Joe and Jada - '90s hip hop stories: LEGENDARY Jay-Z, Biggie & Nas rap battles + Top 5 hip hop songs

Summary

Podcast Summary: Joe and Jada - '90s Hip Hop Stories: LEGENDARY Jay-Z, Biggie & Nas Rap Battles + Top 5 Hip Hop Songs

Podcast Information:

• Title: The Herd with Colin Cowherd
• Host/Author: iHeartPodcasts and The Volume
• Description: The Herd with Colin Cowherd is a thought-provoking, opinionated, and topic-driven journey through the top sports stories of the day.
• Episode: Joe and Jada - '90s Hip Hop Stories: LEGENDARY Jay-Z, Biggie & Nas Rap Battles + Top 5 Hip Hop Songs
• Release Date: June 12, 2025

Note: Based on the provided transcript, the episode features guests Joe and Jada discussing their experiences and stories from the '90s hip hop scene.

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1. Introduction to the '90s Hip Hop Scene

Joe and Jada kick off the episode by reminiscing about the vibrant '90s hip hop culture. They highlight the spontaneous nature of the era, where legends like Jay-Z, Nas, and Big L frequently engaged in freestyling sessions and cyphers outside clubs.

• Joe (00:00): "I would see Jay Z, Nas, Big L, all the rappers freestyling and cyphers in front of the club."
• Jada (00:08): "That's how we met Mace, actually. In the cypher on 125th street in front of the march."

2. Breaking into the Music Industry

The discussion shifts to the challenges faced by aspiring rappers in the '90s. Before the digital age, accessing recording studios was a significant hurdle, often requiring connections and substantial effort.

• Joe (01:43): "It was much harder and much more challenging just to be able to record music. Getting in the game was a task."
• Jada (02:39): "Before going into the studio, finding someone with the right equipment to record freestyles was a daunting task."

3. Recording at DND Studios and Meeting Puff Daddy

Joe and Jada share their experiences recording demos at DND Studios, a pivotal moment that led to their breakthrough. Their demo caught the attention of Mary J. Blige, who forwarded it to Puff Daddy, resulting in substantial success.

• Jada (03:22): "We recorded a demo in DND, and Mary put it in on a tour bus. That was our end before everything else."
• Joe (05:00): "Shout out to DND. One time I beat a guy's brakes with your phone with a red phone."

4. Encounters with Hip Hop Legends

The guests recount memorable encounters with iconic figures like Biggie Smalls and Tupac Shakur. These interactions underscore the camaraderie and competitive spirit that defined the '90s hip hop landscape.

• Joe (06:37): "Biggie was walking out, I did a freestyle, and when I was walking out, Tupac was coming in."
• Jada (07:13): "We saw Jay in there recording with OC. That was a pool memory."

5. The Mixtape Era and Legal Hurdles

Joe delves into the mixtape culture of the '90s, highlighting the underground hustle required to promote music. However, this era was fraught with legal challenges, including arrests for selling mixtapes and intellectual property issues.

• Joe (10:15): "Police cracked down on us for selling mixtapes. I nearly went to jail over it."
• Jada (12:01): "Back then, children would run home at 3 AM to watch Video Music Box on TVs with knobs."

6. Influential Artists and Their Impact

The conversation explores the influence of artists like Lord Finesse, Red Alert, and Big Pun. Joe emphasizes how these artists shaped his belief in becoming an artist, providing inspiration and mentorship.

• Joe (13:21): "Meeting Lord Finesse was pivotal. He told me stories and showed me what it takes to be a rapper."
• Jada (17:36): "Listening to artists like Red Alert kept me motivated even when I was struggling."

7. The Reality of Rap Success

Joe and Jada discuss the harsh realities of achieving success in the rap industry. They compare the odds to other competitive fields like the NBA, emphasizing that only a fraction make it to the top.

• Joe (48:40): "The chances are very discouraging. You need Plan A and Plan B if you're getting into rap."
• Jada (49:10): "Every day, 53 new rappers emerge. It's harder than NBA odds."

8. Evolution of Hip Hop and Modern Challenges

The duo contrasts the hands-on, grassroots approach of the '90s with the current digital landscape. They critique how streaming and digital distribution have affected originality and personal connections within the industry.

• Joe (57:43): "Nowadays, people don't have to hustle like we did. They just press a button and expect success."
• Jada (58:09): "Mixtapes used to require manual effort. Now, it's all about streams, which doesn't foster the same connections."

9. Top 5 Greatest Hip Hop Songs Debate

In a lighthearted segment, Joe and Jada attempt to compile a list of the top five greatest hip hop songs of all time. The discussion is spirited, reflecting their deep knowledge and personal preferences.

• Joe (66:42): "I'll say 'Hip Hop Hooray' by Naughty by Nature."
• Jada (67:06): "I'm picking 'Gin and Juice' by Snoop Dogg and Dr. Dre."
• Joe (68:36): "Biggie's 'Hypnotize' and Tupac's 'Dear Mama' are must-haves."
• Jada (73:07): "Snoop Dogg's tracks like 'Nuthin' but a 'G' Thang' are iconic."
• Final Picks: They agree on classics like 'Run DMC's 'King of Rock' and 'NWA's 'Straight Outta Compton.'

10. Closing Thoughts and Reflections

Wrapping up, Joe and Jada reflect on the enduring legacy of '90s hip hop and its influence on today's artists. They stress the importance of authenticity, hard work, and maintaining personal connections in the pursuit of success.

• Joe (75:55): "Remember, if you're going to rap, stay true and keep grinding."
• Jada (76:14): "Respect the roots of hip hop and the pioneers who paved the way."

Notable Quotes with Speaker Attribution and Timestamps

• Joe (01:43): "It was much harder and much more challenging just to be able to record music."
• Jada (03:22): "We recorded a demo in DND, and Mary put it in on a tour bus."
• Joe (05:00): "Shout out to DND. One time I beat a guy's brakes with your phone."
• Joe (10:15): "Police cracked down on us for selling mixtapes. I nearly went to jail over it."
• Jada (12:01): "Back then, children would run home at 3 AM to watch Video Music Box on TVs with knobs."
• Joe (48:40): "The chances are very discouraging. You need Plan A and Plan B if you're getting into rap."
• Joe (57:43): "Nowadays, people don't have to hustle like we did. They just press a button and expect success."
• Joe (66:42): "I'll say 'Hip Hop Hooray' by Naughty by Nature."
• Jada (73:07): "Snoop Dogg's tracks like 'Nuthin' but a 'G' Thang' are iconic."

Conclusion

Joe and Jada's episode offers a nostalgic yet critical look at the '90s hip hop scene, blending personal anecdotes with broader industry insights. Their discussions underscore the evolution of hip hop from a grassroots movement to a digital powerhouse, highlighting both the challenges and triumphs that have shaped the genre. For enthusiasts and newcomers alike, this episode provides a deep dive into the rich tapestry of '90s hip hop, celebrating its legends while contemplating its future.

Transcript

[A]

And I would see Jay Z, Nas, a big L, all the rappers freestyling and cyphers in front of the club.

[B]

That's how we met Mace, actually. In the cypher on 125th street in front of the march.

[A]

It's your boy Jose Antonio Caltagena.

[B]

Ah, your boy Jason. Terrence Phillips. This is the Joe and Jayla show.

[A]

Brought to you by Boost Mobile. Get the whole block up if you're going on a bus ride at Kings Dominium. Wherever you going, get the whole bus mobile ride Playland, Playland of Boost mobile dot com.

[B]

Get everybody one, that everybody with you on the whole bus.

[A]

Hey, if you're a big ball out there in the hood, just get the whole bus block Boost Mobiles. That's what we doing it for. And yo, Shout out to Cash App just jumped on board. Cash App, we love you, baby. The Joe and Jada Show. Listen, man, check this out. We gonna talk about hip hop, the origins, how hard it was for us to get in the game. I'm curious to know. See, I knew about the Warlocks. I knew about. Yeah, yeah, I knew about y' all from day one. But what. What was what you think is the difference of then and now? Or I rather you just say how y' all got in the game and I'll explain how I got in the game. Or. Or Terror Squad got in the game.

[B]

Even way we. Even where we cut and slice it, it was still what we had to do to get here. Um, it was much harder. It was much harder and much challenging just this. To be able to record music. Fuck getting in the game just to be. Find somebody. This is before ever going in the studio just to find somebody that had equipment to record some freestyles or record whatever you had the right was. Was like a task. It was only. It was. It was only a few. Know what I mean? So to pass that stage and then into going into the studio and finally, you know, recording some music that you thought was good enough to pass to the DJs or pass to a record executive, the journey from just there to there was crazy.

[A]

Well, a record executive is like, is. It's impossible. Like. Like when I first started rapping, I just thought it was. I'm just rapping for the hood. I didn't think I would ever get a record deal. Like, I thought it was like just me for the homies playing this shit. I never thought, you know, Shout Out Keyboard Money Mike, his first guy, whoever, put me on like Bronx Cable. And me and my brother, Tone Montana, we used to watch that shit over and over again. Like, he'd be like, yo, you going blow one day? I'm like. Like, you know what I'm saying? So when did you get close enough to where you felt like, oh, I could give this person this mixtape and they could get it into the proper hands.

[B]

We was actually. It was a bunch of shit that happened. But fast forward to the. To the. To the demo that actually was the one that was able to get passed to Mary that eventually went to Puff's hands. We was recorded in DND DND Studios. Wow.

[A]

You got to D and D shout out Mary. She was in the house last night.

[B]

Yeah, mj, what's up, baby? We shot it. We. We was in D. D. However, we got the bread to make it to D and D. And it was actually while Hove was making Reasonable Doubt.

[A]

He was there.

[B]

Yeah, he was in another room making Reasonable Doubt. And we actually seen. It was a pool. Remember that? You could play pool in there.

[A]

Yeah. That's where fucking Big L threatened me and the Enemy, where I had to write the rhyme in his face.

[B]

We bumped into Jazzo in there and ended up getting a beat from Jazzo that went on our demo that ended up actually being a song on Puff no Way out album that sold 10 million. So we recorded a demo in D and D. We were still wet behind the ears, but we felt like these songs was good enough. Mary got a cousin that was a part of our everyday entourage, J Bop Jamal. So he was. We kept him. We knew once we got some songs good enough, we could get it to him and he could get it to Mary. So that's what we did. And she happened to be on tour with Jodecy, and. And. And she popped it in, I think, on a tour bus. And that was. That was our end before all the other, I'm gonna tell you.

[A]

But, yeah, you know, that's crazy because. Shout out to DND One time I beat a guy's breaks with your phone with a red phone. And D just was pounding them out with the phone. The old school phone with the wire.

[B]

Or a house phone.

[A]

Nah, yo, they hated me forever, sis. Because it was like, you know, D. D was like the Fly studio, but I had the juice. I was already Fat Joe. My man was like, yo, my girlfriend, she in the studio with these other rap guys. She was like, she's in dnd and this. This Bob, yo, if when I tell you who be out of season, you go bug out. He was like, yo, she in there with the dude. So I Had to use my face to get in there. I'm like, yo, it's Joe Crack. They opened the door and then we beat the brakes off this guy. And they never like, they, they who? Was it Dave? And was it Dave and Mike? But anyway, man, shout out to DND dnd. One day I saw Jay in there recording with OC they had this one song together and I was up in there and they was rocking you. DND was like, if you made it.

[B]

To dnd, you made it to. That was like the. To get the recording. DND was. You felt like end up buying D and D, right?

[A]

You end up buying D and D. And then you had. So the who's who was in there. It was almost similar to like a Barbito with Stretch. So I'll tell you a better one. I went to a Ron G mixtape and I was going in and Biggie was coming out. And I'm like, yo, Big, what's up? This, this.

[B]

That's the Shoddies by the shower when he said that.

[A]

What?

[B]

He said the Shoddies by the shower. He tried to shoot me while I'm shitting.

[A]

I don't even know.

[B]

I'm telling you, that pocking.

[A]

Big on, listen, I was there.

[B]

Polo Grounds.

[A]

No, it wasn't Polo Grounds. It was. He had almost by up nyc. He had a crib on Riverside Drive. So it was like right around from up nyc. So I'm walking in there, Biggie Smalls is walking out. I do a freestyle. And when I'm walking out, Tupac is coming in.

[B]

Yeah.

[A]

So that was the type of shit we were happening in Stretching Barbito, where you hear the infamous. We wouldn't call it a battle, but the infamous freestyle with Big L&. And Jay Z. Barbito had an open door that was like a. If you up Bobby throwing stretches. Like they had everybody coming in, the craziest guys you could think of. The door was always open. And so that's when they had that legendary. I wouldn't say battle, but it was Big L and Jay Z in there. Like Pun, you know, Pun broke through Stretch and Barbito. But this, this, this four in the morning, you gotta wait. You might go there one night and the whole Wu Tang Clan is in there, 13 deep, freestyling for 20 hours. And then you might get the last 10 minutes to play your new demo in there.

[B]

Like, like these days. Speaking of mixtapes, I got a story. Do you remember this? I don't even know how we all ended up. What's the first you know, 54th Sony is hit. Factory's in the middle. We was in Sony, all of us. Some merch already. No, no, no. We was on. We was. We was already who we were. It's still. It was still the earth. This is 90s early Sony.

[A]

So hard.

[B]

Listen, we in. We in there. Me, you know, the Locks, Joe Crack, Nori, some other artists. Clue is there. Y' all put pressure on them. You felt he was putting your songs too far down the thing. Like. Because in a mixtape era, if you wasn't in a certain. If they don't put you in a certain part of the tape, when they.

[A]

Put you number 28, 26, that's like.

[B]

That's the ultimate disrespect. Nobody's listening to that.

[A]

So you. You seeing me?

[B]

I seen it. Was it. I don't even. I don't even remember how we all end up. It's not. We wasn't recording like a we are the world or none of that for everybody to be there. But it happened to be mad artists include. And y' all put a little pressure on Clue. Like your Clue. Why the he keep making my songs number 20 something in this and good thing we was able to. We worked it out.

[A]

You know, I saw Biggie.

[B]

Biggie.

[A]

Clue hates the story, but I gotta.

[B]

Say, Elite one of them Biggie, bro.

[A]

I was in Club usa by the way, that was the flyest club ever. When Biggie came up to me at the Deringer. He had the 22 dilligence. He's like, yo, you seen Clue? I swear to God, I just saw a Clue. He was like, yo, you seen Clue? He put my shit on the table. Go get. I was like, no, I ain't see him. And I just saw Clue walk through Clue hate when I tell that story. But Biggie definitely showed me the hammer and say he gonna find Clue, he gonna give it to him. Did you used to drive out the Queens to give Clue to your song?

[B]

We would not by. By that Clue was coming to either Rough Riders or they would Pick. Rest in peace. Pick would bring Clue the songs or he'll come to the store.

[A]

Man, I used to have to go to Queens. It was that highway and the police was that highway pulling everybody over. And then at the end they had like a 24 hour fruit market. That's where I used to meet Clue to give them the songs. But I remember, you know, I was scared to fly. So I used to drive down to Miami twice a week and just be listening to every Clue tape, shout out to Bima. Everybody who ever sold the mixtapes, you know, all music Hut Harlem music cut. Yo, I. You know, one day when I had my. My sneaker store and not sneaker store because we ain't have sneakers, but it was Fat Joe Halftime.

[B]

Oh, halftime.

[A]

Yeah, we used to sell a mixtape one day. The police came in there, and it was locking me up for the mixtapes because we used to sell the mixtapes was illegal. So they was like, yo, somebody got to go to jail. We have my man DJ A. He's in Atlanta. He didn't want to take the charge. He was like, yo, I can't go to jail. I wound up almost getting locked up over mixtapes. Thank God the cops just gave me a summons. But I was going to jail for selling mixtapes. It was the craziest shit. I was already a rapper. But you know what I would do, right? Shout out to Ralph McDaniels. He gave me a huge opportunity. So for kids that don't understand, we talking about analog and shit. Before was digital and all that, all the kids would run home at 3 o' clock to go see video music box.

[B]

That's how this when the TV had knobs on. The kids, this turn the top one on the bottom.

[A]

This is when your man. Damn, I don't even got a pocket. This when your man Special Ed had the one hand in the pocket in the bubble and was like, I got a dog. A dog with a solid gold bone. Got a what? We was like, excited. But I met Ralph McDaniels. I'm not sure where. And I started going to see him. He had an office downtown by city hall. And I used to have to walk. The elevator was always broken. 31 flights of stairs. And that's Fat. Fat Joe. And then Ralph started letting me host. So we going to clubs and all that. And I'm hosting. Yo, what up? It's Fat Joe, yo, video music. But I'm still in the streets, too. I'm wearing, like van suits. Big Cubans. Like, they know that's Poppy who got the work up in the Bronx. Big. But I needed that look, you know what I'm saying? I needed that, you know, video music box type shit. I went to Apollo Theater. So for you to understand is my whole crew was already on. So Finesse. I grew up with finesse. Lord Finesse. He said I could say this story, but Lord Finesse used to, you know, back in the days, he was an entrepreneur. So he would sell the newspaper, right? So he had a newspaper route. So he'll Come around and go have one, too.

[B]

But YouTube, yeah, the newspaper.

[A]

So. So Finesse used to go pay. And then your mom's a pay him a dollar for the newspaper. But he bought it for 50 cent. He made 50 cent to go to the store to go get it. So I met Finesse through that, and we used to hang out, but he used to tell me all the time, yo, I'm gonna be a rapper, right? And I would go to his house, he would dj, his grandmother was there. And one day, I was listening to Red Alert. And your man Finesse, he played like three or four Finesse songs. And I was just like, he made it. If it wasn't for Lord Finesse, there would have never, ever, ever been Fat Joe. Like, I. I would never believe that I could become an artist in my life. I had to see it to believe it. So when I'm listening to this, Lord Finesse is the man that you had to hear. I'm like, yo, I'm going crazy. And so Finesse gets on showbiz and AG get on. And diamond was on before all of us, Stunts, Bloods and Hip Hop Classic album. And so I said, you know what? I was hustling. I was in the streets. And I said, yo, I'm going to Apollo Theater. So y' all gotta understand, I'm in the streets making money, respected in the streets, doing everything I gotta do. And I said, I'm going to the Apollo Amateur Night to get on. And this is a real story, right? So I'm already buying Dapper. There's. I'm cake it. I'm caking, I'm caked up. You see me in the clubs popping bottles, all type of. I'm doing what I'm doing. So I go in there and I remember. So this is the heart of a lion, a heart of someone who. I remember I went up in there and it was like 150 groups. And I remember like, yo, why are these people in here? Like, you know, I'm here like this. This is over.

[B]

Like, no, I swear, you already won in your brain.

[A]

What? I walked up in there like, yo, this shit shout out to Coco Graff. She just won the tennis. She said the whole crowd was screaming for her opponent in the French joint. And she started telling herself, coco, Coco. They screaming, Coco. But they were screaming the other girl's name in French. And so you gotta talk yourself into. You gotta speak into existence. So I walked up in there, I ain't know what it was, but I looked at them, I said, these Guys can't fuck with me. I'm. You know. And sure enough, we went out there. I had the yellow Dapper Dan track suit. We came outside, I had the dances, and I had a song. It was called He's a big Shot, Fat Joe is a big Shot. And I came outside and the crowd went crazy. And I tried one day to really think about it and be like, yo, what did I say to make them go crazy? But I really ain't say nothing. The second I walked outside and started rapping, they just. There's always no disrespect. There's always a fat girl that gets up there and goes, and I am telling you. And she kick her off. She kicked them shoes off. You know, it's over when the fat girl come up in the Apollo and go. And I am telling you, it's all.

[B]

Can't take it.

[A]

That's the cheat code, yo. That's the cheat code. She kick off a voluptuous. She kick.

[B]

She kick assumes the words, yeah, all.

[A]

Right, we in a different type of thing.

[B]

What's this? What's this? How the song go?

[A]

And I am telling you, I'm not going. She come up in there. That is everybody going crazy. Oh, so it's similar to her. The fat guy came out. I tried. I stood up in the hotel room one day, really trying to think about how I won the Apollo. And they just went crazy. They seen Joe crack. I don't know if they knew me from the hood, from everywhere or whatever the case. And they just start screaming like crazy. I couldn't heard one rhyme. I don't even remember one rhyme.

[B]

Yeah, what he said.

[A]

You understand what I'm saying? They just. I was blessed. God said, yo, they gonna go crazy for this guy. And I won four weeks in a row. And that's how I met Red Alert. Red Alert came up to me and was like, yo, DJ Red Alert, who ran the game? It was him and Mr. Magic. There's only two DJs playing hip hop Facts prime time every week. So Red Alert came to me and was like, yo, do you got any jingles? Any demos? So I gave him Flo Joe. So I remember I was home in the projects and I had the flu. And this must have been covet way before the COVID Like, I was over 18 up this. That Covid, 88.

[B]

There's a.

[A]

It was 88. Like, yo, that Covert came up on it. I was up. And for like two months after I gave him my demo, I was waiting to hear it. And, man, that's just simple. When I was like, yo, I jumped up, yo, I must have hit the ceiling. And I ran. I had to speak. And I threw it on the window right quick. And everybody was in front of the projects, and I was like, yo, this my. This my red alert. Playing my. And so he played the Flo joke. And then maybe like a year later, Chris Lighty, Rest in Peace, came to my. My hood, my block. I'm hustling. Fuck my jacks. He came to the spot. He said, yo, you know who I am? I said, yeah, I know who you is. Because I used to see Chris Lighty in the streets and all that. He was like, yo, I'm Chris Lighty. I think you could be a big rapper. I just signed a big deal with Relativity Records. He had Chi Ali. He had the Beat Nuts. And then I was the third one, and he was like, yo, you know, I want. I want to make you a rapper. And I was like, what the fuck? I showed everybody that check. It was a 50,000, but it was a legit check. It's a little bit different getting drug money and getting a real check. Like, look, I got a real check. I'm showing everybody my check like, yo. My check like, yo. And. And that. That changed my life. What songs you would hear before you was on. What. What.

[B]

What songs I heard a lot of. But I. I remember always hearing Rakim came in the door. Check out my melody. Boom. I remember check out my melody was always playing in the park, basketball courts, coming out of. I remember him running them. King. King of Rock, Big Daddy Kane, Raw, Roxanne. Shantay, man, I'm Shantay.

[A]

I'm Shantay.

[B]

That's his right there.

[A]

Shout out to Molly Mall, man, that man Molly Maud's a dangerous guy. I just got back from France, and I was pumping that biz market. The biz markets are going off the biz.

[B]

That was that.

[A]

That's. That. That's one of my favorite rappers of all time, Biz Marquis. And he would rest in peace. It wasn't you, because lyrical, it was just like, yo.

[B]

KRS told me, out of anybody in the world, he never wanted to battle biz. And that shift was amazing to me because he like. I'm like, chris, you. I kind of thought you was just like, I could. I kind of see you not being scared to battle biz. But he, like, he has so much humor and crowd control that he could really actually embarrass him. So he's like, dance. I would think I would Think it would be G. Rat Rakim, them type of. He like. Nah, I never wanted to battle biz because he. He could just do some funny or do something crazy. And I said that that was very interesting to hear KRS say out of everybody. All of them gladiators from that time, he know that business. He didn't want no smoke.

[A]

He know. You know, I used to hear the Lords of the underground.

[B]

Oh, Mr. Funk.

[A]

Yeah, I live for the funk. I'm talking about on the block. While I'm on the block, the Jungle Brothers.

[B]

Jungle Jungle Brothers. That's sp. That's what we used to knock the jungle.

[A]

Yeah, I used to ride around looking for guys with the hammer on my lap. Looking for guys. Now I'm just telling y' all the truth.

[B]

Family show.

[A]

All right. But I'm just saying it's crazy because in the prime of violence, I'll be pumping pluck one, pluck two instrument service out of this. A lot of different Internet. And I'm looking for the smoke, boy. And I'm listening to daisies, potholes in my lawn. Like, yo, this crazy man. Or the biggest, most dangerous guys I knew. Oh, nice and smooth. Kind of like put me on so great. Nice and smooth, B. They used to put me on shows when they was the biggest. Yo, let me tell you something about nice and smooth. Let's go there, right? Nice and smooth. Say I'm Greg Nice, and I am MC Smoothie. Together we are pure blend in perfect harmony. Yo, they had dances to do. Cliff Love.

[B]

Just thinking.

[A]

What keeping you waiting for long. I'm sorry for waiting so long. Like, yo, they were like a super mega group.

[B]

They wasn't Gotta shout out Teddy 10 and Special K. They them production nice and smooth. Production was crazy.

[A]

Well, that's the awesome too. The awesome was you had to be allowed to be up at like 4 in the morning to hear their show. So with me, I live in the fat fifth floor of the projects. We had the phone, the public phone, like the regular phone in front of the building. They would crack open the thing and they would plug the boom box on to the thing for the power. So shout out to AJ GP Crago, Vance Romance, all the older dudes, they would listen to the awesome two. At four in the morning, I be out my window. That's where I heard, we don't want to be left behind. All we want to do is just blow your mind just one more time. As I say right about now, New York City.

[B]

I got my ass whipped for being in my uncle's room listening to that repetitively. I was repetitively. Just kept listening to that. That captivated my mind as a little kid. But then for some stupid reason, I took the Crown Royal grease and smeared it on the receiver. They beat the brakes or I don't even know. Listen to that theory. I'm listening to that over and over. A little kid. I just open it, take the silver top off and put the grease on it with the dial. I don't know. My grandmother, my mother, my uncle, they all might. Somebody beat the out of me for that, man. Uncle Mike. That was Uncle Mike.

[A]

He was in the back room walking down the street boxing mine.

[B]

That song right there did something to my the music. Click the switch on me.

[A]

Poison Clan. And you saying yourself there. They sound very nice. Let me tell you something.

[B]

I never now block is trying to.

[A]

Sound like me, but I'm the original. Listen. One day, one day when I'm coaching at the Rucker, it said, well, I'm walking down the street with I'm in the back, like, getting the team ready.

[B]

They just threw that off out the speakers. Oh, they was rocking.

[A]

Yo Jada. That's the times. They didn't even have videos. I heard that in the middle of we gotta win. Yeah, I'm coaching. I ran to death. Rucker park. And I was in the back. I ran in there so fast like a baby bro. I was in there like. And they was like, you know, doing. And they. To me, it was just so innovative, so creative. When we was. When I was a kid, they rhyme like nobody else. And I got to see him in real life. Like, I really got to see him. Like, I was like, yo, the crash course.

[B]

Ew.

[A]

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[B]

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[A]

5G speeds now available in all areas. After 30 gigabytes, customers may experience slower speeds. Customers will pay $25 a month as long as they remain active on the Boost Unlimited plan. Yo, listen, so we had to do stuff like, you know, I started out graffiti, so I started out writing graffiti. That's How I met Diamond D, he used to write Z Rock. I used to write. I think I used to write say's or some shit or Popeye, I don't know. And then. So I always came from like a. A graffiti mentality to where with graffiti. It's all about a subculture that you. You king. So if you looking for graffiti, you'll see the names up on the walls that most people won't see him. But I don't know if somebody's doing some shit right. So we started like that. So when I. When I finally got my deal with Relativity, I told him to make these huge posters. So we. I don't even got one right now. Right now. If you got one, let me know. I'm ready to buy it. It's a black and white poster, and they had the COVID and it's a Fat Joe the Gangster. And we tore this city a new ass everywhere, bro. We used to come home every night looking like 9 11, all white. Because it was the glue in the water. We. You had to put the glue in the water. So we. On 59th street, over the 59th Street Bridge, they had them green. Then we put it up there. We put Atlantic Avenue, Brooklyn. We put it west side Highway. We put it in Fordham. We put it. We was doing graffiti, so I had me the tattoo. A bunch of graffiti artists bombing these posters. Like, we was bombing, like it was graffiti. So we like king of the city, like. And so everywhere you go, the other record labels started. Like, Leo Cohen, I never forget, he actually went to Relativity and said, yo, y' all gotta stop this. This Fat Joe the Gangster, these posters is too big. How do y' all have a budget to destroy this? Like, because he knew now all his artists was like, yo, we want the big post this. We went up and he was like, yo, y' all starting some new. Y' all got the chill. Like, these guys are going too crazy. But that's how we did with the poster boards with Big Pun, the Dawn, Carter, Gina. We was out there.

[B]

It was like you said before, back when we was. When you. When we had to roll out something back in the days, or in the 90s, rather, you had to be more manual, of course. You had the label doing whatever they did, but you had to form your own staff and get out in the street and do yourself. I mean, whether it was painting them, the stencils or just going outside, going everywhere you can go and ford them. And that's like, emotional day.

[A]

That's exactly it. I mean, after I would Bomb all night, get home, maybe six in the morning, I be at the train station in Fordham giving out little cards saying, hey, yo, I'm Fat Joe the rapper. And giving them like the COVID to the single. Like I'd be on the train station like, yo, I'm Fat Joe the rapper. And just giving them to said Fat Joe the gangster. Same thing where the first time I ever met Biz, I went down to the Lyricist Lounge and I was giving the DJ Flo Joe. No, I'm saying I had the vinyls, so I'm giving it to him personally. And that's where I saw big battle, like 20 guys. And he was up on stage just killing them with a backpack on. That's when I met him. And he was like, yo, you Flow Joe this. Yeah, it's crazy, man. But everything was manual. You know, I used to come out the clubs, right? And this could be. I don't want this to be taken any way, but I would come out of SOB's different hip hop clubs and I would see Jay Z, Nas, a big L, all the rappers freestyling and cyphers in front of the club. Like I would see everybody who became a legendary, they would just be at the clubs freestyling. Like outside in front of the joint, they be spitting they bars out there. How was it for you? Was you going to like.

[B]

Yeah, I mean, of course we was younger, so we wasn't catching the clubs until we got of age or until we got on the label. But cyphers was a thing of the. Of a norm, like to where every day we go downtown to get with D. And before that night was over, it'd be some type of cipher. That's how we met Mace, actually, in the cipher on 125th street in front of the Mark T. Dean Swiss's pops. We was with D in the Martin T. Like, yo, I got. I know somebody that's. That's super nice too. We live around here. 130 something. 133rd, 139th. Yeah. So he came. I remember that day. Mace had on some Nike sandals. I think he was dumping. He was crazy.

[A]

He was going crazy, right?

[B]

Crazy was an understatement. Flow, the flow was crazy and then the rest was history. He was, you know, you knew then.

[A]

And there he was going to be a big boy or you just knew he was dead. I just knew.

[B]

We just knew he was nice. We didn't know. We know we was. We would be getting signed or what was going to happen in the future.

[A]

Oh, yourself.

[B]

All of us because we got signed around the same time.

[A]

Yeah, I know. That's what Big That's. That's where Finesse met Big L right in front of the mark. Finesse went over there, was signing some autographs, and Big L was like, let me spit for you. That's where he met Big L in front of there. And then he put him on and brought him with him. And he did the remix to yes, you made. And I remember, just as a team player, standing on the. In the stage in the back and just seeing L catch wreck. And I knew we had one. I was just sitting in the back.

[B]

Like y' all was it.

[A]

This guy is nasty. And you know, when it comes to digging in the crates, I used to have. You know, AG had this one rhyme, Sally. So she sells down by the seashore. How much wood can the wood chick chuck? I don't give a fuck where I saw A.G. andre the Giant. I would make him say that rhyme to me. Selling so seashells down by the seashore. How much work in the wood Chuck Chuck more. I'd be like, yo, say the rhyme, say the rhyme. And he would always do it for me. But that's how it literally started. Back in the days, it was word of mouth. And you would hear about guys like. I hear the infamous stories. Like, Jay said he used to pull up on DMX and they would have.

[B]

Did a legendary battle in the pool hole. I wasn't there for that. But that's the good back, and that's what you had to do if somebody was nice. You had to pull up on them and hear them and let them hear what you had. Or. I think that's a. That's. That's something that's different in today's climate of music. It was. I was in many sessions with everybody. Opposed to now was you emailing it or sending it through a cloud or.

[A]

The ill tape was bring reels to the studio.

[B]

You remember that?

[A]

Reels and dats and shout out Jazzy J Studio, man. I did my whole album when I got signed, the same day I got signed, my mother called me over. I went over and she told me she was. She was diagnosed with cancer. And I'm rushing to tell her, yo, I got a record deal. You know, I'm gonna change my life. And she tells me, yo, I got cancer. She used to smoke a lot of cigarettes. So I remember going to the doctor and the doctor telling us she had. So the doctor was like, yo, if this was my mother, I would just send her home and spend whatever couple of months I got. I was only like 19, 18. I was. It was crazy to me, right? Yeah.

[B]

But then we doc about Doc.

[A]

Yeah. We asked the doc, yo, Doc, what's her chances? Doc, what's the chances? And the doc said, yo, after chemo, after this and that, she got like a 1% chance. And my mom's looked at me and said, you heard him, Joe. He said, we got a chance. We got 1%. We the 1%. We got a chance. She went to the hospital, she did an operation. Her shit was this big because they cut it from here to here. She had to talk. But she lasted maybe 40 years after that operation, thank God. But my moral to the story is, remember that $50,000 check? My mom's. They wouldn't let family spend the night with us, so my mom's was scared to spend the night by herself. So at least 40,000 of the 50,000 I had to pay a registered nurse. At that time it was expensive. Like now, like it was, you know, like 1500 a night or some. So I only had 10 GS left, and that was only enough to pay for the studio. And then diamond did me the favor. Whoever worked on the album pretty much did the beats for free. And I remember I ran out of money to mix the album and shout out to the beat nuts. Juju and Les, they actually mixed my album for free. They mixed the album, you know, to look out for me. So I'm always forever indebted to the beat nuts. But that, that, you know, that's the type of we was doing back in them days. And then we had some guys, Messages of funk that was around too. Signed Relativity. There was good brothers, too. His wasn't easy, man. And the money's different, right? So let's go to that dramatic. So no, no, the money's different. So you go Magic Johnson. Just so y' all could understand youth or anybody's watching, Magic Johnson made $1 million and they put them on Time magazine, Sports Illustrated. Every year was a 1 million a year. Now you got the bummiest guy in the world on the bench for $97 million. And guys are saying, is Greek freak coming? Or he's going to stay over there and get the max and get 300 something million. The money was different. So Flo Jo went number one in the country, but I was only getting $500 a show. So I'm doing Yonkers, Staten island and the fever. 1500 on a Friday. Saturday I'm doing VA, NC, DC, bang bang, bang, like, flying, like, trying to kill myself to come back with a little 1500 a night. And so this is. This is the difference with the money. So no matter how popping you was, it wasn't no money at the time. So you thinking like, boom. And I go from. You know, I literally was selling drug, drugs. So I. I took a. I don't know if y' all truly understand. Like, I changed my life like Cinderella, but I was making a lot of money to, like, hustle for fifteen hundred dollars, like. And I had to stay the course. So you have to understand, if you're gonna change your life, youth, and you're gonna get into the rap game and you ain't making that kind of money yet, or whatever the case may be, you gotta stay the course. Because I could have easily said, yo, let me go sell jobs, let me stick somebody up. Like, guys kept coming to me like, you know, I used to stick people up so that, you know, I. I stuck everything up to supermarkets, drug dealers, everything you can name. So guys would come up to me and be like, yo, we got a lit. You know what I'm saying? We got a dude, he got a couple of hundred, you know what I'm saying? I've been. I even was offered, you know, no, crazy, dog.

[B]

You crazy.

[A]

No, I'm telling you the truth. Like, they would be like, yo, we got the. And then they pull it off and come around with the new Benzes, yo, crack. We try to tell you we at the lick. I'm already flo, Joe.

[B]

Well, look how airline is your transition from that to that. Because we had to buy a brick. We had the copper bird with our advance. Three dudes. The advance was only enough so you got the deal.

[A]

And then when it got.

[B]

We never got. When we got our first deal and the money cleared, we copped the brick and sent it to Baltimore.

[A]

There was always rumors of that.

[B]

I mean, that's real. That's. That's as real as this.

[A]

So instead of you, and you thought you was going legit, you went the other way.

[B]

Three of us. That was a legitimate, illegitimate thing to do at the time to get a real advance. That wasn't enough. You know what I mean? It's three of us. We splitting everything down the middle 33.

[A]

And the third man, I had to do so much. So my reputation on the street was straight violence, right? And I came in this game and tried to become the pussiest guy in the game because I already knew people were scared to deal with me because they. They thinking I'm like a New York Suge Knight. And the stories was going. So I was trying my best to be the nicest guy in the world. Like, I'm trying to convince people, yo, I'm a good guy. Don't listen to what people are saying.

[B]

Look at this. Did you ever have some. This is back. Since we on it. We just. We on the train.

[A]

No, no, we doing something.

[B]

Did you ever have an altercation in Mount Vernon back in the day? Back. Because we had a show. We were supposed to have a show. The Young lot, whatever we was. And we got arrested. But we heard before that y' all had some type of fight or something happened in the. In Mount Vernon.

[A]

Let's talk about the way back. The. The original, right? That Mount Vernon show. Mount Vernon showed me what I could do and couldn't do. So I was very young, and I was very crew oriented.

[B]

Shout out to the right.

[A]

And these guys were dangerous guys. Like, the Terror Squad from day one was very dangerous. I don't have to elaborate. I'm telling you, this is not a game. Everybody was like, 7:30. And I would take them to my original shows. Mount Vernon is one of the first shows I ever did. And I used to look up to Mount Vernon because Heavy D is one of my idols. So money earned in Mount Vernon. These guys went and started beating up the fans. So, like, so sometimes you bring the wrong hood with you. They'll beat up your fans. And so they start stomping out the fans. And that's when I realized. I said, yo, I cannot bring these guys. So somebody grabbing me like, yo, you gotta float. Yo, the Flo show was number one, is what I'm trying to tell you. I did Yonkers, I did Mount Vernon, I did every movie theater you could think of. Now, I'm telling you, like, you know, they used to have a little movie theater. Flo Joe was ringing Thanksgiving night. Sold out lines around the block for Flo Joe. But these guys would fight the fans. And so I'll be like a right ski recipe. I'll be like, ski, you can't come. Such and such. You can't come. And everybody started getting mad at me. I was like, yo, you're beating up the fans. This ain't like the enemy. Somebody who wants to beat me up. Somebody was at y' all swinging on the fans. And so that's crazy. It reminds me of. They had some. I don't know who the young boy is, but there's a young boy that was really, really park popping. What's his name, Naldo something. Some day he beat up the fan. They put him on a. In a coma or something. So sometimes you really gotta refrain again. But. Yeah, Mount Vernon. Yes.

[B]

I just, I was wondering. We never made it to the. We got arrested in the alley. We didn't even make it to the. Wherever we were supposed to perform.

[A]

So you, you got there and they picked you up. Yeah. You know, it's always your home.

[B]

Something happened. Yeah. So we walking and it just came with a bus and shackles and make our cause. We was in Mount Vernon City jail. We all got arrested. We didn't even make it to the show.

[A]

Shout out to Mount Vernon, man. Money earning. Mount Vernon they put out. You know, Mount Vernon was the Beverly Hills of black people in America at one time. You know, Malcolm X lived one house. Stephanie Mills, New York Freddie lived your girl Nina Simone. It was like, you know how you like. No, Mount Vernon was like if anybody black had real money, it was up there. I'm talking about Malcolm X, Nina Simone, Stephanie Mills while she's running around with fucking Michael Jackson. Like the biggest royalty they was in Mount Vernon, you know what I'm saying? So Mount Vernon was really, really a.

[B]

Stretch of like Lou Albano's from Mount Vernon.

[A]

Captain.

[B]

Rest in peace. Captain.

[A]

Yo, Captain Lou Albano, you remember him? What was that the Madonna video? Yeah, girls. Cindy Lopez girls. They want to have fun on oh girls.

[B]

He had a big, he had a big cameo in that video.

[A]

He was her dad. He was trying to stop her. Captain L, man, you know that song is.

[B]

Yeah, that's one of the ones that's.

[A]

A legendary to this day. Girls want to have fun. Nice. Yo, to this day that's a legendary. That one stood. That one aged well, you know. And so modern day. You say somebody like recipes extension. They said that guy never left his house. He said he made his music press play in the computer. It was getting rich off of streams and everything. He said he never even left this house. You got artists out here now.

[B]

That shows the diff. That shows the, the marginal gap of from you having to put up. Actually put the glue on the back of the shits and put them up yourself. To being able to make millions of dollars without even leaving the crib is incredible.

[A]

It's beyond incredible. And so the, the, the only thing I say that, that that's not right.

[B]

With that is touching the people. Yes.

[A]

You don't touch the people. You don't create. So every time I put out an album, I went on something they Used to call a promo tour. I hated it because you went out there to go for free. But it ain't nothing like meeting like, you know, you go out to San Francisco, you see Vaughn and. And Sway and all these guys. And then you go to LA and you. You create a relationship with Philly Fell and Big Boy and Baker bro. Yeah, remember the Baker Boys? They the first syndicated crew. They was the first syndicated. So you go around and you meet all these cosmic cavs and all these guys. And then when you put out a record that I call a strip, is one thing, they support you with a hit. But when you put out a record, that's like struggling and you need. That's when dumb guys kick in, that relationship kick in, and they start playing your. And then if it deserved the blow, then it'll blow. And so that's what I think the youth is missing, that communication with actual people that can help you when you struggling, you know, because it's a push of a button. I never get involved with, like, people tell me, yo, why you don't tell these young kids, these rappers? Why you this? I'd be like, okay, so the numbers are to. To discourage you. The numbers are one out of maybe 10 million people actually make it in rap music.

[B]

So I think that. I think you botching the numbers.

[A]

All right, so what's the number? What do you think is the number?

[B]

It's 53 new rappers every day.

[A]

Who.

[B]

He let three of them blow.

[A]

Who says, nah, not every day.

[B]

You very confused right now. Composed to dog. It's. It's artists out here making money that we never gonna hear. You're never gonna hear of.

[A]

Yes, but it is successful. Yeah, but it's hard, though. It's not. It's not what you think.

[B]

You think it's not the numbers.

[A]

You just said how many guys.

[B]

You said numbers. That's harder than the NBA. You know, it's easier to hit the lotto than to make it to the NBA. You just made a rap numbers harder than both of them shits.

[A]

Well, rap numbers is that hard to be really successful. You know how many guys are 40 years old on a couch?

[B]

Successful, successful, success.

[A]

You know how many anybody raps and somebody dies and they be like, yo, rapper Whoppy Wap. He was a rapper. He got killed in Brooklyn today. No, we don't know this guy. Just because he made a demo. He's a rapper now. You know, I'm talking about successful every year. We could think, what a sexy red. Who was the most successful rapper last year? Who was the first? Who is the newest rapper successful? Glorilla blew up, but she was already out. I'm trying to say she had a.

[B]

Great year last year.

[A]

Sexy, Sexy Red too. But who just came out this successful? We can name maybe 1 to 3 that's really making money, that's really successful. Oh, Lotto Glorilla. I don't been out since she was 12 rapping on the show. But let's think she put in the work and she deserves it. What I'm saying to you is like they gotta be a million something plus girls trying to rap and they made it. And so what I'm trying to tell you is that the odds are very, very, very discouraging. You got guys just because your crew is selling you nice. Just because, you know, you know, you got God. You got grown men who refuse to get a 9 to 5 and they sleeping on a couch at 44 with three kids and a baby mama working. And they out here talking about they're going to rap. If you ain't getting paid to do a show, if you ain't got no real people streaming your shit, you are not successful. You understand? So what I'm trying to tell you is that this is harder than you think. Everybody and their mother think they could rap and be successful. It does not work like that.

[B]

It ain't that easy. But it ain't as hard as when we had to. It's not as hard. They don't got to go through this.

[A]

No, no, no. I agree. This. This reminds me of the classic interview that Cali had with Cali. I think he was with Ebro. Whenever he started spazzing, you know how hard it was to get on and this and this and that. It was hard. Back in the day, you had. It was almost impossible.

[B]

Everything was hands on.

[A]

And now I get what you're saying. With a. With a press of a button, you could be successful. A lot of people who did that, but there's a lot of people rapping thinking they're going to make it. And they never make it. Most people never make it. And it's very similar to the NBA is that the numbers are very similar to the NBA. Now, we ain't discouraging you. I'm just trying to give you. You need the plan A and the plan B, you know, especially if, you know it's not working. Because another thing, let me tell you something. This game, the entertainment business is off momentum. That's why I got a little upset because we came out the box number one in the country, you know, Apple music. And then we. I had to go on vacation. It was set up ahead of time. I know that when you got momentum, you got to keep your foot on their neck. That's the way the game works. Not many artists we seen come out and get hype at the beginning. You think they're going to blow, and then they lost that. And then for years, they keep trying to come back to get. Once you got that momentum, you got to stay your foot on their neck and keep that momentum going, going. Think about that. How many rappers. You could easily think about how many rappers caught a buzz. I don't know if it was their work ethic. I don't know if they couldn't deliver the record, because I remember 50 Cent killing the mixtapes and all that. And then when I heard Go Go, shorty issue, I knew, holy shit, the man here. No, he delivered. He created the hype and then dropped a monsoon or tsunami on their ass. Now, that's not all rappers. You know how many rappers created some type of hype and then dropped the ball when it was time to let the single go, they also shut.

[B]

They blocked it. You can't even use. You can't borrow people's beats. How 50 was taking shits and making his own songs and destroying. They blocked that. So we got to be mindful of the. What they doing now here.

[A]

I could tell you what.

[B]

Even that mixtape you had, that was crazy that they took that off.

[A]

Yo, my man, they try to sue me 10 different ways. It was like the Prince estate, Michael Jackson. To state this. I put out a mixtape. The was hard. I actually concentrated on that mixtape, almost like an album. I took that serious. I dropped that in one hour. They was like, yo, it came like. And I don't. Why is that? Why? Why? Fat Joe can't make a mixture.

[B]

Nobody can. They blocking that.

[A]

No, that came Cease and Desist, Prince, the Bee Gees, the disc, the total, every beat. Yes, I use the biggest beats, but it was a mixtape. I'm telling everybody it's a mixtape. I'm trying to get it going. They shut my down so fat, yo. I must have had so much high blood pressure. No, no, I drove it.

[B]

Put your breath.

[A]

When I drove from the Lower east side to the Bronx, I had like nine pending lawsuits. Like, his shit was coming. Like, it was the same lawyer. They was like, hey, Joe, just to let you know, the BG said, you know better. They're gonna sue. The next thing Princess State is saying they want damages. They're gonna sue, this one just. The shit just kept coming off a mixtape. It just. And. And look, he telling you. All these mixtapes, everybody did. Fat Joe did one. And, man, when I tell you the rules were different, they shut that shit down. I never heard the mixtape again. How about that? I never heard the mixtape again. Yo, I'm telling you, I never heard the mixtape again. They shut that shit down.

[B]

They erased it from your hard drive.

[A]

Yo, they moved that. I was so scared after that shit. I said, yo, you see nine lawsuits.

[B]

Or you can just go in and stew, ball anybody's beat, put it out, create a buzz. You good now? I should have lasted 13 minutes.

[A]

Now I'm over there, I'm in Sancho Pay. They playing all type of edm. And then when you go on the Spotify, they call it a mixtape. You see, they took the. They took the y' all.

[B]

They took the yellow.

[A]

No, they took the y' all up. Right now, the language on Spotify or Apple or whatever is like, yo, the mixtape.

[B]

And so they took out and made a day. And you can't even do this. That was our. That's some.

[A]

That's big. That's big time. And so. And that's where the game is at. You know what I'm saying? When we talk about hip hop music and I listen to country and they be like countries, the biggest genre or whatever, I hear mad lyrics like, it gotta be rap. Dudes in the back room writing they shit. Because I hear like, how about corny, like, watered down. Like we in Saint Tropez. And every legendary song you ever heard from Stevie Wonder, from whoever, they make their own version of it. And they play it in the hotels, the clubs, the bars, and you. Nowadays, if you go on YouTube, to be honest with you, and you like slow jams, you hear the fake boys to men. The fake Luther, the fake. Like, what the. Is why we can't hear the real wrestling.

[B]

Something to do with the streaming and all of that. The. The. The. That we never had the way.

[A]

Yo, lately. Yo, lately I've been like, you know. Cause my is R B and all that. So I go to a hotel, I throw on the YouTube, and I keep hearing the fake Joe. The fake Lionel Richie, like, is coming covers.

[B]

There's somebody covers.

[A]

But how do they get the placement? How do they get the stream? The fake covers get the stream over the original miss.

[B]

It's something they leaving out in order to be. Because you know how I go. If you. They left one symbol off of one, one snare is missing or Something that gives them the ability to do it.

[A]

I also never like. I never like. Very rare. I get it. A lot of artists, we've been robbed. I've been robbed. You know, I got robbed for my publishing when I was young. God pull up on me. He was like, yo, we Latino. We got to take care of each other's name. Jelly Bean Benitez, they supposedly discovered Madonna and all that. He gave me $50,000 and never gave me another dollar. He must rob me for 10, 20 million. I'm talking about. And Big pun.

[B]

He deserved a torpedo back.

[A]

No, this guy needs more than a torpedo. But, you know, we never see him, but it's cool. But the man robbed me right from my publishing. So I get it. Everybody get robbed. You know, whoever you name. A Timbaland, a Missy, a this, this, this. They always was in the kitchen cooking up. Scott Storch was cooking up, not getting the credit, right? So we all got robbed in one way or another, right? When the artists go now and do their own song over because they got robbed for their publishing or something like that, and they could own the master now. It never sound like the original.

[B]

No. You know that.

[A]

And we're so used to the original. And I don't care who you name. I listen to a bunch of artists like redo the song. Their voice don't sound the same.

[B]

Yeah, you older than that.

[A]

You older now. Your don't sound the same. And you out here trying to recreate the magic. I say keep performing. Make your money. Don't up the song. Because now they switch it out so they'll take out the original that we love and put yours and they put your in there. It's money for the artist, but the is whacker than the original. Yeah, let me use the bathroom once, please.

[B]

Taught on the ears. Nobody can do this song over. And they sound good. I don't give a who it is. You can't make. If he did flojo right now, it's gonna sound garbage. He can't. You can't get back into why.

[A]

Because we've been used to. Yeah. Hearing the a certain way. We love when the drum hit. We love when that break down. And then it says switch up. You like.

[B]

Even though you the one who made it. If I had to go back and do listen. Not gonna sound the same.

[A]

The only guys anyway. You know what? I'm not even gonna say who sounded.

[B]

It's never gonna sound the same. It's like this is.

[A]

This is the part of the show. Jada, you can't duplicate. Come from different plants. You never get. I never understood weed. Like, if I went to the same guy, Pablo, he can't guarantee me that the weedy sold me earlier comes from the same plant of me and the.

[B]

Went to Montego bay. These spend 40 M's. They went to Cali and copied the whole. They went to Montego Bay, spend 40M's, cloned the whole everything and grew straight garbage. They wasted 40m. You know what it was? The soil in the heat and how Jamaica is ain't Cali. Weed is like that. Because the demographics of Cali. Just because you copied it and tried it in Jamaica, it was too hot. This came out garbage. And they wasted their breath.

[A]

My shit is this. That's an interesting story. But my, my, my. Listen, my thing is this. If I go to McDonald's, I know what the chicken McNugget is. No, I'm dead ass.

[B]

No, the answer is something that grows.

[A]

I'm just saying when I go. My is full. Your is weed. So when I go. No, no, when I go somewhere, I eat that. But listen, listen, we got it, we rolling.

[B]

We gotta be one.

[A]

No, I come off the plane, I'm in Sancho. Pay all this, right? I'm eating all this kind of weird ass, right?

[B]

You needed to get richer. Some of that BX I got right.

[A]

Back to Jimmy's Bronze Cafe, took two scoops. And I was like, ah, I noticed. What I didn't understand is how the weed guy could never tell you with like, Newport, it tastes like a Newport. How could you buy weed from?

[B]

A different answer to that is, you see how you. When you go to restaurants, you know it's guaranteed if when you go weed shopping, you got. You have to go and try it every time. Say we. We sent them. You send them for a diapack.

[A]

You gotta sample it.

[B]

Yeah, you gotta try it every time with weed. You gotta try it every time. It's not gonna be right every time I. You gotta. Oh, no, let me see this. Oh, no.

[A]

Oh, like that.

[B]

Can't guarantee. Yeah, because you. You're gonna order what you ordered and it ain't gonna be what you ordered.

[A]

Hey, any weed they give me, make me run butt naked outside. I don't want it. No, I don't want it.

[B]

That was Frankie, baby. That for Friday the Smokey.

[A]

Let me tell you something, bro.

[B]

Shout out to Dolce, man. She had one of the. Yeah, she knew she had it.

[A]

We talk about one. You know how many Dochis. It's not how many.

[B]

That many. More.

[A]

You know how many girls is rapping right now? How many millions of girls is rapping? And Dochi made it. I'm just trying to tell you the Oz, yo, bro, everybody sitting on the couch is not going to be a successful rapper. They all around the world and all around, like in. In Africa right now. They must think they're going to be the next Davido or whatever the case may be. Did you? I'm just saying you got to keep an A and a B plan. I'm not discouraging you. I'm just saying, chances are, you know how many times I went to karaoke and a girl came up in there and sung the out of the karaoke, but she never blew up as a superstar. Like, the chances is really hard. So what I'm saying to you is this. All right. I'm giving you a good one. Our fans love like that. Fans of the podcast, Joe and Jada. And we want to thank you for a hundred thousand subscribers like that.

[B]

22 days, baby.

[A]

Instagram about to crack. A hundred thousand. We like 97,000 or some like that. But listen, the top five greatest hip hop songs ever. Imma let you set it off. And yo artists, producers, stop getting mad. We love all of y' all.

[B]

It's more than five.

[A]

We don't.

[B]

I'll be the first song to tell you whatever. It's more than five.

[A]

Me up popping like, yo, stop. I love all of y' all. Y' all all are supposed to be the greatest of all.

[B]

Forcing me to do this.

[A]

He gonna pick five. Imma pick five. Don't rob base. Do not call me and curse me out tomorrow when this drop the right.

[B]

To because it takes two.

[A]

I try to get it could be.

[B]

You know, I'm saying it's millions of them, though. I don't want to infectomizing me, making me do this.

[A]

That's right. That's right. Top five biggest hip hop songs of all time.

[B]

You see why this is a bad thing? Because it goes off your age. I could say five. And there's somebody that a new never heard.

[A]

Yeah, but it's okay.

[B]

It's not fair.

[A]

It's okay. Our demographic is people our age. Real hip hop. And then we got some young kids who really want to know the real.

[B]

So the top five hip hop songs of all time. How the am I supposed to know?

[A]

I don't know. But what, what, what you think when you heard it? You or you hear it and you just like, yo, this is the biggest shit ever.

[B]

See, I'm Trying to think of when since I ever first heard hip hop to now. Oh, no, that's all nothing but cluster.

[A]

No, that's hard.

[B]

I'm drawing white noise. Why don't you go first?

[A]

Damn.

[B]

You said this is your why you want.

[A]

No, this ain't my shit.

[B]

This is all you right here. You go first.

[A]

I'll say hip hop hooray. Naughty by nature. I'll say still Dre. That's where it gets tricky. I'll say. I'm just saying biggest hip hop shit.

[B]

You get caught up.

[A]

Hold up, hold up.

[B]

Caught up thinking.

[A]

I'll say New York. Alicia Keys and Jay Z.

[B]

You fight bouncing around years. Ah, yeah. You made it easier for me. I like this because I could have easily. That's three. What do you got? Three or four? What?

[A]

Three? I said. What three?

[B]

I said New York Hip Hop Array and New York.

[A]

I think we got the best New York hip hop records now. I'm just saying.

[B]

Name the five already crack. Hip Hop Array won the Hip Hop array.

[A]

Huh? Hip Hop Array won the first Grammy, the first rap for. The first Grammy for the rap album. For. For a rap album in 1960. Look at that. Hip hop Hooray. Okay, I got Hip Hop Hooray. I got. What was the second one? I said still Dre, right? You know, you hit them pianos, huh? And then we got New York.

[B]

Two of the greatest songs of all time.

[A]

He on two of the greatest songs of all time.

[B]

You're only on three, though. You got two more.

[A]

Biggie Hypnotized. Biggie Hypnotized by. And it. I'll. I'll go cliche. I'll go Tupac, Dear Mama.

[B]

I need a. I'm not. You did all those old fucking top 10 songs. I can't be mad at it. I'm talking about of all times, right?

[A]

Yeah. Do you think I just hit a certain age group?

[B]

Is no way to be right or wrong. I think those songs is fun.

[A]

That's exactly the point. There's no way to be right or wrong. So. So my people don't call me and curse me out every time I do. A producer. Every time I do it is every time I do it at. They want to kill me. Like, yo, I love everybody, man, but I'm just telling you, Hip hop hooray.

[B]

Oh, hey.

[A]

Oh. I'm talking about Hypnotized New York. This.

[B]

I'm talking about the biggest he me up. I don't know, man. Let me say nobody take nothing because I don't like doing these. So I'm on y' all side, but y' all call him and flip on him and everybody call crack because this is idea. But if I got to give you five, I can't. And let me try one of them got to be something from Snoop watching Juice or. Or the G thing or. One of them shits is definitely one of Snoop and Dre together. Got one of them. I don't know which one. Take your pick. That's one for. Count that as one right now. Run dmc, King of Rock. Oh, I gotta be one, because that's one of the first songs I ever heard in my life.

[A]

Now, that's what set it off.

[B]

I'm up to three. Nah, other one was you gotta make your own one. I gave you Dre and Snoop is one. One of these shits is one. This is. Yeah, I'm cheating, but I gotta eat me no choice.

[A]

He ain't go specific with it.

[B]

I said Gin and Juice or G thing? Those is take your.

[A]

1, 2.

[B]

That's the dog of all times.

[A]

We got Clock the timer. Yeah, because, Yo, Jada, man, this you got. I mean, what else? I mean, you got a whole bunch.

[B]

X got one, too. I don't know which one it is. Look.

[A]

That'S the stop drop. Shut them up on them up.

[B]

What you call them is bigger than that.

[A]

What?

[B]

Gonna make me lose my mind. Y' all gonna make that. That rips out the up in here.

[A]

That rips out screws. Y' all gonna make me go all out.

[B]

You know what's crazy with that song? The hook is so top 40. The verses is disrespect. The verses is saying about suck my.

[A]

Dick when they want the gun thing. Like, yo, yo, he's going crazy. You know, we had a thing. Let me. Let me shout out Cool and Dre. We had a thing. We would make. We. We would kill him on the verse and make them dance on the hook. We would always do that.

[B]

You gotta stop giving the formulas out.

[A]

Okay?

[B]

Don't give. Don't tell these people that. What, I'm up to three or four? Man, you're up to three? Yes. Now I'm up to four.

[A]

Y' all gonna make me lose my mind.

[B]

Oh, I'm leaving out. I think one. See, I don't hold me. Don't quote me, boy. Cause I ain't said NWA got one too picky the police. If you're ever one you want, that's one nwa. I mean, they got one.

[A]

Biggest of all time.

[B]

Great biggest one. You don't question my.

[A]

It's NWA Compton's bigger than the police.

[B]

That's why I just give you N.W.A. they got one of them. One of them shits. They got bigger than I got. Switched demographics. I sit alone in my four corner. I got. I got millions of more, but I just had to. I wanted to be diverse with my pigs. I got the whole production in singing that.

[A]

Listen, man, I was hustling. I was in the street hustling. And my brother told Montana, pull up in the red truck, the Wrangler truck. He looked at me, I swear to God, this is like a movie. He pulled over. I'm on the block watching the shit. I don't want to say what block, but I'm on the block watching. And he ran up to me, and his face, it looked like a movie. This is my best friend, recipes. And he running like he had to tell me something crazy. So I'm like, yo, Tone, what's up? He said, yo, come here, come here. Please come here. And the man pressed play because he had the system. I sit alone in my four cornered room staring at. We started dancing around this truck when they played. My mind's playing tricks on me, dancing around it like, yo, this shit is great. And every drug dealer felt like paranoid. You felt like I took the feds everywhere I go. That's why I'm paranoid. Like everybody living that life, you know.

[B]

I was one of them ones.

[A]

Nah, so let me get Jada's. What did you write down Jada's five? Look, it's other songs bigger than mine and his one. We just saying.

[B]

Go Go is one of the biggest songs.

[A]

Go go, which one? Go what?

[B]

In the club 50 is your birthday in the world. That don't know that song. You could go that can't talk, know how to sing.

[A]

I'm just saying I agree with you with that. You know what I'm saying? With the, with. With the 50 cent. Damn, that was a good one. That should have made some, right? Yeah, that. Nah, nah, nah. It's your birthday.

[B]

That's the cheater. You gotta be able to talk and you can sing that.

[A]

That's the. That's the cheat code. But what did we do? What, what, what did I pick? What Jada pick on the top five? So Jada just ran down. It was either he had what's called Boy King of Rock, I run dmc, pick a snooper, Dre G Thing. Or I think G Thing would be the one. Mom's playing tricks on me. DMX up in here. And then nwa, the police, or Or Compton. What did I pick?

[B]

You pick New York.

[A]

Yo, you gotta stop not. Yo, you should violate.

[B]

That's one of my favorite songs. That's one of my favorite songs.

[A]

You kidding me? Yo, your man violating my right here. We both pick some Jada Be on that. He throw the hoodie over. He like. I stand alone in the fourth corner.

[B]

Room with us when I don't got one. Those is missiles.

[A]

Those are hip hop. Ray Biggie, Hypnotized, Snoop Dogg. So I said still Dre. I went still Drake. And then I went was Tupac.

[B]

That was great. Those is great. Hope give it to me is one of them shits too. They know that everywhere. Anywhere you could go on with human beings.

[A]

And then we're gonna both agree. Honorary should be in there. Is the in the club.

[B]

It's mad people. 50 cents in the club is definitely one.

[A]

In the club is like the biggest disrespect ever created. Yeah. You know, we start disrespecting, we go.

[B]

Yeah, buses with the dilly's.

[A]

The silly window supposed to be on there. Oh, baby, if you give it to me, I give it to you. You know what I want. You know I got it.

[B]

I can't take.

[A]

Yo, listen. Boost Mobile. Yo, yo, you know what this is? Boost Mobile Joe Crack, Jada. Stay tuned. Number one podcast in the game. But we want to smoke with everybody. Appreciate it. I'm talking about Joe Rogan, I'm talking about Alice Cooper, whoever y' all want. Somebody step up, please. Imma knock your Kofi off.

[B]

Thank you. Thank you for tuning in to another episode of the Joe and Jada show, sponsored by presented by Boost Mobile Joe and Jada.

[A]

Let's go.

[B]

This ain't that. That ain't this.

[A]

Because it's cracking, K.