Eric's hip-hop journey and music career

I ain't doing nothing but talking shit. Y'all gotta like, you know, encourage me the whole way along. Ow. I ain't doing nothing but talking shit. Y'all gotta like, you know, encourage me the whole way along. I know you gonna dig this. Don't touch that guy. That's right. That's right. That's right. That's right. Y'all was popping. Y'all it's what's today's date? December 18th. 18th is right. December 18th. 18th. 2014. This being the last episode of the 2014 year for Nestorius Public Radio. I just wanted to get that shit out there right away, right quick. You know what I'm saying? You know what I mean? I need my own button. Can you give me a button? That's my man, Eric E. Rock. What's up, ladies and gentlemen and aliens of all kinds. Good friend of mine. We're gonna get to him in a minute. But I just wanted to, you know, give a big shout out to all my people out there. It's been very, very... humbling to have all you wonderful podcasters download my shit, listen to it, and, you know, enjoy it. You know what I mean? Because this is the only thing I got left in my life, man. Like, the next stop is fucking hanging, jumping off a fucking cliff. I always joke around. I always joke around that you guys have expired milk. You haven't done your laundry. You don't pay your cable bill. And you got nothing to do with your life, but you haven't given up yet because you have Nestorius Public Radio. Well, guess what? I'm the same way. I'm like you. You're all here together. I'm like you. That's why I say that. We're all in this shit together. Nestor's your savior as well. We're all in this shit together. But on the real, this is one of my tried and true creative outlets. And I hope that you enjoyed this past year's episodes. You know, we're trying to get this shit, what do you call it, you know, evolve the show to a bigger and better. You know, Simon Kaufman. Went up to Seattle, Washington. And I miss his fucking freestyle raps. So does everybody here at Skid Row Studios. He'll be back sometime in February, I think. And then Rich Corbin, my other homeboy, my fucking home slice, the redhead fucking Louis C.K. lookalike is moving to Boston. So, you know, the show is going to change up a little bit. I'm going to probably do a lot more interviews and, you know, not get too crazy like we have been in the past. I'm going to probably do a lot of interviews and, you know, not get too crazy like we have been in the past. I'm going to probably do a lot of serious social commentary and no fucking big ups and no fucking jokes and shit. You know what I mean? Because that's what we do here. We fuck around. You know what I mean? Anyway, so, yo, tell your friends, you know, you can listen to the show and watch the show live every Thursday night from 9 to 10 p.m. Pacific Standard Time, midnight to 1 a.m. Eastern Standard Time. And you can even call in. There's a number, 800-893-9562. And you listen to it live and watch it live at skidrowstudios.com. Anyway, on with the show. What's up, bro? Here we are. What's up? You good? I'm great. The levels? The levels? Everything sounds lovely. The levels be good? Yo, the levels be good? His levels? Jenny's hooking it up. Yo, the levels be good? That's Jenny. Jenny's sounding good. Got to give Jenny a big up. That's a lot of bass in my voice. Jenny got to get a big up. Hold on a second. Big up, Jenny. Big up, Jenny Guzman. That sexy red hair you got going on and fucking. It's purple. It's purple. It's purple. It's colorblind. It's purple. It's purple. You're right. You're right. It's purple. You're fucking right. I said red hair. Forgive me. I'm not colorblind. What Jenny Guzman are you thinking of? No, I'm thinking of Jenny Guzman, you, but for some reason, I had a vision of you with red hair. That's weird because maybe you have one on Facebook. Facebook page with red hair? It's probably that big ass red light right there. No, never had red hair before. You know, kind of like fuchsia red hair. No, anyway, it's purple. It looks great. Believe me, I know the difference between red and purple. Forgive me. All right. Can we edit that? Yo, can we take this shit off the show? Possibly. Possibly. Possibly. Anyway, so yeah, so big up to Jenny Guzman. She's been my tried and true homegirl to the right, engineer extraordinaire, always got my back, always doing my shit. I always say that, you know, if I run out of guests and shit or co-hosts, I'm going to have Jenny. Jenny's going to be my new co-host because she's on shit. She's on the money. She's always looking at shit. YouTube, all shit's pop up, you know, right away. She flows with my fucking insane mind. I get it. I'd like to think. I run on that insane track, too. You flow with, trust me, you know, you're very professional and you got your shit on lock, but you lend yourself to the insanity of the moment. You have to. You have to. You have to. There you go. You guys are fucking insane. Mm-hmm. Anyway, so let's start with you, Eric. I mean, we know each other for, how many years do we, well, first of all, what do you do? Where are you? Who are you? Where are you from? What's up? I'm from Woodstock, New York, upstate New York. Uh-huh. And I'm a music composer, film composer, beat maker, battle DJ, have a long resume just basically in the music business. Yeah. And, um. Battle DJ. Battle DJ. We'll start off with battle DJ, but first I'm going to hit you up with this shit right here. Hit me. Oh, yeah. Yeah. Right into my six. Oh. That's the fucking beat from St. Andreas. Anyway, I like to, I like to fuck with that shit right there. That's a dope. Grand Theft Auto? Yeah, yeah, yeah. I just took the whole thing and I, I actually did a, I actually did a Skid Row Studios plug with that. Let me see if I have it. Anyway, go ahead, continue. So, uh, battle DJ while I find, while I find this, cause I like to, I like to go off on tangents, but battle DJ, I asked you this question the other day. It's Thursday night. No, no, no. That's not it. Pacific. No, no, no. She's going to play it. She's the best. No, it's, it's, it's, it's the rap that I do on that particular track. Oh, you got a flow? You got your own little. Yeah, yeah, yeah. I did a little track. I did a little rap to that. You got that? Okay. Cause I have it too. I have it on a clip. Anyway, so, so, so you're a, you're, you're, um, you're, you're, you're a Caucasian kid. Um, I am. You know some Woodstock, New York. For all the people listening in. Yeah. You can't tell. Yeah. Just in case, uh, you got into hip hop and DJing. Yeah, I mean, I basically at 13, which was about, what did we figure out? 1992. You don't have to date yourself. 13 is good. All right. All right. I'm not, I'm 35. I'm not worried about it. That's cool. Um, basically. You don't give a fuck. You work for yourself. Ain't nobody gonna not hire you or hire you based on your age or your looks. Hopefully. Right. So, uh, my sister's boyfriend at the time, he was like the local DJ, whatever. And I really was into it. I was still in my parents. You have a DJ in Woodstock? No, in Kingston. The town next door. Oh, Kingston. Kingston, man. Not Kingston. Popping bullshit, man. You don't stop, motherfucker, y'all. Bam, bam, bam. Blah, blah, blah, blah. So, yeah. Not that Kingston. No, because I was playing hip hop music. We went to Jamaica. So, basically, I was like, I want to do that, you know? So, I was stealing my parents' records. You were stealing your parents' records. Scratching them all up on my sister's little thread. Fucking up your mom's Three Dog Night album and shit. Exactly. Fucking up her, your dad's like. Jimi Hendrix collection. Arlo Guthrie fucking, you know. Driving that. Driving that. Train, train, train. Driving that train. Driving that. Driving that train. Drit, drip, drip, drip. Drive, drip, drive. Drit, drive in that train. So, finally, after. He was stuck in his own loop. Come on, dude. Hold on a second. Hold on a second. You got to give a Negro. I just scratched up a motherfucking Jerry Garcia Grateful Dead joint. You got it? Okay, here we go. This is the shit right here. This is your new single? No, that's just a little promo I did for Skid Row. S-K-I-D-R-O-W. From the wall to the door. What you want to do? Do you want some hardcore? Do you like it raw? South Island, downtown L.A. Skid Row Studios, motherfucker. I have this jingle in my head every single time I leave. You what? What are you doing with your head? I wasn't. She said she has the jingle in her head. It's a nice jingle, though. Every single time I leave, yeah. It's a nice jingle. I wasn't looking over here when you started talking. And I was looking over here. I thought you were coming in with your flow on the song. I thought that was you coming in next. Yo, Skid Row Studios, motherfucker. Yeah, my rhyming career ended at 16. Yeah, yeah. You realize. Actually, that's not true. Now I actually write a lot of raps for kids' television shows. Do you really? Yeah. We're going to get to that. We're going to get to that. I meant my personal rap. I got you. I got you. You started. Back in the day, it was like from a lime to a lemon, a lemon to a lime. I slap my balls right and you do it one time. Just like that. Elementary. Elementary, like one, two, three, rap. One, two, three, rhyme. One, two, three, rhyme. It was kind of like as soon as Eminem came up, I was like, I'm never going to be better than him, so I'm white. What am I going to do? Oh, I thought you quit at Vanilla Ice. Okay, so let me just saw that. We're going to go off. So we're going to get back to Kingston. Let me just play. This is LL Cool J, I Need a Beat. You know LL Cool J? Okay. Lickin' my lip. It's just a basic beat. I need a beat. I need a beat. I need a beat. Basic. Yeah, this is like to the bridge. This is like all those old beats. Double the bridge. Double the bridge. Double the bridge. Double the bridge. Same drum pattern. Same drum pattern. It's just like one, two, three, rap. But the thing about this, the rhymes were so basic back in the day, but it was about their energy and their performance. Like that's so energetic right there. It was about the cadence and the persona, yes. Whereas now, what do you think? I mean, there's a lot of differences, but if you were to compare what you just said with the rhyming back then. Well, I mean, I don't even think about like hip-hop today, but hip-hop that stands out in my mind are always people who, it's the same thing. People who, when you hear their voice, like an Eminem or a 50 Cent or a Ludacris or a Big Punisher. Be real. They have their voice. They have their tone. They have their persona. And that's what the music reflects, not just their raps. Because anybody can write a great rap these days, but if you're not being yourself or like. Yeah, well, that's one of the elements of being a rapper. You have to have a persona. It's performance. It's performance. Absolutely. Absolutely. Okay, so your rapping career ended at 16, about three years after you took the turntables. You realized that. It never really was a rap. I know, I get it. But I mean, you tried. Yeah. I didn't. I never tried to be a rapper. It was just like kids in the neighborhood. But I had the gear. I had the gazelles, the fucking fat laces on the Adidas. I had my starter jacket. I had my Carl Canai. I had my Carhartt. I had the, that's Carhartt's late. That's 90s. I had the Permacree's fucking pants. We used to take them down to Delancey. Where all the Jewish tailors were. And they fucking put on one eighth of an inch line straight down the front and the back of your pants. So you'd have a permanent. Pleat. A pleat. Yo, that was the shit, man. Us kids back then, we dressed, kids dress like bums nowadays. You know what I mean? They just, they don't give a fuck. They just like popped out of some helicopter, plopped. And it's just like, you know what I mean? Well, one thing I'm glad about is that baggy clothing finally went away. Because at least they don't, you don't look like everyone's. Has it gone away? A lot. You know? Yeah. Everyone's wearing their more fitted kind of tight business look. I don't leave the house too much, so I don't really see too much. Plus, we're in LA, so you drive everywhere, so you really don't see too many people. What you do see here, and maybe baggy clothing went out, but fucking bimbos and pajamas and fucking Uggs at the supermarket. That's totally in. That went up. That's totally in. Motherfuckers in their pajamas and flannel top tee. Like pajamas. What, what, what? Since when? It's like Halloween every day. It's like, dude, I get it. You're a bum. You're a fucking actor. You don't. Well, you can't tell the difference, Jack. Is that person a bum or are they like a really famous person? Yeah, yeah, yeah. I get it. You don't report to anybody any day. But I mean, leave the fucking house. Like, make an attempt. You know what I mean, Jenny? I was just going to say, I guess it's good that I changed before I came to your show. But Jenny, Jenny. She was in a onesie. I'm not talking about women. I'm not talking about women in general. I mean, women. Here's the thing. Here's the interesting thing is that like. Women who normally look gorgeous on, you know, TV, film or magazines, you know, these like made up plasticized bimbos. Those are the ones that come out in pajamas and stuff like that because it's kind of like. It's their off day. It's their off day. Correct. That's what it is. People spend three hours. That's what it is. That's what it is. I don't need to be anywhere. So I'm not even going to make an effort. That's what it is. When it's like. It shouldn't be that way. You should. You should have your standard everyday face. I agree. And if you want to, you know, umph that shit up because, you know, you want to, you know, be on Mademoiselle magazine or you want to suck fucking Seth Rogen's ball sack or whatever the fuck you want to do. That's a different story. But you should have a, you know, middle of the road on par look. You know what I mean? Presentable. Yeah, I agree. My dad has always said dress to impress kind of thing. I mean, you don't have to dress it up all fancy, but you never know who you meet, you know, and. And guys. You gotta look presentable. Guys don't have to look. When I was a kid. Let me tell you. Let me tell you. Then we move on to your fucking battle DJ. It's like, well, I was a kid, right? If you didn't look halfway decent, you ain't going to get a rap. And by a rap, I mean a girl ain't going to talk to you. You know what I mean? Yeah. You have to look. You have to have a nice pair of shell top Adidas with the fat laces. You have to have a nice pair of pants. A matching fucking eyes on my collar. That was like your job interview back then. It was your job interview. Pussy was your job interview. You know what I'm saying? That's. What time am I reporting for pussy duty? Eight o'clock. Okay. I got to get dressed. Brush my teeth. Your fucking hair was done nice. Now these kids. What's the deal with these fucking morons with fucking knit caps, bushy fucking faces like they're having, like they work in Portland, Oregon with lumber. I mean, what is this fucking new dickhead look that these young fucking kumquat motherfuckers are wearing nowadays? It's the cool thing of hair. That's not cool though. To look disheveled. That's not cool. You look like a fucking disheveled bum. Well, the interesting thing is that some people try so hard to look disheveled and like look like they don't care that they probably spend more time on that outfit and that design of their hair. Yeah. Well, guess what? Guess what? In order to look disheveled and wave it around like you just don't care. Right. In order to wave it up, wave your hands in the air, bounce it around like you just don't care. You have to get to a place in your life where you look fabulous. You are rocking shit so that you can take that off day like Jenny and I were just discussing. But the point is, don't take an off day, man. Just have a presentable face. Look decent. You always look decent. Amen. I see you all the time. I see you all the time, Eric. You always look decent. Well, I mean, we don't have to wear makeup, you know? So it's like women. No, but I see guys. You guys have it too easy. Yeah, they paint their face and then all of a sudden they see their face without the paint and they're like. Well, don't paint your fucking face. They like the face paint version better. Go on a revolt, man. Go on a revolt. Don't paint your face. You know, for me personally, it's really weird to leave my house without wearing makeup, even if it's just like eyeliner. I get it. You wear eyeliner. Or mascara or something. It's your thing. Yeah. That's fine. Yeah. That's your ritual. That's not a big deal. But then. But not like pounds. You know, if I go to like a wedding or something. Yeah, yeah, yeah. It's a transportation. No, that's your thing. You know? I spend five minutes on hair gel. You know what I mean? There you go. Shit's got to get nice. That's my eye makeup. But I ain't going to go further than that. Yeah. You know, part of when I was growing up was I had a haircut that was short, so I didn't have to fuck around with it. It was high and tight. High and tight. Battle DJ. So you got two turntables from your, you stole them from your brother. No, I didn't steal them from anybody. Oh, you didn't steal? You didn't steal? My sister's boyfriend actually gave them to me as a present for my bar mitzvah when I was 14, 15. Okay. And I stopped scratching up my parents' records and my sister's turntable that she had and just got into, you know, DJing and production and kind of started doing birthday parties and stuff. At what time did you start DJing and production? What time? What? What time frame? What year? I mean, what age? What age? Probably like 93. So what? You were like what? 14. Wow. Yeah. So you were DJing. I was DJing professionally. I wasn't making beats, but I was, I had like a little business kind of like other kids were mowing the lawn and stuff. I was actually DJing for little house parties or like people's birthday parties and stuff. In one year? Yeah. Two years. But your mom and dad are connected in Woodstock, right? I mean, you grew up with. Yeah, but then it's not like they were connecting me with kids' birthday parties. Well, how'd you get hooked up with birthday parties? I would just, you know, you're a kid. You know people. Like you walk around, you tell people. I was like, the kids that were younger than me kind of looked up. I was making mixtapes in school and printing them up all nice and passing them out and stuff like that. But that was like, that was like way early on. But then I started really getting into like battle DJing, like scratching and mixing and getting more into that. Yes. So then I started entering like competitions like the DMC. God, I don't remember. So that was 14. So you're talking about 17, 18, 19? 16. I know. 16? 16, my dad actually brought me down to the DMC in Bedford-Stuyvesant. So this is three years after you started fucking around with turntables. See, that's. We, okay. So hold on. We're talking about this the other day, right? About how when I first met you, right? I was like really impressed. I mean, you were like, what, 28? You have your own fucking recording studio? When I was 28, I sniffed a small town of Peru. Okay? I had no fucking money. All right? I didn't graduate from college and I had started college like in 83 and now we're fucking 2000 fucking 11. You understand? You're fucking 13. At 14, you have a business DJing for little fucking kumquats for their bar mitzvahs. And then at 16, your dad who. Which, hold on a second. I got to give a big up to Dickie Goldman. Dickie Goldman. You make it seem like I didn't have my fair share of screwing up. I definitely screwed up along the way. No, no, no, no. I'm not talking. And you keep making, it's about making the right decision every time you get an opportunity. You can talk to me about screwing up. Big up Dickie Goldman, yeah. What about Susan Goldman? Big up Susan. Susan Goldman. You fucked me up. I was going to say. Big up Susie Goldman. Susie Selassie. Big up Susie Moonbeam. Big up Susie Goldman, man. You don't stop. Big up Susie Goldman, man. Big up Susie Goldman, man. Big up Susie Goldman, man. That's Dick Goldman and Susan Goldman, really your friends of myself and Rosemary and your parents. And they have a lot. Introduce this. And they have a lot to do with who you are. Yeah. A fine young man. You're, I'm telling you, when I first met you, your mother and father talked to me and Rosemary about you. And we want to meet Eric. Completely impressed. Just, you know, it's like, so people talk about, you know, your parents are like the best. You know what I'm saying? It's like, we met your parents. We met your parents at the Woodstock Film Festival where we had our first film. Yeah. And your dad and your mom hosted us. They hosted you guys, right? Hosted us. Yeah. Because everybody hosts, you know, the filmmakers. Opened our policy in Woodstock. And your father, we were just talking about this earlier, your father said, listen, there's nothing you can do wrong. The house is yours. Do whatever you want. It's all good. The only thing you can do wrong is lock the house. Because we don't have keys. It's Woodstock, man. We don't have keys for our house. That's what your father said. I thought. And my wife said, she said, we met these really cool people. And then anyway, really cool person hosting us. I remember taking the Metro North up there or whatever the fucking train was. She picked me up in a car. I met your father. And he said the same thing to me. And I was like, what? Yeah. They still don't lock the house. You don't lock your fucking door? It's a peaceful area. Yeah. And so you were telling me something similar to that. And I was like, how do you feel about that? I mean, you feel like it's okay? Even in this day and age? In a place like Woodstock, it's kind of like, look at like, if you have guns, guns bring violence. If you lock your doors, maybe you feel like. Yeah, I do believe that. If you have door. No, I'm saying if you lock your doors, if everyone's all locked up, maybe people like assume that they want to actually like, you have something there to hide. So here's the deal. I've left my key in my door many times. Did anything happen when you got home? And I wake up in the morning and I'm like, fuck. I left my key in the fucking door. This happened to me about four times. Because I'll go in the house and I live in a nice neighborhood. It all depends where you live. Well, I live in a nice neighborhood. Guess what? And if you're home, I mean, I'm home all the time. But guess what? Guess what? Guess what? What happened? People who rob people's houses, don't rob them in fucked up neighborhoods. Okay? Yeah. They go to nice upscale neighborhoods. Yeah, and they stake out and do all that. I mean, I go in, I got four or five fucking things. Sometimes those bad neighborhoods have that plasma TV, you know. Sometimes that they haven't paid for, that you stole from Fry's and you figure, fuck it, he can pay for that. EBT, I don't know. I get it. I get it. It happens. Anyway, so, okay, I get it. So you're thinking if you don't lock your door, you're not putting out a vibe that. Sure. Got it. All right. That's it. Or that you're like locking the house down on Fort Knox, like you have something to hide. I don't know. I'm not promoting that everyone should keep their doors open. No, no. I think it's more from the sense. I'm talking about more in a small town neighborhood. Well, I mean, but I look at it this way. I think a lot of people probably do. If somebody's going to break into my house, I'm just going to make it a little bit more difficult for them. You can break into my house easily, right? Yeah. Anybody can break into anybody's house easily. Not a big deal. If you know what you're doing, you go in, you go out. If you know what you're doing, right? Well, you probably leave your back door open. I don't leave anything open. I don't leave nothing open. Nothing. It's all locked. So no one's breaking into Nestor's house? No, you can break into my house. I got fucking full paint. You got a lot of windows. I got full paint fucking doors. My doors are full frame paint, window paint doors. You can just crack the motherfucker, double paint. Not a big deal. The alarm will go off. But guess what? Anyway, by the time the cop comes to your house, you can do it. But the thing is, you can make it that much more difficult. That's all. Well, maybe they'll come in. They'll steal your door. They'll steal your TV, and then you get some insurance money. You get a better TV. Well, here's the deal. Here's the deal. If you broke into my apartment in New York, I'd pay you money. Because then you can take half the shit that I've accumulated for about 30 fucking years of my life. It's like a free yard sale. And help me out. Just get rid of that shit so you don't have to clean it up. Help me the fuck out. The TV is from 1984. I have an old RCA. Fucking huge. Put up a Craigslist ad. Need someone to rob my apartment? Dude, I'm going to do it. The door's open. I got fucking CDs that I don't use. I got clothes. I got shit. Just take it. Just put a key under the mat for a couple months and see what happens. Wouldn't it be cool if you can put an ad on Craigslist that'll say, I don't mind if you rob my house, but just don't take this, this, and this. Right? So take everything else out, but don't take these, you know, don't take like eight items. You know, eight sections of the house. But everything else, fuck it. Take all the paperwork. Do whatever the fuck you got to do. I don't care. You know what I mean? Anyway, so your dad. Yeah, my parents always supported my music career. They were always into it. They never tried to put any kind of pressure on me to do anything. You know, obviously stay in school and everything, but they saw how passionate I was for the music. So I just continued that path and kept going through college DJing and eventually started being like, I don't want to spin these records at nightclubs anymore. I want to make the records. I started learning about making beats and stuff. I need a. That could be your new theme song. That's an actual beat. And it went. And it was actually a remake, a remix of that. I need a. I don't know what you're talking about. And then it used to go. Oh, you're talking about the freestyle thing again. Yeah. Yeah. No, no. You got a good beatbox there, Nestor. No, I'm talking about. I'm talking about Ella. That's what I would have done if I was going to, like, pursue the hip hop. That's what I was going to. So, no, I need a beat. The original version, I believe, a remix is. I need a. Anyway. Yeah. So. We're available. We're available for Bar Mitzvah beatbox sessions. Birthday parties. We'll be there. We'd have to have a good name. DJ. Red alert. Alert. Anyway. So. So you did. You did. Tell me about DMC. That. I did a bunch of battle DJing stuff. So how did that go? It was cool. I never actually won any competitions. But, you know, I won some, like, regional final type things. But you put yourself out there. Yeah. I was really into it. I mean, I took it like, you know, at that time, people were starting to talk about the turntable as like an instrument and treating it differently and not looking at it just like. I mean, you were really like it was technical and like you studied your routines. And it is. It was like very. Yeah, it was hard. I mean, it evolved so much. And I actually stopped doing it. Because kids were getting so good at it that I just. You had to devote your whole life to it. And I still once in a while sit and watch battle videos and see what. Because now with like Serato and turntable, different kind of turntables. It fucked the whole thing up. Yeah. I mean, the routines are, you know, you don't have to actually change the record. Back in the day, we actually have to put like a little piece of tape on the records. When you drop the needle, it would go exactly. Exactly. To the spot where you have the word you'd want. And we kind of switch it up. You'd have a little marker. Yeah. I mean, it was. I used to use a letter. It's how fucking wacky I was. I used to use a letter. So if you look at the Def Jam label, I need a beat on LL Cool J. Yeah, you follow the letter. So on the corner of that D, I'll know that he'll go. Yeah. But then needle dropping was another thing. Like you'd actually be able to drop the needle on the piece of tape on the record. Oh, you put it on the groove? You put a piece of tape on the record. On the groove. Yeah, on the groove. And literally when you drop the needle on it, the needle would move to the left to just go to that exact place that you wanted to start. Oh, I get it. I get it. It was a bumper guard. It was like a guard. So instead of it going. It would go right to the edge. It would go exactly right to the spot that you'd want it to go. Right. Literally where the sample you needed was. That way you grab a record, you throw it on, you had exactly the word you wanted to scratch. But now with digital and Serato, you don't need that. Everyone's got a track box. I'm not taking anything away from that. It just makes a different thing. It's bullshit. Let me say something. The digital revolution is awesome, right? Yeah. For the immediacy and the accessibility of stuff. Yeah. But something is lost, right? The. The. The. The. The. The. The. The. The. The. The. The. The. The. The process of getting there is what's lost. The process of getting to something is lost. Yeah. And in the audio world, they're called like, it's the signal flow. It's like you've lost what the actual process was from starting. Yeah. Yeah. You've lost the age of discovery because, because the process is when you discover shit, right? Yeah. In painting and photography. And the mishaps that you go through. And the mishaps. Totally. Mishaps are what, you know, I mean, the first dude that scratched was probably a fucking. It was. It was a fuck up. Yeah, it was. Right? It was like, oh shit. It was like, cool hurt. Cool hurt was the accident. Right? It was like, cool hurt. Right. There you go. So, so anyway. But yeah, that was just a short portion of my like, you know, learning. So, so, but you, you, you, you, when I first met you, I was impressed. Like I said, you had your own recording studio. Thanks man. Yada, yada. I was like, wow, that's awesome. This kid's fucking, I mean, that's amazing. And I know. I don't know what I was doing at the time. It doesn't matter. It doesn't matter. What, you know, I know you started out at 13, 14, 15, you're fucking, you know, selling mixtapes to your little, you know, homies. All right. I was selling joints. Okay. At 13 for a dollar. No objective. You're probably making more money than I was. No objective though. There's no objective. Yeah. Right. I was selling joints just because, just because I can get a dollar. There's a difference if I was selling joints, right? For a dollar. So I can make a hundred dollars so I can buy me a pair of techniques, 1200s. Right. There's a difference. Right. It's interesting. I don't ever actually think about back then doing music that I would ever make money off. It wasn't like I was never, I was more about like in the battle DJ phase, I was more about like acclaim. Like I never thought about like, I'm gonna make a bunch of money doing this back then. You know, it was only once I got into college that I was actually like, oh, I could actually make a living doing this, you know? Right. And that was being a club DJ, which I knew I didn't want to do. That's hard. So then it was like finding out how to discover how I can continue to do music and make money doing it because you got to live, you know? Right. And, and, and, and, and you're smart. You're very smart because a club DJ, as you know, back in the day when vinyl was in. You didn't even get paid at the end of the night. Right. Well now. Now. Now. Now. Now. Now. Now. Now. Now. How lucky you get paid. First of all, no one's going to pay you. No one's going to hire you as a DJ. Well now everyone's a DJ also. Exactly. Everyone's a comedian. Everyone's a fucking photographer because that, you know, that's the thing with digital, the digital revolution. Anybody, when, when you, when you have to buy records, when you have to buy 12 inches, when you have to buy albums, you have to take the time to play a record and listen to it. You have to be schooled on different, you know, producers. And going record shopping was like being a librarian. Going record shopping was the thing. You try to find like now it's like, you just go. You just go to the hottest blog and it's like, oh, these 10. Now I've seen some sites that, that it actually says like this record actually goes well and blends with these other records. Dude, I go to YouTube. I couldn't believe when I saw that existed. I was like, wow. Oh yeah. Who sampled who? There's a website called who? So I'll listen to this record on YouTube. First of all, I'll go on YouTube and I'll go into a fucking rabbit hole. 18 hours later. I'm like, oh shit. I remember this record. Oh shit. And that one. Oh my God. Wait a minute. This motherfucker got this record. You know what I mean? And it's just like, you know, ridiculousness. So, but you're smart because even a club DJ, I know plenty of club DJs that are making money. I know a couple of dudes that make a living like big time, you know? I mean, right now, if you Google the top 10 DJs in the world that make how much money? Calvin Harris is probably making, you know, I don't know, 10, $20 million a year. I don't even know who fucking Calvin Harris is, but you remember the Italian dude from Jersey Shore? DJ Pauly D? Yeah, yeah, yeah. That motherfucker is- Yeah, yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. He's on the top 10. Yeah. Most big DJs are getting on average $100,000 a night to play other people's music. I think he's number three. If you Google him, I don't know. Number three. One of those motherfuckers. Sasha. Sasha. Sasha. And Digweed. Sasha and Digweed, yes. Danger Mouse. Dead Mouse. Dead Mouse. Whatever the fuck his name is. Dead Mouse 5. That's not my type of music. You know what I mean? I'm more into house. But the DJ, you know, is the modern day rock star and they're like entertainers and now they come with the light show and the whole thing. But those dudes, going back to the point, those dudes, they're not getting paid money unless you are a producer. So when you start producing records, right? House music, right? So you cut like two or three records in one year and you have your own label, Mr. Whatever the fuck. Yeah. Right? Now your records are being played by this DJ, right? Little Louie Vega, right? Now when you go out, your name is associated with that record and you DJ. Yeah. I guess it happens both ways sometimes. Sometimes some people just make a track. And then all of a sudden they have to figure out how to become a DJ because you have to support yourself on the road. You have to support the record. And then sometimes you'll be a DJ and you'll have no skills and you'll get with another producer and make a record. Right. So you can satisfy that side of the industry, your original production. Yeah. Right. Most of these guys though, they have already had a DJ affinity. So they got records, they got turntables or whatever. And then they produce. You know, they get together with somebody who's been producing, who's been editing, who's been remixing for existing artists or whatever. But anyway, so when I first met you, you were still not battle DJing, but you were DJing for wrestling events. Oh yeah. I was doing like a bunch of fight companies where like on Showtime and HBO's going out on the road and just, I was actually composing the music for their libraries and stuff. And then at the same time I'd go out and DJ their live events. For like their halftime or whatever. Yeah. Like just like a club DJ in the arena kind of thing. Like yeah. And you play some hip hop and shit like that. Yeah. And just play for the crowd or whatever. Got it. Got it. Just to get them pumped. That really wasn't like a career move at all. That was more like a fun getaway on the weekends. Yeah. Go out of town, fly wherever they fly. But you got paid. Yeah. It was a weekend gig and it was great. But you've always been getting paid. This is what I'm trying to get at, right? No, little by little, you've always been getting paid. Doing what you love. I mean, when I first got to LA, I wasn't getting paid at all. It was more like I was like paying sweat equity, obviously, to like work. I got an internship at a studio and first day they were like, you're going to pick all this stuff off the floor and you're going to clean the toilets and you're going to make donut trays. Yeah. And I did. And then and making cables and like, you know, soldering wires. And I was doing that for almost two years. And then after two years, they were like, wow. And I was learning the consoles and they were giving me, you know, free time in studios. And I got really good at it. And then once in a while they give you a shot where, you know, there's a session coming in. It's a no name person. You could run the session and engineer it. And then I started realizing like, you know, they're billing me out. I'm in the studio with Busta Rhymes and they're billing out the session to this client. And I'm sitting here getting paid nothing. I'm sitting here getting paid nothing as an intern working for free, basically. So I'm in the studio with Busta Rhymes. And I'm working on these big projects. And, you know, the studio I was working at at the time is a big old Hollywood studio. And they were going downhill because the budgets were going down from the labels and the studios were had these big mixing consoles and they couldn't afford the budgets. So basically I started. Production budgets. Yeah, exactly. So I started getting, I got my own studio, like really like right around the corner from the studio I was working at. So I get up early in the morning, 5 a.m. shift, make the donut trays, do all that stuff. And then literally 3.30, get off. And like, it was like Superman and Clark Kent where I would all of a sudden go from like the donut errand boy to like my studio where I'd have my own beats and I'd be bringing over clients and stuff like that. So it was. You got some of the clients from that studio? Yeah, once in a while. Yeah, some of them, some of the lower ones. I was working with a bunch of the Rough Rider guys. What did your studio consist of? So you started a studio. I mean, it was real basic. I mean, everyone was using Pro Tools back in the days. And that's still what the standard is. So, you know, I got a little Pro Tools set up. It was a teeny little room, you know. And then basically just I was engineering to supplement the costs of me still trying to be a producer. You know, I was just recording people's demos or whatever I could to keep the lights on and to pay the rent. For free or for like an affordable rate? Yeah, like, you know, 20, 30 bucks an hour to record people's raps, you know. Wow. Because my rent at the time was like 750 bucks a month. For the studio? For the studio, yeah. And you had an apartment that you. And I had an apartment. And you had a roommate? Yeah, I had a roommate. Got it. So, I mean, but back then that was like, you know, all in $1,300 a month to have a studio and an apartment. Like nowadays. That's not a lot. It's not a lot at all. Right. Like, you know, I have friends that. But right now, you know, that's rent and studios. But you were focused, dude. You were focused. It was a good time, man. It was honestly the right time to make that move into a smaller studio and people like, they realized they didn't have. I mean, people were paying $1,000 a day in these big budget studios, you know. Yeah. And I'm charging $100 a day. So, you did that. I mean, you've done a lot of shit and I want to cover it all, right? That's cool. So, Busta Rhymes, you're doing some shit. Did you make any connections with these dudes? Yeah. I mean, look, the studio is such like a place of like equality in terms of like, if you're there. If you're there, like you're part of the team. Like, no matter what. If you're. Whether you're getting paid or not, it doesn't matter. Yeah. Just like if you're the guy making the donut tray, everyone treats you pretty much cool. At least in this studio, you know. So, I was. There was a pool table, like a kind of local congregation place in the studio and everyone would hang out. They play pool and I see people play for watches and cars and all that, you know, the stuff you hear about. And Method Man from the Wu-Tang Clan was actually always one hustling people pool. And I'm really good at pool. So, one day there was nobody there. It was like a weird hour. He's just sitting there shooting alone. And I was like, you want to play a game? And we didn't know. He was like, man, you white motherfucker. Yeah, right. You white boy. You're playing me, man. We weren't cool. We didn't know each other at all. Of course not. I had this shirt on that I worked there. You've been observing him. Yeah. And I was like, this guy doesn't want to shoot alone. I'll shoot with him. And he was like, I only play for money. And I was like. He said, I want to play for money. No, he said, I only play for money. That's what he said. So, that was his way of saying, fuck you, sucker. Yeah. And I was like, well, look it. I was like, I get free studio time here. I was like, how would I just give you, and this is at the big studio, $2,000, $3,000 a day. And I was like, why don't I, I'll put a session on the line for you for free. And he was like, well, what you want from me? And I was like, how about a verse? Can I make beats? So, he said three games. So, I beat him three games in a row. And so, I was like, yo, I'm getting that verse. And he was like, all right. I had to go back to work for a minute. And so, I get off work. Wait a minute. Wait a minute. Wait a minute. So, you gambled like a session, which is an hour. Yeah. No, no, not a session. It was like, whatever. I said I would record him for four or five hours. You know, it was just kind of like, it was an honest. Because you were the engineer. You're like, you're like Jenny. Looking back at it all, it was all just like casual. It wasn't really like, he was like, I only play for money. I was like, well, I'll hook you up with a studio session. But it wasn't really going to make me do a studio session, you know? And I didn't really expect him to do a verse, you know? So, I'm sitting, I get off, and I like book one of the little rooms that's not occupied. And I'm sitting there, and I'm like checking over my shoulder all the time because I want to bump into him again and be like. Like, so I see him walking out. He was leaving. He's got his jacket on going down the front hallway. And I just opened the door, and I knew it was my chance. I was like, yo, Meth, you're not going to make it good on the bet? Like, you know, like you say that to a rapper, and they're like, oh, no, my word is good, you know? I was like, I got the beat queued up and everything. Like, I was ready for the moment, you know? Yeah, yeah. So, I go in. I was like, I hit record. He goes in the booth. And he was like, what's your production name? And at the time, it was The Riffs from the Warriors movie. D-A-R-I-F-F-S. Yeah, from the Warriors movie, one of the gangs. Yeah. So, he's like, all right. So, he goes right in the booth, and I had this beat up. And he's like, he shouts at me. He's like, I got The Riffs on the beat. Blah, blah, blah. Shouts, it spits a whole verse. Like, do whatever, like 40 bars. Really? And then he's just like, peace. Freestyle it. Yo, just gives me a pound and just like rolls out. And I was just like, I can't believe that just happened. You know, I'm like, I'm sitting here like making donuts for these people and cleaning up the toilet. Yeah, but so what? So, that was awesome. That's the dividend of making donuts. You don't know what the fuck. Yeah, totally. Yeah. And then so like three weeks later, I'm in the studio, and I heard that Redman had booked a session there. And they do like a lot of stuff together, obviously. Redman and Method Man. Yeah, yeah. So, I booked, like you're allowed to book time if the rooms are empty or whatever. So, I booked one of the nice rooms. And at the time, it was common to have like these Jewish white rap producers be like big dogs. Like this dude, Scott Storch, was like Dr. Dre's guy. And he was like always there or whatever. So, I'm sitting in the studio. And you're paying for this. I'm not paying for it. I can see it for free if I want. So, if it's not booked. Yeah, you're in. So, I'm in. You know, I got a million and a half dollar board in front of me. The most beautiful studio. And you know how to use all that. I know how to use everything. Yeah. Nice. So, I got. So, I'm like, I'm going to go talk to Redman and try to get him on this Method Man track. Right? So, I go out there. I see Redman. I was like. And I'm in my playing clothes now. So, he doesn't know. He sees me in the studio. So, I'm like, yo, Red. I'm like, what's up, me, Rock. You know, from the wrist. I got the studio right here. Blah, blah, blah. He's like, okay, cool. And I was like, yeah, I did this joint with Method Man last week. I was like, you should check it out. So, he's like, all right. So, he comes in the studio. You know, I'm in a nicer room than he's in. You know? Right. So, I play the record. And he's like, damn, that's hot. I was like, you should jump on it. So, he gets in the booth. And I'm like, I can't believe what's going on right now. Right? So, he spits his whole rap. And then at the end of it. So, I thank him. I'm like, yeah. I'm like, we'll see what the label says. Blah, blah, blah. I'm like, I'm thinking I'm doing something totally illegal right now. I'm deceiving him, whatever. But, you know, you get an opportunity and you take it. So, what happened to the track? So, then I take the track. And when they do tracks together, they're always known for going back and forth. Yeah, battling each other. So, I'm like, I got to make it seem like they're in the studio together. You know? Right? So, I start chopping it up. I take a Jay-Z sample and I put it in here. And you should listen to it. Look it up. It's called I Will Not Lose. I Will Not Lose on YouTube? Yeah. Method. Just search I Will Not Lose, Method Man, Red Man. Hold on. And it totally like. I Will Not Lose. And it totally sounds like now listening back on it, it sounds no one would ever believe that they weren't in the studio together, you know? And he shouted my name out at the end in the beginning. Method Man, Red Man. Hold on a second. Hold on a second. Keep talking. Method Man, Red Man. I Will Not Lose. I Will Not Lose featuring Red Man? Yeah. That's you? Yeah, that's it. Yeah, do you have it? Okay. So, basically, the label here is that the radio starts playing. Hold on. Eric Sermon's on this too? No, that's another show. No, no, no. That's another show. The label here is because the radio started playing. And I sent it out to all my DJ friends and whatever. Your label? No, their label, Def Jam. Oh, really? Def Jam hears it. And they're like, what is this song? Because they had nothing to do with it. And they probably really. Here we go. Yeah, this is it. We'll listen to it. On the sounds, you got the riffs. This the cow, yo. 2003 and beyond, baby. Your cranks blaze up. John blaze up. I'm hella hot. Hit that weight up. This make it straight up. Like 12 o'clock, no to rake up. I mix it with yeast to blow the cake up. That or Jake up. Might wake up gagged and taped up. It's us. Older than dirt. We fart dust. Plus we can't get enough of this. In God we trust. That's big bucks. I drive a big ass truck. That's just big enough for a big ass book. I'm the man that's hopping out of back of sedans. Pickpocket your pants for y'all marketing plans. Whoever your boss is. Run. Tell them the rules. Tell them. I will not lose. Yeah. Lock it and boot it. Execute it with rocket and fluid. Boy, I'm on top of the music. It can be your neighborhood, gully club, or house of blues, nigga. I will not lose. Yeah. Hey, day. Follow my lead. Hey, day. I keep weed like all that I need is Mary J. Want more pay? Give me more chips, then free the way. So any thoughts I sneak in my ship is DOA. That's right, family. Understand me? I boom by day. Where you lay? Like Miami, B-M-I-A. Uh-huh. Feel a house all in your babysitter mouth. Pimmonship like Blackjack. Vegas can deal them out. My cloud is Memorex live. My hand. My hands round your throat like a necktie. Rewind. Find C4 by your BMW X5. Your small change. Beat it. Bring on the next size. My crew's dirty. Mission impossible to think. Yeah. What? What? You. The cow power, nigga. We out of here. The rips on the beat. One love, y'all. One love. One love. One love. That's him just walking out. Dude. It's amazing. That's a dope beat. Thanks, man. That was actually my West Coast days. So what's up? So, so, so, so. The label called. They leaked it. I will not lose. Just out of the blue? No. I will not lose was the Jay-Z song. Oh, got it, got it, got it, got it. So I was like, okay, I got Method Man, Red Man. I'm just going to snag this Jay-Z song, which wasn't that popular right then. They're on the same label anyway, weren't they at the time? They're both on Def Jam, yeah. And Jay-Z was on Def Jam at the time? Yeah. Yeah, right? He was on Rockefeller. He had his own label or whatever. So I don't know the ins and outs of what happened with the record, but because it got leaked or whatever, and they pressed up bootlegs of it. And so there's bootleg record copies of it that the label didn't actually put out. I see. So once it gets leaked like that, they used it as a promotional tool, basically, and just gave a bunch of free copies out to promote the album, but it never was on the album, actually. Right. Because it never really was a full song. It was just like a two-minute thing, you know? What are you talking about? There's two minutes, but I used that. Two minutes and ten seconds. Who cares? But I kind of used that as like a platform to kind of just like start working with other rappers that were at the studio and giving them beats and like not conning them like I did in that moment. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. And it was just like being more open to working with bigger names, like they would actually listen to my beats, you know? Do you consider what you did conning them? Well, I mean, first gambling. First, I gambled. You won. That's not conning. No, not conning. Sorry, I used the wrong word. But like, I didn't have to gamble some, but I could also just step up to them and be like, yo, I got beats, you know? Like, I got a song with Method Man and Red Man, check out my stuff. You have to have some confidence in the hip hop game. So what? You can have confidence any fucking way. You're a white dude. That's what I'm saying. That's what I'm saying. That show director was me. me that I need, because Redman was like, this is cool. You know, it wasn't like he was doing something whack. And Redman, if he heard the beat, he would have been like, yo, that shit is dope. That's what I'm saying, which he was. Yeah. Right. But I'm saying the fact that you had Method Man already on the fucking track was like, what? It just gave me a bit of confidence that whole moment. And credibility. Yeah. It's like if you roll up in Rolls Royce, you know, you're feeling good. Yeah. You can roll up in a fucking Bentley with just a shirt. Yeah. And a girl will get in. No shoes. You can have no underwear. Your cock could be hitting the fucking leather seat. And the motherfucker get in your car. And check it. And check it for all intents and purposes. Motherfucker gets in the belly, right? And he'll see you. He, she, whatever the fuck. With the balls hanging out. Nothing but a t-shirt. He'll think, man, this is weird. Right? But then they'll be like, fuck it. I'm in a belly. And then he leaves and he's like, it was a rental. Right. But you see what I'm saying? It's all the illusion of shit. Totally. At the end of the day. Yeah, but even illusion of your own stuff, like I said, gives you confidence. Of course. Of course. I mean, that's what stand-up comedy is. You do a joke, you bomb, you're like, oh, fuck. I gotta go. Yeah, that's your whole thing. You do a fucking joke and you kill it. You don't, maybe you don't have any backup flavor, but the next time you get on, you have a little bit more confidence. You know, the ebb and flow. But anyway, that's fucking dope, dude. That's awesome. So, obviously, you didn't get paid for that because it was a promo copy, but you got Def Jam put this out. Yeah, Def Jam put it out as just a promotional single. I wonder why they, I wonder why they put it just as a promotional, I guess, but I think it's because it already got leaked. There's a couple, like, records. But they could have put it in an album, I mean. And it wasn't a full song, you know, it was just a two-minute thing. I know Beastie Boys, for instance, Beastie Boys has an unreleased track on one of their albums. I can't think of the fucking, um, the name of the track right now. I'll find it because it's on my YouTube. I don't know, whatever happened, happened, but, you know, it led to a whole bunch of other opportunities working with a whole bunch of other artists that, um, eventually defined my career in the hip-hop world. So, continue. So then you... So then from there, I just did tracks with every rapper in the game. I worked with G-Unit Camp. Tell me about D-Z-D. My acting, oh man, I'm not gonna get into that. Don't get into that. Fuck it. I was working with, like, everybody in the industry at that time. You know, the whole G-Unit Camp, yeah. But, you know, when you're in the hip-hop world, checks never come on time, and luckily, I had a friend who worked at a video game company, EA Sports, and she noticed that, like, I could do good production and get songs made. So I was making songs for EA Sports, and doing a bunch of Madden, and NBA Live, and NFL Street, and kind of from there, that led me more into the TV music game, which was definitely a big turning point in my career. Getting music on television was, like, a whole different world. So, that's basically what I do now. How did you get into getting music on television and film and stuff like that, which is where you're at right now? How did you get into that? I mean, basically, there was a big need for hip-hop in, like, reality shows, and whenever you're talking about clearing music and stuff like that, in hip-hop, it's always the most shady. You never know if there's a sample, you never know who really produced the beat. There's all these question marks, and people are kind of afraid of hip-hop, especially on television, because, you know, you get sued. So I started having a reputation, at least with the TV companies that I worked with, having everything was cleared, there was never samples, there was no issues, and I gave quality kind of hip-hop beats, and I understood what the productions needed. And you were doing that... If I was doing it for reality shows, yeah, all original beats and stuff for reality shows, like, I don't know, all the VH1 reality stuff and BET, I was doing tons of beats on that stuff, and then once in a while I would get more into, like, doing a song for a TV show, you know. And so what, somebody just came about and said... No, you just start knowing the players in the game and the people who are looking for songs, and they send out requests for songs they need, and eventually you just keep climbing the ladder and making better music. Connections. Yeah, connections. Yeah, just people referring you, you know. You were working in a studio. You had your own studio up in North Hollywood where a lot of everyone has a studio, and then you were right next to Mike. Yeah. My business partner, Mike, now, and my company they have called The Outfit, basically he was doing a lot of... He was a blues guitar player, making a lot of, like, rock music, singer-songwriter music, and he was my neighbor for, like, three years, and we were just buddies all the time. He had these two little dogs that would walk by, and we'd just hang. Mike is dope. Yeah, Mike's an amazing guitar player, amazing producer. Big up to Mike! Big up to Mike! What's Mike's last name? Corcoran. Corcoran. Corcoran. Corcoran, like Barbara Corcoran? Exactly. Same exact way. Is he related? C-O-R-C-O... No. Really? No, he's not. Big up, Mike Corcoran, man! You boom-ba-clod! If he was related, I'd be like, get out of the music business and go to the real estate business. You big lanky rock-and-roll type motherfucker! So Mike, it turns out Mike was actually working on some Nickelodeon kids' television shows with TV as well, so, and we realized we had kind of, like, different resumes. I came over from the urban pop hip-hop world, and he was more a rock singer-songwriter, and we just started working on projects together, and the hybrid sounds that we came up with, and we're both interested in lots of different kinds of music, but that ended up being a draw for movies and television shows, you know, this kind of hybrid mix sound that we came up with on some productions, and just kind of rolled it in from there, and just kept getting more gigs, and now we're working on films. Just the growing process of business. Mike is the reason why I know how to drive stick. That's right, Mike, you bought Mike's car. No, dude, seriously, I always wanted to learn how to drive stick shift, right? And so... That car was a stick? Yeah, dude. Don't you remember? You were like, yo, my boy Mike is gonna sell a car, man, he wants to get rid of it, right? You're cool? I'm like, yeah, fuck it. Then you go, yeah, but it's stick. I'm like, fuck it. That's my perfect opportunity. He basically gave me the car. Because, you know, when you own a car, and you buy a new car, and you gotta get rid of that car. You just want somebody to pick up the shit and leave, right? And he was getting huge checks at the time, so he was like, here you go. Take the keys. I gotta take Mike out for dinner one day, right? Because I nickel and dime Mike. I pulled a fucking I pulled a fucking, yeah, man, but, like, you know, I gotta fix the fucking the door regulator, because the windows wouldn't open, nothing would work on this car. But you made that car look like a million bucks, man. Well, I vacuumed it. Fucking Mike. Mike had dog hairs all over the fucking place. He thought it was an ashtray, yeah. I spanked it a little bit. But still, man, that motherfucker was selling me the car for $400. Like, I think he wanted like $500. I should have just been like, yo, here. Didn't you end up passing it on, too? I gave it to my gardener. Perfect. Did I just say gardener? What the fuck is a spick doing without gardener? Unbelievable. Life is good, huh? So I got the car because I said I'll learn how to drive stick. And guess what? I love stick. That's all I do. I hate driving stick. I can't drive stick, so that's my main reason. I can't fuck with driving stick. Especially in Los Angeles. Yeah, and traffic stops and goes, stops and goes. No way. I will never, I will never buy a car that's automatic. I don't give a fuck. If the car don't come on a five speed, six speed, I ain't getting it. Because there's something about driving a stick shift. And I owe that to Mike. I owe that to Mike. Big up, Mike. I gotta give one big up to Mike Corcoran. Hold on a second. Another one. Big up, Mike. Big up, Mike Corcoran. You tall, lanky, rock and roll stick shift driving motherfucker. I love that. Anyway, so you're playing music for TV and and film. How's that going? It's going great. I'm actually working on a Trolls movie right now, which is DreamWorks animated musical. The Troll Dolls. And I just finished working on Pitch Perfect 2. I also worked on Pitch Perfect 1. So it's going great, man. I have no complaints. I'm making music, making a living. Nice. I'm gonna play this one track. I'm gonna play this one track that a lot of people don't know. Play that. B-Boys. Yeah, we were supposed to talk about hip-hop and rapping. We were, but you know what happens in the show is I start fucking around and there's so much shit that I can talk about you and your path that is unbelievable. You know, because where you're at now, I mean, that fucking Method Man, Red Man shit, that shit is like... I always wonder what if that never happened? That's ridiculous, dude. That's ridiculous. And I think most people in successful jobs and with acclaim, they actually have some moment like that that everyone can relate to. It's the moment, the turning point. No, but you're inspiring, bro. That's what I'm trying to say. I say everyone's talented, but it's about being one away from something actually happening. This is a 2-minute 33-second track. To the people. Bam! Goddamn! Holy mackerel! Pulling suckers across the statue. This is on release. It's a bonus. B-Boys in the cup and we're here to stay. Vibration. Sensation. Shut up when I'm making it to the end. Can't stop. Chasing. Revelation. Elation. A little patience with the tribulation. I got more with Stoma. Around that and I just don't like this anymore. Always on vacation. Like cock and rusty. You want me to be a best? That's me. In the cup. And we're here to stay. At the door. To my giant dream. Vibration. The waxed style is beyond the pale. You know, we don't do the one just smells. Come at me with rain, I'm coming back with hail. I'm a broadsword, a cup for your chain mail. Rock off my 100 degrees slow time. No disrespect, I got to go for mine. Big Mike Dean of a spit and lead paving them. A-D-R-O-C-K spells for me. There's holes in my story like neon sphinx's teeth. Good grief, the middle name's Keef. I keep a microphone and I keep a microphone. I keep a microphone and I keep a microphone. And a little weird shit. In the cup. And we're here to stay. At the door. To my giant dream. I'm like Oscar the Grouch. Trashy. Rock and derelict. Flashy. I keep it raw, y'all. Just imagine. The 40 second speed seat. Train back. I'll sizzle on a mic like I'm about to pop fish. Put this in the house and woo that switch. This is my shit. They're gonna scratch that edge. Nah, I set it off up beside this bench. See you looking at me, thinking what do you do? Well, I rap in front of Spike Mike D. Sweet Lou, also known as Pretty Lou, a.k.a. Pretty Mike. Switch up my name pretty much how I like it. Oh, this routine dates way back. A lot of people may remember this routine, but it's evolved now, yeah, from the summer before last. My name's Spike B and I got a new name and that new name is Barry. But my name is a rock and then I got a new name. And my new name is Harry. Before they was MCA, but I got a new name. This is wild. What's the name of this track? It's B-Boys and the Cut. Barry. Three Jewish motherfuckers from the Boogie Down. You know what I'm saying? I love them, man. From the Bronx. That's a two minute, 33 second track, right? They're just freestyling. But what I'm saying is like your track, like there's no reason why that shit couldn't have just been a bonus track on one of those albums. That didn't come out either. That's a bonus track. That's not even listed as one of the main tracks in this. Actually, the album, I'm gonna tell you right now, the album is, uh, what the fuck is the name of this album? It's just hold on a second, cause it's gonna fucking start playing some shit here. A Hot Sauce Committee, part two. You even know this album? Don't know it at all. Okay. Beastie Boys, Hot Sauce Committee part two. That's the name of the album. Nobody even knows the fucking album. They had a deep catalog. Most of the songs are okay. You know, they're not, they're not awesome. Give me a second. Can I get a couple more minutes? Or we gotta two? Just two? Jenny, just two? Two's one short of a couple. I just asked Jenny if I can get a couple more minutes, cause we just kinda like ran out of time and Jenny said two. You know what, Jenny? I take it. Thank you so much, sweetheart. Um, yeah, so we can that way just wrap the show up nice, nice and easy. Um, well, you'll be back on the show anyway. I'm coming through. I'm gonna bring my turntables next time. Yeah? Sure. Alright. I have to borrow yours. I actually don't have them. I'll bring my turntables. Not a big deal. I got turntables and mixer. I'll bring that shit up. I've often thought about setting up my turntables here and just doing like a live one hour house music set. Sure. You know what I mean? But next time for sure, I'll bring the turntables. I'll do a little scratch battle shit. And we'll talk about hip hop. We'll talk about freestyle hip hop. I love it. Which is what we were talking about earlier today. I got some retarded, retarded shit that I was gonna play for y'all, but for instance, if y'all out there and you haven't heard this shit, Mo's Death featuring Black Thought, and Eminem freestyle, The Cipher. Y'all, shit is retarded. You gotta check that shit out. It's off the hook. Anyway, let's wrap this shit up. Wrap it up. Wrap it up. So, what's up with you? What's coming up for the new year? Do you have a website? Do you wanna promote something? What's popping? I don't really have a website to promote or anything, but you can check. You don't give a fuck. Cause you're chilling out with Big Mike. You're chilling out with Big Mike Corcoran rocking fucking beats for Disney Channel. For all sorts of movies. If you have kids, just make sure they keep watching kids' television. That's all I can say. What's the shows that you're working on? I'm working on a show on Disney called Live and Maddie right now. Live and Maddie. One girl plays identical twins, so she plays both characters. So she's working for a bipolar career. Totally. And then the other show, I actually just finished a show with Ariana Grande on Nickelodeon called Sam and Cat. Nice. Did you meet her? Was she nice? She's an amazing singer, man. You know, pop music and whatever, but she's an amazing singer. I know she's amazing, and I've heard she's a really, really nice person. Yeah, people are saying a lot of different things about her. Anyway, so we're going to wrap this shit up. Wrap it up. Yo, December 18, 2014. Nah, I mean, stick it in between. Clean your teeth, floss, and don't get the green. Nah, I mean. So what I want to say to y'all is thank you so much for listening to Nestorius Public Radio. And big up to Nesta. Do, do, do. For doing his podcast every week for how long now? How long you had it going on? About a year and a half into this shit. I want to thank Jenny. Dope, man. Congratulations. Jenny, my pretty, purple-haired, dyed, Latina engineer, educated, smart. She's going to school, doing her thing. You know what I mean? Thank you so much for being with me. Thank you, Jenny. All this year. Love you. Always a pleasure. Big up to Skid Row Studios. Big, skidrowstudios.com. Pew, pew. Big the fuck up, Skid Row Studios. We got a dope, dope lineup of shows on this motherfucking internet studio network. Peep it out. Go to skidrowstudios.com. Don't just download. Don't just download my shows on iTunes. Please do that. Download my shows on iTunes. Tell your people to download my shows. Listen to the episodes. I really got some dope-ass jewels in the archives. If this is one of your first times listening to the show, go way back, man. There's a tied episode. I think the first 10 episodes, we were just developing and getting the chemistry of this shit and the joking and the bullshit. Anyway, there's a lot of good stuff. Hit me up on Facebook, Nestorius. Facebook.com forward slash Nestorius. Public radio. Facebook.com forward slash Nestorius. Public radio. Hit me up. Ask me a question. Take a picture of you naked underneath the fucking T-shirt in your belly. Do whatever you got to do. You know what I'm saying? Keep the shit real. Love yourself. Keep it real. I hope you have a good time. Happy, happy, Merry Christmas. Happy New Year. And, you know, blast it. Big up. Thank you for having me, Nestorius. Public radio. You know it. Get it off. Let it off. Shut it off. Get it off. Let it off. Shut it off. Get it off. Let it off. Shut it off. Get it off. Let it off. Ooh-wee. It's me. Ooh-wee. It's me. Ooh-wee. It's me. Ooh-wee. It's me. I ain't doing nothing but talking shit. Y'all gotta, like, you know, encourage me the whole way along. Ow. I ain't doing nothing but talking shit. Y'all gotta, like, you know, encourage me.