- 14 hours ago
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00:00105, I want to bounce Detroit.
00:01Stoback for your poppin' R&B.
00:03It's your boy Showtime, the czar.
00:05I'm talking with a legend, icon, man.
00:09He goes by the name of Mr. Mix.
00:10What up, though?
00:11What's up, brother?
00:12How are you?
00:13Good morning, good afternoon, good evening, Detroit.
00:16Black, blessed, and fly, man.
00:17Check it out.
00:19I forgot to say he's of the two live crew, okay?
00:21I got to say that part because this is what makes him an icon, a legend.
00:26He's been doing this for a long time.
00:27And I want to give you a disclaimer real quick, man.
00:30I'm a little younger than you, so forgive me if it sound like I wasn't completely hip
00:33that was going on.
00:35So I'm going to be sounding a little, you know what I mean?
00:36Like, dang, why you don't know nothing about that?
00:38But I would just want to let you know that real quick, okay?
00:40It's all good.
00:43So real quick, first of all, how was your holiday, man?
00:45Did you enjoy yourself?
00:46Yeah, yeah.
00:47Holiday was cool.
00:48Family had a good holiday party, relatives, this, that, and the third.
00:54You know, the funny thing about it is that I've been on the low in certain aspects.
00:58I stay in Cleveland now, so I'm just right down the street from Detroit.
01:03Matter of fact, one of my buddies that go out on the road with me lives in Detroit.
01:07So I'm always up there, but I'm not really in the spot spots because I don't really know
01:12what the spot spots are.
01:14You know, you can't get caught slipping up in y'all town.
01:16I mean, you just can't be up there willy-nilly.
01:21Ain't nobody going to do nothing to you, man.
01:23I feel like you're a new icon for sure.
01:26So listen, for people who are not hip to your history, tell us about how you joined the
01:35Two Live crew.
01:36How did you guys meet and everything like that?
01:39Right, right, right.
01:39Well, you know, let me give some people a little history thing.
01:45People know of the Two Live crew when the lineup of people that got nationally recognized was
01:53myself, Luke Skywalker that goes under Uncle Luke now, Brother Marquise, and Fresh Kid Ice
02:00and China Bear.
02:01A lot of people don't realize that me and Fresh Kid Ice, and there was another guy, we
02:07started the Two Live crew when we was in the military.
02:11We was in California.
02:13This was way back eons ago, 1984.
02:17We both met.
02:18I was, you know, doing, I'm a musician, you know, I would say a school musician.
02:24I played saxophone from third grade all the way up to high school.
02:28So I had, you know, music acumen in me.
02:31When I got into the service, my first location, you know, that I got stationed at was in England.
02:37So in these early hip-hop days, between 82 and 84, DJs, Africa, Bambada, Grandmaster
02:46Flash, Africa Islam, breakdancing groups, Rocksteady Crew, they would all come to London to do
02:54exhibitions.
02:55So in those early days, there was no videos, there was no MTV, there was nothing.
03:00So, you know, if you're from outside of New York, you know, I was one of those non-believers.
03:06I can't believe nobody spit it on their head and spit it on their back and this and that
03:10and all.
03:10This is all before the Breaking movie came out.
03:13So unless you was from that area, you had never seen that before.
03:17So I just went to the exhibition just to prove the situation wrong.
03:22I just thought it was, you know, they was BSing about it.
03:25So when I actually seen the people spit it on their head and this and that, and they had
03:30a DJ with them, you know, who was on Africa Islam, which is actually Ice-T's DJ at the time,
03:38you know, in the 80s he was.
03:41And also, you couldn't see DJ scratching back there.
03:45Like I said, there was no videos to see.
03:47So the stuff that you're hearing on some of the records, you don't know how it's being
03:50done.
03:51So when I actually seen him, you know, with one hand on the record, another hand on the
03:56fader doing what he was doing, I said, oh, so that's how I go.
03:59So my next military paycheck, I would have got me two turntables, you know, two ratchet
04:05turntables to start practicing up in the barracks.
04:08So I got all my, honed all my skills as I was hearing stuff from these underground hip-hop
04:13records to hone my skills to become, you know, the guy, Mr. Mix.
04:18And then my next location, when I got to California is where I met Fresh Kid Ice, the China man.
04:24He, I was working in the chow line, and he was working in outpatient records in the hospital.
04:31He came through the chow line, said, man, I hear you got turntables in your room.
04:36Because that was, back in those days, it was, you know, you would never think that somebody
04:41has that kind of setup in their barracks room.
04:44So we hooked up, started listening to the, you know, underground hip-hop in those days.
04:51And we decided to make our own little record.
04:54We went to record in the studio and made a little record.
04:57And like I said, we was on the West Coast.
05:00And at that time, there were some groups with, you know, Dr. Dre, that was called World Class
05:07Record Crew, and a couple of other people, Bobby Jimmy, which is the radio personality,
05:13Russ Parr, and a couple of other people that was making records in California.
05:17So we, and the crazy thing about the California thing, they had all the information, the address,
05:25the phone number, everything was all on the little label.
05:28So we called down there and said, hey, we got a record.
05:31We want to see if we can bring it down there to you guys.
05:33Do you remember the name of the record?
05:35The name of the record was a single called, one side was called The Revelation, and the
05:40other side was called Two Live, where a lot of people know that the Two Live side is
05:44Beatbox.
05:46We went down there, took the record down there.
05:49They took it from us, and they started distributing it around.
05:53You know, meanwhile, we're still at the military base, and this is way before cell phones and
05:58all of this.
05:59So they didn't have no way to contact us.
06:02But my mom, she lived in California, and I used my mom's address as the address for the
06:08record company.
06:09So invoices is getting sent there, sent there, sent there, no money in the invoices.
06:15But five months later, Luther Campbell, which everybody knows is Luke Skywalker slash Uncle
06:21Luke, he's a concert promoter at that time.
06:23He was bringing a whole bunch of underground hip-hop acts to Miami, and he had reached out
06:31to some guys in California, too.
06:33And he reached out to us and said, hey, man, you guys' record is doing good.
06:39I got the record hot down here.
06:41I want to bring you guys out to do some shows.
06:43So we go down there and do the shows, but it was a total culture shock of what was going
06:49on in Miami.
06:50The stuff that you hear about all of the folklore, the twerking and crazy stuff and all of that,
06:55that's been going on in Miami.
06:57So me being raised in California, I hadn't seen any of the stuff that they was doing.
07:04It's obvious, in those early days, the early 80s, young black men wasn't really traveling
07:08around.
07:09You didn't really know what was going on in this place or that place or the other,
07:12you know what I mean?
07:13So when we got back to California, and we came back, we went down there Labor Day weekend,
07:19so it was popping.
07:20We went back down there New Year's, it was popping.
07:23So we feeling like, okay, well, this is the only place we ever got any kind of response
07:28for our records.
07:30Let's see if we can keep this relationship up with this guy.
07:34And we ended up relocating to Miami.
07:37Got you.
07:39So I know I took the long way to make one yard, but I had to give a little perspective
07:46to how the situation happened.
07:48So I was so green at the time, I knew how to do about scratching and making beats and
07:54all that, but I didn't have no clue about the business stuff.
07:58You know what I'm saying?
07:59Luke really didn't know all that much either, because he was, like I say, he was doing,
08:03they had a DJ group called the Ghetto Style DJs, and they were doing parties, but they had
08:07a big following.
08:08But he wasn't making no records at that time.
08:12But me and Fresh Kid Ice, we made a record for the Ghetto Style DJs, like a collaborative
08:17record, and that record was to throw the D record.
08:22So, but I didn't want to give the record to the people in California, because I didn't
08:26feel I was being treated right with them.
08:28So we got the record, we tried to get the record to some people in Miami, they wouldn't
08:33take the record.
08:33So Luke ended up paying money and got the record pressed up with, and sent them out
08:40to the record pools at that time, and the record popped off in the market.
08:44We relocated to Miami and started building up all of the stuff that was made 2 Live Crew,
08:50the version that people know now.
08:54That's how that happened.
08:56So listen, California, you never like, you never wanted to link up like a Cube or Dre
09:05or...
09:05That was before Cube and Dre.
09:07Dre was part of a world-class record crew, when they made, you know, Turn Off the Lights
09:14and all these other records.
09:16So, you know, we were, where we were stationed at in California was like 60 miles from Los
09:23Angeles.
09:23It's almost like, you know, some Detroit cats hit hooking up with some Flint cats, and
09:30Detroit cats may not be looking at Flint in a particular way, and, you know, these guys
09:35from Flint, we ain't starting these guys from Flint, Saginaw, Saginaw, we ain't messing
09:40with them.
09:40So, that's what kind of situation it was.
09:44Okay, so listen, yo, one of your biggest records, the Me So Horny record.
09:49Yes.
09:50Were you guys nervous at the time to put that record out, given that, you know, people
09:54wasn't making music like that, especially to that degree at that time?
09:58Did you guys...
09:59Well, you know, the funniest thing about it, my man, that was our third album.
10:03That was our third album release.
10:04We had two other albums before that that went gold.
10:08So, but that was the first one that really got particular radio play and became a platinum
10:15single, but the funny thing about it is, is just like I say, all of the underground clubs
10:22and, you know, wild and crazy spots that we was going to, we were probably like one of
10:27the few groups that was able to go into a town like, say, Detroit, for instance.
10:31We could do a show in the black neighborhood, and then we could go across town and do one
10:36in the white neighborhood, too.
10:38So, we were just, you know, our group was such a hybrid of a situation.
10:44A lot of the guys, you know, we have so many different styles and types of fans.
10:50So, the Me So Horny thing, it was, you know, it's really funny how that whole thing came
10:58about us even actually making that record.
11:01Yeah, I heard a little bit about it, because it started out, it was a sample from a movie,
11:04right?
11:05Right, right.
11:06But the thing is, is this, though, right?
11:07Okay, we're in 2025 now, so you would think that that would be a no-brainer to be able
11:13to make the record.
11:14But this is 1988, 1989.
11:17HBO is still new.
11:20Ain't nobody, nobody's getting, DVDs ain't even out yet.
11:24But it's got VHS recorders and things like that.
11:28So, what I had to do in order to make the record, I had to wait for Full Metal Jacket
11:33to come back on HBO again, record the whole movie, and then take that VHS tape into the
11:43studio.
11:44That's a lot of work there.
11:45Yeah, that's exactly, that's what I'm saying.
11:47I mean, to put it in the perspective that it needs to be put in, nobody would ever have
11:52an understanding that that's, you know, how, what it took in order for stuff to be done.
11:57You know, you know, guys like me, the producers of the day, we were built for it.
12:01We had an understanding of it.
12:03But when you're talking about it to people, young people of the day, well, that ain't
12:07nothing.
12:07I can pull that up on YouTube and just get the sound of it.
12:11There was no such thing as these things back in those days.
12:15Wow, that's crazy.
12:18So, listen, in the 80s, what was the biggest difference you would say with DJing and producing
12:25in the 80s to now, other than like the equipment and everything like that, what do you say would
12:29be the biggest difference?
12:30The biggest difference now is that with YouTube and the internet, if you had an idea of a
12:38song, right, let's say you wanted to use this song off of this Rick James album, but you
12:45didn't physically have an album, guess what?
12:48You wasn't getting it done.
12:49Because if you couldn't find the record, it was just a rap.
12:53Right.
12:53Whereas with YouTube and all of that, now you can type the title in and more than likely
13:00that song will pop up and you can go do it and you can exercise your idea.
13:06So, producers was only as good as the records that they had in their record collection at
13:10the time.
13:12So, how were you able to get the records that you were able to get?
13:14Because you had a connection with Luke and he was getting them or like you knew somebody
13:18No, no, no, no.
13:18Luke was, you know, let's get this straight.
13:22Luke was a concert promoter and he was no record guy in that way as guys see him now.
13:29And I was the guy that had to do all of the stuff.
13:32You had record stores, just like, what's that record store on the east side, Chatonique?
13:38Okay.
13:39You had record stores like that, that had, you know, all kinds of different stuff in there.
13:44But if the record was out of print or wasn't being sold anymore, that's why they, that's
13:49what they call Crate, you know, Crate Digging.
13:52You're looking for records, you're hoping that you can find something that normally you wouldn't
13:56be able to find.
13:57So, it was either that or if your homeboy pops may have had a record, you go through
14:03his record collection or this and that.
14:05You know, that's the way that producers back in the day had to do it.
14:08So, a lot of guys would want to come to New York because there was a lot of record stores
14:13there, a lot of diverse things that you could probably find and get to be able to do your
14:19craft.
14:21Nice.
14:22So, in your opinion, what do you think made two live crew different from other crews out
14:30at that time?
14:31Because other than the provocative music, obviously, but what do you feel like separated
14:35you guys as a whole?
14:36Um, I would say the biggest thing is that, um, at the time, New York City was the thing.
14:45Uh, it was, you know, that's where, you know, all of the business was being handled.
14:49If a record was, you know, thumbs up or thumbs down, it was based off of New York thought
14:54process.
14:55It wasn't based off of Miami or Houston or LA or Detroit or any other, or Atlanta, Atlanta,
15:02even talk about Atlanta, Atlanta didn't even exist at that time.
15:06So, um, it was the New York thought process.
15:11So, the fact of us having, you know, a DJ crew set up, gigantic speakers to where we could
15:17go around and market and promote ourselves.
15:20We, you know, we got in based on our own movement, not because New York liked us.
15:28Most of the New York stuff, they stole, you know, they stiffed on everything that came
15:33from wherever.
15:34You know, the early Eazy-E stuff, you know, stuff from California, they was dissident.
15:40They didn't, if it wasn't part of, you know, the run DMC, LL situation or some of the other
15:47groups that came up out of New York, um, they just felt like it was substandard hip hop.
15:53They didn't give it a sporting chance for it to be something.
15:56So, it was like an approval thing from New York.
15:58Is that what that was?
15:59Y'all was trying to like bypass that?
16:01Is that what you're saying?
16:01Yeah.
16:02So, in other words, we never got any, at that time, we never got any shows past Washington,
16:07D.C.
16:08Really?
16:09All of the Northern stuff, we would never get any gigs.
16:13Because they wasn't stunting our music.
16:16Huh.
16:18That's crazy.
16:19I didn't know New York was hating like that, man.
16:21So, what did y'all do?
16:22Like, how did y'all, because y'all end up with multiple big records and y'all was trying.
16:26Right.
16:27But see, but this is the thing.
16:29Visualize this.
16:30Okay, you got the United States map, right?
16:32Got you.
16:33You go from Florida all the way over to Texas, right?
16:37Then you make a right turn and go all the way up to Missouri.
16:41Then you go from Missouri, make another right turn and go all the way over to Virginia.
16:46And then go from Virginia all the way back down to Florida.
16:50That was our market, along with California and a few other little places.
16:55So, we didn't really need New York because most of the country didn't have an understanding
17:01of a New York slang, New York thought process.
17:06They were more relatable to what we were doing than what was coming out of New York.
17:10And they ain't never seen New York, the slang, the people, the burros, none of that.
17:15We were more relatable.
17:17Got you.
17:18All right, a couple more questions, though, Genie, and I'm going to let you get up out
17:20of here, man.
17:21Like I said, I don't want to hold you too long.
17:22Hey, man, don't get mad at me that I'm trying to just shackle you down with all this stuff.
17:28No, I just don't want to hold you.
17:30I know you're a busy man, so that's all it is.
17:32Listen, the parental advisory label, right, when that came about, was it just Luke that
17:38got hit with that or was it the whole gang got hit with that lawsuit and everything
17:41like that?
17:42Well, we got hit with it based off of the fact that we didn't want to label the first
17:48album like I was telling you about.
17:49We didn't want to label it as a triple X album.
17:52We didn't want to label it like it was a comedy album.
17:55So we just put 18 years old or older or something like that, you know, as a list of this
18:05out.
18:05I don't even know if we even had a disclaimer on it at that time.
18:08What happened was a little kid in Alabama, 14 years old, had his mom buy the album.
18:16The mom found out what was on the album and reported the situation.
18:19And then Tipper Gore, which was Al Gore's vice president's wife, was with this coalition.
18:26It wasn't just us.
18:27It was some rock and roll records and all that stuff.
18:29So they put up a coalition saying that you had to have this type of sticker to go on your
18:35records that has that type of material on it, questionable material.
18:40So that was a first in the game.
18:44You know, they would always get rock and roll guys would always get hit with different
18:48little things, but it was never nothing cemented until our situation happened.
18:54So the Perennial Advisory Sticker, you know, Luke always tried to say that he designed the
19:01Perennial Advisory Sticker and all of that, but we don't have no claims to it.
19:05You know, you never really know these things.
19:07I was doing the studio stuff.
19:09He was doing the office stuff.
19:10And that might very well be true, but it definitely started from our first album, for sure.
19:16Nice.
19:17You talk about, you did a lot of the studio stuff.
19:20How do you think your production shaped the music that you hear now, especially in Miami
19:24and in the South, man?
19:26Yeah, I would say that I'm King Tut.
19:30I was the first.
19:32I was the first one.
19:34I was the first one to have a gold album in the marketplace.
19:37It's not Manny Fresh, not the guys in Texas, rap a lot.
19:41All of these guys went great with him and cool with him.
19:44I love him.
19:44Matter of fact, I knew Manny back in 86 when he was doing other little promotions and different
19:50things, but he never got an out and out legitimate shot until the Cash Money situation happened.
19:56So Cash has been doing stuff all along, and we've always been fighting the good fight to
20:02be accepted into the circle of hip-hop, but it was just so New York controlled.
20:07It was so controlled to where, you know, even though our records are selling great, and
20:12you know, they would actually, you know, run DMC when they had their different tours, they
20:18would have us come on some of their shows in the South for tour support because we had
20:22that much action going on in the South.
20:25They would bring us on a couple of shows, but they would never put us on a whole damn tour.
20:29So, you know, for easy listening, check out this one record that we got a record called
20:38INBS, and Luke is talking about all of the different behind-the-scenes politics of how
20:43things are going on in New York about us not being able to get on shows.
20:48They were, like, deliberately not allowing us to get shot because our style was kind of
20:53contradictory to what they were doing, and they didn't want to really catch on as big
20:57because it ended up happening anyway.
20:59They just didn't want to, you know, you know, put us in the mix with them.
21:05You've been at this for, what, 20-plus years now?
21:09You know, you could double that, brother.
21:11Oh, my God.
21:15Since 85, brother, since 85.
21:18So what you like listening to right now, or, you know, what's your opinion on the rap game
21:22right now?
21:22Because it's completely different than when you started, man.
21:24Yeah, let me just say it like this.
21:27You know, yeah, we come from the so-called golden age of hip-hop, and in the back of
21:33those days, you had to spend money to make records.
21:37You don't have to spend money to actually create the original recording now.
21:41You got so many people.
21:43You got so many bedroom DJs and bedroom producers and bedroom rappers.
21:49How you feel about that?
21:50Well, it's almost like, look at it like if you're a kid, right, and you got something
21:56to be able to, you know, you got your little Fisher-Price thing that you're messing with
21:59and you're able to make a recording.
22:01How can I be mad at you for doing the creation that you create?
22:05You're not in the world competing.
22:07You're just doing what it is you're doing in your house.
22:09But what is happening now with the internet, you know, a person can do a talent show in
22:16junior high school and be viewed as, like, that's a great performance like all the other
22:21performances is in the world.
22:23So it's almost got, I would say what the young people are doing right now is like a sub-genre
22:30of the main genre.
22:31You know what I mean?
22:32But it's so many people that pay attention to it that it seems like this is the thing,
22:39this is the way that the stuff is going.
22:41But all of the stuff that, whether it's Metro Boomin' or this one or that one, whatever
22:47producer you want to name, it's all of, you know, my, Manny Fresh, Mantronics, your man
22:56from up there, Juan Atkins, a bunch of other people from back in the day.
23:00It's all our sound packs.
23:02They just didn't have, back in those days, you had to have the real machine in order
23:06to do the stuff.
23:07Now for $200, $300, you can get all those machines, all those keyboards, and a little
23:12thing for $300.
23:14So they got everything at their fingertips.
23:17You know, they never have to, you know, hustle up these machines and learn them and this
23:22and that or whatever.
23:23So it's like, it's almost like, you know, it's like, it's like, imagine if we had those
23:29types of situations, it would be, you know, it would be hell on earth to be able to stop
23:35anybody.
23:35But that's the thing now, the young people, you know, that's what happens with technology
23:40and things that, you know, they benefit from it, but they don't really learn no real hard
23:45situations.
23:46Most of these guys don't know how to perform.
23:48They would, they don't really know what they would do in front of a crowd, you know, all
23:53of these different things, the skill sets that we have, you know, with, you know, a lot of
23:57our dudes is in their fifties, close to sixties, but they're still extremely active.
24:03It's just the thought process of how young people are interpreting how to make the records
24:09with the equipment that they got with the, you know, with these programs.
24:14They're using their own imagination, but our imagination came from all of the different
24:19stuff that's going on in the world.
24:21Their imagination is coming from what's going on.
24:23Yeah.
24:26All right.
24:27Last thing, man.
24:28You still out here.
24:29You still doing music, even though, I mean, you got it, man.
24:33You really don't have to.
24:34What keeps you doing the music, man?
24:36And talk about your new records and music that you got going out.
24:38Let the people know, you know what I'm saying?
24:39Well, you know, I got a new company called Mixed Dynasty.
24:43What I'm doing is what I'm trying to do, like what we're talking about with the young
24:46people, I'm trying to bring the 18s and 20 year olds and some of the young people that's
24:53still at school and give them a true understanding of how to really make records, have like a
24:58mentorship situation, take the stuff that it is that they are doing and polish it.
25:05You know what I mean?
25:06Right now, they're going out there with Scuffy Adidas.
25:08They're going out there with Scuffy shoes, but they don't understand that they're Scuffy.
25:12You know what I'm saying?
25:13Because they've never had anybody tell them that they're Scuffy.
25:17You know, but there's some of the things like the auto-tune things and the different,
25:21you know, situations, the way that they express themselves on the mic and all of that.
25:25All of that's all well and good and cool.
25:27But most of it's out of shyness, not really knowing how to project your voice.
25:31You know, be clear.
25:32You know, they want to sound like they high.
25:38You know, the melodies is cool, but, you know, I don't know what you're saying and this and
25:42that.
25:42So it's just a polished thing.
25:44It's not a doubting thing.
25:45You can't do better until you know better.
25:47And most of them don't really want to act like they don't know better.
25:51They feel like, you know, guys like me, we're in the way we're hating, we're slowing your
25:56situation down and this and that.
25:58But it don't be that.
25:59What it really is is that, like in football, you pass the torch, you know, everybody can't
26:05play football forever.
26:06One thing about music, you can do it forever until you get in the casket.
26:11So the torch is not going to be easily passed.
26:14And when they do pass it, you want to pass it to somebody that has, you know, that's
26:18carrying the tradition of what it is that's going on.
26:21There's going to be more sub-genres, true enough.
26:24But don't make it seem like the genre that you made up is the flat-out new genre, you
26:30know what I'm saying?
26:31Because it's not that.
26:32Most of these young guys aren't even musicians.
26:35They know how to work the beat machines like they're playing a video game.
26:40So it's a different type of cats that's doing the thing.
26:44So what I'm doing, like I said, I got a new company called Mixed Dynasty, looking at going
26:49after the high schools, the colleges, the garter-up talent.
26:52But I still do records.
26:54I still run across people that I'm, you know, featuring all new records and things like
26:58that.
26:59My own thing is called Mixed Dynasty.
27:03I go off on my IG, which is mix underscore two underscore live underscore crew.
27:10Then I got a TikTok page where it's DJ Mr. Mixed Two Live Crew.
27:16People can catch me at those handles.
27:19And I'm all for it, man.
27:22I did a Christmas record just recently, and I got a new record coming out with this young
27:26lady named Rari Red out of Ohio.
27:30Got a lot of things going.
27:32But I need guys like you and other people to be able to have interviews like this.
27:38Well, look, I didn't know you was in Ohio.
27:40So you know what I'm saying?
27:41You ain't nothing but down the street.
27:42Right, exactly.
27:43Yeah, come pull up, and then we can sit down and chop it up for real, man.
27:47So I appreciate you for taking this time to sit down and chop it up with me.
27:51You definitely put me hip to a lot of stuff, because like I said, I'm younger than you,
27:54so I knew who you were.
27:55But it was like I didn't know your history.
27:57And now you just...
27:58Yeah, yeah, no, of course.
27:59And that's the biggest thing, but man, a lot of the young people, they don't know enough
28:03of people that come from our era, history.
28:07They really don't.
28:07They look at it like we're competitors more so than people that will congratulate your
28:13efforts.
28:14But they don't, you know, they don't see it that way.
28:16They feel like, you know, we hate.
28:18You know, that's the big word.
28:19The thing that y'all hating is just, y'all, like you say, bro, you was an originator.
28:22So it's like the stuff that people are hearing today, a lot of it's coming from people like
28:28you.
28:28Right, right.
28:29It's regurgitated stuff.
28:30If we were able to do, like, if we were able to make the money that these young guys are
28:34making based off of the stuff that we was doing, the same drum patterns and all the
28:38stuff that they're doing now, the stuff that was being done in the 80s, but it was being
28:42suppressed.
28:43We weren't allowed to have our, you know, creativity go all the way through the roof.
28:49It was, you know, it's kind of, you know, you had guys that was managers and different
28:53things that just felt, don't worry about trying to be extra, just do this, you know, don't
28:59be overly special with how you're making this drum machine say, do this, you know, so they
29:05have a better scope of being able to do things than what we were kind of handcuffed and shackled
29:09a little bit in the earlier days, too.
29:12So that's why we dig it.
29:13We keep doing it because we feel like we just barely scratched the surface on what we were
29:18able to do back in the day.
29:20We love the fact that we have full reign of being able to control our destinies and
29:25all that.
29:25That's what keeps guys like myself wanting to keep doing this stuff.
29:29Appreciate you, man.
29:30Thank you for all the knowledge that you've just been spitting this whole interview, man.
29:34And like I said, man, you're in Ohio, so you ain't, you know what I'm saying, pull up.
29:37Yeah, yeah, that's nothing.
29:39That ain't nothing to pull up.
29:40I was just up there a couple of weeks ago.
29:41So, you know, shout out to Akisha for, you know, making this happen and all that.
29:47I'm very appreciative and I will be pulling up for sure.
29:51Appreciate you.
29:52Yep, yep.
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