We's abning, we's abning. What's abning? It's your boy, big Steeal. I gotta fly solo today, man, and my boy is gonna be mad. Man. I'm covering from my boy. I had to do it though, covering from my boy m C eight today. He got some stuff going on, but he'd be back with us next week. But anyway, it's not too many times, you know what. I get excited with every guest that we have on here, man, but it's very very rare. Did I get somebody on? Man? I feel like I'm back being a little kid man going to Thomas Jefferson man with my boombox, with my ghetto blast man bumping the fat boys. I can't even get my human beat box on no more. I see I can't get it right. I can't do it. I can't do it as good as you can. You bless me one time with a little something.

We's abning, we's abning. What's abning? It's your boy, big Steeal. I gotta fly solo today, man, and my boy is gonna be mad. Man. I'm covering from my boy. I had to do it though, covering from my boy m C eight today. He got some stuff going on, but he'd be back with us next week. But anyway, it's not too many times, you know what. I get excited with every guest that we have on here, man, but it's very very rare. Did I get somebody on? Man? I feel like I'm back being a little kid man going to Thomas Jefferson man with my boombox, with my ghetto blast man bumping the fat boys. I can't even get my human beat box on no more. I see I can't get it right. I can't do it. I can't do it as good as you can. You bless me one time with a little something.

Man, Dude. I never Buff never taught me. Buff never dot me.

Man, Dude. I never Buff never taught me. Buff never dot me.

You never do you never You never learned how to human beatbox?

You never do you never You never learned how to human beatbox?

Yeah, he never never taught me, man. I just I just watched them the distance.

Yeah, he never never taught me, man. I just I just watched them the distance.

Man. We got the legendary man cool rock Ski Man from the Fat Boys from the Disco Three, then the Fat Boys, a real, real legend in the game with true legend. You know, people running around with that term legend man, and I think it's overly used when you say, it's very.

Man. We got the legendary man cool rock Ski Man from the Fat Boys from the Disco Three, then the Fat Boys, a real, real legend in the game with true legend. You know, people running around with that term legend man, and I think it's overly used when you say, it's very.

Over legend the world. Yeah, the word legend the world goat overly everybody's a goat and bodies of legend. You know you are. I think that the group is legendary and we came from legendary times, you understand. So I think the Moniker that have to be greatest of all time. I mean, you have to cover all bases within the realms of rap hip hop. So I think I don't think there's a true goat. I think there's a lot of guys who are top tier when it comes to lyrics and even DJing, but I don't think they could be one true best. They can't be. It's too many that came out from you know, from the eighties, nineties, two thousands, So they can never be one great because it's gonna if you put that person that's saying he's the greatest of all time, you're gonna see, well, he didn't cover this base, he didn't cover that base, you understand. So I don't think they could be. They can ever be one greatest of all time, you know.

Over legend the world. Yeah, the word legend the world goat overly everybody's a goat and bodies of legend. You know you are. I think that the group is legendary and we came from legendary times, you understand. So I think the Moniker that have to be greatest of all time. I mean, you have to cover all bases within the realms of rap hip hop. So I think I don't think there's a true goat. I think there's a lot of guys who are top tier when it comes to lyrics and even DJing, but I don't think they could be one true best. They can't be. It's too many that came out from you know, from the eighties, nineties, two thousands, So they can never be one great because it's gonna if you put that person that's saying he's the greatest of all time, you're gonna see, well, he didn't cover this base, he didn't cover that base, you understand. So I don't think they could be. They can ever be one greatest of all time, you know.

Yeh probably. Now you know what, if it's uncomfortable holding it that way, you could put it back how it was.

Yeh probably. Now you know what, if it's uncomfortable holding it that way, you could put it back how it was.

Bro No, be good? Oh what good?

Bro No, be good? Oh what good?

You're good? Okay? Yeah, the thing is this, man, I agree with you, But then again, I have to look at it like this from the Eric y'all come from one from the Eritic y'all come from bro from the area. You gotta remember y'all was around. That's the kind of like exception, especially when hip hop became kind of commercialized. You always like the first, you know, like mainstream group, one of the first. You guys are run DMC. Right. I would have to say that you guys are gold because it wasn't that many people around. I think it was harder back then because you guys were building something that wasn't in existence before.

You're good? Okay? Yeah, the thing is this, man, I agree with you, But then again, I have to look at it like this from the Eric y'all come from one from the Eritic y'all come from bro from the area. You gotta remember y'all was around. That's the kind of like exception, especially when hip hop became kind of commercialized. You always like the first, you know, like mainstream group, one of the first. You guys are run DMC. Right. I would have to say that you guys are gold because it wasn't that many people around. I think it was harder back then because you guys were building something that wasn't in existence before.

Yeah, I mean we came from the era we was like the second tier. So let's go back to the era of the seventies. I would say seventy eight, seventy nine, eighty eighty one, eighty two. You had groups like Splash in the series five, you had Touchers three, Fantastic Romantic five. You had Couch four, you had BUSB, you had love Buck Starsky, you had Curtis Blow Yeah, Funky four plus one. So you had an array of rap groups and rappers that came out of New York and most of them came out of the Bronx, were from Brooklyn, most of them came out of the Bronx from Bronx and Hall them and so bun DMC coming out of the Queens in nineteen eighty three with Suckmsdeeds and so we pretty much with the second tier. We came maybe eighty four right after run DMC had maybe a couple of hits. Then come Arst and Udini and Rundy, I mean luj Beastie Boys, Publicademy, in an array of different rap groups and rappers coming along, every being rock YIM EPMD. So we were just I would say, we just we just learned a lot of stuff from our predecessors, which were, like I said, Flashing the threies five and those guys, and we just took what they They kind of handed us the baton that we ran with the Remember you got realized that there was no marketing for sugar Hill game Run and then in Flash series five and Curtis Blow. All these guys. Once we came into the game and led by Run DMC, that's when the marketing and money started coming in. So that's where we came in as far as pushing the culture forward with the rap tours. The first rap tour which was the first Festival one and two which consisted of Fat Boys, Run DMC who Denie, Curtis Blow and Nucleus So and the second tour was the same thing, and we added on Flashing series five and so it was it was a thing where rappers starting to explode. By the time Crush Groove came out, that's when raps started to really take off. The movie Crush Grove and the way of everybody wanted to be rapper exactly. So it was I wouldn't say we were goats. I wouldn't say that we we put We was pushing the full pushing the culture forward.

Yeah, I mean we came from the era we was like the second tier. So let's go back to the era of the seventies. I would say seventy eight, seventy nine, eighty eighty one, eighty two. You had groups like Splash in the series five, you had Touchers three, Fantastic Romantic five. You had Couch four, you had BUSB, you had love Buck Starsky, you had Curtis Blow Yeah, Funky four plus one. So you had an array of rap groups and rappers that came out of New York and most of them came out of the Bronx, were from Brooklyn, most of them came out of the Bronx from Bronx and Hall them and so bun DMC coming out of the Queens in nineteen eighty three with Suckmsdeeds and so we pretty much with the second tier. We came maybe eighty four right after run DMC had maybe a couple of hits. Then come Arst and Udini and Rundy, I mean luj Beastie Boys, Publicademy, in an array of different rap groups and rappers coming along, every being rock YIM EPMD. So we were just I would say, we just we just learned a lot of stuff from our predecessors, which were, like I said, Flashing the threies five and those guys, and we just took what they They kind of handed us the baton that we ran with the Remember you got realized that there was no marketing for sugar Hill game Run and then in Flash series five and Curtis Blow. All these guys. Once we came into the game and led by Run DMC, that's when the marketing and money started coming in. So that's where we came in as far as pushing the culture forward with the rap tours. The first rap tour which was the first Festival one and two which consisted of Fat Boys, Run DMC who Denie, Curtis Blow and Nucleus So and the second tour was the same thing, and we added on Flashing series five and so it was it was a thing where rappers starting to explode. By the time Crush Groove came out, that's when raps started to really take off. The movie Crush Grove and the way of everybody wanted to be rapper exactly. So it was I wouldn't say we were goats. I wouldn't say that we we put We was pushing the full pushing the culture forward.

So you don't have to say it, Brumer, say it for you. I'm gonna tell you. On so many levels, man, while you guys were important, you guys paved the way later on for the mc hammers on up to the you know, even talk about today. The mega started, like the Drake, the Kendrick Lamar, you know, the mega started the people that are just on a whole nother you know, and the whole nother stratosphere. And it was very important. I remember man seeing the fresh fest Man in Cleveland, Ohio, and I remember being, so, do you remember that show? You probably did so many of them, you don't remember that one?

So you don't have to say it, Brumer, say it for you. I'm gonna tell you. On so many levels, man, while you guys were important, you guys paved the way later on for the mc hammers on up to the you know, even talk about today. The mega started, like the Drake, the Kendrick Lamar, you know, the mega started the people that are just on a whole nother you know, and the whole nother stratosphere. And it was very important. I remember man seeing the fresh fest Man in Cleveland, Ohio, and I remember being, so, do you remember that show? You probably did so many of them, you don't remember that one?

Remember the show in Cleveland, Ohio? Let me see. Let me see. We did a couple of shows in Cleveland, Ohio. But that's where I met. If you're familiar with the group Men at Large, do you know who they are? Well?

Remember the show in Cleveland, Ohio? Let me see. Let me see. We did a couple of shows in Cleveland, Ohio. But that's where I met. If you're familiar with the group Men at Large, do you know who they are? Well?

Yeah, for sure.

Yeah, for sure.

So I met one of the guys for Men at Large and that was my first time I think, on the Cleveland So I don't think that was the I think that was down the road though. But the first fresh Fest going to Cleveland, I probably vaguely remember. We were going to stow Man. We're so young, you know what I'm saying. So we're going to so many different places. What I mean, what was the capacity of the place that we played in? Was it h was it five thousand seed or twenty twelve thousand?

So I met one of the guys for Men at Large and that was my first time I think, on the Cleveland So I don't think that was the I think that was down the road though. But the first fresh Fest going to Cleveland, I probably vaguely remember. We were going to stow Man. We're so young, you know what I'm saying. So we're going to so many different places. What I mean, what was the capacity of the place that we played in? Was it h was it five thousand seed or twenty twelve thousand?

Man? I think the fresh fest Man if I had to go back and think about it, man, it might have been five or six thousand people. I know, whatever it was, I was, whatever it was, it was pack and I had never seen that many people in my life in one place. And just the energy of it, because you know, it was so new, just the feel of the energy of everything. I would have to say, Man, back then, I think the performances were way better. I think the performances were very much more choreographed. I think it was just a lot better. You know, you see these guys now, it's one hundred dudes standing on stage. You don't know who the rapperls and you know, it's just a dude walking back and forth for the most part. With the average rapper. Now, there are some exceptional performers out here today, some brothers that get busy. I ain't gonna say they all trash. But then you had to come with it. Everybody came with it back then.

Man? I think the fresh fest Man if I had to go back and think about it, man, it might have been five or six thousand people. I know, whatever it was, I was, whatever it was, it was pack and I had never seen that many people in my life in one place. And just the energy of it, because you know, it was so new, just the feel of the energy of everything. I would have to say, Man, back then, I think the performances were way better. I think the performances were very much more choreographed. I think it was just a lot better. You know, you see these guys now, it's one hundred dudes standing on stage. You don't know who the rapperls and you know, it's just a dude walking back and forth for the most part. With the average rapper. Now, there are some exceptional performers out here today, some brothers that get busy. I ain't gonna say they all trash. But then you had to come with it. Everybody came with it back then.

I think back then, well, well back then for me, it was a thing where if you didn't have a good record, you had to have a good stage show. You understand what I'm saying, so, but wellbe we rephras that if your record wasn't really selling, it wasn't that popular. Who had to have had to have a really good stage show in order to compete with those who were selling and who were popular. So a lot of the times, a lot of rappers who got on stage with us in one DMC and Houdini and others, they didn't have big record sales, but they can perform their asses off. So that's what propelled them down the line to start selling records because they went all out. They didn't hold nothing back. I think what we have now is a lot of cats who were just getting on stage and just mimic, you know, wrapping over their vocals and letting the crowd do the rapping for them or doing the performance for them. You know, they'll put the mic up to the crowd and like you know that. You can pretty much get online and have somebody do that, you know what I'm saying. But you know, so you can have it all. You can have an i G and have people just coming your I G and do something like that. But I think there's a lot of great entertainers as far as rappers. D m X was a really really great and yeah, yeah, yeah, that whole hip hop.

I think back then, well, well back then for me, it was a thing where if you didn't have a good record, you had to have a good stage show. You understand what I'm saying, so, but wellbe we rephras that if your record wasn't really selling, it wasn't that popular. Who had to have had to have a really good stage show in order to compete with those who were selling and who were popular. So a lot of the times, a lot of rappers who got on stage with us in one DMC and Houdini and others, they didn't have big record sales, but they can perform their asses off. So that's what propelled them down the line to start selling records because they went all out. They didn't hold nothing back. I think what we have now is a lot of cats who were just getting on stage and just mimic, you know, wrapping over their vocals and letting the crowd do the rapping for them or doing the performance for them. You know, they'll put the mic up to the crowd and like you know that. You can pretty much get online and have somebody do that, you know what I'm saying. But you know, so you can have it all. You can have an i G and have people just coming your I G and do something like that. But I think there's a lot of great entertainers as far as rappers. D m X was a really really great and yeah, yeah, yeah, that whole hip hop.

Go ahead.

Go ahead.

Well, bro no, I just said he personified like that, that whole hip hop or as far as him just being just on stage and just the one man band or like a one man record machine, and he just like he was the ahead of me of what hip hop is, you understand. So with him in LL and guys like ice Cube and and and you see guys like that on stage and it just drip hip hop. He understands. So that's what that's what performances is all about, you know.

Well, bro no, I just said he personified like that, that whole hip hop or as far as him just being just on stage and just the one man band or like a one man record machine, and he just like he was the ahead of me of what hip hop is, you understand. So with him in LL and guys like ice Cube and and and you see guys like that on stage and it just drip hip hop. He understands. So that's what that's what performances is all about, you know.

Yeah, what you know what? I'm gonna give you one example, man. I think it's because a lot of these a lot of these guys, they man, they just kind of stumbling to record deals, right, they stumbling, not their professional right, and all of a suddenly in front of fifteen twenty thousand people, and nobody is really taught them. I think a classic example of that is T Grizzly. It's young rapper now out of Detroit. I love T Grizzly. I love the record he had, I love the way, I love his energy, I love his lyricism. But you can tell when he was new, he had this record that was going viral, and he was just kind of thrusting the spot, like and he was just on stage with the mic holding it, like, just kind of standing there in the crowd, was singing the record and he was just kind of just standing And I said, man, when they start doing that, yeah.

Yeah, what you know what? I'm gonna give you one example, man. I think it's because a lot of these a lot of these guys, they man, they just kind of stumbling to record deals, right, they stumbling, not their professional right, and all of a suddenly in front of fifteen twenty thousand people, and nobody is really taught them. I think a classic example of that is T Grizzly. It's young rapper now out of Detroit. I love T Grizzly. I love the record he had, I love the way, I love his energy, I love his lyricism. But you can tell when he was new, he had this record that was going viral, and he was just kind of thrusting the spot, like and he was just on stage with the mic holding it, like, just kind of standing there in the crowd, was singing the record and he was just kind of just standing And I said, man, when they start doing that, yeah.

He had to. When we were going out on tour and doing shows, we had rehearsal. You had to rehearse. You couldn't just go out there and win it. You know, you couldn't just rely on the crowd. You couldn't just rely on yourself being popular and selling records and having a popular song or a popular album and just going on stage and just standing there, because after two to three minutes, the crowd is gonna look at you like, Okay, what's next, because you're not doing anything you understand. So you might even get booed in some cases or some cities. But I've heard of tem Grizzly. I know he's big with the gaming stuff online. But you know, I've seen a lot of cats like that who just who are thrust on stage and it's like, okay, here's the stage. You got a popular song, and you got a hit record or you hit song. Ever, now just do what you gotta do. And you can't you gotta put together a show. You gotta do rehearsal, the whole, the whole, the whole thing with crowd participation is cool, but after a while it starts to play itself out because from city to city that you go to, somebody's gonna go to the next city and say, Yo, his song is dope, but his performance sucks, and the word gonna start getting around, and now you can go viral being being Hordbor on stage. It is not it can't be. It's not just the word of mouth thing anymore. You can go viral. Somebody can have a cameraphone and you know what I'm saying and be like and that that can really mess up your career. So you got to You gotta put together a show. You can't just win it. You know.

He had to. When we were going out on tour and doing shows, we had rehearsal. You had to rehearse. You couldn't just go out there and win it. You know, you couldn't just rely on the crowd. You couldn't just rely on yourself being popular and selling records and having a popular song or a popular album and just going on stage and just standing there, because after two to three minutes, the crowd is gonna look at you like, Okay, what's next, because you're not doing anything you understand. So you might even get booed in some cases or some cities. But I've heard of tem Grizzly. I know he's big with the gaming stuff online. But you know, I've seen a lot of cats like that who just who are thrust on stage and it's like, okay, here's the stage. You got a popular song, and you got a hit record or you hit song. Ever, now just do what you gotta do. And you can't you gotta put together a show. You gotta do rehearsal, the whole, the whole, the whole thing with crowd participation is cool, but after a while it starts to play itself out because from city to city that you go to, somebody's gonna go to the next city and say, Yo, his song is dope, but his performance sucks, and the word gonna start getting around, and now you can go viral being being Hordbor on stage. It is not it can't be. It's not just the word of mouth thing anymore. You can go viral. Somebody can have a cameraphone and you know what I'm saying and be like and that that can really mess up your career. So you got to You gotta put together a show. You can't just win it. You know.

Well, I'm gonna tell you, man, what the thing is too that the internet messed up. I remember Cancer be on their promo tour and they would say the same rep every city that you know, they go to a different city in Denver, they say the same rap on the radio. They go to text, they say the same rep. Now you do that, now, man, you gonna get this radio. You canna be on the Internet. They're like, man, let's do the saying the same rhyme every every city. You know what I'm saying. So you gotta be on point now, man, I think it's a lot more pressure nowadays. Man, you gotta come with it every time.

Well, I'm gonna tell you, man, what the thing is too that the internet messed up. I remember Cancer be on their promo tour and they would say the same rep every city that you know, they go to a different city in Denver, they say the same rap on the radio. They go to text, they say the same rep. Now you do that, now, man, you gonna get this radio. You canna be on the Internet. They're like, man, let's do the saying the same rhyme every every city. You know what I'm saying. So you gotta be on point now, man, I think it's a lot more pressure nowadays. Man, you gotta come with it every time.

It's not more question, it's not more quessure because all the eyes are on you now, the world is on you because you're on social media, you understand. So social media is not that it's not just a domestic tool. It's it's a worldwide tool. So you can't just keep doing the same thing, can keep doing something stupid or something unprofessional, because it's going to reach the whole world. You know, it's not just it's not just gonna reach your neighborhood, you know. So a lot of people got a misconception about social media, thinking, oh, it's only the people that's following me that's watching me. Because once you make something go viral, everybody's watching it. So if you're doing something idiotic, the whole world is watching you, understand. So, yeah, so you gotta be mindful of yourself as an audience on the things you do on state because might it might propel you if you're doing something good and it might harm you if you're doing something bad and unprofessional.

It's not more question, it's not more quessure because all the eyes are on you now, the world is on you because you're on social media, you understand. So social media is not that it's not just a domestic tool. It's it's a worldwide tool. So you can't just keep doing the same thing, can keep doing something stupid or something unprofessional, because it's going to reach the whole world. You know, it's not just it's not just gonna reach your neighborhood, you know. So a lot of people got a misconception about social media, thinking, oh, it's only the people that's following me that's watching me. Because once you make something go viral, everybody's watching it. So if you're doing something idiotic, the whole world is watching you, understand. So, yeah, so you gotta be mindful of yourself as an audience on the things you do on state because might it might propel you if you're doing something good and it might harm you if you're doing something bad and unprofessional.

Oh yeah, without a doubt.

Oh yeah, without a doubt.

Man.

Man.

Now I was talking to you offline.

Now I was talking to you offline.

Man.

Man.

We were talking and we just had the fifty years of hip hop, man, and I was really upset, man, because they they you know, the fat boys, groups like the Fat Boys, groups like Houdini, just all of these pivotal groups, Man, that laid the foundation for what hip hop is today. For to even be a fifty years you know, you guys were in the area when they was talking about. Man, this is a fat it's not gonna last long, but y'all came with it, and y'all made it an industry. Y'all, y'all created You guys were at the exception at the forefront of a billion dollar, multi bigion dollar industry, right. And I didn't hear no mention of the fat boys. Man kissed me off.

We were talking and we just had the fifty years of hip hop, man, and I was really upset, man, because they they you know, the fat boys, groups like the Fat Boys, groups like Houdini, just all of these pivotal groups, Man, that laid the foundation for what hip hop is today. For to even be a fifty years you know, you guys were in the area when they was talking about. Man, this is a fat it's not gonna last long, but y'all came with it, and y'all made it an industry. Y'all, y'all created You guys were at the exception at the forefront of a billion dollar, multi bigion dollar industry, right. And I didn't hear no mention of the fat boys. Man kissed me off.

Yeah, I didn't get the call. I talked to y'all live from Houdini. He didn't get the call from a lot of shows that were going on. But at the same time, a lot of the shows that I heard about, people was coming back to me saying, Yo, they offered me like fifteen hundred dollars offered me like two thousand, you know, seventeen hundred, and I'm like, well, I'm not doing that, you understand. So it's a thing where I wasn't really reaching out because I already knew the twicis so, and I had a couple of people reach out to me and you know, like eight hundred to like twenty three hundred. I'm like, dude, I'm not I'm good. I'm not going out what I'm saying, and it's not just we did it. Yeah, it's very disrespectful, and we did it for the culture. So when people try to use that, oh, do it for the culture, bs, I'm like, we did it for the culture in eighty when we first started the contract and we put our hit records that we did crutch for we did this orders, so we did it for the culture already. So why can't we be paid for what we put out there already.

Yeah, I didn't get the call. I talked to y'all live from Houdini. He didn't get the call from a lot of shows that were going on. But at the same time, a lot of the shows that I heard about, people was coming back to me saying, Yo, they offered me like fifteen hundred dollars offered me like two thousand, you know, seventeen hundred, and I'm like, well, I'm not doing that, you understand. So it's a thing where I wasn't really reaching out because I already knew the twicis so, and I had a couple of people reach out to me and you know, like eight hundred to like twenty three hundred. I'm like, dude, I'm not I'm good. I'm not going out what I'm saying, and it's not just we did it. Yeah, it's very disrespectful, and we did it for the culture. So when people try to use that, oh, do it for the culture, bs, I'm like, we did it for the culture in eighty when we first started the contract and we put our hit records that we did crutch for we did this orders, so we did it for the culture already. So why can't we be paid for what we put out there already.

Well, I'm gonna tell you that that promoter is telling you to do it for the culture. He's not doing it for doing it to get.

Well, I'm gonna tell you that that promoter is telling you to do it for the culture. He's not doing it for doing it to get.

Paid exactly exactly. And a lot of these cats were a lot of these promoters. On the fiftieth anniversary of hip hop or doing it to put money in their pockets. So everywhere you went, everything was a fiftieth anniversary, where before a year prior to that, you see nothing about that. Now everybody was trying to hop on the bandwagon, because in twenty and twenty four, what two twenty three it was, I think it was everybody was talking about the fifty University of hip Hop, and I thought people was just using it, you know, and milking it for all it was worth, because a lot of people didn't know even when hip hop even started to even say the fiftieth Anniversity of hip.

Paid exactly exactly. And a lot of these cats were a lot of these promoters. On the fiftieth anniversary of hip hop or doing it to put money in their pockets. So everywhere you went, everything was a fiftieth anniversary, where before a year prior to that, you see nothing about that. Now everybody was trying to hop on the bandwagon, because in twenty and twenty four, what two twenty three it was, I think it was everybody was talking about the fifty University of hip Hop, and I thought people was just using it, you know, and milking it for all it was worth, because a lot of people didn't know even when hip hop even started to even say the fiftieth Anniversity of hip.

Hop, but a lot of people.

Hop, but a lot of people.

So I fell back from a lot of Yeah, I fell back from a lot of shows, and I was like, I'm good. I don't need your little twenty three hundred dollars. I'm good over here. So you know, so I didn't even participate in a lot of that stuff.

So I fell back from a lot of Yeah, I fell back from a lot of shows, and I was like, I'm good. I don't need your little twenty three hundred dollars. I'm good over here. So you know, so I didn't even participate in a lot of that stuff.

Yeah, that's very disrespectful.

Yeah, that's very disrespectful.

You know.

You know.

I take what I do very serious, man, because I feel like we're documenting history right here. So when we do have the one hundred years of hip hop, they would be able to go back for the first time in human history, they would be able to go back to fifty years ago to see Okay, who were the Fat Boys? Okay, you know the last member of the Fat Boys, the last five member. You know, he's on this show called The gangst the Chronicles. We can go back and kind of get the history. With that being said, I'm gonna do justus because this may be in the time capful. They may be looking at this interview twenty years from now. You feel me, So, I want to go back to the beginning man of the Fat Boys, man, you know, and not to do the traditional thing. But but how did y'all meet?

I take what I do very serious, man, because I feel like we're documenting history right here. So when we do have the one hundred years of hip hop, they would be able to go back for the first time in human history, they would be able to go back to fifty years ago to see Okay, who were the Fat Boys? Okay, you know the last member of the Fat Boys, the last five member. You know, he's on this show called The gangst the Chronicles. We can go back and kind of get the history. With that being said, I'm gonna do justus because this may be in the time capful. They may be looking at this interview twenty years from now. You feel me, So, I want to go back to the beginning man of the Fat Boys, man, you know, and not to do the traditional thing. But but how did y'all meet?

Man? Like?

Man? Like?

Like, how did the Fat Boys look up?

Like, how did the Fat Boys look up?

Me and Mark grew up together? I was eight and uncle seven. Oh. I met Buff like around I was thirteen or going on thirteen year Buff was going on. When I was thirteen, Buff was going Buff was going on thirteen that summer I met him and Mark was twelve. So we met one another and we kind of bonded easily. We just bonded with all the kids in the block that we grew up with, maybe like about fifteen to twenty of us that was running around together. It was us three that was always together. And I loved for football. We had a huge love for football. At first. That was our passion was playing football. So we you know, through junior high school on into high school. We're playing football in the weekends and I joined the team, but I couldn't play the position I wanted to play. I left the team, and being that Buff went to the same high school with me, he left the team also. Mark went to a different high school and we went to a school high school called Thomas Jefferson High School. Mark went to a high school called Narci and so we were always interrap though always inter rap because being that Buff was a beat box, and we discovered he was a beatbox one day he had moved on the block. When Buff first moved on the block, there was a song called a Field a Heartbeat by Treacherous Three, and being that Kumo d was one of my favorite MCNs, I started reciting his rohms in one of the mini lots that we had on our block, and Buff started beat boxing and was me buffing another childhood friend by the name of Jimmy, and we were like, yo, what was that sound you made? And he did it again, So we started checking his pockets to see if he had a gadget in his pocket or something, because we just thought he was weird by doing it because it was so powerful. It wasn't that he was doing something like mimicking something. He was He sounded like an actual drum. And this is like a fourteen year old kid. So once we found out he had no gadgets in his pockets, nothing like that, We're like, oh, this guy's it's weird, you know what I'm saying, because he's a new kid on the block. And so man, it became really cool. We became really close and I introduced him to Mark, and Mark Mark became good friends with him, and we just started hanging out together all the time. So you fast forward to our freshman year in high school. Me and Boffer in the same high school and his brother had turntables. His brother had two certain tables and the mixer and the microphone. And when his brother would go to work, his brother was like maybe six seventy years older than him. When his brother would go to work, we would skip our last period class in high school and go to Buff's house and you know, just use the turntables and I get on the mic and wrap and Mark could do the same thing. And his brother would come home for work, me like around six o'clock in the evening, and the first thing he would do he would feel the mixer see if somebody was using it, and nine times out of ten we were using it. And he would just beat the hell like a pop for me and Markuld laughing walk his brother's the Mark. But it was all in fun. So one day my sister said, because we became known around the block for the guys who were rapping, because we called ourselves the disco three. And one day my sister drove up, my older sister and she said, you guys are always doing all this rapping on the porch every time I pull up. She said, I just heard about the rapping dance contest in the radio. Y'all should enter that. So like rapping dance contest. So we heard the commercial for the contest maybe two days later on the radio. So we decided to go to the Bronx. And we're living in Brooklyn and the disco fever where the contest is held as in the Bronx, and it's really our first time really going up to the blunks, even that we're from New York. We never been to the block. We went to manhat, but never to the blunks. So we go up there. We sneak up there rather and and we went there, and so we go up there. We went up there with another rap troop. They were going up there to try to win the first place bride, which was a sporting deal, and we were just going up to support them. But you with everything that happened, you know, I'm guessing. I'm not guessing. God just put us in the right place because he you know what I'm saying. So a security guard came over and said, Yo, you guys are next, like next to do? What next? To go on? Stay? She said, what are you guys name? We said Disco three. He started laughing. He said, we're given a name like Disco three, it's our name. So we went up there and me and Mark started freestyle rapping, and then Buff came up with the beat box and that place went crazy, and so we wanted to semi finals, and two weeks later was the finals. We won that, which was a recording contract, and second place was Dark Iced and King Go from UTFO. They were in the contest as well. They came in second place in the rap category and we won that. We wanted the DJ equipment, just like people seen in the movie Crush Moven wanted the DJ equipment, but we settled for the record contract, of course, and we put out our first song, which is a so called reality and it didn't even sell maybe two thousand copies. Man, if it's so two thousand copies that of course the management boarding. But it flopped, so we kind of regrouped. We went back and got our manager, went and got Curtis Blow, and Curtis blowed to the first song, which was Fat Boys. In the B side was Human Be Bops. People knew it as Stickham and we took off from there. So it was a hit record and after that we never Bruce Stickham.

Me and Mark grew up together? I was eight and uncle seven. Oh. I met Buff like around I was thirteen or going on thirteen year Buff was going on. When I was thirteen, Buff was going Buff was going on thirteen that summer I met him and Mark was twelve. So we met one another and we kind of bonded easily. We just bonded with all the kids in the block that we grew up with, maybe like about fifteen to twenty of us that was running around together. It was us three that was always together. And I loved for football. We had a huge love for football. At first. That was our passion was playing football. So we you know, through junior high school on into high school. We're playing football in the weekends and I joined the team, but I couldn't play the position I wanted to play. I left the team, and being that Buff went to the same high school with me, he left the team also. Mark went to a different high school and we went to a school high school called Thomas Jefferson High School. Mark went to a high school called Narci and so we were always interrap though always inter rap because being that Buff was a beat box, and we discovered he was a beatbox one day he had moved on the block. When Buff first moved on the block, there was a song called a Field a Heartbeat by Treacherous Three, and being that Kumo d was one of my favorite MCNs, I started reciting his rohms in one of the mini lots that we had on our block, and Buff started beat boxing and was me buffing another childhood friend by the name of Jimmy, and we were like, yo, what was that sound you made? And he did it again, So we started checking his pockets to see if he had a gadget in his pocket or something, because we just thought he was weird by doing it because it was so powerful. It wasn't that he was doing something like mimicking something. He was He sounded like an actual drum. And this is like a fourteen year old kid. So once we found out he had no gadgets in his pockets, nothing like that, We're like, oh, this guy's it's weird, you know what I'm saying, because he's a new kid on the block. And so man, it became really cool. We became really close and I introduced him to Mark, and Mark Mark became good friends with him, and we just started hanging out together all the time. So you fast forward to our freshman year in high school. Me and Boffer in the same high school and his brother had turntables. His brother had two certain tables and the mixer and the microphone. And when his brother would go to work, his brother was like maybe six seventy years older than him. When his brother would go to work, we would skip our last period class in high school and go to Buff's house and you know, just use the turntables and I get on the mic and wrap and Mark could do the same thing. And his brother would come home for work, me like around six o'clock in the evening, and the first thing he would do he would feel the mixer see if somebody was using it, and nine times out of ten we were using it. And he would just beat the hell like a pop for me and Markuld laughing walk his brother's the Mark. But it was all in fun. So one day my sister said, because we became known around the block for the guys who were rapping, because we called ourselves the disco three. And one day my sister drove up, my older sister and she said, you guys are always doing all this rapping on the porch every time I pull up. She said, I just heard about the rapping dance contest in the radio. Y'all should enter that. So like rapping dance contest. So we heard the commercial for the contest maybe two days later on the radio. So we decided to go to the Bronx. And we're living in Brooklyn and the disco fever where the contest is held as in the Bronx, and it's really our first time really going up to the blunks, even that we're from New York. We never been to the block. We went to manhat, but never to the blunks. So we go up there. We sneak up there rather and and we went there, and so we go up there. We went up there with another rap troop. They were going up there to try to win the first place bride, which was a sporting deal, and we were just going up to support them. But you with everything that happened, you know, I'm guessing. I'm not guessing. God just put us in the right place because he you know what I'm saying. So a security guard came over and said, Yo, you guys are next, like next to do? What next? To go on? Stay? She said, what are you guys name? We said Disco three. He started laughing. He said, we're given a name like Disco three, it's our name. So we went up there and me and Mark started freestyle rapping, and then Buff came up with the beat box and that place went crazy, and so we wanted to semi finals, and two weeks later was the finals. We won that, which was a recording contract, and second place was Dark Iced and King Go from UTFO. They were in the contest as well. They came in second place in the rap category and we won that. We wanted the DJ equipment, just like people seen in the movie Crush Moven wanted the DJ equipment, but we settled for the record contract, of course, and we put out our first song, which is a so called reality and it didn't even sell maybe two thousand copies. Man, if it's so two thousand copies that of course the management boarding. But it flopped, so we kind of regrouped. We went back and got our manager, went and got Curtis Blow, and Curtis blowed to the first song, which was Fat Boys. In the B side was Human Be Bops. People knew it as Stickham and we took off from there. So it was a hit record and after that we never Bruce Stickham.

Bruce Stickham was something else. What was that called?

Bruce Stickham was something else. What was that called?

Oh, it was called the Human be Box for people know it as BP stick You know, damn right.

Oh, it was called the Human be Box for people know it as BP stick You know, damn right.

There, you know what, man, So it's just like the movie pretty much.

There, you know what, man, So it's just like the movie pretty much.

Then, right exactly exactly the fact that day you know it was it was elaborated that saying I didn't want to Yeah, I didn't want to do the contests and the stuff like that. So you know, it's Hollywood. They're gonna put together a storyline. But other than that everything of us in the content.

Then, right exactly exactly the fact that day you know it was it was elaborated that saying I didn't want to Yeah, I didn't want to do the contests and the stuff like that. So you know, it's Hollywood. They're gonna put together a storyline. But other than that everything of us in the content.

Right, you know what I'm saying. So y'all, y'all got this thing going on, y'all get y'all first record deal. I'm pretty sure the contract was was probably.

Right, you know what I'm saying. So y'all, y'all got this thing going on, y'all get y'all first record deal. I'm pretty sure the contract was was probably.

Bump, contract sucked, contract shucked. But you know, at the time, we didn't know. You know, we're like sixteen, seventeen years old, and uh so, what's signing anything? You know what I'm saying, because we signed on the pretensions of our managers just saying, hey, just signed this and signed our paying us still't know anything. Our parents are like, what's that show called the Beverly Hill Billies. They don't know what the hell is going on, you know what I'm saying, record No kids, it didn't look they didn't even know what rap even was, so they just they just thought we were making a bunch of noise. They were like, I don't know what you got, just saying, but you know, if you call that music, so be it. But I mean, we were getting good money because we were on a record label that was pretty much mob related, sending them off your kind of man, the label kind of thing. So our first two albums was on that label, and our third album. We left the label and went to another label after that. But so we was pretty much getting whatever we wanted. But our manager just thought the label just had was given us too much and he wanted full control of the group. So we pretty much forfeited our third album, which sold like maybe I think almost platinum, and we left that label and went to another label. You know, we had to because our forfeiting the album mean that we had to turn over that album. So we're on an independent label. So we're selling each album, our first three albums is selling in excess of maybe eight hundred to eight hundred and seventy five thousand copies per album. Now this is the early eighties, eighty four, eighty five, eighty six, you're selling those kinds of records that I mean, it's it's this artist right now who can't even sell those kind of problem right exactly. So we're selling and we're on an independent label, which means they really have no overhead. So that means each album, the albums that we're selling, they're making at least about a good five point six million copies at this album off each album.

Bump, contract sucked, contract shucked. But you know, at the time, we didn't know. You know, we're like sixteen, seventeen years old, and uh so, what's signing anything? You know what I'm saying, because we signed on the pretensions of our managers just saying, hey, just signed this and signed our paying us still't know anything. Our parents are like, what's that show called the Beverly Hill Billies. They don't know what the hell is going on, you know what I'm saying, record No kids, it didn't look they didn't even know what rap even was, so they just they just thought we were making a bunch of noise. They were like, I don't know what you got, just saying, but you know, if you call that music, so be it. But I mean, we were getting good money because we were on a record label that was pretty much mob related, sending them off your kind of man, the label kind of thing. So our first two albums was on that label, and our third album. We left the label and went to another label after that. But so we was pretty much getting whatever we wanted. But our manager just thought the label just had was given us too much and he wanted full control of the group. So we pretty much forfeited our third album, which sold like maybe I think almost platinum, and we left that label and went to another label. You know, we had to because our forfeiting the album mean that we had to turn over that album. So we're on an independent label. So we're selling each album, our first three albums is selling in excess of maybe eight hundred to eight hundred and seventy five thousand copies per album. Now this is the early eighties, eighty four, eighty five, eighty six, you're selling those kinds of records that I mean, it's it's this artist right now who can't even sell those kind of problem right exactly. So we're selling and we're on an independent label, which means they really have no overhead. So that means each album, the albums that we're selling, they're making at least about a good five point six million copies at this album off each album.

You understand, records back then probably was going for what like ten dollars apart.

You understand, records back then probably was going for what like ten dollars apart.

I would say, I would say at least about seven to about I would say seven to about, maybe ten dollars ten dollars.

I would say, I would say at least about seven to about I would say seven to about, maybe ten dollars ten dollars.

Yeah, let's say they was getting four dollars whole sale, and that's being you know, on the light side, right right, And they're still eight hundred thousand records. That means they were making three point two million, at least three million dollars every time they drop the alb on y'all back. Then they're probably still eating off your records.

Yeah, let's say they was getting four dollars whole sale, and that's being you know, on the light side, right right, And they're still eight hundred thousand records. That means they were making three point two million, at least three million dollars every time they drop the alb on y'all back. Then they're probably still eating off your records.

Of course, because we don't own our masters. We don't own our masters. And that's what I'm fighting to do now, try to get back our masters. But but you know how that ends up sometimes, but you get the master's back, so I don't want to fight too hard. But you know, so we don't own the masters, that we really can't control anything, you know what I mean. But you know, it's the thing about the music industry, it's pretty much a popularity contest. So it's it's pretty much like you're paying to be popular, you know, because but it's all said and done, you have to fight to get it back what you recorded. But here's the thing, here's here's it's a double ed sword. The labels are looking at it like, we put the money into the project. We put the money into the studio time, we put the money into the videos, we put the money into the motion. We put the money into everything, and all you did was record the songs. Right, So they're looking at it like you U should be happy with what we gave you. So that's when. So that's where of advances coming at. And advances can really destroy any and it can leave you in debt with the record company or with the with the label for damn there forever. Because while you're going back and forth and I need two hundred thousand here, I need half a million, here, I need seven hundred thousand here, I need whatever here, all you're doing is drowning yourself in debt. You understand, saying so everything exactly, so it's better suggest not taking no with ampsts. You understand. But you at the same time, you gotta eat. But here's the thing where I tell all artists do shows, stay on tour. You understand. Travis Scott stays on tour, you know, saying, so you gotta do shows because you're not gonna get paid. Oh, at what point we were the highest paid group, So we was getting anywhere from forty five to fifty thousand per show and side shows, yeah back then, and side shows was a promoter just wanted us to come out. We were charging like seventy thousand, eighty thousand dollars just to do a half hour show, you know, So we were getting pretty good money per show. I mean a few times that now that's like, damn near what four hundred thousand push show and.

Of course, because we don't own our masters. We don't own our masters. And that's what I'm fighting to do now, try to get back our masters. But but you know how that ends up sometimes, but you get the master's back, so I don't want to fight too hard. But you know, so we don't own the masters, that we really can't control anything, you know what I mean. But you know, it's the thing about the music industry, it's pretty much a popularity contest. So it's it's pretty much like you're paying to be popular, you know, because but it's all said and done, you have to fight to get it back what you recorded. But here's the thing, here's here's it's a double ed sword. The labels are looking at it like, we put the money into the project. We put the money into the studio time, we put the money into the videos, we put the money into the motion. We put the money into everything, and all you did was record the songs. Right, So they're looking at it like you U should be happy with what we gave you. So that's when. So that's where of advances coming at. And advances can really destroy any and it can leave you in debt with the record company or with the with the label for damn there forever. Because while you're going back and forth and I need two hundred thousand here, I need half a million, here, I need seven hundred thousand here, I need whatever here, all you're doing is drowning yourself in debt. You understand, saying so everything exactly, so it's better suggest not taking no with ampsts. You understand. But you at the same time, you gotta eat. But here's the thing where I tell all artists do shows, stay on tour. You understand. Travis Scott stays on tour, you know, saying, so you gotta do shows because you're not gonna get paid. Oh, at what point we were the highest paid group, So we was getting anywhere from forty five to fifty thousand per show and side shows, yeah back then, and side shows was a promoter just wanted us to come out. We were charging like seventy thousand, eighty thousand dollars just to do a half hour show, you know, So we were getting pretty good money per show. I mean a few times that now that's like, damn near what four hundred thousand push show and.

You're all along with run DMC was really hip hops because Curtis Blue wasn't getting no money like that was he?

You're all along with run DMC was really hip hops because Curtis Blue wasn't getting no money like that was he?

I don't think he was getting that kind of money per show at the time. And I'm not trying to be disrespectful to him, just saying what was what was available to him financially financially wise back then. But I would probably think at the height of his popularity, he was probably getting the least about a good seventy five hundred and eight thousand per show. You know, I'm just speculating. But the more our stock grew and the more popular we became, the more in high demand we became, the more money we started getting. And you had we had a manager who was a Pitbull, you know. And I was always telling artists this as well. Your manager supposed to work for you. And if your manager wants to get your manager wants to get paid, so he's gonna make sure you get paid. And one thing about our manager, he kept us on tour. He kept us doing shows, you know, and a lot of people back then thought he was just using us. But it was a thing where no, we was getting paid, but we was just we was we was overworked, you know, we were overworke. So we didn't really we didn't have a team. Our manager, Charlie Steller, he was in the movie Cluster School when he was trying to take run Away from Russell, which was played by Blair Underwood. So the white guy with the beard and the bald head, that was our manager in real life. And so yeah, he his his thing was to get paid, so he wanted to get paid, so he kept us on show. The only thing about it was we were overworked, and we were we were everywhere, you know. And but once we started to settle down at the really at the ages of like twenty two years old, because the propularities started to dwell, started started slowing down rather and you know, so we we were still young. Though we were still younger, we could still have fun. We missed a lot of things in our our teenage years as far as going to the plum, going to clutch, hanging out with friends. But one thing about the industry, the music industry or the industry as a whole, when you were a fifteen, fourteen, sixteen year old kid, it forces you to grow up real quickly, and it forces you to have a whole lot of freaking responsibility because you're making money. You're now in a business where you have to make money for a lot of people, you understand, So whether it be the record company, it be the the promoters, it be your family. So you got to you it's a lot of responsibility for people so young when they get into it. And we were like the youngest group out there at the time, you know, so we had a lot of responsibility back then.

I don't think he was getting that kind of money per show at the time. And I'm not trying to be disrespectful to him, just saying what was what was available to him financially financially wise back then. But I would probably think at the height of his popularity, he was probably getting the least about a good seventy five hundred and eight thousand per show. You know, I'm just speculating. But the more our stock grew and the more popular we became, the more in high demand we became, the more money we started getting. And you had we had a manager who was a Pitbull, you know. And I was always telling artists this as well. Your manager supposed to work for you. And if your manager wants to get your manager wants to get paid, so he's gonna make sure you get paid. And one thing about our manager, he kept us on tour. He kept us doing shows, you know, and a lot of people back then thought he was just using us. But it was a thing where no, we was getting paid, but we was just we was we was overworked, you know, we were overworke. So we didn't really we didn't have a team. Our manager, Charlie Steller, he was in the movie Cluster School when he was trying to take run Away from Russell, which was played by Blair Underwood. So the white guy with the beard and the bald head, that was our manager in real life. And so yeah, he his his thing was to get paid, so he wanted to get paid, so he kept us on show. The only thing about it was we were overworked, and we were we were everywhere, you know. And but once we started to settle down at the really at the ages of like twenty two years old, because the propularities started to dwell, started started slowing down rather and you know, so we we were still young. Though we were still younger, we could still have fun. We missed a lot of things in our our teenage years as far as going to the plum, going to clutch, hanging out with friends. But one thing about the industry, the music industry or the industry as a whole, when you were a fifteen, fourteen, sixteen year old kid, it forces you to grow up real quickly, and it forces you to have a whole lot of freaking responsibility because you're making money. You're now in a business where you have to make money for a lot of people, you understand, So whether it be the record company, it be the the promoters, it be your family. So you got to you it's a lot of responsibility for people so young when they get into it. And we were like the youngest group out there at the time, you know, so we had a lot of responsibility back then.

It had to be a lot There had to be a lot of pressure. Let me ask you this, man, I assume with you guys getting that much money when y'all were young, y'all some cats coming from Brooklyn. Man, I'm pretty sure y'all didn't come from Wilfy house. So did y'all ever start having problems with family and close loved ones behind money.

It had to be a lot There had to be a lot of pressure. Let me ask you this, man, I assume with you guys getting that much money when y'all were young, y'all some cats coming from Brooklyn. Man, I'm pretty sure y'all didn't come from Wilfy house. So did y'all ever start having problems with family and close loved ones behind money.

No. My mother, my mother and father, they were really we were really stirring with a lot of things. My father came they both I'm from Brooklyn, I'm born and raised in New York. My mother and father's from the South. They're from Florida. So they had a lot of really Southern ways, hardcore Southern ways. And you know, my father kind of ruled with the iron fist. You know, he was a construction worker and so he was he was he had his hands were like bricks. So the last thing was I was getting in trouble because you know, he'll smacked fire out of you. But my mother, she took care of the finances and who I got like maybe nineteen twenty years old, but and she made sure or she had to make sure because the record company had we had to set aside money for when we got twenty to twenty one years old, and so that was part of her job to keep that. Yeah. So so all three of us had parents who were sterned as far as keeping the voltures away. You know. Of course my brothers. I took care of my brothers. You know, that's my brothers. So we all grew up together and stuff like that. But you know, outsiders coming in and trying to get money, and in a lot of business ventures. All of a sudden, Yo, man, you give me twenty thousand dollars, I can open up this car wash? Does you give me thirty thousand? But you gotta go to my mom's and ask for that, and they didn't want to do that, so she was started like my force field. You know.

No. My mother, my mother and father, they were really we were really stirring with a lot of things. My father came they both I'm from Brooklyn, I'm born and raised in New York. My mother and father's from the South. They're from Florida. So they had a lot of really Southern ways, hardcore Southern ways. And you know, my father kind of ruled with the iron fist. You know, he was a construction worker and so he was he was he had his hands were like bricks. So the last thing was I was getting in trouble because you know, he'll smacked fire out of you. But my mother, she took care of the finances and who I got like maybe nineteen twenty years old, but and she made sure or she had to make sure because the record company had we had to set aside money for when we got twenty to twenty one years old, and so that was part of her job to keep that. Yeah. So so all three of us had parents who were sterned as far as keeping the voltures away. You know. Of course my brothers. I took care of my brothers. You know, that's my brothers. So we all grew up together and stuff like that. But you know, outsiders coming in and trying to get money, and in a lot of business ventures. All of a sudden, Yo, man, you give me twenty thousand dollars, I can open up this car wash? Does you give me thirty thousand? But you gotta go to my mom's and ask for that, and they didn't want to do that, so she was started like my force field. You know.

That's a good thing, man, So I guess they here because in acting they have something called the Cougan law that you had to put his money because you had guys like Gary coming and several other child stars who grew up with nothing. Their parents spent all the money. That's good man, that your parents was holding you down. Man, that's real good man. Because you don't hear too, I mean, most important stories coming from the recording industry.

That's a good thing, man, So I guess they here because in acting they have something called the Cougan law that you had to put his money because you had guys like Gary coming and several other child stars who grew up with nothing. Their parents spent all the money. That's good man, that your parents was holding you down. Man, that's real good man. Because you don't hear too, I mean, most important stories coming from the recording industry.

Oh yeah, definitely. You hear a lot of things where it's not only the parents take the money. It's just a lot of things where the management takes the money, the record company takes the money, the lawyers take the money, accountants, and then a lot of guys get themselves caught up and stuff like having two or three children by two or three different women and child support, taking their money as they get as they get older. So yeah, it's a thing where you're outside and you're pretty much naked, and you're naked to the world, so to speak, because everybody wants a part of you. You understand what I'm saying, and they was, well, then again they will trip you naked. So even if you got these guys, even when you have these guys like ball players, these young guys who are making millions of freaking dollars, that these guys in the seventies and eighties was an e and touching. You got guys in the NBA right now who get more money in their cash at than some of the guys who are making. Then then some of the salaries some of the guys were making in the seventies. You understand what I'm saying. So it's like money is nothing to that. But with that come a lot of freaking votures, a lot of leeches, a lot of a lot of women, a lot of groupies, and a lot of these guys don't understand that. They just think the money's gonna keep coming until it stops coming, you understand. So, and the off season with football players and basketball players and even with artists who are not who are sitting around idle and not going on tours and doing shows, it's like the money's not coming. But the thing about the thing about now was that a lot of these guys get podcasts. They put more money in the apartment. A lot of rappers can do podcasts a lot. So every that's the depth of route. Everybody is going, you know, to put more to get more revenue in the in the off season because you get a high spending habit when you're getting a lot of money, so you want to buy more four hundred thousand dollars cars and you want to buy a million dollar chains and all that crap like that, and you want to trick money on three or four different women at a time. That's a lifestyle saying. So you got to try to keep up that lifestyle.

Oh yeah, definitely. You hear a lot of things where it's not only the parents take the money. It's just a lot of things where the management takes the money, the record company takes the money, the lawyers take the money, accountants, and then a lot of guys get themselves caught up and stuff like having two or three children by two or three different women and child support, taking their money as they get as they get older. So yeah, it's a thing where you're outside and you're pretty much naked, and you're naked to the world, so to speak, because everybody wants a part of you. You understand what I'm saying, and they was, well, then again they will trip you naked. So even if you got these guys, even when you have these guys like ball players, these young guys who are making millions of freaking dollars, that these guys in the seventies and eighties was an e and touching. You got guys in the NBA right now who get more money in their cash at than some of the guys who are making. Then then some of the salaries some of the guys were making in the seventies. You understand what I'm saying. So it's like money is nothing to that. But with that come a lot of freaking votures, a lot of leeches, a lot of a lot of women, a lot of groupies, and a lot of these guys don't understand that. They just think the money's gonna keep coming until it stops coming, you understand. So, and the off season with football players and basketball players and even with artists who are not who are sitting around idle and not going on tours and doing shows, it's like the money's not coming. But the thing about the thing about now was that a lot of these guys get podcasts. They put more money in the apartment. A lot of rappers can do podcasts a lot. So every that's the depth of route. Everybody is going, you know, to put more to get more revenue in the in the off season because you get a high spending habit when you're getting a lot of money, so you want to buy more four hundred thousand dollars cars and you want to buy a million dollar chains and all that crap like that, and you want to trick money on three or four different women at a time. That's a lifestyle saying. So you got to try to keep up that lifestyle.

And you know what, you guys had a rare situation. The group pretty much stayed together the whole time.

And you know what, you guys had a rare situation. The group pretty much stayed together the whole time.

Definitely, we grew up, grew up together, we grew up together, and there was a time where it was just just us three on the road at sometimes. I mean we had our road manager, and our manager would come up with us, and we didn't. We don't. We didn't overindulge with a lot of things. One thing I like to say about our group and even our era of hip hop, we didn't flood ourselves with a whole lot of bodyguards and ten twenty people around just all the freaking time. But you got a lot of guys. Now, you got these guys are on the payroll and you look up, you got like at least about fifteen dudes with you. I'm pretty sure hanging around you just for free. You got to be paying these people. We didn't have that packtic you know, so sad. A lot of drugs well, I mean, listen, it was a lot of drugs in eighties, bro, it was a lot. I mean every city we went to because you know that first time is free, that first time is free. So every city you go to, somebody's trying to hit you up with. And I was being offered like sandwich bags of cocaine and clubs. Back then, you go to the bar to get yourself. I'm not a drunker. I never smoked. I never got high a day in my life. I go to the bar just to get some trampberry juice and lege juice. Somebody at tapping you on the side. Put that in your pocket. Brother, Oh no, I'm gird. I don't miss that's ship I'm saying. It's like, you know, you ain't giving you cocaine, you know, And yeah, definitely, definitely. But I was, I was one with the whole group, but I was one that drugs scared the hell out of me. You know, thug scared me. And I would walk in two rooms and see cats doing cocaine and having these parties where you know, on the bed there's a big ass mirror and like you see in Scarface with the mountains of coke, and I was just walking right back out. I was, I just couldn't be around that stuff and scared the ship out of me. You know, go ahead, I'm sorry, No, go ahead, you got it. No.

Definitely, we grew up, grew up together, we grew up together, and there was a time where it was just just us three on the road at sometimes. I mean we had our road manager, and our manager would come up with us, and we didn't. We don't. We didn't overindulge with a lot of things. One thing I like to say about our group and even our era of hip hop, we didn't flood ourselves with a whole lot of bodyguards and ten twenty people around just all the freaking time. But you got a lot of guys. Now, you got these guys are on the payroll and you look up, you got like at least about fifteen dudes with you. I'm pretty sure hanging around you just for free. You got to be paying these people. We didn't have that packtic you know, so sad. A lot of drugs well, I mean, listen, it was a lot of drugs in eighties, bro, it was a lot. I mean every city we went to because you know that first time is free, that first time is free. So every city you go to, somebody's trying to hit you up with. And I was being offered like sandwich bags of cocaine and clubs. Back then, you go to the bar to get yourself. I'm not a drunker. I never smoked. I never got high a day in my life. I go to the bar just to get some trampberry juice and lege juice. Somebody at tapping you on the side. Put that in your pocket. Brother, Oh no, I'm gird. I don't miss that's ship I'm saying. It's like, you know, you ain't giving you cocaine, you know, And yeah, definitely, definitely. But I was, I was one with the whole group, but I was one that drugs scared the hell out of me. You know, thug scared me. And I would walk in two rooms and see cats doing cocaine and having these parties where you know, on the bed there's a big ass mirror and like you see in Scarface with the mountains of coke, and I was just walking right back out. I was, I just couldn't be around that stuff and scared the ship out of me. You know, go ahead, I'm sorry, No, go ahead, you got it. No.

We come from that era, man, where we heard the just say, you know when we were scared of cocaine, because you know, that's when cracks started coming in our community too, so we was kind of scared. I was scared of differ cocaine cause I was always worried about becoming a fiend.

We come from that era, man, where we heard the just say, you know when we were scared of cocaine, because you know, that's when cracks started coming in our community too, so we was kind of scared. I was scared of differ cocaine cause I was always worried about becoming a fiend.

But exactly, And I didn't want to put my mother and father through that, you know, really their son drug you know, strung out on drugs. You gotta take me to a center to get myself cleaning and all that stuff. Yeah, drugs, drugs, I mean, And as I got later on in life, I had a few beers here and there, but as far as getting high and even smoking. I smoked one cigarette when I was thirteen years old because my father was a heavy smoker. It was a chain smoker, and I thought it was cool just to smoke, and I took one puff, got sick as a dog, and never touched your can. So that was the end of that for me. But yeah, for drugs, Like I said, drugs. Just scared to sit this day just thinking about drugs. Scared to help.

But exactly, And I didn't want to put my mother and father through that, you know, really their son drug you know, strung out on drugs. You gotta take me to a center to get myself cleaning and all that stuff. Yeah, drugs, drugs, I mean, And as I got later on in life, I had a few beers here and there, but as far as getting high and even smoking. I smoked one cigarette when I was thirteen years old because my father was a heavy smoker. It was a chain smoker, and I thought it was cool just to smoke, and I took one puff, got sick as a dog, and never touched your can. So that was the end of that for me. But yeah, for drugs, Like I said, drugs. Just scared to sit this day just thinking about drugs. Scared to help.

Let me ask you this. You're not married, are you?

Let me ask you this. You're not married, are you?

No? I've never been married. Little kids either.

No? I've never been married. Little kids either.

Yeah, you got you got a girlfriend now, because I'm about to ask you some questions.

Yeah, you got you got a girlfriend now, because I'm about to ask you some questions.

I just got out of a relationship. Really, I'm not built for relationships. You know, most people are built for certain things. I don't think I'm built for relationships.

I just got out of a relationship. Really, I'm not built for relationships. You know, most people are built for certain things. I don't think I'm built for relationships.

Yeah, so let me ask you this. You don't indulge nothing else. I know, you have to indulge in sending them women that was coming around. Man, you're always the most famous cats in the world at one time.

Yeah, so let me ask you this. You don't indulge nothing else. I know, you have to indulge in sending them women that was coming around. Man, you're always the most famous cats in the world at one time.

Well, being young and your testasial level is beyond the roof, of course you're gonna indulge. So I mean, women are gonna throw themselves at anybody. I'm no disrespect to women at all, but women are gonna throw themselves at anybody that's successful that they can you know, they can feel around that's success, that's successful. Every woman want to sit in the VIP at some at some point everybody wanted. Every woman want to be with somebody that's making a lot of money or somebody that's successful. So that comes with the territory. Whether you're playing ball or whether you're wrapping, that's just part of That's just part of the game for sure.