you can't get a loan. | ||
| Now you can't do something. | ||
| You step the fucking line and people self-censor because they don't want to be a part of that. | ||
| Now they got you. | ||
| Yep, they got you. | ||
| Once you self-censor, Got you where they want you. | ||
| Yeah, we know that they were involved in Twitter. | ||
| We know that the government was involved in silencing different voices. | ||
| You know, they stopped that Hunter Biden laptop story from getting out before the election. | ||
| It's just, it's so obviously dirty shit. | ||
| I did a record called Everything's Corrupt. | ||
| And it is when you really look around, man. | ||
| It's like, where is the... | ||
| Where is the people that's doing the right thing? | ||
| Yeah. | ||
| Where they at? | ||
| Have you thought about doing anything with politics? | ||
| No, I would never. | ||
| I would never do nothing with politics. | ||
| Does anybody try to pressure you? | ||
| What you mean? | ||
| Like, Cube, you should run for mayor. | ||
| I tell my mama ready to marry. | ||
|
unidentified
|
You know? | |
| It's like, only thing I would do, I said, uh, king me. | ||
| You know, just... | ||
| Only thing I would accept is... | ||
| Turn you into a king? | ||
| Turn me into a king. | ||
| President. | ||
| Politician. | ||
| Begging-ass politician. | ||
| Powerless puppet. | ||
| Oh, no. | ||
| You know, I talked to one guy who actually... | ||
| Spends the money that the government allocates. | ||
| So, you know, Congress say this industry is going to get this many billions. | ||
| It's up to him to say where that money goes. | ||
| And I'm like, well, how often do you talk to people at Congress? | ||
| He said, never. | ||
| He said, they can't even get me on the phone. | ||
| I'm like, what? | ||
| He said, these people can't even get me on the phone, man. | ||
| I don't listen to them. | ||
| You know what I mean? | ||
| I just tell them where the money gotta go. | ||
| Wow, so he gets to decide? | ||
| You know, he's part of... | ||
| The government that, you know, when they allocate the money, it goes to these different agencies and departments, and then they allocate where it goes. | ||
| They can't spend any of it, so they can't take it, but they can spend it. | ||
| And then they can develop relationships with the people they give the money to. | ||
| Yeah, so, you know... | ||
| The people in Congress are, to me, actually powerless. | ||
| They're just theater at the end of the day. | ||
| Well, they're theater who also gets the inside trade. | ||
| Yeah. | ||
| That's the beautiful thing. | ||
| Exactly. | ||
| I mean, they know where that money's going. | ||
| Yeah. | ||
| You know what I mean? | ||
| They might not be able to touch it, but they can be on the other end to make sure their investments are carved out and they make a pretty penny off of it. | ||
| Well, not only that, they do it openly in front of everybody. | ||
| It's not illegal. | ||
| And every time people call to ban it, like Nancy Pelosi is like, what? | ||
| No. | ||
| We're not going to do that. | ||
| Why would we do that? | ||
| Yeah, exactly. | ||
| Ladies are at $200 million. | ||
| She makes $200 grand a year. | ||
| Yeah, right. | ||
| She's better at stock trading than Warren Buffett and George Soros. | ||
| Yeah. | ||
| Why wouldn't she be? | ||
| She know where everything is going to hit. | ||
| It's crazy. | ||
| She knows what's going to hit, when it's going to hit, and how much it's going to hit for. | ||
| And unless that's illegal, fuck you. | ||
| Fuck your whole system. | ||
| Exactly. | ||
| Because, you know, it's easy to... | ||
| You know, it's easy to corrupt these people. | ||
| You know what I mean? | ||
| It's all money. | ||
| Did you ever think you would have to think about it so much, though? | ||
| Like, I didn't think about this so much, like, 10, 15 years ago. | ||
| Well, I always had my kind of, you know, ever since, you know, people like Tipper Gore come after you, you pay attention to where the shots are being fired, you know, so... | ||
| Before then, just a little, you know, I was sitting, my pops would look at the news and yell at the screen. | ||
| You know what I mean? | ||
| That's how I know what was bullshit and what was real, you know. | ||
| And then, you know, I started doing my thing and then, like, the law, the FBI, you know, all these agencies started to come down on us. | ||
| Really scared the shit out at the record company because we wouldn't we could care less like We was like The day we got the FBI letter. | ||
| What was the FBI letter? | ||
| We got a FBI letter. | ||
| They sent the letter to priority records Saying they one guy was like, I'm you know Part of this department of the FBI and we're very concerned with this record called Straight Outta Compton. | ||
| You guys got a song on there called Fuck the Police and we think this song could encourage, you know, people to go against law enforcement and blah blah that and blah blah that. | ||
| Basically, you know, we'd like it if you guys took it off the shelf. | ||
| You know what I'm saying? | ||
| To that tip. | ||
| So, you know, they call us up there. | ||
| You know, they panicking. | ||
| We don't know why they want us to come. | ||
| They just like, man, you got to come here. | ||
| We got to talk to you. | ||
| Get up there and just like pull out this letter. | ||
| FBI. He's like, man, do you know what this is? | ||
| This fucking agent, he sent me this letter and they was all nervous and shit. | ||
| And we're looking like, a letter? | ||
| That's all you get? | ||
| They not gonna come in here and try to fuck with us? | ||
| They not gonna arrest us, cuff us, rough us up, none of that? | ||
| And we're like, y'all scared over a fucking letter? | ||
| Come back to South Central with us. | ||
| You know what I mean? | ||
| Deal with the sheriffs down there. | ||
| You know what I mean? | ||
| They do way more than give you a letter. | ||
| So we felt that it was like... | ||
| Easy was like, we're going to be big as fuck after this. | ||
| But the guys at the record company, this was the first time they ever dealt with pushback. | ||
| First time the government probably even knew they existed. | ||
| So they were freaked out. | ||
| And we were like... | ||
| Okay. | ||
| We was looking for them to raid our houses and shit. | ||
| Like, damn. | ||
| Because we done seen the Bataram. | ||
| We done seen them run up in people's houses on dope charges or whatever. | ||
| You know, especially in the late 80s, early 90s. | ||
| That's like they got a kick out of just running up in people's houses and shit. | ||
| So... | ||
| We were, like, looking for that to come in the next few weeks. | ||
| We was looking like, oh, they about to hit us. | ||
| And it never happened, so we was like, what's the issue? | ||
| What's the problem? | ||
| So it was just that letter and that was it? | ||
| It was just that letter. | ||
| And then we made the letter public, and they kind of just backed off and shit. | ||
| And then it became this big story of, you know, the FBI hates this group. | ||
| I think we was on a... | ||
| Covered like one of those, you know, New York magazines and it was like, the FBI hates this group. | ||
| Yeah, look at this. | ||
| Yeah, the FBI hates this band. | ||
| Wow. | ||
| Yeah. | ||
| Easy was right. | ||
| Yeah, he was. | ||
| That's the letter. | ||
| Wow. | ||
| Look at that. | ||
| A song recorded by the rap group NWA on their album entitled Straight Outta Compton encourages violence and disrespect for law enforcement officer and has been brought to my attention. | ||
| I understand your company recorded and distributed this album, and I am writing to share my thoughts and concerns with you. | ||
| Advocating violence and assault is wrong, and we in law enforcement community take the exception to such action. | ||
| Violent crimes, a major problem in our country, reached an unprecedented high in 1988. | ||
| Seventy-eight law enforcement officers were feloniously slain, and feloniously slain in the line of duty during 1988. | ||
| Four more in 1987. | ||
| Law enforcement... | ||
| Officers dedicate their lives to protection of our citizens, and recordings such as the one from NWA are both discouraging and degrading to these brave, dedicated officers. | ||
| Music plays a significant role in society, and I'd want you to be aware of the FBI's position relative to this song and its message. | ||
| I believe my reviews reflect the opinion of the entire law enforcement community. | ||
|
unidentified
|
Huh. | |
| Yeah. | ||
| Never met this dude? | ||
| Nah. | ||
| Nah, never. | ||
| Interesting. | ||
| Yeah. | ||
| 1988, it was a different world. | ||
| And that was the first. | ||
| That was like the first moment of that, where we had heard that the government and politicians were concerned about rap music. | ||
| Without a doubt. | ||
| They didn't come after me, but all these other different agencies were starting to hit us up. | ||
| They started going after Ice-T a little bit. | ||
| Body Count did a song called Cop Killer. | ||
| It was a time when we grew up real fast. | ||
| We had to understand that You know, this is bigger than hip-hop, and we gotta stand up for what we know is true and right. | ||
| It's like, we're not making shit up, you know? | ||
| Go down, you know? | ||
| I've seen guys tell cops, you know what I mean? | ||
| Take off that gun, take off that badge, and we can... | ||
| We could knuckle it up in the streets and do it like men. | ||
| So, you know, we knew that sentiment was out there where people was really like, yo, if you're going to act like a thug, you know what I'm saying, let's thug it out. | ||
| You know what I'm saying? | ||
| If you're going to act like an officer, then we'll respect your authority. | ||
| You see what I mean? | ||
| Yeah. | ||
| It was a lot of cops that we respected that came through, and they would treat us like real humans, not like suspects. | ||
| You know what I mean? | ||
| You don't want anybody to come through just treating you like a suspect. | ||
| You ain't out here doing nothing. | ||
| So we knew some dudes that would come through and talk to us, tell us, You know, y'all need to watch out, be careful, you know what I'm saying? | ||
| And, you know, do anybody know something that happened around the corner and all these little stuff? | ||
| And we like, nah, nah, nah. | ||
| But they was respectful. | ||
| And we respected their authority. | ||
| Then there was others that would come through, you know, look at you crazy, harass you, you know. | ||
| We was kids on the bikes. | ||
| We saw one day they came. | ||
| We like eight, nine years old, man. | ||
| We on our bikes. | ||
| Got our bikes laid down. | ||
| We made a ramp. | ||
| We all kicking on the grass, resting, looking at our bikes like they're fucking motorcycles and shit. | ||
| Like, you know? | ||
| And, man, sheriffs hit the corner, came all up on the grass, and, like, get against the car, all that, you know, bullshit. | ||
| And we kids. | ||
| They know we kids sitting on bikes, man. | ||
| What you think we did? | ||
| You know what I'm saying? | ||
| Like, rode on somebody's grass. | ||
| Yeah. | ||
| What you think we out here doing? | ||
| What was it like when the album came out interacting with cops? | ||
| Most of them was cool, actually. | ||
| Most of them said they listened to the song. | ||
| In the movie, we get ran out of Detroit. | ||
| They ran us off stage because we sung the song. | ||
| A lot of undercover police throwing M-80s and shit on the stage. | ||
|
unidentified
|
Really? | |
| Yeah. | ||
| So we thought they were shooting at us. | ||
| So we run off. | ||
| They catch us. | ||
| They round us up. | ||
| And, you know, they like thought you was going to come to Detroit, right? | ||
| Talking that cop. | ||
| I mean, that fuck the police shit. | ||
| And can't come to Detroit talking that. | ||
| We should have run y'all to jail. | ||
| You know what I mean? | ||
| We should have locked y'all up. | ||
| And blah, blah, blah. | ||
| And we like listening. | ||
| We listening. | ||
| And he said, but... | ||
| If y'all got a couple pictures, y'all got a couple 8x10s, y'all signing for my daughter, we ain't gonna have no problems. | ||
| So, you know, we was pissed, but we was like, man, Eazy was like, get them t-shirts, get them everything they need. | ||
| Come on, come on, come on, come on, come on. | ||
| And so, you know, we signed and shit, you know, reluctantly. | ||
| But the concert's over. | ||
| Yeah, they turned the concert out. | ||
| Yeah. | ||
| I mean, they ran us off stage after three songs. | ||
| And they got pictures. | ||
| And then they got pictures and they got autographs for their daughters and they let us go. | ||
| They just said, you can't come to Detroit with that bullshit. | ||
|
unidentified
|
Wow. | |
| So it was only Detroit that was the only place that fucked us up? | ||
| Cincinnati they ran us off. | ||
| Really? | ||
| Man, they would have us... | ||
| Before every concert, a sergeant or a captain or somebody would come in with a city ordinance. | ||
| Of what was obscene in their city, in their town, and what could be said on stage, and what couldn't be said. | ||
| And if you say any of this or do any of this, we will arrest you after your performance. | ||
| Wow. | ||
| Like, what words? | ||
| I mean, fuck, motherfucker. | ||
| Really? | ||
| Oh my god. | ||
| It was like the 1950s again. | ||
| Yeah, it was like on that tip. | ||
| Wow. | ||
| This is 88? | ||
| Around then? | ||
| Yeah, 88, 89. Wow. | ||
| And when we hit the stage, we like, man, we would tell the audience, you know what these motherfuckers told us backstage? | ||
| They said we couldn't say fuck, we couldn't say shit, we couldn't say this, we couldn't say bitch. | ||
| You know what I mean? | ||
| And we're gonna start this off with a bitch is a bitch. | ||
| A bitch is a bitch. | ||
| You know, so... | ||
| We would do our shows. | ||
| You know, sometimes they would just let us go. | ||
| And then sometimes you would... | ||
| Like, after the show, you'd have to look and see the look and... | ||
| Like, the security in everybody's face. | ||
| And you knew, okay, they're on us. | ||
| So... | ||
| Many a times... | ||
| We come off stage, but then we're like switching jackets. | ||
| Like people handing you jackets, handing you different shirts and shit. | ||
| So you can put them on and walk through the backstage because now cops was like, where they at? | ||
| You know, we're those guys that was on stage. | ||
| And In Cincinnati, I saw them coming. | ||
| I saw them all looking around, and I didn't have a chance to change my shit, so they was looking for me. | ||
| And so I hit the exit. | ||
| I went outside. | ||
| I went outside the concert, and it was people flowing in and out. | ||
| It was like, Q, what you doing out here? | ||
| I said, man, they're looking for me. | ||
| He's like, I jumped in the car with them, like fans and shit. | ||
| I just jumped in the car with them. | ||
| They drove me across the bridge to Kansas City. | ||
| I mean, Kentucky is right across from Cincinnati. | ||
| We're sitting there waiting for anybody to drive up. | ||
| Nobody drove up, and they ended up driving me back to the hotel. | ||
| And then you got Eazy and Dre. | ||
| Where the fuck was you? | ||
| Where'd you go, man? | ||
| We all got citations, and we gotta come back here. | ||
| They want us to fly back here to go to court, and they couldn't catch you. | ||
| They was looking for you. | ||
| They couldn't catch you. | ||
| I was like, man, I dipped. | ||
| I dipped. | ||
| And I'm gonna dip again next show. | ||
| You know what I'm saying? | ||
| It was crazy. | ||
| Did they have to go back to court? | ||
| They had to go back to court. | ||
|
unidentified
|
Wow. | |
| Yeah, they had to go back to court and fight it. | ||
| And what happened? | ||
| I don't remember because I ended up leaving the group. | ||
| I ended up leaving the group, so I don't really know what happened kind of after 89 with everybody. | ||
| Wow. | ||
| What a wild time. | ||
| It was crazy. | ||
| Crazy. | ||
| But fun. | ||
| We were living the time of our lives because we never knew we was going to be this popular throughout the country. | ||
| We thought the records that we did were... | ||
| Just local, you know, we was going to be, you know, hood stars, you know what I mean? | ||
| Right there in our neighborhood, people was going to love us, but outside of Compton, South Central, Long Beach, Watts, we were like, you know, people, they're not even going to know what we're talking about. | ||
| Right. | ||
| Little did we know that everybody was kind of going through the same things that we were going through. | ||
| That's so wild. | ||
| So what was it like when it blew up? | ||
| I mean, for you to be a young guy in this, you know, hip-hop just in general was relatively new. | ||
| Yeah. | ||
| And for it to blow up that big, that had to be a wild change of your life. | ||
| It was, you know, because you think you're only going to be an underground artist. | ||
| Before we sold our records, records like ours would be in the section with the Red Fox records and the Richard Pryor, the Eddie Murphy, the dirty comedy records. | ||
| That's where you would find... | ||
| These dirty hip-hop records, and there was a few, you know, there's a dude named Blowfly. | ||
| Blowfly would have songs called, he had a song, he got one a song called Rap Dirty, and like those kind of songs would be in this section that nobody went to unless you just wanted to laugh or something. | ||
| We thought our records would end up there, and that being. | ||
| And it just blew up. | ||
| MTV banned our Straight Outta Compton video, and that blew the group up because... | ||
| People wanted to know why did they do something that even MTV was scared to show. | ||
| And so we went from thinking we were going to be in that little bend to they putting us in the front of the record store and promoting that. | ||
| You can get straight out of Compton here. | ||
| Wow. | ||
| And so it just took us from, you know, that... | ||
| Back-of-the-store stuff to Prime Real Estate. | ||
| How many records did Straight Outta Compton sell? | ||
| I don't know the exact end figure, but even that, while I was still in the group, it was like two million records, and then it was just growing. | ||
| So by now, it's got to be up to at least four. | ||
| Wow. | ||
| That had to be a fucking crazy experience to not think that that was ever going to happen. | ||
| And then, boom. | ||
| It was, you know... | ||
| Most controversial band in America. | ||
| We went from being straight locals to, like, being everywhere. | ||
| Matter of fact, I went to school after I was in the group. | ||
| Like... | ||
| I was like, I can't hang my hat on this. | ||
| I'm not going to be able to live on dirty rap records. | ||
| Can't play them on the radio. | ||
| Only underground people are going to hear it. | ||
| So I went off to a trade school in Phoenix, Arizona called Phoenix Institute of Technology. | ||
| Where'd you go to learn? | ||
| Architectural drafting. | ||
| Really? | ||
| Yeah. | ||
| Wow. | ||
| Yeah, I took drafting in school and I dug it and sent some pamphlet in the mail. | ||
| You know, if you want more information, fill this out. | ||
| A little postcard. | ||
| I filled it out. | ||
| A fucker showed up to my house and they was in there talking to my mother and father. | ||
| I'm like, what the hell? | ||
| You're going to school. | ||
| I got a show. | ||
|
unidentified
|
I got a... | |
| No, you're going to school. | ||
| Like, damn. | ||
| Damn. | ||
| How long was that for? | ||
| A year. | ||
| Wow. | ||
| Yep. | ||
| Yep. | ||
| Fall of 87 to the... | ||
| Fall of 88. Wow. | ||
| So you got out of trade school and then the album blows up. | ||
| I mean, we got out of trade school and then we was working on Eazy's solo album. | ||
| Eazy does it, his solo album came out right before NWA. And that blew him up. | ||
| And we were along for the ride, so when the N.W.A. record came and he was part of the N.W.A. group, it just put a spotlight on the group. | ||
| And then the record was crazy, so just took it to the next level. | ||
| What was your earliest influences in hip-hop? | ||
| Curtis Blow, Run DMC, Sugarhill Gang, Rakim, Big Daddy Kane, Biz Marquis, Salt-N-Pepa, You know, like the greats. | ||
| All the greats. | ||
| Beastie Boys. | ||
| LL Cool J for sure. | ||
| You know, we loved LL. Like, LL was the man always. | ||
| And so when was the first time you actually performed? | ||
| How old were you? | ||
| I was probably 15, 15. Is that a local thing? | ||
| Yeah, you know, we would do rap battles. | ||
| So we would go up to people's school and find out, you know, everybody didn't rap. | ||
| Like now, everybody raps. | ||
| But back then, it was like a niche group. | ||
| So we had honed our skills, so we would go up to different high schools and hop the fence and nutrition and shit and find a spot in battle. | ||
| You know what I mean? | ||
| So it was fun. | ||
| I was like a karate master looking for a spar. | ||
| You know, we're walking around. | ||
| It's like, who go to that school? | ||
| Who rap over there? | ||
| Who over here? | ||
| It's like, there's some dudes in my school, man. | ||
| They can bust, man. | ||
| Y'all should come up here. | ||
| You know, I was trying to set it up for Friday. | ||
| Y'all come up here Friday, hit the fence. | ||
| You know, we bust, and then y'all got to get out before, you know what I mean? | ||
| The counselors come. | ||
| You know what I'm saying? | ||
| So we'd find ourselves going from different high schools. | ||
| We would ditch our own school to go up to different schools and rap against people. | ||
| But first time I really hit the stage, we did this contest called the Best Rappers of the West Contest. | ||
| And we entered our song. | ||
| Man, we made it all the way to the finals. | ||
| They did the finals at the Olympic Auditorium in LA. That's where they used to do all the old wrestling matches and fights. | ||
| So they used to do roller derby here too. | ||
| Thunderbirds. | ||
| And so, we there, we performed, Dre came, you know, Dre was in the world-class record crew, DJ crew, you know, so everybody there, our family, friends, and they messed up our tape. | ||
| Like, you know, our music was instrumental, but it was cassette. | ||
| And when they hit it, it was in the wrong spot. | ||
| They didn't rewind it. | ||
| So it was off cue and then they had to rewind it and then start over. | ||
| The thrill was gone. | ||
| We lost. | ||
| We came in second place. | ||
| And so that was my first taste of hitting the stage. | ||
| You knew that's what you wanted to do? | ||
| I loved it. | ||
| You know, I had a great time. | ||
| Yeah, I did. | ||
| And hanging with Dre more and more, you know, he saw us that night. | ||
| He knew we had got kind of robbed a little bit. | ||
| And he was like, we'll let y'all perform at Dudos, which is the club he DJed in Compton. | ||
| It's right down Central Avenue. | ||
| And we went down there, you know, it's a party, I mean, full of Bloods. | ||
| It's like full of Compton Bloods, Pyrus, all through this place. | ||
| This is right in their neighborhood. | ||
| And Dre is like, y'all better be good. | ||
| Y'all better be good, man. | ||
| I don't know what they gonna do. | ||
| They might throw shit at you, you know. | ||
| Might wanna fuck you up. | ||
| Y'all better be good. | ||
| That's all he kept saying. | ||
| So we were like, damn. | ||
| We gotta think of something clever. | ||
| We gotta be good. | ||
| We gotta be good. | ||
| So we started doing parody raps. | ||
| We'd take the hit song and do a dirty version of it. | ||
| Roxanne, Roxanne was the hit song that was out. | ||
| UTFO. And we made a song called Diane, Diane. | ||
| It went crazy. | ||
| It went crazy. | ||
| So we knew like, oh damn, this is a style. | ||
| Like, we can do our own raps hardcore like this. | ||
| We don't have to try to be, you know... | ||
| Fat boys. | ||
| We have to try to be... | ||
| Mainstreet. | ||
| Yeah, we can just give it to them raw how they want it. | ||
| Talk about the neighborhood, you know? | ||
| Yeah. | ||
| That's what we started doing. | ||
| So, that's interesting. | ||
| So, that sort of led to the way the band became, doing that show. | ||
| Yeah. | ||
| Yeah, and doing that show, we... | ||
| See, I wasn't in NW. I had my own group. | ||
| So... | ||
| We start working with EZ, and NWA is actually an all-star group. | ||
| It's easy kind of plucking different people from different groups, putting them together and saying, we're going to huddle up and make these dirty records. | ||
| And then after we finish, y'all can go back and make y'all clean little records. | ||
| That's kind of how NWA was formed. | ||
|
unidentified
|
Wow. | |
| Yeah, so they grabbed Dre and Yella from Wrecking Crew. | ||
| They grabbed me. | ||
| I was in a group called Stereo Crew. | ||
| We changed our name to CIA. Criminals in Action, but Lonzo made us call ourselves Crew in Action because he was like, nobody gonna buy a record that said Criminals. | ||
| And then you had EZ, you know what I mean? | ||
| So we formed NWA. Wren came later. | ||
| When I went to school, that's when Wren came. | ||
| MC Wren. | ||
| So, yeah. | ||
| And then what happened is we do the record, it blow up, and everybody say... | ||
| Tell the groups, hey man, this shit is popping. | ||
| In no way in the world we are going back to being nobody in our groups. | ||
| You know what I mean? | ||
| We gotta run with this. | ||
| And it just... | ||
| I'm still running with it. | ||
| You were always known for your lyrics. | ||
| You're a great writer. | ||
| Like if you... | ||
| Did you always have that ability? | ||
| Did you write before you wrote lyrics? | ||
| Yeah. | ||
| But, you know, what I did when I was young, you know, the teachers would always ask, like, well, okay, what you do over summer vacation? | ||
| What'd you do? | ||
| Write down what you guys do. | ||
| So, mine would be Thorough, you know, I would be able to really explain everything that I did. | ||
| And they were really impressed. | ||
| My teachers were impressed that I could remember all that and put it in a comprehensive form where they can read, you know, my whole summer, really. | ||
| And so by getting those kind of, you know, Extra credit for being good or, you know, teacher hang your stuff up there. | ||
| You know, you're like, okay, I can do this. | ||
| I can do this. | ||
| Same with art, you know, and I actually, they had me do a speech. | ||
| During my sixth grade graduation, they asked me, would you go up there and address the graduation class? | ||
| So, you know, the writing, that speech, these things, I knew, okay, I could put words together, and I could speak them in front of a crowd, and it wasn't a nightmare. | ||
| So when it was time to rap and time to rhyme, which was a couple years later when I turned 14, then I was able to put it together and feel like, okay, I know how to write and I know how to rap. | ||
| So jump in front of the crowd and get busy. | ||
| That's amazing. | ||
| That's so interesting that that's the genesis of your writing because it makes sense. | ||
| Because your writing was always so thorough and well thought out. | ||
| And when you went solo, that was very evident. | ||
| It was very evident. | ||
| Like, this is great fucking writing. | ||
| The lyrics back then, that's my favorite era of hip-hop. | ||
| It's like early 90s, late 80s, early 90s, like in the East Coast, like Cool Mo D. Yeah. | ||
| Yeah, yeah. | ||
| Yeah, prolific. | ||
| Set the bar. | ||
| You know, those guys started to set the bar higher and higher. | ||
| And, you know, you had to keep up to even get attention. | ||
| So, you know, those early pioneers of hip-hop, even L.L. was, you know, amazing. | ||
| Lyricist, wordsmith, you know, the original Rock the Bells. | ||
| He's another guy who's done everything. | ||
| Yeah. | ||
| Movies, TV. I call him the hip-hop LeBron. | ||
| He's been doing this since he was 15 at the highest level and never came down. | ||
| And still looks great. | ||
| Yeah. | ||
| Still looks like a superstar. | ||
| So it's cool to be friends with these guys that I looked up to so much as a youngster. | ||
| There was a weird time. | ||
| The East Coast vs. | ||
| West Coast shit was very weird. | ||
| Yeah. | ||
| It was... | ||
| You know, people equate it to Tupac and shit. | ||
| I mean, Bad Boy and Death Row. | ||
| But it was actually bubbling before that. | ||
| It was, to me, an industry thing in a way. | ||
| Like, New York had the throne for so long. | ||
| And here go, well, at least a decade or more. | ||
| And here comes these West Coast rappers, you know, kind of taking their attention away. | ||
| And so the... | ||
| The industry people, it started to bubble up with them that, yo, we're doing real hip-hop, they're just doing gangster records, you know? | ||
| And so that started to kind of get into the artists, you know what I mean? | ||
| That sentiment started to poison the artists. | ||
| And an artist named Tim Dawg did a song called Fuck Compton, like, out of nowhere. | ||
| We was like, damn, we... | ||
| We like New York. | ||
| Why y'all, you know, why he take a shot? | ||
| And nobody really rebutted him. | ||
| Like, you know, they kind of let it slide. | ||
| And then more and more artists start taking shots. | ||
| Here and there. | ||
| And then the thing with Bad Boy and Death Row, it kind of just took it over the top. | ||
| It just made it, because they were the hottest labels. | ||
| You had the hottest label on the East Coast battling with the hottest label on the West Coast. | ||
| So that made that undercurrent of animosity that was growing blow all the way up and look like it was a feud. | ||
| How did that ever get resolved? | ||
| I think when Tupac got killed and then Biggie was murdered shortly after. | ||
| People realize this is a dead-end road. | ||
| Like, people stopped listening, really, to East Coast and West Coast at that time. | ||
| And that's how the immersion of the South came. | ||
| You know, the South was there bubbling. | ||
| They was doing their thing. | ||
| They had groups that were—that was making a dent. | ||
| But at one point— All the hip-hop fans were so fed up with the East Coast, West Coast beef that they said, you know, we're just gonna pay attention to what the South is doing. | ||
| You guys gotta heal your wounds and come back. | ||
| And so that's the emergence of the South and, you know, all the groups that came out. | ||
| Back then, were you touring on the East Coast? | ||
| Yeah. | ||
| So what was it like when you were touring on the East Coast in the middle of all that shit? | ||
| I mean, it was always love. | ||
| I mean, some fans took sides, but most of it was industry stuff, and they were kind of caught in the middle. | ||
| So I did a record called Bow Down with the West Side Connection, which we addressed a lot of the beef because we felt like... | ||
| Most of the industry was in New York at the time. | ||
| So we felt like if we didn't stand up for ourselves in some way, shape or form, what we accomplished the last decade would be erased and eroded and dismissed, discredited. | ||
| We wouldn't... | ||
| We would be played out. | ||
| You know what I mean? | ||
| We wouldn't have longevity. | ||
|
unidentified
|
So... | |
| You know, there was, you know, back and forth. | ||
| But at the end of the day... | ||
| You know, Tupac being killed, Biggie being killed, was just a wake-up call for the whole industry. | ||
| That's sad that that's how the wake-up call had to go. | ||
| It's crazy. | ||
| Crazy. | ||
| Yeah. | ||
| I mean, I remember I was on news radio, on the set of news radio, when someone told me Tupac got killed. | ||
| And I remember thinking, how is that possible? | ||
| How is that real? | ||
| I, um... | ||
| Yeah, I just, you know, it was a new day. | ||
| Like, it's like, oh, we in a new era where celebrity means nothing. | ||
| You know, celebrity means nothing. | ||
| Anybody can get it. | ||
| Yeah. | ||
| So it's damn near like we back, where we started from back in the hood, you know, trying not to get it. | ||
| And here, you're a celebrity and you can still get it. | ||
| How dangerous did that feel to you back then? | ||
| You know, no more dangerous than it feels when any of people, you know, any person I know gets shot. | ||
| You know, it feels like, you know, damn. | ||
| You know, this never ends. | ||
| I don't remember taking Any more precaution than I usually would. | ||
| But I knew people, you know, some dudes was getting bulletproof trucks and shit and bulletproof vans and all this stuff. | ||
| I was like, nah, I ain't going to that extent. | ||
| It's just a crazy time in music history, too, because, you know, there'd never been like rock bands that were feuding with each other to the point where you were worried about people getting murdered. | ||
| No. | ||
| Not that I know of. | ||
| You know, rock bands do feud. | ||
| They usually don't do diss records either. | ||
| Right, right. | ||
| No, they just feud or they have subliminal, subliminal disses. | ||
| It's never like... | ||
| Yeah, the diss record thing was wild. | ||
| That was really the first time artists ever went after each other like that. | ||
| Yeah. | ||
| But, you know, it's like... | ||
| It's like sparring. | ||
| It's like battling. | ||
| It's like, you know, it's part of the game. | ||
| So it's welcomed in a way. | ||
| You know, you spar, you practice, you know how to fight, and then somebody get in your face and challenge you. | ||
| Like, okay, this is what we do. | ||
| This is rumble. | ||
| You know what I'm saying? | ||
| So it's like you grow up battling, you know, you got your raps, you say your cocky shit, you know what I mean? | ||
| And somebody wanna, you know, put it on wax and battle. | ||
| Like, we can battle on wax any day. | ||
| You know what I'm saying? | ||
| So, let's go for it. | ||
| When did it feel like, for you, all that shit sort of, like, went away? | ||
| Like, the feud stuff, the... | ||
| When did it seem like it was just back to just making music? | ||
|
unidentified
|
Um... | |
| For some reason, I think, um... | ||
| Like, 9-11? | ||
| Like, that tragedy of 9-11? | ||
| For some reason, like, it seemed like from then the feuding stopped. | ||
| And people kind of reassessed and reorganized their thought process when it comes to that. | ||
| Like, they... | ||
| It was like... | ||
| That's when it seemed like a ceasefire just was the best thing to do. | ||
| Because, you know, like the country went through a crazy shake-up. | ||
| It was a trip. | ||
| You know, you had groups like Rockin' the Red, White, and Blue, and they was like into, you know, It's patriotism and really into, you know, uh-oh, you know, we got other forces out there that's trying to take down New York City, you know what I mean? | ||
| We can't be hating on New York after that. | ||
| Like, we all gotta... | ||
| Band together. | ||
| That was the sentiment. | ||
| It's crazy that sometimes it takes something like that, like a national tragedy to wake people up to what's really important. | ||
| Yeah, major shake-up. | ||
| So how the fuck did you go from N.W.A., your solo career, and then movies, And then, family movies. | ||
| Like, was there like a resistance for that? | ||
| People like, did you listen to his old shit? | ||
| You know? | ||
| I mean, because people were taking their kids to see those movies, and then those kids became Ice Cube fans, and then they go into your old shit, and like, wow! | ||
| Yeah, I mean, it's a great, it's kind of like, you know, they're caught in the Ice Cube vortex in a way, you know what I'm saying? | ||
| Because here's how it happened. | ||
| I'm in the NWA. I go solo. | ||
| I'm just trying to be the best rapper in the world. | ||
| That's all I'm concerned about. | ||
| And I meet this kid, John Singleton, who's an intern. | ||
| I meet him at the Arsenio Hall Show. | ||
| He's an intern there. | ||
| I'm there to talk to Arsenio to say, dude, You had 2 Live Crew on, why don't you have N.W.A. on? | ||
| So, never had that conversation with Arsenio, because John Singleton is talking my ear off. | ||
| And he's like, I'm a junior at USC, I'm going to put you in a movie. | ||
|
unidentified
|
I'm like, dude, what? | |
| I'm not an actor. | ||
| You know what I mean? | ||
| I thought you had to go to Juilliard for 18 years to be an actor. | ||
| So I'm like, what? | ||
| What you talking about, man? | ||
| Nah. | ||
| And then he pursued me. | ||
| Two years, dude. | ||
| Two years. | ||
| And then he finally said, yo, I got the movie. | ||
| We're going to do it. | ||
| And so that was Boys in the Hood. | ||
| So... | ||
| He discovered me. | ||
| That's how I got into movies. | ||
| And when we're doing that movie, he's saying, when you gonna write a movie? | ||
| I'm like, what? | ||
| Dude, what are you talking about? | ||
| Why you keep hitting me with this stuff that I don't do? | ||
| He said, man, you can write a song like that. | ||
| You can write a movie like that. | ||
| I'm like, okay. | ||
| I go by a computer that same day, and Final Draft, which is a script writing, And I start writing a script. | ||
| Don't know one thing about writing a script. | ||
| Just start writing one. | ||
| It was terrible, but he helped me. | ||
| He just kept telling me, keep writing. | ||
| More pages. | ||
| Keep going until you finish it. | ||
| Long story short, I end up, a few years later, writing Friday. | ||
| Friday, 1995, comes out. | ||
| Big cult classic. | ||
| So... | ||
| As the years go on, I got these little kids coming to me doing all these cuss lines from Friday. | ||
| I'm like, what's your little ass doing watching Friday? | ||
| So I did another movie called Barbershop. | ||
| Now, that's an already comedy Friday. | ||
| So I do Barbershop. | ||
| It's... | ||
| Good reaction. | ||
| People love it. | ||
| It's PG-13. | ||
| So the movie is bigger because it appeals to a bigger audience. | ||
| So I'm like, damn, we was able to work it at rated R. We were able to work it at PG-13. | ||
| What if I did a PG movie? | ||
| Because I still got little kids coming to me talking about, you got knocked the fuck out, man. | ||
| Seven. | ||
| I need to do something for your little seven-year-old ass so you don't have to go watch Friday. | ||
| You know what I mean? | ||
| You should be watching Friday when you get about 11, 12, not seven. | ||
| So I was like, you know, I was with Revolution, Joe Rolfe over at Revolution, and he was like, yo... | ||
| We got this movie that Adam Sandler was going to do, but he can't do it. | ||
| Will you take a look at it? | ||
| And I said, yeah, I'll take a look at it. | ||
| And it was, are we there yet? | ||
| I'm like, oh, this is a kid's movie. | ||
| He's like, yeah, that's okay. | ||
| I think I can tailor-make it where it fits me. | ||
| But, yeah, let's give it a try. | ||
| And we do it. | ||
| And, of course, everybody go apeshit. | ||
| Cube, you gangster. | ||
| What you doing these kids' movies for? | ||
| What's wrong with you? | ||
| What the hell's going on, man? | ||
| You don't got to suck. | ||
| All this stuff they was talking, right? | ||
| So, movie comes out, and kids, like, lose their mind. | ||
| They love the movie. | ||
| So now, this is the vortex, right? | ||
| They come in. | ||
| They love Are We There Yet? | ||
| 5, 6, 7, 8... | ||
| By the time they get 10 or 11, somebody done show them barbershop or maybe Friday. | ||
| So they love me from Are We There Yet? | ||
| Now they love me from Friday. | ||
| And then somebody says, listen to this. | ||
| And hands them my music when they get about 15, 14. And they say, I love this guy. | ||
| And I got fans all ages who love Ice Cube because they've been, like, walked up from Are We There Yet? | ||
| to Barbershop to Friday to my music, which is a whole different animal. | ||
| I don't think there's anybody else like that, that has that varied of a career. | ||
| Um, I don't know. | ||
| I haven't thought about it, but it's pretty cool and dynamic. | ||
| You know, I know I met your daughter. | ||
| She's 27. Yeah, and first thing she was exposed to is I'm not there yet. | ||
| Yeah, she's a fan. | ||
| You know what I'm saying? | ||
| So that movie was a way to stay connected to the younger generation always without the parents saying Do you know who this is? | ||
| This is Ice Cube. | ||
| He used to be blah blah blah and blah blah blah. | ||
| Now the kids know who I am before the parents even have to point it out. | ||
| Yeah. | ||
| So it's been a great thing for my career as far as longevity and gaining new fans without necessarily having to have a new hit record. | ||
| Right, right, right. | ||
| You have a giant library of content. | ||
| Yes. | ||
| And it's cool because You know, there's always going to be kids, always going to be new kids. | ||
| There's always going to be something for parents to try to shove in front of them, to watch, to take their time. | ||
| And are we there? | ||
| It's a cool option, you know what I'm saying? | ||
| And then we did Are We Done Yet? | ||
| And people were asking me, when are you going to do the next one? | ||
| And I'm like, y'all want a third one? | ||
| Okay, let's think about it. | ||
| Are you going to do a third one? | ||
| We'll see. | ||
| We've got to talk to Joe and Revolution. | ||
| You know, get it right. | ||
| When I found out that you wrote Friday, I was like, that's insane. | ||
| That's incredible. | ||
| Yeah, me and DJ Pooh. | ||
| That's a funny fucking movie. | ||
| Yeah. | ||
| Yeah, it is, you know? | ||
| I mean, DJ Pooh, he's one of those, he's like one of those undercover geniuses that been involved in a lot of hip-hop. | ||
| I mean, he helped LL do Going Back to Cali. | ||
| You know what I mean? | ||
|
unidentified
|
Wow. | |
| He's been around forever, and We're all fans of Poo. | ||
| You know what I'm saying? | ||
| And Poo is funny. | ||
| He technical. | ||
| He's the one who got Rockstar to do the Grand Theft Auto San Andreas. | ||
| That whole, you know, like take it from Miami and put it in LA. You know what I mean? | ||
| Take it from the Miami dope culture to the LA gang culture. | ||
| So, he's the one who's behind the scenes with stuff like that, and he helped me write Friday. | ||
| He produced It Was A Good Day, the song. | ||
| So, whenever we're together, it's just magic. | ||
| And we wrote Friday because we were watching In Living Color, and we loved Hollywood Shuffle by Robert Townsend. | ||
| And we was like, Let's write a movie about the neighborhood. | ||
| Because everything that was coming out was depressing. | ||
| It was colors, boys in the hood, minister society, South Central. | ||
| It was like, yo, this is a hell zone. | ||
| And we was like... | ||
| Did you remember it like that? | ||
| Don't we laugh around here all the time? | ||
| Like, let's show how it really is for us around here. | ||
| And so that's how Friday kind of germinated and became like, yo, we're going to show our version of how we have fun in South Central. | ||
| That is an all-time classic. | ||
| Yeah, it's a movie that I get commented on more than any other. | ||
| Like, people quote it, love it. | ||
| Yeah. | ||
| The characters are iconic. | ||
| People dress up. | ||
| When you know you got a line like, you got knocked the fuck out, that gets repeated for decades. | ||
| Yeah. | ||
| Yeah. | ||
| I mean, I knew it was one of those lines because I had never heard it in a movie before when somebody got knocked out. | ||
| And I'm like, yeah, this is what he's going to say when he jump over him and look down on him. | ||
| Like, you got knocked the fuck out. | ||
| How many times have you seen that on a world? | ||
|
unidentified
|
Yeah. | |
| How many times have you seen that on World Star Hip Hop now, though? | ||
| All the time. | ||
| It's just that everybody yells. | ||
| Yeah. | ||
| If someone goes down, it's automatic. | ||
| It's automatic. | ||
| Yeah. | ||
| You know, that's, as an artist, that's all you want is to have a couple classics that people remember you for, you know, when you're 80 in a cafe, you know, drinking coffee, somebody would run up and be like, yo, Craig, what's up? | ||
| You know what I mean? | ||
| That's all you want. | ||
| That's amazing. | ||
| You can do whatever the fuck you want now. | ||
| What do you enjoy doing most? | ||
| Creating, you know, on all levels. | ||
| That's what get my juices going is being in the lab, the creative process, whether it's music. | ||
| Movies, TV, documentaries, or sports. | ||
| It's being creative. | ||
| It's being part of the mix. | ||
| When I go on movies and I'm just an actor, I'll be like... | ||
| Damn. | ||
| This is so boring. | ||
| Just sitting around waiting to act. | ||
| I like to be in the producers' meetings. | ||
| I like to know what's going on, what's on the set. | ||
| Did we get that stunt? | ||
| We're going to still do that stunt at 3 o'clock. | ||
| I just need to Be part of the mix to stay, you know, motivated and interested. | ||
| You know what I mean? | ||
| But if I'm just a piece of the puzzle and kind of sitting off to the side waiting to be used, like a tool-like, it's not as cool for me. | ||
|
unidentified
|
Understandable. | |
| Yeah. | ||
| Why would it be? | ||
| And you don't have to do that anymore. | ||
| Yeah, you know, so I want to be in the mix. | ||
| You know, I want to be in the kitchen cooking it. | ||
| I don't just want to sit down and eat it. | ||
| No matter what it is. | ||
| No matter what it is. | ||
| If I'm going to be a part of it, I got to be in the kitchen. | ||
| I can't just play a... | ||
| Look, I've acted in movies. | ||
| You know, I did 21 Jump Street. | ||
| I did Three Kings, you know, where I'm just an actor. | ||
| And I'm fine with that. | ||
| You know, don't think... | ||
| Okay, we can't hire Q because he just want to produce but but I like to produce and I think I add a lot to to the movies that I produce and The movies I produce you can watch over and over and over again and never get tired Yeah, no, it's a you've had an amazing career So when you just decided you just do you kind of just do whatever you're interested in now like whatever you feel like pursuing Yeah, that's a beautiful freedom It is. | ||
| Because, you know, I'm not playing the game no more. | ||
| Like, I don't play the radio game. | ||
| Like, how many spins did I get on that song? | ||
| How many spins? | ||
| I look at Ice Cube fans like clientele. | ||
| I just want to serve them, give them what they like, give them what they love, and go back to the lab. | ||
| I'm not worried about charts and All these measuring sticks on if you're good or not or is your work good, you know, views or whatever. | ||
| I'm into doing dope shit that I feel and giving it to the people that want it. | ||
| That's beautiful. | ||
| It's great for an artist. | ||
| It's a beautiful life. | ||
| It's pretty... | ||
| I'm pretty blessed in that aspect because I know guys and I know people who are Bigger than me on major labels, and they're miserable because they're so scheduled and structured, and they feel obligated because this and that going on. | ||
| And I don't want to feel obligated when I'm making music to the people who's spending money. | ||
| I want to make the music I feel, and if you like it, spend money on it. | ||
| Well, you have a very wise philosophy on how to live your life. | ||
| Because, like, just the way you describe, like, talking about rich people, there's a lot of rich people that are miserable as fuck. | ||
|
unidentified
|
You don't want to be rich. | |
| You want to be happy. | ||
| Yes. | ||
| You'd rather be less rich and more happy. | ||
| Without a doubt. | ||
| Like, whatever it is, you know, whatever it is, man, it's more important to be happy doing it. | ||
| Yeah. | ||
| And... | ||
| I notice when you're happy doing things and when you love what you do and when you put your all into it, you know, the money comes. | ||
| When you focus on the money and you're doing things to get the money, you're never happy doing it or rarely happy doing it. | ||
| At the end of the day, you wish you could have got more money, so you're not even happy with what you would pay. | ||
| It also doesn't resonate with people the same way. | ||
| It resonates with people when you do what you love. | ||
| When you do what you love and it comes out, especially when you're talking about music. | ||
| You do what you love, people get it. | ||
| They feel it. | ||
| They feel it from the work. | ||
| And if you're just doing it because you're hoping it's going to be successful, people feel that too. | ||
| Yeah, or just doing what you think is a hit. | ||
| That's the worst thing an artist can do is to go try to make a hit. | ||
| You gotta make a good song. | ||
| Damn if it's a hit. | ||
| A good song is a good song whether it's played a thousand times or once. | ||
| That's what you focus on, making good music. | ||
| Whether it's a hit or not, that's in the stars. | ||
| Where do you think you got this wisdom to look at things so objectively and clearly? | ||
| I think You know, when I look at how I grew up, like my pops is an independent man, independent thinker. | ||
| It's not part of any club or any organization or any fraternity or any Gang or any... | ||
| It's no man that can come and tell him what to do unless he's at work. | ||
| So, I like that. | ||
| And I saw him stand on his own two feet. | ||
| He moved to LA when he was 19 years old from Louisiana. | ||
| And so, he's been a man that handled his business from day one. | ||
| So, I think he's the foundation of how I view things. | ||
| And living and being young, thrown into the fire, you know, seem like every time I look up, there's something that needs my focus and attention that's trying to take down what I've built. | ||
| So I... I'm always paying attention. | ||
| I never go in something blind and I try to understand all the angles before I make a decision. | ||
| That's very fortunate that you had a father like that. | ||
| I am. | ||
| I thank him all the time for just hanging around. | ||
| The statistics are what they are. | ||
| And As men, we gotta raise our kids, you know what I mean? | ||
| We gotta be there. | ||
| As much as we can. | ||
| It makes a difference. | ||
| It makes a difference with the person that you're raising and the person that you're sending out into the world. | ||
| You want to give your family stability. | ||
| Fathers can do a lot of that. | ||
| They can do a lot of that. | ||
| Yeah. | ||
| It's got to feel great for you to see your son taking off like this. | ||
| Yeah. | ||
| Like with the wisdom that you got from your father that your son is obviously, he's acquired that as well. | ||
| Mm-hmm. | ||
| He works hard. | ||
| It's great, man. | ||
| You know, all you want to do is you want your kids to step up in the moment of truth. | ||
| You know what I mean? | ||
| You want them to do what it takes at the time that It's mandatory or the situation arise that they can step up. | ||
| Even if it's taking out the trash. | ||
| Like, you tell your kid, hey, take out the trash. | ||
| When I get back, I want this done. | ||
| And when you get back and it's done... | ||
| You feel better as a parent. | ||
| Yeah. | ||
| You know what I mean? | ||
| You feel like, okay, they stepped up when they needed to, when I asked them to. | ||
| And it makes you feel good that you got people that you're sending out in the world that are dependable and responsible and not trying to fuck over nobody. | ||
| Yeah, fuck yeah. | ||
| No, that's one of the greatest accomplishments you can make as a human being. | ||
| You made the world better by raising better people. | ||
| Yeah, raise good people. | ||
| You know, that's the number one job of a parent, I believe, is to raise a good person. | ||
| Because the world don't need another asshole. | ||
| Trust me. | ||
| We don't need another one. | ||
| We got plenty. | ||
| Yeah, we got plenty. | ||
| We're all full. | ||
| For show show. | ||
| But it's also great that you set a standard with maybe people that don't even have a father figure, that you set a standard with your words, the way you talk about things, and address things, and think about things, and you're so thorough, that you set a standard with other young kids that admire you, too, which is beautiful. | ||
| That's good. | ||
| You know, that's great. | ||
| And I'm blessed to be in a position to do that. | ||
| I want to do that. | ||
| I hope I'm a good example on I have fun with the music and the entertainment and this and that, but I want to be a solid person. | ||
| Say what I mean, mean what I say, and do what I say. | ||
| All you got is your balls and your word, man. | ||
| That's it. | ||
| Tony Montana. | ||
| That's all you got. | ||
| That's all you got. | ||
| Yeah. | ||
| No, you've done it, and you've done it in an amazing way. | ||
| You set a great standard. | ||
| Appreciate it, man. | ||
| You have too. | ||
| You know, you are a great communicator, you know what I mean? | ||
| And people need to hear somebody with courage speak for the people when others are so scared to, you know, some of the things that... | ||
| That you said today, you know, a lot of people would be scared to even bring that stuff up, man. | ||
| Well, it's what you said. | ||
| If you can, you should. | ||
| When you got the mic, use it. | ||
| Yeah, and I can, so I do. | ||
| When you got the mic, use it. | ||
| Someone has to. | ||
| It's a wild-ass fucking time. | ||
| It is, man, and... | ||
| We need people to step up that we trust. | ||
| We don't need no more people to let us down than we believe in. | ||
| Absolutely. | ||
| Listen, brother, I appreciate you very much. | ||
| It was an honor to have you in here. | ||
| I've been a giant fan since the 80s, which is crazy. | ||
| I appreciate everything you do, man. | ||
| Appreciate you too, man. | ||
| You know, you're great at what you do. | ||
| You got me into UFC. You gonna watch next weekend? | ||
| Yeah, I'm gonna watch. | ||
| Volkanovski, Yair Rodriguez. | ||
| It's your passion for the sport, your knowledge of the sport, your breakdown, your ability to go back and say, you know, the origin of this move and the origin of this move Really got me into the game, so you're an excellent communicator, and I appreciate you letting me on your show. | ||
|
unidentified
|
My pleasure. | |
| It was an honor. | ||
| Thank you very much. | ||
|
unidentified
|
Yeah, yeah. | |
| All right. |
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