 Check it, check it, check it, it's a unique house. It's your boy, he's CEO and I'm here with the lovely, amazing official, Mr. Jamaica. What's going on? Not, not, you know my dad will walk on. Man, we down here man in New Orleans, man. Say man, my, hey, my guy's here, man. KL, KLC, man, this guy right here, man. Ever since we started, man, he been our, hey, he been my guy in light, right? I be calling him. I'm like, I'm gonna call K.O. when I get that land. Where about? We miss him, we be missing him. Man, thank you so much, man. Just a pleasure. It's an honor to be down here in New Orleans, man. No doubt. And in Peaches, man, this here place right here, man. It has a lot of history. Man, got a lot of history, man. You could feel it when you come in. Like, I know it was another one. And it was, I had talked about the walls, you know. They were pain, pains on the wall. And what was that all, what was that like during that time? Man, it was, at that time, certain things is hard to explain. Yeah. But it was special. It was special. Yeah. And the thing about it is that like this building, she owns this building. Wow. We used to be on base in close around the French quarters before she came here. And she was leasing it. Yeah, she said the parking over there was terrible over there. It was still very terrible. That's what she said. And they always tried to boot y'all one day. Right. So she hated that. Right. And she'd do everything out of the benefit of her customers and the people. She always made it convenient for them. Yeah, yeah, yeah. And always. She was like, she was definitely like, when I talk with her about that wall, let me ask me out. She was like, one year, baby bought it the whole year. I'm like, what? I'm like, yeah. He put up for the whole year. He just had, that's just how he is. And it's just the way the culture is down here about the music is something else too. Cause it's not just hip hop. You got jazz and you got all genres of music down here, man. There were people love the city. It's a party town. You know what I mean? Like, I seen that new video that y'all did. It ain't out yet, but Paco showed it to me. Runnist town? The energy, man, of that video. The quality is amazing. The quality is amazing, but it's just the dancing. And the creativity. You don't get that in no other city, man. You just, that ain't something that you can, you can't mimic it nowhere else. But that wall is for local only. That's it. Now I know all the artists can, well, as long... Oh, it's only for local artists. As long as she been having. And think about it, she had a wall for every spot that she was. Every spot. Every spot. Except from this one. Right, it was, it was three before this. It was, I think it was three before this. Because it was, yes, after this one, it was the one on Basin. Then Gentilly and then Carrington. This is the fourth one. How important, how important of a part that peaches play for is in the music. Which I know is important, but how, when you look at it from when y'all first started. Every artist success came through this place. Every artist. Because she said that no other store did the hip hop. They wouldn't take the hip hop. They wouldn't. They wouldn't curse and all of that. Right. But did she tell you the store in Gentilly is where he found Mia? Right. That's what I asked her about that. She didn't mention which store. Which store. That's what I was trying to get. And I told her, I said, man, she worked for, she worked for peaches as well. And it was like family. She said, it's hard to get her store. Everybody is family. She ain't playing about that. Everybody is family. And she don't want to say too much because she's like she wanted the people to tell their own stories. Right, right, right. So what she did say that Mia did, was living with her for a while or two. Yeah, because it's like one thing I could say is that anytime it was to a point to where the artist had success and it kind of fell on hard times. Yeah. She gave them a job at a store. Oh, that's dope. I didn't know that part. That's really, and that's special, bro. See, she's too humble to say. Yeah, she embraced the culture. She embraced it. She helped push it, you know, she pushed the artist. She's solely music. And then if hard time fails, they had a place for them for employment. Wow, so this place means a lot. And try to help get them back off their feet. Right. I know. Definitely. Because she was saying that, because a lot of y'all were like young kids who didn't know how to market yourself, didn't know how to get the music out there. She said she would send a lot of the records to the big labels to get them to sign y'all. Really? She would do everything to try to make sure. She did say that. That's dope, man. Like I said, that ain't, and that's God. Like I told her, man, you gotta be special to be able to be able to keep those relationships going. Was it BG? She said she sent his. Yeah, she sent his, too. She said she sent his. He said all of them, like that, if they dealt with her, she was gonna try to help at the utmost is what I'm hearing. Right, and she, when it came down to her situation, she dealt with Pee and Baby, hands on. Yeah. She don't go, anything that was dealing with no limited cash money. She talked to the two bosses. She didn't have, she, they didn't wanna go through nobody. They told her, no, you don't talk, you talk to us. Wow, they wanted to make sure she talked to them. Right, because they know how instrumental she was in the success of the artist and those companies. That's amazing. Yeah, yeah, that's definitely amazing. When you think, cause you guys on tour and y'all being down here, this was, how was it, how was it last night? Let's talk about it a little bit. Cause y'all back at home, man, and that's something. And the turnout? The turnout was, they sold out. Of course. Because they say they sold out and they have all of this going on in the city. Like, like I said, they have the Jazz Fest. Okay. That's something that the people been waiting for, for three years since COVID hit 19. Everything was shut down. This is like the reopening and let you know, okay, we back open for this. Really? And this the first one? This is the first one. Wow. Did you, I didn't know that. That's the first one. This is the first one. Yesterday was the official first day. So it made sense for y'all to perform yesterday. Since y'all are from here. Look how it fell in and fell in. To me, I wasn't concerned, but I was just thinking about how the numbers may be because it was supposed to be last week. Okay. But that changed because the Hornets made the playoffs. Okay. So when they made the playoffs, the home game fell on our tour day. But it makes sense though, when you look at it from a Jazz Fest perspective so you get more people to come out because people already booked to come out for the Jazz Festival and then y'all are here. How do they do that though? Like far as ticket sales and stuff when they have to put something back or move something, how do they just tell them? Nah, they just do a reissue and just let them know that the date has been rescheduled. It's been rescheduled. Tickets are still good, but it's for this date. But that sucks for people who are flying in just for the show. That part. That part. Amen, amen. But look man, there's no limit. Let's stop playing. Man, we gotta get to them. Yeah, yeah, die hard. They ain't trying to hear it. They coming. Yeah, they coming. They show it out. I know you told us off air, but tell us on air, who all performed? First of all, you had the whole new limit army, which was, you know, Peace, Silk, Mystical, BX, Cerebon. And then you had Infine and then you had Juvenile. Okay. Who bought out Nelly. I know who bought that. He said Snoop. And Mack, Mack as well. Mack, Mack, Mack. And then you had Pee, who bought out Keatswet, Snoop. Keatswet, Snoop. And damn, Keatswet, Snoop, it was. That's a hell of a roster, Rick. I know. That's a hell of a roster. I know, but he missing some. So I'm missing it. Who, who, who didn't he bought out Keatswet? He bought out Snoop. Man, he gonna come to me. I forgot. Don't worry about that. Let's move on. But that must have been an amazing show. And everybody did such a great job, didn't they? Yeah. Everybody performed and did a good. And it wasn't a one or two. So Snoop did like nine records. It's in New Orleans. Wow. So at the end of the day. Nine records. Snoop did like nine records. And Nelly did about four. Wow. That's a hell of a time. That's a hell of a time, man. You guys, man. So being back home, you know, when you come home, what's the first food you go get? Whatever they have at the house. But sometimes it'll, it'll be based on, it'd be based on mystical because I can wait till I get home. But you like, man, I got to eat now, man. And whatever you want. And well, whatever you ever taste though, we just go there. So there's no food that you don't normally cook at home or like when you somewhere else that you like, man, when I get home, I gotta eat this. Because all the food is different. Because I can Jamaica, like in Jamaica, you know, like I love seafood, but when I buy like my red snapper and stuff like that, here it just tastes different from when I go home and go home to get it so fresh. Right, right, right, right, right, right. Well, it's, it's kind of, it had changed since my son left us and went to Dallas. Yeah, yeah, straight up Dallas Texas. That guy in Dallas, man. And he loving it, right? Yeah, and he's a chef, so, you know, he normally be cooking stuff. But now you got to pull it together. Well, I really don't have a, I really don't have a... A certain thing that you love, man. No, it's just whatever they have there, but she likes what I love. See, he not picky, he not picky. No, no, no, no, no, no. I'm picky as ever. I know. I don't even, I don't play. It's going to be something here. I got to have that. You know, even if it ain't for the simple burrito. Right, right. But I really don't have a favorite spot. Because everybody in the world is not a cook. Yeah, that makes it hard, right? So, we came, we went to the casino. You got to go there. We stayed too close to it not to go. We were right there. And we just walking and just checking out everything. Man, people walking everywhere, that jazz fest. It had people just coming and going. I thought I wanted to go down Burbank Street, French Quarter, all that walk around, but he was like, he was like, nah. They walk out to the casino with the drinks and everything, like that's not normal. Like do that here. You can't do that everywhere. Burbank Street, it's just off the chain. And Paco walked out with his drink when we went together with them. And that was new on Bourbon Street. Yeah, I was like, what are you going? And he's like, nah, we do that all the time. So, is it everywhere in New Orleans? You can do that? Yeah, that's just here. Man, you got to understand this city is like, they would ticket you for riding, driving without a seatbelt on, but it's legal to ride a bike without a helmet. And you can drive down the street with an open container of alcohol and all of that? Not while driving. Not while driving. I'm just checking. But you can walk down the street with it. Okay. Cause I know it's even when it went to Walmart. Walmart had, I don't even know how liquor stores even survive. Cause Walmart has like all the liquor stores and everything. I mean like, vodka, everything. Just think about this here. Any retail store, anything that's on the corner that sells something. Don't have alcohol. Has alcohol in it. Every time. Pharmaceutical and all of that. That's crazy. And Dallas is not like that. Of course not. Every where. What about Sundays do they cut? They don't sell until 12? So is it? No, we don't have no. Time? No, we don't have no alcoholic. No alcohol. They stop at one few. They don't, oh it's wide open all the time. 365, seven days a week. It's not like that everywhere. Wow, you can buy alcohol anytime. You know how some place like you, they don't sell it on a Sunday? That's right, Texas. Go right now, it's the day of Sunday. You gonna get anything you want. Bourbon Street is wide open. Hangarney is just all through that place. Wow, man. So what other cities are you guys hidden? Like are y'all done with the tour? Or is it gonna? Hell no, they about to expand it. Also it's steadily pushing more and more. Yeah, it's just. Because of the request. And then some of the cities, we're gonna resurface because. Like Dallas? Oh yeah, I know we're gonna do Dallas again. It's gonna cut people down. Because they're about to get the car. But let me ask you a question. Okay, so we have no limit who is performed. So when you go to all these other cities, do you always bring out other people other than no limit to perform as well? Sometimes what they'll do is they'll find whoever the hottest local artists in the city and get them an opportunity to open. And what Mia does is that every city she go to, she finds their best dancers. Okay. To perform with her on stage. That's good because we always will talk about how people come in to the city wherever you're performing from out of town, get the bag and leave and not really help anybody there. But that's a good way of showing love to the people in the city and helping them get a bag as well. So I like that. And sometimes what Pee do depending on how big the event is, like when we do to make him say unrecord, he will get like one of the local high school bands to come and perform the record with him. Wow, that's big. And I know that inspires a heck out of him. That's crazy, man. So how far is where you grew up at from here? You know, I'm not from here. This whole strip, it's like you could take this street and just pretty much ride it to the end. Okay, this street goes up all the way. It's very, yeah, it goes. And when you go from this street to my street, you're gonna go here. Magazine, I mean. Magazine is across the city, Napoleon. The street that goes that way, you ride down. And when you pass that up, when you get to like Napoleon and Ferrette, that's the 13th wall. That's where BG and baby is from. In the high school that BG and baby first met. Not the high school, the middle school. Middle school. It was me, baby, BG, mystical. We all went down to that school. And when you go further down, that you live in, cause that's the 13th wall. And then when you go further down, you're gonna drive into the third. Yeah. And that's the area of where the No Limit P, the Magnolia Project, Calioproject, Melphamine Project. And that's when. How different is it post Katrina? Like, how different is it? It's definitely, it bounced back. That's what I was saying. But it bounced back, you say better? Yeah, yeah, yeah, definitely. But it still has some places that need to be straightened out. Straightened out. So when you go down through some of those old neighborhoods, you still can tell the damage. Oh yeah, because a lot of people, when it hit, a lot of people, when they was forced to move out, when they got to where they were, they decided that you know what, we ain't gonna go back. Yeah. Did you ever see it after all that damage coming back the way it is now? Yeah man, let me tell you something. A friend of mine works, like he's the big deal that he works out, like heads carried to the state capitol building. Yeah, yeah. So when Katrina hit, I was able to go there when it hit. Why would it hit it? Because at that time, I think my mom, my grandmother was still in there. But the thing about it was when we went, we had to go on boats. The highest place where we was able to go, we had a drive, we was on the bridge. And when we came down off the bridge, we had to get on the boat to maneuver through the city because the water was up high. Too high. And so you, and people were still living in certain places. Yeah, certain places that set up high. Set up high, they was able to stay. That's what I was always, I was wondering, because like I was telling them yesterday, when we were driving down the street, you know how some of these buildings have like the upstairs with the balcony and stuff? And I'm like, when a hurricane come, if you upstairs, does the water, the water don't get up there, dude? No, no, no, no. You don't get that high. No, no, no. See, the city of New Orleans is built like a bowl, like this here, right? Okay. So you see, if this is ground level, the further you're getting in the city. It goes down. It goes down. Oh. And that's why. That's why when it sometimes, when the weather be bad, how the water just sit. Yeah. Yeah. So it's not flat. Y'all don't have tornadoes out here, dude. That's one thing we were wondering. No, hurricanes. Hurricanes, yeah. But it's so weird because like being from the islands, like I'm terrified of tornadoes, but I'm not scared of a hurricane because I've experienced hurricanes and I've been there, done that, you know? It's not like, y'all, because you know how, for some reason it does seem more terrifying for over here in New Orleans, because when you see it on TV, but like in Jamaica, and I live by the sea. Right. Yeah, right by the sea. But it's so crazy that, okay, when we did, when I experienced it, we didn't stay at our house. We, you know, you're batting all the glass and all of that stuff like that, but I just went up the street. And when we went up the street to see, I could still see the sea. But while the hurricane, because you know, the winds change after the eye of the hurricane. Right. So like, say, the wind coming back from here, I was outside standing in front of the house just watching zinc flying and this flying and that flying. And then when the wind changed, you just go to the back of the house and stand up outside looking at everything. Right. So for me, it wasn't. And they had the thing, y'all could close y'all house off too, right? Not really. It's talking, well, with that batting down. But you know what's so different is that like, like hurricanes is, it's every year, you know, we have hurricane seasons every year. That's how Jamaica is too. The minute when it hit like August, when it, when it heat hit. Uh-huh. All the way back till like, is it like September, October? Till October, November or May? Until it start cooling off. Yeah. That's when it stops for us. When it start cooling off, that's when it, it shutters down because the hot of the water is. Yeah. That's when it gets bad. But people be trying to leave, like the news be pop. Sometimes they'll say in the older people, I used to trip off to older people because they don't care. They'd be like, we stand it out. I hear that a lot of times. No, but you got to because then like, you know, there's a lot of people in Jamaica, right, there's a lot of people in Jamaica, y'all try to get to higher grounds, but some people do leave, like especially if you live by the sea, but some people like no, because all it does is give people opportunities to break into your house and steal. So people be staying there with their shotguns, making sure like, come on, I'm ready for you. Come on here, come on here. Listen, they have this like that too. But the difference is that like, we just had a tornado here, like a couple, like last month. Oh, so you did have one. But that was like the first time to where it hit and everybody like, damn, look. Oh. To what it was actually in the city, you could see it touched down. Didn't do damage? Huh? Any damage? It was just like in a night wall and like in a lower night wall. It's sporadic, you know, we never hit like. That's the part that I'm scared, that's the reason why I'm more scared of a tornado because when it jumps and you don't know, and if you get caught in it, that's it, you're done. Like, how are you going to escape from that? Well, just think about this here. Now just imagine this here, like something like that, we probably wouldn't fear because as long as it don't take the house off the ground, but just imagine this here. Katrina Highwater, when it floods, you actually get like, goddamn, alligators to swim. Yeah. Yeah, because oh, y'all got all of that. We don't have them alligators and stuff like that. They don't come, they don't come, like in the city, city, city, but sometimes you may get them. I never thought about it. But you got, you got to think, okay, now where all this wildlife going to go? That's right. I never thought about that. They coming in the city. You know? Shoot one. So, yeah. But, you know, but just think about this here though, like, like, like they don't come just, even, even like when we on 10, when y'all was on 10 coming in. Yeah, coming in. See when that water rise, see after the last hurricane that we had, that's all you saw on the side, date, alligators just all through that bump, bump, bump. Wow. And there's a lot, I noticed, because I was telling them when we were driving and I'm like, you've got a lot of bridges. There's a lot of water around here. Yeah. And y'all bridges is not no short bridges. No, it could be a long bridge. I was tripping off that. But look and think about it, if you paid attention on your way back, like, well, since the Katrina, you can't see them not in the last, I think it was not Ida. Was it Ida or the one before that? If you were to drive, like when you get on a spillway, and you could look on the side of these bridges, they had homes, people actually set up. Really? Yeah, they're not dead now though. But like, who would want to live so close to the, it's dangerous. But they've been living like that for years. Fuckin' years. You know, I read in Jamaica, they do crazy things. But she is different when they call, like, Cajun, like when you live and they have people that live, like you ever seen an episode of this TVC called The Swamp People? Yes. Like, that's for real. Really? Yes, and it's not far from here. Wow, that's crazy. Like you and the Swamps, people have actually homes in the actual swamps. And they deal with the alligators and all of that stuff, because the alligators down there in them swamps. And they don't feel? They don't feel. Well, you know, they come here, that's why I was saying like with the tornadoes to where like, if one hit, we know how catastrophic this shit could be. Yeah, yeah. But by no one really haven't been affected to it, they're like, Goddamn, look at that shit. So it was like the first time when they actually saw it, you know what I'm saying? Yeah, yeah. So it was more of a first time thing to where when you hear about something and then the first time, you've been hearing about it for years and years, but it's the first time you actually see it. That's crazy. Let me ask you this, man, just about the musical a little bit. Talking to Paco, man, this dude is special. You know what I mean? Yeah, yeah. But he's ready, he thinks he's ready, but he said when K.L. ready to get, you know, do it, we're gonna pull the trigger pretty much is what he was saying, you know, but he's like, but I know it's good. I said, how you know K.L. do it? Nah, I don't have to hear from you. I know when it's good. I know the music, I know the music. He's a lot of music, man. So how did you and him link and just give me the spill on that? Well, man, I was introduced to Paco from a guy that I work with. As a matter of fact, his name, DJ Don Juan and Big Fess, Fess just, he passed away, you know, so that's Peace Fess. Fess and Peace Fess. Yes, and him and Fess was real. I think Fess was dating his sister or something. Okay, okay. But Don and Fess do have Paco. And I think we was working with Paco, but I think Fess knew that because he passed from cancer. So I think he, we started working with him, but I think Fess knew like his time was short. Wow. So he kind of, him and Don kind of brought him in with me. So we both all could work with him. Yeah. And so when he brought him in and I heard him and that's how I picked artists. It's like, if it's something that I've never heard before, that's all I need to hear. Yeah. Well, yeah, because you also have soldier Slim's sister. Right. And with her, you hadn't been managing, I mean, with her for a very long time, have you? Well, put it like this here. I've been around Peaches when she was this big. But she was a child, you know, you know, Slim, soldier Slim, he was deep in the streets. Yeah. And he was the bubble for the Magnolia project. She said that. She talked about it. She said he was, and he was popular for her in the sixth, seventh grade. She said that when she came out one time, she was like, everybody was just out there. So we're not asking for autographs. Surrounding, asking for autographs, like the whole, and they were telling her, like, soldier Slim's out there, you know. And so he had to have this chemistry with these people at that point. That love. That they loved him here. It was just something bottom that people drew to him. And the thing about it, it was to the point the way, if you had a problem with some right or wrong, you had a problem with the city. They weren't trying to hear it. They ain't trying to hear it. So, soldier Slim, like you knew him from the very beginning. Right. How did you know he was special? Like when you first started dealing with him? Well, I was DJing in the Magnolia project, right? Okay. And I'm gonna tell you how it started. And he wanted to get on the mic. So I was on the second balcony chair. And he's still by me. He's still by me long enough. So I just ran some records. I get in the mic. But when he grabbed the mic, he squatted down all the way down so nobody could see him, right? But it didn't hit with nobody. Because they just jamming. Yeah. So when they was rocking, I pulled them up. They're like, oh man, that's Slim. That's Slim. So he started, you know, cause he was always was doing like little, he was young getting in venues that, you know, that he wasn't supposed to be in. Wow. But by him being like that in the streets as far as being like with the music thing, he was in the streets both ways. But when he started popping young, they didn't care about that. Because you know, like when you got these holes in the walls, you know what I'm saying? Yeah. Streamline, Detour, Four Nines, Newtons, he was like a little hole in the wall spots. Yeah. You know what I'm saying? And a big man's to where like, it's a bar. It's like, it's a bar, but at night, they turn it into a club. Wow. So was he like, when you think about him, cause I've heard many people compare him to pop. I've heard them compare him. Right. And I think it was because of his, just his artistry or just the way his, the way his feel was. It was more like this here. And I'm gonna finish this in notes. So after he came and we did that when I was in the project and he came, I told him, cause he gonna lead up to the Tupac stuff. So I told him, back, back, so when Slim, is when he came, when Slim came, you know, he did this thing. He came and then when I was DJing, he grabbed the mic and he did this thing. And after that, he squatted down and I pulled him up in the crowd. I'm like, oh man, that's Slim. That's Slim. That's Slim. So after that, I was like, look, this is what we gonna do. And how was he at that time? He had to been about 13, 14. He did. That's him. He really wasn't supposed to be there at that age. That's what I was saying, like in these, these bars, like he was supposed to be in there. He was going in though. Right, right, right. So I pulled him off, I said, look, come by me and we gonna start making real records. Wow. So this was led up to the two boxes. So we got that understood. So when we started working, well, when I started, you know, cause I was always working. So he used to come in and do these songs, right? But it was always shit that he just got into in the street. It was real. Yeah. That's the two-park bar right there. That's the two-park bar. When it's real, it's real. Right. So when we up in there, he'll come up and he's about to play with me before he beat me. Fuck off, fuck off, fuck off, fuck off, fuck off. He was just... I gotta get this out, man. He's playing with me. He loved to put it out in there so they know what's going on. And it didn't matter who, I can just imagine. And this way it comes into the park to where, when I see that, if you had a problem with him. You had a problem with the city. You had a problem with the city. That's crazy. Like when you really think about like, the way that his error was, cause this is an error. This ain't really just not, like these are times, you know what I mean? Right. Like when you look at the time that he had, you know, in the new, cause was it during the same, it would have been the same time that, was it before the cash money movement? Or during the cash money movement? No, this was before. I know when you met him it was before, you know what I'm saying? Did it lead up into it or? Cause it was a lot going on down here, man. It led up to this year when, when he and I started putting like his tapes and records out, right? Yeah. That was right before I met P. Okay. So even before I met P, baby came at me. Man, what y'all gonna do with Slim? He wanted him. Yeah. So, me and baby talk. So I bought the idea to Slim at the time. And I was just letting him know, man, because at that time, you know, we was still local, you know, I'm DJing in clubs. I wasn't making that kind of money. So I had to do a couple of gigs. Yeah, yeah, yeah. You try and make sure you keep it going. Right, right, right. So I told him like, look, man, as a matter of fact, I bought it to him and another artist that I had named Reg, like his name was, he would slugged up nigga, like his whole top and bottom all gold teeth. He was trying to hear it. Right. So him and Slim was tight. Yeah. Tight. When they came in the room, you knew it. Yeah, because it was like with them, like see when them two getting to it, and the people on each side, they had to tell him, look, whatever's going on with him is me and him. None of y'all can't tell me shit about him. And he said, the other one like, none of y'all can't tell me shit about him. That's how tight they are. If I'm going to talk about him, I only had that right, y'all don't. Wow. That's because they holding it down in the city. So that's how I was, but I told Slim on the time that baby came at me for Slim, like, look for him to be, fuck all that. I'ma be out here hustling and you do your thing and we just going to put our money together if we got to put that shit out of itself. I don't care how long it take. He just liked just the feel of having it going itself with you and him. He just wanted me to do it. Period. He wasn't trying to move without you. He wasn't trying to move. So when the situation came with P, I bought him the idea, because that's when I started bringing, when I got with P, before we came back down, when I started bringing all of the artists in that I had. I bought, he was going to be the first one, when I went up there to California. California. And Slim was also a look man, Funky B look man, if this nigga ain't paying us no money right now, fuck it, I'll wait till you get home, boom, boom, boom. But it just in that process, when I went up there by P, he was getting into some shit. So he wind up having to go do some, he had to sit down and do some jail time. How long he's staying in jail? Man, he was always in and out. Like, he'll come in, do a few years, come out, do a few months, go do a day or two, so he'll wait. That's another thing like pot. Come out, and then boom, boom, boom. So when they finally at that time, when no limit finally hit, I told P, man, I'm bringing him up here. He was like, man, look. If you bring him up here, he's gonna be your responsibility. He know already. He don't have to babysit nobody. Right, but when I finally got Slim up there, and him and P met, he had never met him. P knew of him, but he had never met him. Never met him, but see P, and by the red dude who be with P. Yeah. Him and Slim cousins. Okay. You know what I'm saying? So when I finally bought Slim up, him and P instantly became close. And when Snoop came down. See, that's all these making sense, right? And when Snoop came down, Snoop was the first one that he clicked with. I like. Because when we got on the road, Slim and Snoop was the new comers. Yeah, correct. They was the new. By them being the new comers, but Snoop was already who Snoop was. Of course, he was Snoop. And then by Slim, Snoop clicked with first. Him and Snoop was tight, tight. Damn. Slim was the first one that he. He locked in with. He locked in with. I don't know. Did they make, they didn't ever make, did they make some music there? They did a song called at the same time. At the same time. Damn. They both came in at the same time. I got it. Oh, you know I'm riding. I definitely will ride to it. And so did you, did you produce that or somebody else produced that? I think I did. Yeah, I think I did it. Yeah. I think I did it. This song did Paco talk about yesterday that you did not realize that Kale had done that beat. Oh, that one was a young greatness. No, it was something that you done. I don't forgot now, but it was something I did not realize that. Didn't realize you did it. But you done it. It's a popular song. It's a big song. It's a very big song. Then he definitely, his song was big. The one that was a Duffy. It was Duffy. That Duffy was a big song for him. We talked about that one too. Yeah, that boy there. He said he did everything like nobody wanted him to. Everybody was against the way, everything they told him not to do, that's what he does. But see that that be the ones. See, you have to be freely with artists to let them be them. I don't sign. If I see an artist and I want to sign them, I'm not signing you to change you. I mean, everything about you that I see in here, I like. Yeah. So when you come in, we could just work. I don't have to worry about telling you now you need to change this or do this and do this and do this and do this. So it's like when I hear something in an artist and I see them, it's nothing about them I want to change. Because that's what I'm looking for. Wow, wait a minute. Now I got to call you out on that. I only got to call it because Big Court. Big Court, no, this one, it was yours. Now, see, this is the young kid. Look at him, look at him. This is the young kid. You see that, look? When he said Big Court, he looked to the side like, Big Court say, man, I came up to California, how would I hate you with it or something. And he said, when I would rap, man, he'd just be staring at me, man. Through the window. Through the window. I said, what? He said, he'd just be staring at me, man. And it was like, man, do it again. I'm like, I see that. I said, that's the young kid. I'm gonna tell you why, it was like that with Court, right? First of all, when Court came, we was in his apartment that he had us in. Yeah, he told me, and hey, isn't it, what, hey, that's what he said. It was three niggas in a bra, meaning that me served, Mia and Mobe did. Okay, that's what he said. He said, he said beats by. Beats by the palm. He was there to. That's him. Me and Mobe. Me and Mobe. This was before the rest came, because this is the hotel where we started beats by the palm. This is where it all started. Was he there at the time when it all started? Big Court. Yeah, and then in fact, Court, this was before we came down and got all of these artists. Okay. This was when I came now, and it was only me, Mia, serving Mobe. Okay. So when we up there, we working with Al Eaton, two-shot producer. Who was up there? There was a couple of producers that we worked with. I know Al Eaton was one. Kalu. So, Court was a product that P bought in. Okay, yeah, he said that. So it wasn't on me. So now the reason why I was so hard on Court was, was that one of the guys he was with, there was in a group with him. Yeah, yeah, he talked about it. Manager. No, he said, the one that didn't like Master P, he didn't like Master P. No, he didn't like P. No, he said he didn't like him because he was trying to get him. He wanted to advance. He thought he would, and Court was like, this was an opportunity so they were having issues about that. But what's the thing about what Court was, was that like, Court from Kansas. Yeah. Kansas City, Missouri. Kansas City, Missouri. Let me read that story. Let me get that. Right, right, right. So, when I take in somebody, first of all, they're from where I'm from. Where you from? So, but when Court came in. It changed. He came in to P. So my thing is, as a matter of fact, outside of Big Ad and the one that was with True, Court was like the first one that P bought in. In. That's what he said. He had and what I had. Yeah. So, when P bought them in, I'm just trying to figure out. Why? How am I going to make this work? Because Court was dope, though. But his sound was different. But his sound and his lingo was different. That's, that is something else. You know what I'm saying? That's what Master P saw. Right, but you know, it was to the point like when Court came in as a producer, certain things by me being from New Orleans, I didn't have to tell Slim because it's just the New Orleans in them. Correct. It's going to, it's just going to come natural. So I'm just trying to fix a way to make it work with me and Court. Now I knew I was holding on. Now you think about this. I was holding on to it. But listen, though. You made him better, though. But think about it. It was to make him better. But think about it and he said it made him better. But think about the fact that he was the first of many. Because you got to realize Snoop came after that and he had a different lingo. But that was way on down. But just the many different people he was about to work with, like that. Now he wasn't thinking like that at the time, pretty sure. You weren't thinking I'm about to work with a lot of people. No, no, no. You were just thinking I got to get this guy sound right because he not sounding like us. Exactly. But see, you look at, you know, you bought off Snoop. But see Snoop come from under Dre. Correct. So when Snoop came to No Limit, it kind of had me like, damn. Because one thing about Dr. Dre, his expectations of work is through the motherfuckers. Yes. And you're right. And Court had never been in the studio before. Right. So with that situation, so Snoop already came in. With some experience. Developed an experience. Right. Yeah. Court came in. Green. Like. And ready to roll. Right. He just wanted to come in. You know what I'm saying? So I'm just trying to, in the top of, like I say he was always nice. Yeah. But sometimes, like, when Shaq and Kobe was in the Lakers, they didn't pop until Phil Jackson came. That's right. That's right. They had all that talent. Yeah. Couldn't figure it out. Right. So, but when Court came, I'm mapping it out, okay, let me see how this is going to work. What did he say to you about that? Like, as far as the way you guys would work? He never questioned me. He never, never. He just knew y'all had to figure it out. Yeah. He knew I was going to figure it out. That's the traits of a boss. Yeah. A good leader. He knew the trait. He never questioned nothing that I did. I've never remembered P getting in the students and saying, man, I don't like that beat. Like, whatever I pulled up, he jumped on it and knew I was going to make it work. Because you know what is good for the team. You know what he likes. You know, you already know everybody. He know good music. Right. But see another thing about it, he appears this is that when I finally got with P, P was like, I finally have my own sound. He had his own music identity. That made him feel like this is it. Right. Because P worked with some bad motherfuckers when I got with him in California, like EA Ski. Yeah. But he still didn't have his own sound. He didn't have his own. It wasn't, it was Allen. It was a Bay Area sound. That's right. EA Ski was, EA Ski, DJ Daryl and K. Lou is like, like they ran that Bay Area shit. You know, EA Ski, he did like all spice one shit. DJ Daryl, he did two pot, keep your head up. And then he had K. Lou that who P worked with a lot. But see, that made me think of something else. Like, how did you and P like really know that y'all were about to work together? Like when y'all, how did y'all know? Like when you met him, of course, was it just about the music? No, no, man, when I met P, it was in Atlanta at the very last Jack the Rapper convention. Okay. Okay. It goes back to me. Okay. When P came, when we was up there, he came down to New Orleans and he went to Pige's, Pige's Recreation in St. Tilly. Okay. He bought a lot of CDs. So when we came and went to Atlanta to work and promote and trying to shop, serve demo. Yeah. And that's when that big fight broke out with Luke. Yeah, yeah, yeah, yeah. And debt roll. Yeah, yeah. So everything is just moving all around and just so ironically, we wound up together. Wow. And P was like boom, boom, he saw, sir, sir, man, what's up, man? What's going on, bro? So you see, he knew Mia. No. He didn't know Mia at that time? No, he was just down here looking for, he was looking for a female artist. And ironically, he came to Pige's Records. Oh. And Mia was working there. Of course, but did he- But did he know who Mia X was at that time? No, no, she didn't know. He didn't know nobody. So, okay, so when he walked in and he met Mia, how did she shop herself to him? No, no, no. When he walked in, Mia wasn't there. Mia was at home getting ready for a Scarface concert. Okay. And he found her way, he found his way to her house. I mean like, man, what? I'm about to do it. I'm about to go to a concert. How did he hear her music? How did he know? Right, how did he know about her? Look, every artist that P met through me, he didn't hear nothing. It was just that, if I'm bringing them in. So you knew Mia. Who told him about Mia? The people at the store, Sherani and all the other employees. So he came here and was talking to everybody and then they told him about- He just came here to drop them CDs off. To buy and come, because like I said. CDs, right. And then they told him about Mia. They told him about Mia. He was looking for orders of female artists. He got Mia's work here. And she go in. And that's all he needed to know. Wow. That's all he needed to know. And he just went to her house and knocked on her door. Mia like, what? We going back to Atlanta. We going back to where you went serve on. He knew serve on. Okay, so when it got to the point when Atlanta, right? When we got to Atlanta, this whole humbug is broke out and serve and pee. We all bumped up because it was me serve. It was just me and sir, because me serving another friend of mine went up there. But the other dude, he had to go take care of some business. So it was just me and sir. And when the fight broke out, we all, when it all came down and we all bumped into each other like serve and pee. So he said, man, what's up, man? Boom, boom, boom. He said, no, he said, what you doing out here? Sir was like, nah, man. I might just shop in my, you know, my demo and pee. Like, man, I got this label that I'm starting, man. No limit records, man. You need to be part of it. Boom, boom, boom, boom. See, he never, he, he haven't heard nothing from sir. Yeah. They just, we up that shop and some shit. He just, just linking with him because he from that. Let me tell you how it tied in though. So serve and when he bought these CDs, right? He had to listen to them so that is one album. And he asked, sir, man, do you know the dude who did the beats on his project? Sir started laughing and he was like, what's funny? He said, yeah, him, which was me. Yeah, yeah, you right there. So he asked serve, well, man, look, man, you need to be part of this. What I'm doing, man, I'm telling you, man, we bought the pot, we bought the blow and sir was like, well, if my DJ can't come, which was me, I was the DJ and his producer, don't worry about it. So he looked at serve. He looked at that CD with the beats on it that he bought from this artist, which was one of the groups that we wind up signing on the limit anyway. Yeah. And he looked at me. Okay, fucking come on. He won't make that move. He gotta have everybody. That's loyalty though, I love that. And the only time I went up, the only reason why I went up there is because I've never been on the West Coast before and I never flew on the plane. That's the only reason you went? Yes. That's dope. Not even for the opportunity. Well, she more say my plan on the plane. How old were you at this time? I had to be about what? 19? 21. Around that something like that. 21, 22, something like that. But you know, it was like, that was the only reason why I went. And at the same time, it was me, Mia and serve, we flew up there. He flew all of us up there together. When he met Mia. So all this happened at the same time? All this happened at the same time. He already had the apartment and everything set up? No, he found him. When he found out we was coming. He went and got that apartment? We was in the hotel though, first. Okay. So had you met Mia before? Oh, hell yeah. So you knew already? Everybody know, because I was playing the records in a club. Yeah. I was the DJ in this big old club. So I knew all of them. All of them, all of them knew each other. We all knew each other. That's crazy. But when we went up there, we only went up there for a week. And that week turned into a year. Wow. And you guys basically just, y'all didn't know where y'all was gonna stay. Y'all just kind of went to a hotel and just stayed there. And then he- Winging it. Winging it. Yeah, we only went up there for a week to work on some music that he was putting his compilation out on. Okay. Which was- Downside Hustler. Okay, that same one. Yeah. So we went up there. So that's why, and that's why court come because he's trying to- He was on that project. That's why he was on that project. He had some R.I.P. or something. Right. Yeah. So, you know, what then that, you know, Mia, you know, we all flew up there and just for a week, just to work on that record. And I guess when he heard what was coming out. He's like, I had to keep him up here. No, as a matter of fact, as a matter of fact, we went up there for about two days, two or three days. But it was around December Christmas. So he was like, man, how y'all feeling about, do y'all need to get back home for Christmas? And Sarah said, I ain't tripping on Christmas. Christmas been missed us. So we was up there for about a week and I had to come back because I had to go to court. So when he found out about, you know, man, I may have something here. That's when I think he started looking and finding an apartment for us to stay up there. Wow, did you ever get home sick? No, you never did. No, but the thing about it, what it was, was I was being young, you know, I was just enjoying the moment of just being in California and he introduced me to like, I say like, DJ Darryl K. Lewis, mainly E.A. Ski because E.A. Ski was. Who was doing his work? Yeah, E.A. Ski was big. You gotta, like I say, he did all spice one stuff. He was working with Cubes. Cubes, short. He did all of this work with these Bay Area, you know, Ice Cube and MC Wren, Ice T, he worked with all of them, you know what I'm saying? So, and the thing about it was when I was DJing in the club, you know, bounce music is huge and spice one was the only record that wasn't locally that I was playing in that club with bounce music that, you know, if I changed the pace of it, it wasn't gonna affect nothing. Even though it was a different sound. So, when we got up there, for them two days that turned into a week that turned into a year, you know what I'm saying? And you know, things just started, you like, he just wanted to come back home. Wow. When you think about it with the fact of, okay, you started talking about it. So, he came back home after how long? After us being there for a year. A year. And then when you came back home, cause you had to go back again. How long did you come home for? No, no, no. When we came home, we was home. You're home. That's when he was like mammary. He was more like mammary to go back home. Did y'all come to New Orleans? Did y'all come to Baton Rouge? Where did y'all go? No, we all came back to New Orleans, but at that time, he wanted to be in Baton Rouge because he really didn't want to be in the city. In the city, it was just going to be too much. Yeah, everybody, when he moved, it was... Right, so he wanted to be kind of outside the city. Why did he want to come home? We just missed home? I don't know. And the thing about it, when we came home, he said, man, just leave all that shit, just take the equipment. Left the apartment, full of furnish, all of that, he just left. We just left all that. He said, just take your clothes and equipment. Fuck all this other shit. We about to go back to New Orleans. Y'all just love home. No, no, this is how we left. He woke up, it was like 200 months. He came in and said, come on, we about to go. He said, just get the equipment, y'all clothes, and we outta here. Wow. You didn't even know what he was talking about at that time? No, we said we're going back home, you know what I'm saying? He said we're going to the city, we're going to New Orleans. Okay. But the thing about it that, just imagine that you just getting up in the middle of the night and say, come on, let's go. We ain't never coming back. Did you feel hurt? No, not because I really- He about to work, he ain't worried about it. I know he about not working. See the thing, I really didn't establish no friends there though. Okay. He was working so much. Right. And that time, during that time, they was putting out a lot of music, they was working, and at the end of the day, what did it, did it help coming back to New Orleans cause of the feel? Yeah, but see when it came back, that's when everything started popping. So I was able to bring in the artist. Yeah. That's when I came about, so it was just now. And y'all just left- Mac Fiend, yes. Y'all left big court. The big court didn't come with it down here. He went back to Kansas cause he said he can't sit in Missouri. Big court went back. But the thing about it was, I didn't know how that situation was going to play out because, you know, when court and I worked, and I had to, I had to tan his ass in the studio. But it made him a big artist. It made him better, yeah. He's like, you was looking at him. So you just be staring like, do it again. Yeah, like, do it again. Because it's like when I was working at that, when artists are artists, I listened for pronunciations. I listened for making sure, even though it could be some street shit. Yeah. I still wanted you to say it right. That's very important. We had an artist came on the show and he was talking about it. I think it was Eclipse Darkness because he's one of those that he can spit real, real fast. According to him, he's faster than even Twister. Well, you got songs with Twister. But, and the difference is, cause like Twister, when he go really, really fast, I can't really can't understand him as well. But this dude, whenever he did it, I could understand every single word. Right, love the other. He was like, Annunciation is everything and how you pronounce that word. But see, that's what I was on court about. It wasn't that he wasn't saying the right shit. He was saying the right shit, but I wanted him to say it to where one of them all fucking hear it. They understood. They heard it and understood it the first time they heard it. Yeah. But it was just more of me coaching court about being a better artist of your product. Him being an artist of delivery and saying it. I just wanted him to say that shit right. Which is understandable, you know? Like the thing you gotta understand, you guys, I was doing something that was gonna change. It actually, it swayed hip hop in a way, you know? Like, and one thing I always wondered was like, in my mind, I wanted to put cash money and no limit together more than what I was thinking it. It seemed separate, but I'm like, damn, they right there. You could tell it was family. You knew it was respect. Right, right, right, right, right. I knew it was respect. I didn't have nobody to tell me that, but I also knew that it was not the same too. I could tell that as well. Right, cause it was obvious, you know, even everybody in the city, even us, we always figured and try to figure out like, if we, if no limit and cash money would have worked together, he let alone even touring. That's what I'm saying. It never even been a tour or nothing. I was always wondering why. It never been a tour or nothing, but. And y'all from here, like why not come together? But you got a lot of juvenile on the ticket now. Yeah. Juvenile on tour with them right now. Nobody, nobody is juvenile. And Mr. could have been kind of back and forth both sides, but it's just more like right now, just more of like with Juvenile is just that nobody is committed. Like even though it's a no limit tour, nobody is actually committed and signed to this company no more. Okay. And everybody, we are coming together to do this. To do it. But so each artist is their own boss now. Yeah. That's why it's called reunion tour. Right. So, and the thing about it was that, like I even never understood, like even after the situation with court, I always like, I think I asked Pee about it one time about when we was moving and I asked him about. Court. It was CCGs then. Yeah, yeah, of course. You know what I'm saying? I asked him about the group and he was like, he was like, well, I don't know. Because I guess one wanted to stay and the other one didn't. Yeah. So it was just. That's what it was. He said that. They wanted vans. Okay. Right. But they didn't have nothing. And he, because say, we don't have, this is opportunity. That's what he kept telling me about that. But the guy didn't like Pee because of, he was pressing him for an advance, you know, or trying to get something out of it. You know. Right. And even at that time, it was like Pee had money. But I don't know what the company had. Like that's what artists and people feel to understand. It's like, if I made all my money personally on another business and I decide to start another business, like a record company, don't count on, don't count on my personal money. You just look at to what the label is at right now. You know, just I heard this one thing which was Shaq and Bill Cosby said when they, when they children told him, but we rich, he said, no, I'm rich. Which is true. It's a hundred percent true. I'll help you get there. I'll get to, I'll help you get to where I'm going. But I'm rich. Me and your mama rich. Yeah. Y'all not. I remember Mystical seemed like I said, I think I said this before. He seemed independent somewhat. But then it seemed like he was with no limit. But it seemed like he was no independent in my heart. I don't know if that was true, but it seemed that way. Like he wasn't with no limit all the way at part to his career when he was first starting. Well, it was like when he first started. I know he went to the military and all that, but it just seemed like it was like he was, like it was going two or three ways for him. Well, it's like Mystical started out with me. Me and Mystical, me and Mystical was working together since like 87, about 88, 89. So you could, you, you remember him developing that style. Yeah. He always, he always had that style. Yeah. Always. It was different. And that's the point. That's why I say when I take in the orders, have to be something that I've never heard before. He was totally different than anybody else that I'd ever heard at the time. It was something different about the way his cadence is. And it just gave you a feel when Mystical arrived. Mystical is a huge James Brown fan. You can hear it. And you can see it. You can see it when he performs. So the thing is that he is a performer. He leave it all on the stage. He leave it all on the stage every time. Every time. He leave nothing, nothing left. Wow. Like I said, when I first heard of him, it was this military thing. I was like, this dude is something different. But at the end of the day, I could not get past this dude's lyrics and the way he made you feel when he was in the club or whatever. It was totally different than everything else that was going on during his time. And that may be why I couldn't put him in a group in my mind. This had nothing to do with it. Cause you gotta realize during this time, we young. And I'm just a dude that hear him and I'm just out and I'm buying CDs. I'm buying from places like this. He gonna stand out, just look at it like this here. As dope as leaders of the new school was, you only remember Buster. Yeah, that's the only one I remember. But I remember the leaders of the new school. But Buster was the one that was... Well, I know all of them. I know you know him, but I'm telling you me. I just remember how he was. He was different too. Everything he did stood out from the rest. And see, that's what it was. Like, you know, or Mystical, like you know Fiend with the same, like they have these to Fiend. You look at Fiend and Mystical, right? Shout out Fiend. I talked to him on the phone. Bruh. They have a voice. Mm-hmm. They have a voice to where when they speak, it gets your attention. It gets your attention. And Mystical was like, the way you hear him on the record? Yeah. That's how he talks on a regular conversation. He's having a good time in life, dear. I'm telling you that much. He having a great time in life. Life is good for him because this nigga is energetic as hell if you want to hear on a song. He give it all. And that's how his conversation is all. Well, he got it. You ain't going to sleep. Well, no. I would love to have a conversation with you. And the thing about it is, the thing about it is that he will last as long as you ask. Wow. The more question you ask, he will not. I can imagine that interview. Right. He did the thing about it. That's like when we go do performances. He got a lot of songs. He don't leave until the last person with the autographs won't sign his sign. He's all for his fans. Yeah. So he doing this every show. He every show we go do venues. We, we, we be the last ones to leave. He work them down. We leave when we leaving out, they sweeping the clubs up. They pick it up the trash and blah, blah, blah. Like, and everybody is out. Everybody good. All right. He will not leave until every last autograph. What did he say coming back to New Orleans to perform last night? And this. You see what I'm saying? Cause it's a difference when you come home, man. I just keep thinking about coming home. But see, it's like this here. This just, we do things here and there at home, right? But to be in a $20,000, $17,000 seeded arena and throw it out. That's so much love. See, it's a difference when, kind of like when you are marketing and promoting the record, right? The key to it is this here. When every DJ drop the needle on your record at the same time. Not just I had one planted here. And when he died and when he done with it, laid on somebody else going to start playing it. But see, when they put the needle on the record all at the same time, you have everybody listening at the same time. Wow. That's what you want. Yeah. Coming home to the city and doing that. Yeah. Is it any, like, I know you got a lot of relatives, but is it any like older people that still around here that when you come home, you're like, man, I gotta go buy them and check on such and such. Oh, it's always like my- You see what I'm saying? Yeah, yeah, because- Cause you're at home. Cause most of the time like with me is like, everybody's always at my mama house, which my mama house was the family house. Yeah, yeah, yeah. And everybody started- Yeah, that's it. Moving on to your home, but they always come back there. Okay. So when I come home, that's like the only spot that I go to, cause everybody who I grew up with still there. So when I pull up or we coming from the airport, and I just swing by my mama, everybody there already. So I can kind of meet everybody at one time. Wow. So the family get to see each other. Right. And nephews and all that, they there. Right. Man, that's gotta be nice, man. Because, man, that's something you can't make up. Mama, you- Mama's something- It's something about mama. I lost mine early on. But to have your mother and be able to go home and stuff, that stuff is so important. And it's dear to me for show mother's day of heart. Right. You know, when you think about your mom, from my perspective. Yeah, and it's like, and just a rhyme that you say like, cause my auntie just fed like two days ago. Wow. Sorry to hear that, man. You know, it's something my god auntie's like, right now that's all I have. I have my- Yeah, man. Thank you. My auntie Terri, this is ironic, like despite of- She was your mom's sister? Yeah. Wow. Yeah. And the thing about that, despite, you know, my finance and the money that I have, right? Yeah. She always always used to call me, Craig, you all right? I'm like, yeah, you need some money. She would always check on you. Yeah. She would call me like, Hey, Craig, you know, and it'd be more like, cause I ain't gonna lie though. I don't read. When I send, we see each other a lot, but I don't know him to be the one to pick up car. Call me, yeah. Yeah, yeah, yeah, yeah, yeah, you been? Right. So when I come around and they all by my mama, you know, by the family house, she'll be there, right, y'all right, you need some money. That's funny to me. I just think I'm like, she gonna call it. Yeah, you need something. I wanna make sure you're good. That's good, man. Because, and that's something that- That's love. That's love. You can't make it up. You came, that's the part to note that puts you back in that place of being Craig too. You know what I'm saying? You gotta think of like, my grandmother, 10 daughters, three sons, 13. And all of them like right behind each other. 10 daughters, three sons. Is she younger or older than your mom? My mom is the oldest. Okay. And she falls in the middle. And it was- Was it unexpected? What? No, no, no, we knew it was coming. Okay. And because she was in the hospital for, shit, a couple months. Wow. Not COVID, anything has to do with it. No, no, no, no, no. But I just, you know, it doesn't change a thing, but it does give you a better time to prepare or know that something is not- Cause it's tough anyway, you look at it with family. Like I said, losing my mom when she was 24 and the sisters are still here. But it's something about, I guess for me, like more of when I would go around family, you don't really feel the same no more. Because it's like she was a part of that. But it's like now when you hanging around with family, you don't feel, you're like, man, I'm just here. I'm being real. That's the way you think it. I know that for real, for real. I've been feeling like that, like when I would go over to family, they had their mom and dad there and everybody was there. But I'm just there, you know? And it's like, dang. And they be like, no, you gotta come over. It's like, no, really. Because I had my own way of thinking about my mom and my brothers and sisters. So it changes things. That's how it is with my grandson, right? My grandson called me pops. Okay. Because, you know, he didn't get a chance to see his father, you know what I'm saying? But by him living with me and being with me every day, I had to step in the fall. So you lost a son? No, no, no, no, no. My grandson lost his father. Okay, got it, got it. And so when his father passed, you stepped into place. Right. That's dope, man. And so he called me pops or Popo. He hit me with both, depending on the situation. Is he down here or here? No, as a matter of fact, I was gonna bring him, but he was his mom. Yeah, yeah. How old is he now? Yeah. How old is he? 11. Oh man, yeah, that's a good age, man. He probably in the sports or whatever now. He met P last night. Did he? Yeah. How was that for him? Oh man, it was fun, cause we was at sound check, right? And he was like, Popo, that's P? And I'm like, yeah. I said, you wanna go meet him? He said, yeah. So I bought him over there. He's like, P, my grandson won't meet you, bro. He's like, what was that little one? Ain't nothing. And he's like, man, you take a picture? I'm like, yeah, so he took a picture and he was like, he said, I wanna ask him something. He told me he wanna ask him something before he took the picture though. Yeah. And he took the picture and I said, you wanna ask you something, bro? After they took the picture, he said, oh, so what you want to ask me? He said, nah, that's all right. I like it. Did he tell you what he was gonna ask him? No, he didn't. Oh. He just, he just, he just, I'll wait. Yeah, he's like, I'll wait. I'll wait. He said, I'll be curious. I was like, OK, what's the point? Tell me, what were you gonna ask him? One day I'll talk about it. Do y'all fish or anything? What do y'all do? He'll tell me about it, dude. Is it like, do you guys fish? Or do y'all, you ain't got time to fish? What do you hobby, K.L.? I don't know. What's your thing? I really, I... You playing golf? And I still on a golf course. See, that's what it is. And I don't do it, though. You don't do it? I need to be out there caddying or something. I been staying. I bought my house in 99, as a matter of fact, I bought my house in 99 on Martin Luther King birthday. Oh yeah? And I've never been on a golf course. Anything about a fingo golf, and he'll get on a course, right? He'll get to where the whole way my house is. He'll stop on a course. And leave, come to the house. So you stay up, he stay on the golf course. So that's good living. And they on the golf course, man. And don't golf. And don't golf. But he on the golf course, you know what I'm saying? Then when you think about like, oh yeah, yeah, that's the 50. I wanna see. Look at him boy, he proud too, you see, he proud. He ain't playing no games, he proud. Oh, look at that smile. He's like, man, I made it, man. It made this here happen, man. Because you know, you gotta think about it, man. Going to school and stuff, man. Them kids, man. Kids talk a lot. Don't let them fool you. They probably take that picture and show all their friends. They talk, they talk. Even if you don't show them, they talk. Man, my papa, man. We was at the concert. They talk just like us. But they have their own way of doing it. You know what I mean? Right. And it's funny, cause my 14 year old, I know already, I'd be listening to him. I can't, he don't never talk to me like he talked to his friends. So I sit in the living room sometimes and just listen to him. How he talking to his friends and playing the games and stuff. You do that sometimes. We know this hell. We trying to figure out what he thinking about. Yeah. Have you been to a moment where he said something like, I can't believe he said that. It's been times that I be, I be trying to listen. What I'm listening for, is he a father or is he a leader? I mean, that's what I'm thinking about. That's the only thing I'm kind of trying to really figure out. For the grades and doing this stuff, I know he doing stuff and then he's real, he's like an introvert, right? He don't really tell us nothing. Like, he don't talk like us. He, we talk, he don't talk. He ain't trying to let you get in his business. He talks to his friends. Oh yeah. That's it. And we are not cool. So you know what I'm saying? We are not cool at all. So do you, what are, when you leave, what's the next city for the tour? Mobile next week. Hey, that's the, that's where your boy, that boy, honeycomb breezy from. That's a different, that's a different area. Mobile next week. Well, you gotta let us know when you come back to Dallas cause we have to make that shot. Yeah, we come into this. No, no, no, no, no. No, that next time we come to Dallas. We're gonna show up, we're gonna show up. And I'm kind of mad at them upset because it wasn't my fault because I didn't want to promise somebody to come and I don't have nothing. Correct, correct, correct. You gotta know what's going on. Right, cause if I would have known because last time in Shreveport, it didn't go as far as the passes. Yeah, yeah, yeah. The passes were different cause of where you guys were at. It was where we were and how it was handled. Yeah, yeah, yeah, yeah. Cause it was from a different promoter. Got it, got it. Man, you know, I just, like I said, I'm gonna get the catch one up. I already know I got KLC. I don't have to worry about it. At some point it's happening. Man, it would have been so dope, man. I know to see that lineup though, that's the part. Yeah, yeah. I wanna ask you about your DJ and like, cause DJ and go hand in hand with the producing because you've been doing both the whole entire time. And you went from, you went from records to cassettes, cassettes to... Right, records to cassettes to CDs. And then now it's software. Right. So what procedure are you using? And in my mind, I'm thinking people going back to records. I don't know why I think that, but in my mind I'm thinking everybody going back to records. Well, record sales are increasing now. Correct. So how was, explain to me the transitions. It's the love, hate situation. What was your thing? What was your, what was your, what was your, like when you first started that got to be the, that's the best time. Always because when you first start, like an era to where everything that you've done, you've done, you earned it and it made you appreciate it. If somebody gets something right and I need to lose it, I'm mad. Cause they didn't put no work in it and get it. That's like as a rapper, not being an artist. It don't cost shit to make a record now. No, no, I don't. Even back then, and I always say this, even back then when you were being bootleg, you still had to spend money on jewel cases. You had to spend money on and pay somebody to press up your CDs. You still had to buy, if you wanted like little sleeves to sell it, you still had to spend money and work. Now you don't have to do that. So right now, in this era of rap right now, if it was, if the way rap is right now, if it was applied to how it was then, a lot wouldn't be doing it because it's so much you had to put in to do it. Yeah. Cause right now by, it don't have a value. It's so easy to do to where you could just jump in it and like, if I don't like it, man, I ain't fooling with this man because you didn't spend nothing. Yeah. Yeah. The value of making a record and doing this costs nothing. So it's easy for you to not take a loss because you didn't invest nothing into being it unless you're a CEO and you putting in all of this money trying to make this artist. And if it don't work, is the CEO walking with the loss, not the artist. Right. Because you didn't, you didn't spend nothing in it. And then you could leave and just go try it somewhere else. Like right now to, I mean, like back then, we actually had to spend money to where 15, I mean, $75 to $100 an hour. What a three hour minimum. What a three hour minimum. What a three hour minimum. You're not gonna come in the studio for 45 minutes or an hour. You can come in, but you're gonna pay for three. Now, if you're only gonna use 45 minutes of those three hours, that's on you. Yeah. But you're gonna pay for three. You got to pay for three. Yeah, they do the minimum. Like, you know, you had to do that because, you know, like studios really wasn't making no money to what are you coming in for a session for what? 45 minutes when somebody wants to book five hours and you only gonna have 45 minutes within that time, like now I'll look for somewhere else. But then, like I said, the heiress, cause my homeboys, he DJ, he didn't like, he was carrying them crates around for a while. That's what you don't want. But what you do want, that's why I said as a love hate, you know, give a tick because right now you can walk around with crates and crates and records on this. That's right. On your laptop too well, as long as I have my laptop, I have all my music. Opposed to going do a gig and have to bring 10 crates and crates. Yeah, but how did you change though? You didn't just know, you had to, at some point you had to be like, you know what, man, I got to get up, I got to change this. I was forcing to it. As a matter of fact, I was officially forcing to it on Mystical's ready to rumble record. Okay. Because we was used to recording on two and drill. Okay. So we had to go spend $275 on actual real real tape. Yeah. Not the machine, the tape. So I called job records. I'm like, hey, we're about to start to record on this Mystical project. Y'all going to have to send a budget or send some advances down so we can start buying the tape because they're going to own it. Yeah. So if you're going to own it, you're going to have to pay for it. So when I finished, I could give it to you. Do you? Yeah. So when it came to that and it was like, Craig, Kale, you don't have Pro 2 yet? Ooh, all right. Ha, ha, ha. And when they said that, and that became the standard of how they work and then record. What did you think? You're like, man, I ain't got no Pro 2s. I don't know nothing about that. Right. And that was the whole point. I have to learn a whole another way of recording now. You try to, and then you had to go try to figure it out. I had to. I had to. Did you call somebody? I called some people. And then I was like, hey, man, you know, I'm having to get on this Pro 2. I don't know nothing about this, man. I ain't really do it that way. It was only a few that I was able to call, but you know, there was always business. So I had to... Trial and error? I couldn't get them when I wanted to. Yeah. So I had to go through the... Trial and error. Trial and error and learn it myself and messing up a lot of things in a learning process. Yeah. Until I actually got it right and learned how to do it. Did you ever go up behind anybody or before anybody that you kind of was like, dang, they go hard? Like when it came to DJing or either putting on somebody else's music right after? As far as DJing, I really never had to go up. Like in competition or anything. I ain't calling it really competition just to have to play after them, the crowd. Just, this is what we do. But I can't ask you that question. You two iconic, but certain people... No, no, but that's a good question though. But fortunately for me, I really never had to go there because it's either I was gonna start it off to get it right for the people or I was gonna have to close to make sure it don't end bad for the people. There you go. There you go. So it was either one. So it was either I was setting the tone or I was fixing the mess. Yeah, yeah, yeah. That's dope. When you think about the new kids that you're dealing with, how are you able to change the times change? Cause them young bucks gonna be like, man, I don't wanna listen to their own sound like them old niggas do, right? So you have to have a mindset to be able to understand how to convey all of this information as times change. Right. How do you do that and be successful? Well, I'm gonna tell you like this here. Go ahead, keep going. This is the difference, right? The difference is this here. The difference is this. We don't think that. When it comes down to lyrics, writing lyrics. Okay. That would change how people sound in their content and what they rap about or sing about on the record. So the different cadences. But when it comes down to music. Okay. Music don't speak. Music makes you feel different. And my thing of saying is here that even like you look at some of the music that we have now is part of what they took from me. And part of what I got came from what came before me. Okay. So anything about it is even like now, all of the artists speaking the same subject but it's about how they're doing it now. That's the difference. Because the reason why some of our parents right now don't get it is because we have to curse too much to get our point across. Okay. So that would change like, God damn man, they got a curse on everything? Yeah, yeah, yeah. It's gonna be that. And it's either gonna be to the point of how sexual everything is on the record. And it went from us talking about people on drugs to people talking about being on drugs. It sure did. That's the difference. So it's still the same thing but it's about how they're changing it. By what they say. By what they say. Yeah. Wow. Yeah, and I always, like I said that was a question in my mind, like, how do you, because you've been able to understand this algorithm of how change is coming and be effective in change. Right. Some people can't figure that out. You know, some of those guys get caught in an era and they never come out. Right. Well, we'll put it like this. And my thing is this is that I was caught in a position of the how it started and I came in on how it started but evolving and evolving into where it's going. So I was caught like right in the middle of it. Wow. So I was able to make the transition. You know what I'm saying? That's just like, you look at Irv 1 and Fire or one of them groups having to, you get a real bass player. I had to play the keyboard part on a piano or a key. Like, no, I'm used to feeling a real instrument. Because when they made records back then, everything was a live performance. Then it had like what, you look at it, perfect like with the editing, how you was able to just get all the video footage, put it in a computer. Yeah, hit a button and brrr. Right. Now back then you got to look at to when they had to actually record it on film, splice it up and tape and chop it up and do this and do that and that's what it was though, you know what I'm saying? So it's my thing is to this here and I'm gonna just say this here before we go is that if the artist produces in this industry of music, if they learn how things was done then and apply it to now, you'll be some bad motherfuckers. Man, man, let me tell you something, man. I appreciate you for coming on the show. We down here in New Orleans, man, Kals, you one of them ones, man. You family, you like my brother. I call you. You always there for me. Me and my wife, we loving the whole podcast world now. You know what I'm saying? It's causing people like you with relationship building, man. So we can't make this up, man. God been good to us, man. All the time. Thank you so much, man. God bless you, man. Hey, man, it's been another great segment of Boss Talk 101, what a boss's talk, man. Believe that.