 Boss talk one-on-one, one-on-one. Yeah, we gon' talk. We gon' have fun. Hey! We be on fire, we be live lit. Live lit. It's a unique hustle, big shit. Big shit, big shit, big shit. It's a unique hustle, nigga, big shit. Big shit, big shit, big shit. Name another podcast like this. Check it, check it. It's a unique hustle. It's your boy, E-CEO. And I'm here with the lovely, amazing official. Mr. Maker, what's going on? Nothing, I need no more day to walk on. Man, we got a guy here today, y'all. OG in the city, man. You know, I had to get him over here. People, hey, everybody know what time it is when they see this man. They already know he been A-1 since day one. That boy Cotton Mouth is in the building. Yes, sir. Cotton Mouth, Jesse, South Dallas, Texas. Hey, man, Jesse, Cotton Mouth, Jesse, South Dallas, Texas. Yes, sir. Man, the South, man. The South, man. I've always been in that place, bro. Gonna play that place. Soon as I, you say the South, you know the first thing come to mind? What? Lady Lou. Lady Lou. Man, I'm playing. Lady Lou. And the second thing come to mind? Cart Club. Hold on, no. Anime. Anime, but you got to also, you got to say Cry Baby. Cry Baby. No! Uh-uh, don't do that. I'm gonna keep going. And we got it one more. We got to say, U-D-B, you're on this all day. I'll say U-D-B, I'm on the bridge. Shout out to Stan, man. Yes, man. I'm on the bridge. Say, listen, man, niggas really don't understand the history. That's the heart. I used to go to Bobby's and I ain't gonna lie, man. I had a two-dough coupe to be on there. And I'd be drunk when I get there, right? And soon I get there, I'm like, we should go party. It'd be by three niggas with me, maybe, you know? And I get there early, nigga. And I'm sitting there in the car, right, drinking. And yeah, nigga, nigga, go to sleep right there on the car. And then wake up in the area. No, no, no, sometimes, but sometimes everybody be leaving, man. Niggas drunk, man. Yeah, but you know, that thing ain't been closed until late, man. Eight, five in the morning. That thing was serious, bro. Everything in itself, back day one days, always late night mixture. Go DJ Fresh used to be DJing in this thing, man. I know Fresh. That's my boy right there, man. You did UTB. UTB, you think? And go to Mama Judith. Yeah. And something to eat. Yeah. And that's gonna be the sixth of the morning. The ghetto club, man. The ghetto club. Stop playing, man. We gonna all day long. All day long. City lights, car lines. House of jocks, nigga. House of jocks. Say, y'all nigga better stop playing. But that's for you, y'all niggas. I'm just going out through there with him just a little bit. And it was though. It's not like that no more. No. Because of the, you know, the culture, man. You know, this violent young culture. Man, I didn't even, I played with these boys' head. Played a club, lived state, all at the strip club. We go all the way back to- See, the clip club came back. Clip club back. Yeah, the clip club back. Looking good, too. And it was one more, I just, oh. Lakeside. Lakeside at dawn. RJ's by the lake. RJ's by the lake. Same thing. I'll let you know. See, niggas ain't ready. I'll let you know. I'll let you know. Man, club. Lakeside club. Club. Yeah, yeah. Come on, man. Man, you was out there dealing with it. Yes, sir. Original. Man, so, man, what has changed since then to now? I know you spoke on it just a brief second right then, but what, when you go to a, if you decide to go, cause we, you know, I'm at a place now, well, I don't even be going. I'll let you know. I'll get out the way. Me going to the club, be like me going out of town for a concert. The best, the best thing you can do nowadays is go out of town and go to an old school maze concert, go out of town and go to the reggae fest, stuff like that. But in the city, nah, I'm low key, man. I'm at the house with the GBs and the wife and I'm chilling, man. Let's get to it. Yeah. Oh dang, what's going on? Sorry, babe. So tell me, where were you raised? You were raised in Dallas, right? I was raised, I was raised in South Dallas, Dallas, Bunton, Dixon, and Highland Hills. Which your mom and dad or? My mom's, my mom stayed in South, my dad is from Oak Cliff. My mom did years in the pen tantrum, got out the pen tantrum, we stayed on Dixon, then we moved to Houston. How old were you when she went to the pen? Probably but, nine, eight, nine. How long, how many years was she gone? Four to five. Okay, so until she got out. My dad was woman dad then. Okay. Then when she got out, we moved to Houston and that's when I started eventually into the hip hop. Hip hop and stuff like that. Did your dad move to Houston too? No, they were separated. My dad was on Highland Hills, my mom was in South Dallas. Two different type of places. So did you go see your dad? Oh yeah, we stayed with my dad too. So he was very influential in your life. My dad's one got me the game on a keen mentality. Okay. Not the slave mentality, you know. And tell me something that he taught you where that is concerned? He was in the streets for a long time, then got saved, became a deacon. Wow. He would always, you know, I've always been to the arts because I'm real, I'm real with the hip hop agenda. So I would start out with the arts, the graffiti, you know, spray paint walls, the break dance and all that then growing up, getting to the streets, it was the same thing. He was the one talking about prayer, how prayer works, you know. Getting out here, like the Bible say the book, say you're gonna get it with your mind and get it with your hands. He wouldn't put all that into me, you know, working on calls then once he figured, you know, I was into the arts, he was like, you're gonna do something with it with your mind, you gotta put it in their face, manifest it and until, you know, the light or whatever. But he taught me a lot of just about being a man, stand up man, be my own man, don't follow nobody. So when I started growing up and niggas pull up, getting a call, I don't think so, I'm not getting in that car with you, you know. But when you were younger though, and growing up, cause you say you were in the streets a little bit too, right? I was in the streets, starting ain't great. Okay, so at that age when you got in the streets, he wasn't a deacon yet or was he? He wasn't a deacon yet, but ninth grade, that's when we skipped from school, going to bills, looking for wax. So that was my introduction into the real hip hop business because in the ninth grade, we was, you know, doing stuff for the school, DJing and bringing our own equipment, stuff like that. But we were still like in the streets, selling little bullshit, joints at school. And we had days, we skipped school and go to beer records and looked through vinyl. You know, that's when you were sampling, like we started recording then, but you know, back then it was kind of different cause it was fun, fun, fun, fun, fun. You know, it wasn't so much of this violence or I'm the baddest motherfucker alive. You know, it was all hip hop, you'd battle at school and beating on the walls and you know, the talent shows and you know, just being young like that in the high school from a ninth grade year to the time I graduated was always like, you know, we always had our own equipment. So I try to tell young kids our time being in the hip hop game young is so much you can do. If you got equipment, you know, you can always throw your own parties with our own parties in high school, just to pack the jam, you know, stuff like that to get ourself out there. You know, you just don't see that kind of vibing them up but that's how I grew up, you know. If somebody had a house party, we gon' get their phone call cause back then, you know, you're passing out your cards and then when the high school wants you to DJ after the football game, we gon' DJ the out of the football game and you know, back then we mixed in stuff like Shabba Ranks with Shadeh, Tour de France with Shadeh, you know. Stuff like that and we rappin' off just Ice Instrumentals or Koogee Rap Instrumentals or MCA Instrumentals. So my introduction into hip hop, you know, in the street game was kinda like two and two, you know. And then when they started, you know, attacking the module of hip hop and it started with the guys with the money behind the rappers, you know. And now we're gettin' into this place where it's the rapper that's bein' the score so they down to the last molecule of what we call this hip hop culture. But when I think about the, you growin' up cause I think about children and their parents and as much as your dad changes life and so forth, when he changes life, I'm guarantee you, you didn't change your life right then and there with him. So when he tried to turn around and be like, hey, you don't need to be doin' this, you know, try to educate you on the right way to do it, you were rebellious against him at that point in period of time. You know, it's like, you know, my dad talked, we listen. Okay. You know, he had respect. You know, he'd make you feel in the blanks. You know, my dad was like that. If he made you feel in the blanks, you knew the weapon was comin'. Better say it again. I told you to do what? You did what? There it is. And by the time you did that, that second feeling in blank, that build comin', or that hand comin' across that shirt, bring yo ass. Yeah, yeah, you get it real. But I needed that. You know what I'm sayin'? I needed that too. Yeah, I needed that, man. Like, a lot of people don't, they don't do it that way no more and it doesn't cause a lot of problems here. The first time I ever got drunk and went by the house and thought I was doin' somethin' I can't even say nothing. Smell at that, girl. Why don't you ever bring yo- There it is. You know. How many of y'all were there? I got three brothers, you know. I got- It's all boys, no girls. I got one sister. I got two stepbrothers and I got my oldest brother. My other oldest brother, he's part of a band called The Cut in Dallas. He's like a rock and roll band. His name's Adrian. He play all type of instruments. I got another little brother and I have another little brother that passed named Corey. He passed away. First in peace. And he was rapping before I was rapping. That's what really got me into rapping is my little brother. But I really got into rapping after my best friend named Trey died, so. So y'all were just into the music, but your father, was he into music as well as your mom? Probably when they was young. When they were young. My dad was a Vietnam vet. Okay. He came home from what they called it. When you get dismissed from health problems, he got shot in the hip in Vietnam. Purple, is it purple or? Forgot when it's called when they are- Honorable discharge. Honorable discharge, yeah. Yeah, so he went to Vietnam in 19. That little era. And you didn't want to do that? No, I didn't. You didn't want to go to the military, I mean. But he told us not to. He told us not to, we ain't messing with that. Really? Yeah. Although he went, he don't want y'all. Yeah, he got drafted. Didn't want to go. Oh, okay. See, that's the era of your parents getting drafted. Yeah, great choice. Marvin Gaye, you know, Herron, we, you know. He got drafted and didn't want to go. My mom, you know, was probably having us. We was young, stuff like that. So we went through all of that, you know. But when he came back home and stuff like that, they wasn't together, but he would always pop up and get us or whatever. Then as I got older and transferred into that, man, we got to be with our dad to learn how to be a man, stuff like that. So the music now, okay. Cause you know the music when it first started off and you see hip hop where it is. Cause back then, yes, you did the street, you did the music, but it wasn't like how the street and the music is. Rap is now in today's society. Kids feel like I got to be on the street to be able to have something to rap. Yeah, but it don't blend. Rap and the dope game did not go together. Then why do they feel so? Cause everybody, I've seen so many of them do it. Because we've been influenced by colors. What else was other movie? Colors, Men's Society. Men's Society, Boys in the Hood. Boys in the Hood. What's the Unmaxed and Knives movie? That's Belly. Belly. See, it's the conditions of the master teacher to the crickets. And you know, we live in a state of mind now where ignorance is bliss and consciousness is silent. But it's more tradition now because these younger kids, a lot of these younger kids never even watch Belly. They never watch colors. Yeah, but they on games talking shit to each other. And they watching these movies and they shooting on the game and they go outside your house and do that. But coming up, we got to remember that EZ was the first street CEO before Master P. So when you had cats like back in the gap, it was a bunch of EZs. Then it was a bunch of Master P's. Yeah, you one of those guys. And it was a bunch of sugar knights. Correct. And then they start tagging the module. Let's take out the CEOs first. So they start having record labels, getting Rico cases, the CEO got popped because he had to fund the record label. And now they're doing it again. It never stops. Yeah, I think like I said, one of the core things that we have to look at is how you came into the music and the implementations that you were able to bring when you came into the music, like dealing with different ways that, cause I'm one of those guys that felt like, always felt like the South was not given the proper respect with the way that we came with the music. We were the down south hustlers. I was on down south hustlers. Okay, and all those different times, they excluded the South back during those times. We embraced each other cause that's all we had. And I think a lot of times because guys that's, you know, in our era, I think a lot, they don't understand the way that we built the foundation when it come down the way we wrap our arms around the South. You know what I mean? And I think that's something that now people are, they forget about that. That's why I'm so, I'm a, you know, I'm PMC fanatic. Man, you. You know how I am. I'm a screw head. Did you get to meet him? Who? Oh yeah, he got a song with him. Oh yeah, Pemcee. Yeah, I'm the first person out of Dallas to do a song with Pemcee. I'm a first half a hundred percent card amount. Yeah. Produced by DJ Snake or Nemesis. Yeah, yeah. So I got in the game through DJ Snake, just like he was like a father figure too. Like when Nemesis and MC Ron C was blowing up, that was DJ Snake making, I was in a production deal with him and I got signed to a group called PKO out of San Antonio. So going to go record over there with Snake, it was kind of like the same thing. He'll give us three, four hundred dollars, man. Don't go to the club tonight. Y'all take y'all young ass home, we'll get some weed, fuck with some hicks and some hoes and some shit like that, you know. But we was young, you know. But people never understand the whole thing or, remember we coming up, we always say screw love. Yeah. That was the real thing. You know, screw love, man show love, you know, stuff like that. And then after he came with the whole involvement of gathering everybody, he really took the whole south somewhere back then, you know what I'm saying? Because all he had to do was just like keep doing, he was doing everybody's father in the path, the masterpiece. So I come up doing crawfish fish, back in the gap, you know, baby and jab, you know, DJ Baby Sitter. Yeah. Man, who else can I name going down that way? Just a bunch of people that was involved, me and Greend, Wicked Crickets. Yeah. You know, the Greish streets. I've been knowing Greish since I was 16, 17 years old. So I came up in the game under a guy named Alvin Scott, he's the only Lexington. Okay, okay. Alvin T. Baby Scott put my first group out called South Coast. So me learning as a young cat, about just his whole hip hop game from being an artist to a CEO, how the DJs work, how the clubs work, how the radio work, that was my biggest advantage, you know what I'm saying? In the city, in the state period, you know. So when I got around screw and stuff like that, you know, it's kind of like seeing the difference between my city and Houston because of the screw love, you know? Yeah, that's, that's live, man. You know, I'm over here thinking about small stuff like Top Cat or Catfish Smith. What you mean? Jump over there. Catfish Florence. No, you know, I just, like I said, you one of the guys man that sticks out when he come down to, you know, we've been hearing a lot of legend talk, a lot of people talking about the legends in the city. And it's just like, you don't really have to tell anyone that you're a legend. You have to show them by your actions. Exactly. And the people will tell you who the legend is. Exactly. But when I see, you know, a lot of times in the Dallas area, the legendary status is something that people don't really applaud, I feel the way they should. You know what I mean? I mean, and it ain't nobody's fault. I can't blame no individual, but I can say, and I do tell Bobo this a lot, is our fault. It's the ones who should have been, we should have been more precise on how we. I can't say that because you got to understand where you at right now and where you was when you was young, you was a fan, you was a consumer. Correct. And now we have the media outlets to put the look on the history of Dallas. Yeah, but then you gotta look at, you gotta look back. Back then it wasn't like Dallas wasn't a place for the hip hop, it was a consumer, consumer, consumer, consumer market. I get it, but you still had the run seeds, you still had the snakes. You still had the, wait a minute, you still had you. You had a lot of different people here that pretty much, the DLCs that really, it was there, but. But that's after me. But still y'all was here. So at the end of the day, y'all got a responsibility. Yeah, but we didn't have magazines, we didn't have this, we didn't have outlets, we didn't have the publishing, and we trying to type Tragman, Tim and Smith, Mike Irvin, Leon Lett, and they was all on the news. I get it, but then what about these other dudes that's making it happen in a city? We didn't have the, When I say like the DJ Scrooge, like you keep mentioning in those guys. Yeah, but our radio stations didn't support us like 97, the box support them. So that's what I'm saying. Why do you think that was though? Cause you went and had situations with the radio station. Why do you think that was? You was in or you did a lot of stuff. Because they didn't understand up here at that time because we only had one radio station. That was K-104. If you go to Houston, they got Magic 102, 9790 B. They got, you know, they K-103, 90.9, whatever it was. We had K-104 when we had 90.9, that was a community station, ran off of contributions, you know, people giving money to keep the station open. K-104 was the only, only, only, only, only, only business in town. So just imagine you trying to go up there and get your record played between a Jive, RCA, a Def Jam and other people that was out. That wasn't happening, you know what I'm saying? And then you go down the street and you run into the Scrooge Love. And it's just all love and people saying Scrooge Love. Man, let me give you one. Yeah, man, Scrooge Love, you know, whatever it might be. And then you knew if I end up on the Scrooge tape, that's like being on the radio at that time. But the support of Dallas wasn't there for Dallas artists, not just rappers, you know what I'm saying? Dallas artists, period. Period. But people got to understand again, for Ron C. to go play them, for Nemesis to go gold, you know, they was getting major play in Houston. But it wasn't, and it was a long time. It was just for your basic ass night and trendsetter was top, top bankers, you know what I mean? Yeah. So when you think about just the way that things were then, explain to me when you, the altercation where you were dealing with the radio station and you felt like that, you know, how all that transpired. Man, young, full of drugs, aggravated, you know what I mean? And trying to get to it and miss, and miss the misconception of y'all should do it. Break it down to me. I mean, this is our history. It's a business. You know, I wanna hear what happens. Yeah, but it's a business. So what happened? Not knowing the business. Not knowing. You went up there, what did you say? I didn't, we didn't say too much. Just banned on the ones and went to chicken and turned shit up, you know. What? Y'all went down there for business. Y'all like, your niggas ain't gonna come down here and not show us the recognition we deserve. It wasn't about that. It was like getting tired of going to radio Monday. Okay. Going home, waiting on that, you know, when it kind of three to six. Yeah, yeah. At six p.m. You know, we didn't start getting no love and it seemed like that man to Gregg Screech showed up. You know, and even before Greg, you know, Skip Cheetan played a lot of pimpster. Yeah, yeah. You know, diggers in half shoes, or I wanna act like that. Yeah. Pimpster was the only local cat getting plate. Okay. You know, go Skip Cheetan, he played some pimpster. Yeah. You know, and I was like, well, you gonna play pimpster, you gonna play some cutting map, you know. But I'm in the streets. So, you know, I ain't had too many clean records besides, you know, cutting map, smoking out your mouth, getting dry, you know, stuff like that. But I went down and I met Skip Cool. You know, he taught me a lot after that situation. Cause I thought I fucked up. When you went down there, you went down there to say, y'all gonna get it right. Man, why he was on earth? Bams on the one, everything. Well, he didn't come out. Yeah, he did. Like, man, y'all tripping. You know, Ken Dad called the police, got down, put the handcuffs on me. Damn. And then Ken Dad came out and said, I understand what he's trying to do, let him go. Oh, that's fine. And they let me go. Cause he knew I was just trying to rep my shit because we're in the clothes minus D town, you know, repping our shit, you know what I'm saying? Cause for a long time, like I say, Dallas was just a consumer market. And to represent your shit, people looked at it like, what they doing? You know what I'm saying? Then when everybody just had a hats head south side on them or west side on them or north side on them, that was the whole beginning of all that shit. Yeah. Just imagine when Lil John came with the, who you with? Who you with? You know what I'm saying? That kind of shit. Dallas was like one of the fucking cities. I was like, man, we finally get to rep this shit. You know what I'm saying? Then my era, when me doing what I was doing, I was making historical markers. Yeah. From doing big concerts, doing club concerts. And then, you know, in that period of time, going to the 2000, I'm my OGs on the clubs. You know, I know Jamie. I know Lil Keith. I know Alvin. I know Keith Black. I know all these guys from midpoint to all the clubs, the Fort Worth clubs. And then I'm going to the after hours. And I'm hanging and banging, you know, with the screen cats. And back then you promote music with a CD or a flower or the old school sampler cassettes. Motherfucker give you, you know what I'm saying? Shit like that. So it was just a different vibe than what it is now. But the history on Dallas, you know, we all can take the blame, but people got to know that it just wasn't no one. Well, it was a couple of people, but they weren't putting the historical marker where it needs to be as far as the city go to to put the shit in the archives. You know what I mean? Yeah. Now you, like I said, man, you sat here and seen and watched a lot of stuff and you was passionate the whole time. And that's what make you different. Okay. Your passion is what drove you. Yeah, exactly. You know what I'm saying? But being young and dumb too. Yeah. But it was kind of like from that, from that situation that happened, that opened up the doors for me to be in Tyler. Okay. For me to be in the rail station on Longview. Okay. And even at that time, back then after- Do you ever go down to 43 Club Rory? Yeah. Even down at my boy, you know? I don't let that, man. That my guy right there. All through Henderson, all that, man, you know. And then back then we had the mom and pops, we had OG Floyd, you know, in Longview. Yeah, yeah, yeah. You know, Floyd gon' say it out for you. That wild thing, you know. Yeah, all that, man. And I had a partner, his old man, he was on a bunch of clubs in Longview. And then once I started connecting game with the H-Town boys or stuff like that, that's when I really got my eyes on the big picture, you know. Because for a long time I was always worried about the local shit, you know what I mean? Yes, sir. You know, so once I learned that, you know, it's worldwide Texas that took me to a whole other level. Like I said, the thing, how was it? Give me a Pimp C story. You know, I always get you out for that. You give me, you got to give me one. You know what I'm saying? One day you've never given before. You know how I am about them. I'll be serious about it. I'll be on Bobo and everybody else. Like, man, give me one. I don't want that same, you know, we don't want that same drop. I got same Pimp C stories. No, but give me the one that ain't nobody really just gon' know. Like, damn. I got a Pimp C stories and just a real one. South by Southwest, we had a showcase. South by Southwest is me, Pook and Luchi, big chief. And UGK was the headliner. Okay. And this is a show of South by Southwest full of Britons. The flag had a great Britain flag in front of this club. So the whole club full of nationalities of people. And Pimp C upstairs or whatever. And we walk in and it's me, Pook and Luchi and I look low crew. And I see barn and bomb. I say, cotton, who you got with you? Y'all come on up here, whatever, whatever. And Pimp up there, you know, chilling. And I walk up stairs and you see Pook and Luchi dappin' up and I'm like, damn, Pimp, you know what I'm sayin'? Get to see Pook and Luchi and I'm here like, cotton man, who you got with you, baby? Now this Pook and this Luchi, whatever. What y'all smokin' on? You know what I'm sayin'? Like some good shit nigga, we roll up fire. Woo, man, that's some bad shit. You know what I'm sayin'? He sit there and smokin' and shit. And then at this present time and like they goin' on stage after all, let's get to performin'. And we see Pimp walk this little back way to get to the stage. Man, y'all niggas, check me out, baby. You know what I'm sayin'? We out laughin' and shit. I'm gonna tell you boy, one thing, man, y'all keep representin' this motherfuckin' Texas. You know what I'm sayin'? It's like, you talkin' and shit. But he was always like that. So we ain't seen Pimp, you representin' Texas. You gonna be like, that's motivation nigga. You be like, open on, huggin', huggin' all us and shit, man, what's up nigga? What's up, baby? You know, again, the screw love, you know? And just to see Pook and Luchi face like, man, that's some real shit. Like, nigga, Pimp see you on, you know, and then one time I did a show in Huntsville and I had my little, little crew with me. He came in my room. He came in my room, he lookin' everybody up and down. He say, y'all niggas real. I say, yeah, we real, my nigga, what's up? I'm just checkin' you boys out. Y'all cowboy down. We had Douth Cowboy shit on there where, y'all boys is real. He like detectin' nothing. You know what I'm sayin'? I'm like, goddamn, Pimp, you know? And then we did the show and this when I found out his mama was managing him. See, I didn't know that. Okay. And then after the Huntsville show, we backstage and, you know, we smokin' and shit and I get a chance to meet mama. I'm thinkin' I'm just meetin' somebody's mom and he was like, nigga, mama, man, it's me, nigga. Ain't nine niggas gon' fuck over me, nigga. Nigga, you just spanked my mama? Cog mouth? Continue, bro. You know, that's how he was, you know? That's live. So Pimp see was always that cat, he had that energy. But people would say was it, this kind of energy he had was motivational energy. You were with him, Pimp, but then you can go, goddamn, be takin' the world. You know what I'm sayin'? That's what we need in today's society. Have you ever met anybody else who has even come closer who he was? Pimp. I would say, screw. I would say, Sebo. And I would say, meeting Big Daddy Kane. Dang. That's live. And then, being young, I met my idol, Kara is one at an MC Ron C concert in Garland at the skate ring when I was young. Wow. That's live. Cause Kara is one of my idols, so just to meet Kara is one, I went in the car like a kid, cryin' like a bitch. No. Yes, I did. You must learn. Wow. I can sing. Boom, Boat Love's gonna get you. That's the hardest one for me, nigga. Being young for me and find out boogie down productions only pressed up wax. That's what made me start skipping school. Okay. Cause I would skip school to go find every fuckin' boogie down production vinyl I could find, cause they only pressed that shit on vinyl back then. Damn. So that's how I got up on Justice, Puma, Levi 187, The Comedy Nightz. That's my boy. You know, I knew the whole crew. Man. And that was the time, like I said before, when it was like, what you gonna do with your life when you graduate? Yeah, yeah. You know, shit like that. Well, explain to me that the time when you and Pimp C put that project together, when y'all put that song together, just give me a rundown on how you got it done. Man, we was recording a lot of stuff for PKO. Okay. And I was recording my album. Okay. And back then it was real studio time, 10 hour blocks, 12 hour blocks, and you go from three to whatever time at night. And I came to the studio and Snake was like, well now I'm a partner, Pony J Nino was like, now you're doing the Pimp C song today. And I'm like, stop playing with me. You know, and back then you're gonna watch Rap City, you know, whatever music box on. I'm thinking they bullshitting or whatever it might be. And my guy that was behind Youngster Records PKO, Mark Adam, Magic Mark, shout out to Mark, man. He got a spot in San Antonio called Mark Adams Burgers. That's the joint, if you ever in San Antonio, fuck with it. Man. But this cat here, you know, we was under Midwest records, right on Greenville and Forest Lane. And I was at the studio like, man, you gonna do a song with Pimp C today. Like you bullshitting, you know what I'm saying? Stop playing with me, man. You know, y'all playing. But I'm down to like the end of the record my first album. And he's like, man, it's time to go get him. You know, so I got my ass up like, you want me to go get him? Then go get him and tell you what I'm gonna get him. I'm like, man, stop playing with me, bro. Like y'all bullshitting and playing. You didn't believe him. I did not believe him. Not knowing that I already talked to him, showed him my album cover and everything. I hadn't seen it. Man, he already was up on top of him. He liked it. He loved it. And then when I picked him up, you know what I'm saying? He come out to the park when it wasn't no fucking, you know, paying me the location you get. Hell no. Listen to the duration and shit like that. And I went down the street, well, not too far we were to pick him up and come out this guy down the park. Man, I damn enough lost it. You seen that nigga come out that whole. Man, I got to fly. Bubba good. He regular dude. Regular nigga back then. But you know, he was fly, but you know, he regularly dressed up. But I'm talking about Bubba good side of the game. What he say, man? I'm pooling in the car for it. What he say, man? When he get in there, man. Man, what's up, baby? You know, they talk about, what's up, baby? Like, what's up, man? Man, shit, you ready to do this shit? I'm like, hell yeah. I'm playing some beats. Yeah, I'll play me some shit. So we riding back to the studio and shit without whole time. I'm shaking like this, driving like this. You know? I'm seeing this all. You know, we stopped at the gas station before we get to the back to the studio. We sat down, we talked and I'm rolling up and shit. You know, and back then we had to, we had to hold, you know, we called it cornbreads and green back then. Okay. So we got to hold a little old mixture of what we were doing in the South Coast time, the third coast time at that moment, getting our mind right. Yeah. You know, so he went to, you know, hey man, I heard a lot of shit about you. Heard you can wrap this in there. So nigga spit something for me. I'll be riding with this in the beer. I'm with the rapping and shit. Cause at this point I'm ready. Like nigga, I'm. What kind of rap, man? Man, I don't remember. You can't remember what you did. I don't remember the rap, but you know, we back then it was freestyle. Yeah, nigga didn't ride. So we riding back and forth, going back and forth. Yeah. Like, okay, nigga, you got some. That's real, bro. That's everything right there. But when we got to the studio, we kept the same vibe. So before we came up with, niggas be going big, sweet, yeah. Ooh. Trying to stay satisfied. Yeah. We had three other little hooks and shit that we were doing, but we was vibing so hard in the studio. We was like, man, let's get them to do this bitch right here. And like, you know, now people record nigga to nigga, each nigga by itself. Yeah. Back then we had two mics. So we was catacomber. Okay. So the whole song was one take. Damn. It wasn't like, ain't man punch me, ain't gonna go back. The whole song one take. One take. You know what I'm saying? Yes, sir. And we laughing the whole time like nigga, that shit, turn it, look at this. Can't get in. Yeah. And he taught me a lot about the whole confidence, the whole persona. You know, and back then, you know, I was even humble. Then he was like, caught me out one day. That's, you know, but these niggas man, you know, but that's how he was. But he embraced me from neck. And then it didn't stop because I would go when I, when I fucked up at the radio station, I went to Houston and it was already known that what is the nigga that tore the radio station up. And the first person I fuck with in Houston was D-Rect from Rect Shop. Yeah, yeah, yeah. I just interviewed him. Yeah. D-Rect, my dude, you know, mastermind. And it was the same thing. And then when I, when I met D-Rect, it was history for me again. So I knew God was involved cause my first day meeting him, I met Screw, I met Watts. The first day Screw and Michael Watts met each other. I'm right there. That's live. You know. That's live. And I'm like, damn, you know, I just did a song with Pimp on my first day. I'm not getting down here from turning the fucking station up and people like that, as young nigga in tow station up now here getting came in full ass. And now I'm in Houston trying to, you know, I ain't trying, but I'm just continuing my shit, you know. And I'm down. And I remember that meeting D-Rect and Rect Shop, cause I was a fat pet fan, fat pet, fat pet, fat pet down on my birthday. Damn. For every other third. So when I get down, I'm like, damn, you know, getting where I fit in and I'm rapping and shit and D-Rect was like, man, they going to rap like a bitch, you know. How did you, how did you, when you heard that Fat Pet ain't got shot though? It was down in Austin, wasn't it? Yeah. But I didn't know that until I got there. No back then you had to concess with the number on them. Yeah. I called D-Rect weeks at a time like, man, I'm gonna come and fuck with you. I'm cutting out this and this and I'm just shooting my, shooting my shit. Like, man, come on down here, damn it. Fuck with you. I didn't heard of you. Cause we're like, there's everybody that has heard of everybody. You know, shit like that. And it went, it went like that with a lot of cats. But just for me to be there and see screwing Watts meet each other. That's heavy. You know, and that my first time being slim thug, him and Watts in a black Nova and they pulled up and I'm like, damn, I go slim thug. Here go Michael Watts. Here go DJ screw. And I'm like, damn, we, we even took a pitch. I don't know who got the picture. Damn. But that's epic right there. Yeah, but I learned right then and there, like, okay, it's time, it's time, it's time for the, it's time for the, the MC to take over because it wasn't about, I wasn't top notch on my belt. Just a young cat trying to be an MC, not a rapper, like an MC on some third-coach shit. So I'm in Houston, rapping my ass off. Man. You know what I'm saying? Man, they seeing it and loving it, man. You know, but what you didn't tell me about that. And they embracing me because they know in Dallas, it was all crazy. All fucked up for whoever was trying to do something in the business. They know what the evening is gonna get the love that we get. But why? Because they had screwed. And they had that store that they talk about, that CD shop that they, what? They had Southwest Wholesale. That's what it was. Yeah, they had Southwest Wholesale. I heard a lot about that. They had Southwest Wholesale, but beyond that they had DJ screwed. And that's what helped it together. And then when you got there and started hearing screw love, screw love, screw love, screw love. It was up. And then you down there with flowers and people wouldn't buy CDs at your car. They like, man, give me a fly, I'm going to the store. Let me ask you this. So let's go back to that day and that moment you found out that Pat had been, yeah, had passed, had gotten shot. That's the day I went and met D-Wrek? Yeah, how was the energy? And how did you find out? I'm just trying to... When I walked in the studio, they had wrote on the wall, his name, R.R.P., then the birthday. Damn. The death date. And I said, damn, that's my birthday. So again, within myself, what you was talking about, like, okay, God with me. Yeah. Because I'll buy myself. Yeah. And every time I went to Houston, I've always been by myself. Yeah. But what made it good for me is that I grew up half ass in Houston from Dixon. So to go to Houston as a young man, I knew my way around Houston when I got there. So I pulled up by myself and I'm meeting all these cats out of here that I didn't meet in ESG, you know. Yeah. Shout out ESG, man. That's my guy. Boom in my brain was like, come outside. We smoking a blunt man, red talking, and screw pulled up. And I'm like, damn, DJ screwed in my brain. Like, this is, God damn. And Michael Watson, slim thug pulled up. This is a young slim thug, you know. Yeah. And I'm like, damn, here I am. Braids. Everything pimples on his face. Yeah, braids. You know, and I'm there. You know, I'm like, damn, this is a historical moment, you know. And screw, you know, we all getting full of it. And Stu kept saying, you see him watching? You see him watching? Was that when he had, I'm trying to get where you at. I was, no. This nine, this nine, eight, nine and nine. Nine, eight, nine and nine. Just before I did the Rally Boys. This one he did that diss song when he did Big Pick and all of them. He was, he did that whole album, slim thug did. Again, he did that whole, that was that time. I know that. He got back at Lil' Mario. That's right, Lil' Mario on him. I remember that. I remember exactly when that was. And I built, all those relationships was coming from me at Wreck Shop, just chilling cause Wreck Shop had the whole hip hop vibe. No deal, make a beat bang for hours. And, you know, they had the whole set up of the writers and the production and the artists. How did you, but you see, and you were down there and you was in Houston, but you kept your Dallas, you know, your roots. You kept your roots though. I came back because I was the first cat going back and forth. East Texas West Texas. You didn't see niggas how they would try to act like they, you know, you get over here with this certain group of people. You start trying to rap like these niggas and act like, I'm just being real. You've seen this before. Yeah, I seen that. But you never do that. OG Ron C is my family and Big Hawk is my family. So within that whole relationship, me even learning about Fat Pass Death, I didn't know Hawk at that time. Okay. So within my didn'ts down there, you know, I got tight with Hawk. So it'd be like I'd be down there fucking off and I did I-45 with Lil' Flip. Okay. When he said that song, we blow in though. Yeah, yeah, yeah. Okay, before that flow come on, you hear my drop saying cotton, my cotton candy. I'm the furry rapper on top of in front of Flip more I-45. That will go hard too. Yes. Now I love that song. So to come from net and to be grown and end up with this on my shoulder. Yeah, yeah, yeah. Or say Hawk. Yeah. That's how tight I got with his brother. Yeah. And once I like, man, your brother down, once I met Hawk, you know, stuff like that. But then back then, Houston was the mecca for the rapper. So anywhere you were, you're in the parking lot of cornbread, man. You could be in a cipher. But you got to realize, Houston had an opportunity at that time. They never been bigger than anything that was going on at that time. You think about it because they had the momentum. I remember that. Yeah, and people up here got, and people in Dallas was going to Houston. When Scrooge did his interview in Murder Dog magazine, he had a whole program like, man, people from Dallas come down here, buy me out. Yeah. Because on the screen game, everybody from Dallas go to H-Town to score a lot of shit. Yeah. But it just, that time was a different time. Even, man, it was a different time, man. He screwed the world up, but the main thing is the love. The love. The love. He didn't ask you for no money. It was just love. It was just, man, give me that wax. Y'all don't wax. Man, Kiki told a story. Like, you know, when I was going to, he loved the way I rapped and he started just sharing it. It was like, man, and I spent time with him. Then when I give him the ESG, it's the same thing, like they just tell him, just like you. Yeah. He filled up around love. Yeah. And when you met the people that screwed up, clearly it's not rappers. Like when I met Big Bull, Lil Black, I.R.D., when I met all these cats, Shorty Mac, all these cats that was like around him, you know, every day people, it was kind of like the same thing in connection. You know, for me to meet the South Park Coalition, me, K-Rail, and them, you know, it was kind of like that. The whole conglomerate of organizing a, a fist in love. Yeah. Because the screw love was real. But when the beat came on the studio, the beat came on. And then give it down, you was the hardest nigga, the craziest nigga, the nigga that you got something. Yeah. The talent, you know. Well, let me ask you this, and we're gonna fast forward into today's time. I want, before you ask him that question. Oh, you want to keep him back there? No, no, no, no. Where did the name Cotton Mouth come from? Smoke and weed. Your mouth gets dry. Damn, so do. That's why I say with a K, not a C, cause ain't no snake in me. No, I wanted to ask you about like. Because people thought, since I came on a DJ snake, I called myself Cotton Mouth because of a snake. That's why I spent it with a K, not a C, cause ain't no snake in me. That's fine, that's all the way live. Snake is my partner, that's my, that's my OG, that's my big bro, taught me everything I know about this music game. You know, but, you know, the name Cotton Mouth come from, they just call me Jesse Jess. I ain't have a rap name. I started out writing. We ain't talked about that, but I started out writing. I wrote two songs on, remember, Sheik Foo, Sheik Foo. I wrote two songs on that. That whole, man, I used to do it. N***a, what did you do? N***a, sheik, all through this, all really, you know what I'm talking about? Today, N***a, you know what I'm talking about? What? You know, I was fuckin' with, I was fuckin' with Tommy Kwan, Ishibon Records, yeah, you know who, Eric Quake, Vanilla Ice. Yeah. I pen little shit for Vanilla Ice, I pen little shit for Nemesis, but it's me, 16, 17 years old, getting $500 a verse. What's the biggest person you ever pen for? Vanilla Ice was the back then, wasn't he? Back then, he was big. My, I ain't gonna say penmanship, but there's kinda like, you know, it was a guy named Ricky Ricardo, my manager, Bobonon, that was behind Pimster. He was the one that kept us around. Cause when we was kids, we opened up for MC Hammer. Oh yeah? Remember when MC Hammer, nobody's had they run? Yeah, that's what I'm talkin' about. That's when they were together. We was opening up back then. That's why. And we was kids. So we don't stay with beat machines and shit and just doing our thing, but my best friend, may rest in peace, he was the one when he passed and I wanted to get in front of him. For then, I was just writing, writing raps and man, say this, say this, say this, say this, whatever. Wow. Man, you know, like I said, I wanna fast forward a little bit, just to, before I get y'all here, talk about the Mode 3 era. Gotta talk about that, RIP the Mode 3. I always try to keep his name alive on this show. Got you, man. That's one thing I'm gonna do. People don't understand the history of his and keepin' talkin' about different things that he accomplished. He accomplished a lot in a small amount of time. Yeah. And it was hard. Like, and I didn't rock with it like that at first. I don't wanna make it, they didn't rock with it at first. My game to everybody is just, we can't do it in vain. Correct. We can't listen to people say love Nate Doll, love Nipsey, West Coast. Yeah. We can't go down south, love Scrooge, love Hawk, love Fat Pat, love Mafia, love 3-2, love Hawk. We can't go East Coast, love Pond, love Big L, love Big- All of them patriarchs. And then you come here and we still have people talkin' crazy about the dead. I agree. So that's the concept that I'm out to let people know the history of Dallas. I got a new album comin' out, Kill the Cotton Fields Part II. And if Youngsters just start, you ain't got to know Mode 3. You can start a song. Man, love Lonely Little Three and start showing the love, celebrating his life and changing cause music is a savage beast and music is a metaphysic, music is a spiritual thing, a spiritual realm. And this is the only city where people don't get that. So once we start uplifting the C-scrugs. Man, this whole family been on here. You know what I'm sayin'? Once we start uplifting our dead, Big Al from Nemesis. And people are just not used to doing that here. But once they learned it, man, that's what put the energy into the vibe when you're in the studio. You know what I'm talkin' about? That's what put the energy into it and makes people like, man, everybody know three. Everybody love that boy. Everybody, man, we'll check them cares out. They said, Lonely Little Three, you a Mode 3 fan, we'll check their young niggas out. And that's the whole concept that people need to understand here is like representing vain ain't gon' get us nowhere because this is all brand new to a whole city. That's right. Let me ask you about that day when you seen or heard that that had happened on the highway. Just where were you at? And what were you doing? I don't know if I was in my car. I was doing something that came close to me, your things. And I felt it was just fucked up. Did you think it was real at first? I knew it was real. You did? Yeah, it was real. And how long before that had you even spoken to Mode 3? I met three here and there. I really met him twice, talked to him and my partner Ray Ray, still you're where he recorded it. And then I talked to him once in real life when he had to, him and me, him and C-Squills. We had a little conversation, took some pictures and shit. And we used to run across him and my little bro, Stubble Lean, trapped before he even got on. Okay. When you think about just the whole time that the stuff was going on with him and the way that the city was looking at the time when all this stuff was going on, did you ever think, man, how could I stop this? Or how could we change the narrative? Because it was intense and I was here, so I seen it. But I didn't have boss talk at the time. But he didn't get killed by those he was beefing with? Of course, but I'm just saying just the beef in hand because it seemed intense. I just think people, whoever pulled at Mode was caught up in the social media game as Igna Niggas. Okay. You know what I'm saying? Some Igna Niggas on a phone and the devil took over him and just couldn't take it. Hey, man, nigga just talking shit wherever it might be. He didn't come slap your mama. Yeah. He didn't come rob you. He didn't come shoot at you. Whatever it might be and it wasn't worth the man's life getting taken and being hawked and stalked down like that. Kind of agree. It's just that simple. People got the misconceptions of all kind of shit behind that man and devil. But every, all the real ones know, man, that shit was some lame, not cool shit. Y'all took a great nigga from his family and kids. Definitely. And just to know that that type of shit is, would leave the Igna Niggas to hunt you down like that. It make everybody that's a rapper or entertainer like, man, let me watch my ass. Cause these niggas out here is ignorant. Yeah. Yeah. And even with the way that that transpired and looking at what happens to, just looking at that PMB guy that just got killed at Roscoe's dropping your location or getting on IG before. How serious is that when it come down to how you move? Cause we come from an old school. We never did have to think about it. You just explained going to get pimped. You had to, nigga, I had to tell you, go down here and make a move. Go down here and make a right. And when you go down and turn over there and that is going to be a blue house right there and turn right there. It's a red car in the yard. Red car is going to be a dope. Man, come on, man. I don't always see the red car. You know, you done went three, four blocks trying to figure it out. Even that day, shit. I'm blowing outside. Just trying to figure it out. He come outside. Like it won't be with me. But just, just give me a little spiel on how you feel about dropping locations and just dealing with that, you know? I don't, I don't think these young cats on no PNL location type shit, you know? But it's in the wraps. Drop your location. I'mma come on you. It's in the wraps, you know? So it's like I said, man, it's a lot of ignorant shit in hip hop now because the module has been destroyed. They destroyed the CEO. They destroyed the money-making aspect. And now they're destroying the rapper. Wow. So do you, do you, all the, because people die all the time. It ain't really just, we look at the rappers to die, but it's people dying that's not rappers. Yeah, but we didn't, I mean, I don't think hip hop was created for death. It wasn't. It was created for fun. It was created for information. It was created for fun. It was created for like a media club, a private club of those who understood the culture. You know, you, come on, man, that's how you're here to fight a jam at the park. Before parking in Biggie. You know what I'm saying? A jam at the park was a jam at the park. But before parking in Biggie, give me, I don't remember who was, when was there a situation where it came to a killing before parking in Biggie and rap? Oh man, I don't think it was no kidding, but you had, I'm talking about a killing. I ain't, you know, we, we did a little back and forth. Before Biggie and Park, it was like the gang, the gang culture, so it was a lot of killings. Of course, but I'm talking about a mainstream. It wasn't a mainstream artist. They got killed like that. No, it wasn't. No, because again, the culture started accepting that we was going in another direction due to the, you know, the machine. The machine store putting all type of aspects into hip hop that wasn't hip hop. So people stopped saying hip hop, you know, respecting my nigga Pimp. He started saying country rap tunes. The West Coast started saying the gangster. What, what is a one G car this shit? G funk era. G funk era. So everybody started moving away from what the whole culture of hip hop was. You know, it's still hip hop, but the hip hop module was not built for death. Hip hop was built for a culture, you know, having fun. The news report, we always took gangster ride. They didn't report what was going on in the hood. Yeah. You can't, you can't say the MCA score face, Spice One, Seabulls, all those people did not have influence on us. Now you're right. When you hear people say, oh man, the OG let the young niggas down like, hey my nigga, y'all era was doing y'all era, but our era was hell of a lot more gangster than this era, to me. Yeah. Yeah. No, you're right. You know, so the influence of hip hop is, is, is what it is. It's just people got to understand how the module has gotten destroyed. Did you, throughout your career, you didn't have to go sit down no time, did you? No, I got popped on ITN manifesting some of my damn math I shouldn't have said. Really? Man, I said I'm doing shit on ITN, called a case on ITN a week later, coming from the body class. How, how much time did you do? I did four years of probation. Four years of probation. Caller shoot Paris. Because of, because of what you spoke. You just said something. That's powerful. Man, you're, that's powerful. You're, because when you say something, it becomes you don't demand. I freestyle in the DSR tape when they first got on. Hey, you love DSR, though. They're my little bros, man. Man, big tuck shout out to my little bros. My boy, fat bastard, you, you caught, you text me the other day, little. They're my little bros, man. But even that, you know, once, you know, I was been like that, but growing up like that. That was my first time ever going through something I know I manifested at my mouth. Yeah, but you say you did four years on probation. You did it. Yeah. A lot of niggas don't. I mean, I had to go to fucking Lake Charles church once a month for four and a half. I know, but you did it. Yeah, I did, but it was scary as shit ever cause I was fucking up. Of course, but you did it though. Let me tell you the blessing though. I ended up having a probation officer that was in the hip hop game. Dang, that's love. He fucked around with X-Mob. And that's, that's, that's how, that's how you got a little bit of got that leniency. Yeah. Cause that when I, when I first got on paper, kept saying, man, you look familiar, look familiar. And I wouldn't want anyone to say, man, I'm a rapper, whatever, whatever. Like nah, you don't know me, whatever. I kind of report one day through my CD on things. Man, this you, I saw the, yeah, you knew that. He saw I been reading goddamn tattoos. I've been kept saying like, what the fuck cutting my, so you look most of my behavior. He got all my, I got three, three CDs. I dropped right down things. And man, I'm gonna tell you what, after my third year, he said, man, just call me every morning, then come back and do the whole little ending class. He wanted to see you make it all. Yeah, he did. That's love, man. That's love. You gotta give me top three artists all the time. You watch Ball Stoke. So you gotta give me top three artists all the time. Any genre. Any genre. Dead or Alive. Dead or Alive. Number one. K.R.S.1. I knew he was gonna say that, you know, because he said, K.R.S.1, number two. Number two, Scarface. That nigga go hard, don't you mean? Yeah. Who, I, that nigga can change his voice while he rapping better than anybody I've ever seen. I sit around in my room and he didn't change it up, man. What you want to say? That nigga go hard, man. Number three, man. Maybe it's the answer for you and my vanilla foe. That was my shit. Oh, yeah? Number three. I'm having thoughts of killing you, but I'm killing me in person. You like that nigga, don't you? Man, that was the, Scarface is the, I get it. Greatest rapper all the time for me, man. Yeah, you choice. Man, life in the, like now in the south for me, the nigga say anybody I say Scarface. I ain't lying though. Did you hear what I just said? If you go get any rapper and you be like, I'm just gonna get somebody and bring them back. Man, face. I'm gonna get face and I'm gonna say, come on, let's just do it. Cause face, cause face is face. Face is IJZ. Exactly. And I'm why a nigga say JZ, I say face nigga. It's gonna be a problem. He'll tell you that. And I didn't been around face when he worked. So he show you the whole elements of hip hop. Yeah. Like Brad Jordan is not fucking Scarface. Yeah, yeah. See what I'm saying? It's not bad. See these people type, these type of people who taught me how to separate the man from the artist. That's real. And now you don't have that. And that's what I miss about hip hop. That's real. The kids don't get a chance to be a Kwame for a date. Yeah. Dana Dane Amara. Slick Rick the next day. And now I'm a gangsta. I want to be goddamn the MCA and EZ. They don't have that. Everybody is whatever the fuck, you know? Everybody on the same shit. Cause they don't, nobody is, I'm on a mission man is the OG to teach these kids the module that's been the scorer to, to erupt your mind from a consciousness. Now we grew up public enemy ex-clan. So it was cool to be black power, you know, UNT community. And it was still cool to say, I think I'm jamming that Cebo, I'm jamming that Spice One. Then it was still cool to say, man, I got my battle zone. Then I got my slack zone. I'm Dana Dane bitch. You know what I'm saying? All that was cool. So when you had your polka dot shirt and your battle zone, your penny loaf was on, you know? Don't forget you might die your hair right there. I had my shit die with the Drees right there. Yeah. You got to have an eyebrow, right? You couldn't tell me I won't beat Daddy Kane. Number three. Number three I got. Keras One got Scarface. Number three is going to be kind of hard for me because it's kind of like a tie. Yeah, you can't do no ties. You got to give me one, bro. Just one. Fat, fat, man. Damn, that boy. Drop top. Man, my jam was ghetto dreams. Dammarine. Make my mama pride. Ain't no holding out on my dreams. I'ma go and get it. Head like the Lotto, dressed in amorado. I'ma get a shoe with a match on the throttle. What, what, what was your motto? What was your first heard that, man? Man, I was said in my motherfucking gray on gray Old Mobile, just bought a cassette for me. Was it a 98? This is like nine, seven. Say, what type, you know the 98, the Old Mobile. What kind of? 98, for our bodies, smoked gray, mirror tint. And I'm talking about this. Damn. Man, this is how I pulled up in H-Town and met all them boys, you know. And, you know, my gray brother. Was it, was it, was it understated or not? Yo, mirror tint. Yeah, that all right. Yes, with the wood. Yes, with the wood, with the fake wood pounds inside. And the cassette player that pop out. Yeah. It fall out. It got to fall out. Man, what about that spray? You spray it every now and then that, you know. We had that spray. That tear it. Yeah, I'm from the era, man. You know, if people ever get the Judy Beverly book, she spoke on the, Shout out Judy Beverly, I'll be taking it. She spoke on the elements of the Third Coast culture back then. Yeah. So I grew up sipping, drinking, smoking lovelies and smoking weed. And that's, that's what it was, man. You know, you, you, you just wasn't, people are here at school, tapping here in the Tongue Tide, no, no, I ain't made full of that shit. You know, but it was fun. It wasn't serious. You know, and I said, like, I got a nephew doing time in the pen right now, free young pig. And I got another nephew out here named Gutter J. You need to get him on your show. Okay. Gutter J, from Pleasant Gold, he from one up gang, CCA Entertainment, real, real, I watched him as a baby rapping in his house with his dad, whatever, whatever. Real talented, man. But I always grew up telling them on the road, man, we were going to have some fun with this shit or pack a gun with this shit. Wow. And y'all choose. Like, I'm going to have some fun with this shit. So I tell them my time, man, have fun with this shit, bro, all that. We called a hundred out of masks. I said, a hundred out of masks. Oh man, they're going to get you no fans. Wow. And now the day you see the fans is, is want to be connected to you for your substance, who you are. Mm-hmm. Coming up in the gang, the fans didn't want to know if you worked on cars, if you was a dope, they didn't give a fuck. Long as you was jamming. Mm-hmm. Now everybody want to know, is it really real? And it wasn't about that. It was the entertainment, it's called entertainment. And we the only genre in this music game who has lost the aspects of entertainment. I tell young cats all the time, man, if you got 20 bows, nigga, say 200. Say 2,000 to keep the, to keep the, to keep the unasswarted nigga effect to you, to your jam. Mm-hmm. We blew up 80 cars. Wow. That's one killed 10,000 people. You got the track number five. Yeah, yeah. Yeah. And now we the genre where everything is, is you can catch a case and they use your lyrics. Yeah, that's real. Well, God damn it, you ever seen a R&B artist getting yours, his Taylor Swift lyrics, or Britney Spears lyrics, or, and it just show you again how the module, man, of what we call this hip hop thing has been destroyed. Man, sure. How important is God in your life? We're gonna go back to that one more time. God is important in everybody's life if you're a believer. Real talk. Because faith without works is dead. Real talk. And if you out here on this road, call yourself being a rapper, sink or whatever it is, and you ain't got God with you, I wouldn't be where I'm at right now with this music shit if I didn't rely on God. I had a lot of time in the car by myself, you know? And I did shit on the streets where I'm riding dirty. Wow. And I know I'm praying the whole time. Might be jamming, but boy, Lord, just let's get to it. Huh? Who the shit jammed? You know what I'm saying? Yeah, yeah. And people has lost their aspect because nobody wanna talk about how the machine has turned against us. Wow. You feel me? Man, we love you, Cottonmouth, man. You killed it. Man, how can people get a hold of you? I gotta ask. Oh, Cottonmouth, Jesse with a K. That's with a K. And OG Cottonmouth on Twitter. Other than that, go outside, put a Batman light up, goddamn it, I'm coming. Hey, did you get everything out of Cottonmouth? Man, thank you so much for coming on the show, man. We love you, brother. Yes, sir. You know how we do it over here. We appreciate you for coming, blessing the platform, man. That's what we're here for. You've been seeing us. Everybody know we ain't letting up on these. I know the soundtrack and all that. I was looking forward to speaking with her. Ms. Jamaica, she gonna bring it every time. I was looking forward to really speaking with you because, you know, I'm the same thing, hip hop. I'm a dance hall fanatic, I'm a Capitan. Oh, no, oh. I'm a Capitan lover, I'm a sizzler lover, so when I watch the show in my brainer, I can't wait to get in that habit. His name is Capitan, not Capitan. Get him. Look, you know they get serious about the culture. Oh, man, trust me. You said, you ever go over there? Oh my God. I'm trying. You should go. Yeah, and see the same thing we talking about about the spiritual realm? Yeah. They go off of that. That real talk. Real talk. Hip hop used to go off of that, but it wasn't like we was gonna put it out there. You know, she said rap started over there. Cool her. Yeah, it's cool her. Look how she had it. I just didn't mess with it. I thought I said it by having your own equipment, man. Yeah. When I was young, man, he DJing over there, who gonna get to, who got to a lot of speakers? Yeah. And that's the whole history of DJ Snake. DJ Snake and Magic Mike was the baseboard. Damn sure was. So it was like, you know, remember Dragonant? Yeah, yeah. Then we turned his power on and the crowd began to move. Yeah. You know? That's the thing going back to this. Man, I'm hip hop for real. So I grew up with that. Like I grew up knowing, man, we need our own equipment. We got to have some big ass speakers when we do our own shit. You know, and just the kids need to know that everybody want to be hot, man. Why are you posting equipment, man? You can make more money going right here doing parties and bring your homie on the rap at every party, man. You blow up. Man, God mouth. I'm gonna be happy. I'm gonna call you back, man. We gonna talk. Because that's what I told ESG and that's what I told LeKiki then, man. Like the foundation got to be right. That's what people do. The foundation is right. We do it. And that's what these platforms are about. That's just how the bobo is super tight. Like that's what it's supposed to be. And that's who opened up the markets to me, man. When people like, look, Kiki, you know what I mean? I'm the first person to do a song with Kiki in Dallas. I'm the first person to do a song with Kiki. Damn, you like soldier boy this thing, man. No, I'm just saying because I'm on the mission, man. I'm on the mission. Real talk. I'm gonna tell you something, bro. I really appreciate you. Thank you. How you coming at me so I ain't got to do the shit that's already been out here this whole time. Man, ain't nobody worried about it. Nah, I'm not worried about it. I don't want to hear this shit and let me know, okay, well, they want to hear this type of bullshit, you know, whatever, and ain't no plex between me and little bro. I just want to let you know. I want to bring what I'm people. Exactly. And the only thing what helps me come out is, like if a person had came on and stated something about the other, that's why they don't understand them back and forth. It'd be because if a person had said something on here about you, then I'm gonna say, hey, man, you know, if you bring it up, we're gonna talk about it. But like you, there's so much more to you. Yeah, exactly. And the history and the foundation of the city depend on you. Exactly. And I know that. And I don't want people to get it misconstrued. No, not misconstrued at all. So I look at it as an opportunity for me to do the right thing by saying, man, look what we got here. Yeah. And this is the way it came on the show and we're gonna present it the way it probably would be presented. And it's all organized. That's real. That's real. And what you're saying and what I'm saying is the same thing. I appreciate a cat that's got a platform for people like me to show people and talk about the history of Texas. The top of Texas or the bottom of Texas are just worldwide. I just told you you're coming back, Neville. Yeah, I'm coming back. Check it, man. I was talking 101. What a boss is talking, man. Hey, man, it's been another great segment with Cotton Mouth, man. The official Mr. Maker on Boss Talk 101. What a boss is talking. That's it.