Drink Champs - Episode 311 w/ Cypress Hill

Episode Date: April 21, 2022

N.O.R.E. & DJ EFN are the Drink Champs. In this episode we chop it up with the legendary group, Cypress Hill! BReal, Sen Dog, DJ Muggs and Eric Bobo of Cypress Hill all join us for an incredible episode. Cypress Hill shares their journey as they share stories about creating legendary music, their iconic performances and much more!  Cypress Hill shares the origin story of one of their hit songs “How I Could Just Kill a Man” and much much more!   Lots of great stories that you don’t want to miss!!! Make some noise for Cypress Hill!!! 💐💐💐🏆🏆🏆   Listen and subscribe at http://www.drinkchamps.com  Follow Drink Champs: http://www.instagram.com/drinkchamps http://www.twitter.com/drinkchamps http://www.facebook.com/drinkchamps  DJ EFN http://www.crazyhood.com http://www.instagram.com/whoscrazy http://www.twitter.com/djefn http://www.facebook.com/crazyhoodproductions  N.O.R.E. http://www.instagram.com/therealnoreaga http://www.twitter.com/noreagaSee omnystudio.com/listener for privacy information.

This is an iHeart Podcast. to, yeah, banana pudding. If it's happening in business, our new podcast is on it. I'm Max Chastin. And I'm Stacey Vanek-Smith. So listen to Everybody's Business on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. The Medal of Honor is the highest military decoration in the United States. Recipients have done the improbable, the unexpected, showing immense bravery and sacrifice in the name of something much bigger than themselves. This medal is for the men who went down that day. On Medal of Honor,

Stories of Courage, you'll hear about these heroes and what their stories tell us about the nature of bravery. Listen to Medal of Honor on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Why is a soap opera Western like Yellowstone so wildly successful? The American West with Dan Flores is the latest show from the Meat Eater Podcast Network. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I know a lot of cops. They get asked all the time,

have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. Listen to Absolute Season 1, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Welcome to Drink Champs, a production of the Black Effect and iHeartRadio. And it's Drink Champs motherfucking podcast. He's a legendary Queens rapper. Hey, hey, it's your boy N.O. Thanks a lot. He's a legendary Queens rapper.

Hey, hey, secretary, that's your boy in O-R-E. He's a Miami hip-hop pioneer. One of his DJs. Together, they drink it up with some of the biggest players. You know what I mean? In the most professional, unprofessional podcast. And your number one source for drunk facts. It's Drink Champs motherfucking podcast.

Where every day is New Year's Eve. It's time for Drink Champs. motherfucking parka Where every day is New Year's Eve It's time for Drink Champs Drink up, motherfucking What it good be? Hope it is what it should be This is your boy, N-A-O-R-A What up, it's DJ EFN This is military crazy raw radio

Drink Champs, motherfucking yappy hour Mix up now! And when me and EFN Started this show We started it And we said We wanted to give people You know They flowers

That is seasoned That is legends And when we talk about legends We talk about real People who Create Who paved the way For both of us

To be here These dudes have toured all over the world. They toured like wrestlers. I feel like they was the WWE. These guys has transitioned, has stayed who they are, but crossed

over it, but stayed who they are. The first people to light up in anywhere on stage, especially Saturday Night Live. Holy moly guacamole. I had to re-watch that. I watched the documentary.

These guys are legends of legends. They paved the way. If you are Latino, if you are a smoke man, if you are a person who love music, if you're a person who love raving, all that shit is just all combined together for the most selling Latino group of all times. I seen it in the documentary.

I had to Google it myself. In case you don't know who the fuck we talking about, we talking about our homies, our family. Motherfucking Cypress Hill! Now, one thing watching the documentary is, one of the first things I noticed is, it was Cypress Ave. Yeah.

It's not Cypress Hill. Right. So, why did y'all name it Cypress Hills if it was all Cypress Ave? Okay, so, like, before we really got on, we were called DVX, right? Wow. Devastating Vocal Excellence. As corny as it might be, that's what it was.

But when we got on, we had to change our name to something. And Muggs was constantly bringing East Coast music over to Sendog and myself. And one of those albums was Wild Style. It was the soundtrack for the movie. And in one of those joints, Ramel Z references Cypress Hill. Sendog lived on Cypress Ave, so we thought Cypress Hill. But there is a hill. No, we don't have a hill.

No, there's a street. There's another street down. I lived on Dearborn. But there is a hill. No, we don't have a hill. No, there's a street. There's another street down. I lived on Dearborn. Yeah. Ave. Yeah. Really? That's right.

Did you ever see Lollipop Lane, the preschool? Yeah. I went to that school. Oh, no shit. That's crazy. So, yeah, you know,

that just seemed like the natural way to go. So that's why a lot of people thought we were from the East Coast in the beginning. Because of that little flip right there. You know, otherwise we would have been called Cypress Avenue or some other shit. It fits. It fits. When I looked, I said, damn, it's Cypress Ave.

I said, how did they get Cypress Hill? So it never dawned on me. But, Muzz, let's go straight to you. These guys come in the dressing room. They tell you not to stop smoking because you were smoking.

No, I was rolling up. That's Saturday Night Live. I'm sorry. You were not rolling? Yeah, I'm sorry. But also, you didn't see the documentary. It was rehearsal.

Okay. I was rolling up a rehearsal. Okay. Just rolling up. This is not the day before. This is the day of. This is the day of.

You know, earlier. And I was like, don't smoke. Okay. I ain't going to smoke. But were you smoking? Not yet. Okay.

So they just smelled it on you and that was like... Well, they knew we're infamous for that shit. They knew something was going to happen. Because we'd be in Sony, Columbia smoking. Nobody could smoke in Columbia Records. But Donny Honor would be like, that's Cypress Hill, leave him alone. Wherever we went, we was blazing, getting kicked out of hotels, everything. So I'm just rolling up and, you know, they was like, don't smoke, don't smoke, don't smoke.

In the dressing room. In the dressing room. They didn't even talk about stage. They didn't even stage yet. And they said, don't light up on stage. Nice. All right, cool. After a while, I was like, man, fuck them.

You know what I mean? Because we were young and aggressive. We just really didn't give a fuck. We're trying to figure this whole music shit out and be fucking courteous, you know what I mean? And be nice and try to fit in and act right but still we're young and still aggressive and we're like Man, man fuck these motherfuckers. I'm a light up Can you know what's crazy now New York passed the bill where you can actually like I swear to God last six months that I've Been going back home. I've been smoking Right in front of the police

Yeah It's the weirdest Fucking film in the world That's why they should Have us back now That's my point That's my point That's my point

That's my point That's my point You know You know what the original Plan was to that You know But because they kept Antagonizing him

With not smoking We were Like We had been doing shows At that time where we were destroying our set at the end of our show. Like some rock and roll shit. Smash the turntables, all that shit.

Burning bobos, congas on fire. Like, this is how Cypress Hill ends a show, right? And we were ending tours like that, and then we started doing it every show. We bought these shitty turntables, mugs would unplug them, swap them out at the end, and we these shitty turntables. Mugs would unplug them and swap them out at the end

and we'd fucking smash the set. So the plan was to do this on Saturday night live smoke at the end. But they kept fucking with him and he said,

fuck it. He went off the rip. Or you just did this on your own? No, I just did it. He went off the rip. We had to do it at the beginning

because I knew they might cut the TV off. So we didn't want to do it the first song. Oh, this is live. This is live. The second song. I know Rage Against the Machine was on there and they was talking didn't want to do it the first song. Oh, this is live. This is live. This is the second song. I know Rage Against the Machine was on there

and they was talking they was going to do something and they cut them off before their second song. So I was like, we got to do it at the second song so they don't cut us off live. Right. So when I lit up... So everybody knew then already that you was going to do that pretty much.

The plan was we all had joints ready so that when we wrecked the set, we were going to stand over the aftermath of it and make that statement, but they kept fucking with them. You know what I mean? And I could relate to that because, you know, we come from that punk rock state of mind where, like, if you tell us not to, we're going to.

And fuck now, fuck the plan. I'm going to really show you that we're going to. And he did it off the rip. And you know what? For as much shit as we got for it, and we got banned, it's one of the most re-ran fucking episodes. And they don't cut his part out.

And the one thing about it, you didn't pass. You just kept the blunt. Just kept smoking. You didn't pass, but nobody else looking like it. They said motherfuckers was calling in, the phones was ringing, going off the hook.

We was like, fuck it, whatever. But I think that adds to our fucking myth, you know, and our legend. I think, you know, that we would adds to our fucking myth, you know, and our legend, I think, you know, that we would do some shit like that, you know, and that he would

take that risk right there and, you know, it added to our story, man, in a cool way as opposed to

a fucking L we took. No, we fucking got a W off that. Yeah, because at that time, and it says it in the documentary,

were you guys actually the first people to light up on stage? I don't know if it's a hip-hop act. As a hip-hop act, most likely. Because, obviously people were making references, as we

were, and we were speaking to it from the rip, but I don't remember what was the first show, but someone threw a fucking joint on stage because that would happen to us. We'd get joints rained down. One day I picked one up, and I lit it up, and people went fucking crazy for it because

they hadn't seen someone light up on stage, so I started doing shit everywhere with my own weed, though, because... Yeah, because you're going to take a random... That time here in records records everybody was talking about don't smoke like don't smoke right the brain damage and brain damage doesn't matter what does it say yeah it was off the

expression brain damage but I mean you know because so much so much my y'all I saw that in the documents, and I was like, what? And he didn't come home chronic after that. Holy shit. But y'all, influence by y'all. Yeah, I mean, so many people had the wrong information for so many years, and we fucking actually learned it, and we're like providing it, you know? And it flipped people. It made people have a different outlook,

and I think that's why it went from that to now the chronic. Like, oh, shit. Maybe these dudes are onto something. outlook and I think that's why it went from that to now the chronic like oh shit maybe these dudes are on to something so I think we opened people's minds on that shit just because we were so blatantly up front with it cause it was who we were it was nothing planned

you know like we gotta be this cause there's nothing there in that lane this is just who we were we smoked a lot of weed we loved to do music and we didn't give a fuck. Let's play some noise for that guy down there. Now, you used to be down

with House of Pain. Oh, me? No, no, Beastie Boys. Beastie Boys. I'm bugging you. That's where I first met Cypress. This was 92. Okay.

They opened it up for the Check Your Head tour. Right. And I was playing with them and then they came on the last couple of weeks of the tour. Right. And then I first met Sen. Right. And I was playing with them and then they came on the last couple of weeks of the tour. Right.

And then I first met Sen. Right. And then before you know it, I started hanging out on their bus more than I was with the Beastie Boys. Right.

So, you know, they had the better weed. You know, so, you know, it just all came together like that. And then before you know it, you know,

they asked me to do the Soul Assassin tour in 93. And that was you know it, you know, they asked me to do the Soul Assassin Tour 93. And that was with Funk Dubious, House of Pain, Hooligans, you know. And it all started from there.

Wow. That's the beat that's happening? Yes, sir. That's the track on that. And it was crazy. When we went on that Beastie Boy tour,

we was making 10, 20,000 a night. And the Beastie Boys was like, you want to open up? We'll give you 500 a night. We looked at each that Beastie Boy tour, we was making $10,000, $20,000 a night, and the Beastie Boys was like, you want to open up? We'll give you $500 a night. We looked at each other. We was like, fuck it, let's go steal all their fans.

We'll sell more records. Our publishing checks will get bigger. Let's go. Wow. Yeah, because you're providing us the audience. Exactly. And salute to them for taking the chance and bringing us on,

because they had put us on a show with them in New York. Remember that? At the Octagon club or something? Right. And, uh, It was the building. It was the building. That's right. The first Octagon.

The first Octagon seminar time. At the building. Yeah. We're, we're, we're still like up and coming, but they're, we're on the bubble at this point and the beasties or someone in their camp says we should have Cypress Hill open for you guys. Blah, blah, blah. So we, we go, and this is the first time now, because this was before Lollapalooza and all that shit.

We go and do this, and now people are moshing and stage diving and doing all that crazy shit to our music at the Beastie Boys show. And I think that's kind of, they saw that, and that opened it up for us to open up for them on the Check Your Head tour, which leads to that. Because I think you guys kind of like invented like rappers other than Beastie Boys, rappers, you know, dominating these festivals. Right. Because back then, festivals was like, it was just like rock groups.

It was rare for hip hop groups. I think we was the first hip hop group to headline Redding, a big festival in England. Wow. Yeah, that's one of their big historical, you know. 150,000. Wow. It their big historical, you know. 150,000. Wow. It's mixed genre, you know, and for hip hop to headline it, that was big at the time.

And just turntables, right? You didn't have the band yet. Yeah, no. Right, just turntables. Dope. That's crazy. Right now. That's crazy.

Now, Muggs, you was born in Queens? I ain't going to lie. Queens, yeah. When I watched the documentary, I claimed you immediately. I was like, yes. I did not do that Jamaica Hospital Wow

Between Jackson Heights And Flushing Where my grandparents And my aunt Lived there And then moved to LA You know like 7th, 8th grade Wow

So how How was that culture shock Because Fucking weird Weird as fuck You know what I mean For me Being able to jump on a bus

Or a train And move And just being around Culture in New York To go into L.A. And being like Just stuck Wow

Just stuck And it was slow And you said from What part of Queens You just said? Jackson Heights Jackson Heights Okay damn

That's really That's really Colombian Yeah it's the Colombian area Yeah and so you go from there To I moved to Bell Gardens Okay It was pretty much...

That's east Los Angeles? Southeast Los Angeles, yeah. You know, it was like 99% Mexicans. Wow. And I was like, this is a little bit different from... Because in New York at that time, there was no Mexicans at that time, right?

There was no Mexicans yet. Only Puerto Ricans. Yeah. Man, any chance I can get back. So Christmas vacation, I get on the Greyhound and go home, go back to New York. Summer vacation, get on the Greyhound and go home, go back to New York. Summer vacation, get on the Greyhound, three days, $99.

Go back to New York for the summer. Every time, just go back. But then, you know, just bringing that culture back. Start bringing the culture back, bringing the pro-kegs back and the Lee Jeans and the La Tigras and the Do-Rags. And then I start bringing, you know, when I met the homies here, like start bringing the records back. Rock Kim when he was on Zankia like start bringing the records back. Wow. Rock Kim when he was on Zankia Records and The Bridge,

Kim Chi-Shan Records, and we was like, what's this shit? KLS-1 Records. I bring all these shits back and the records wasn't in LA yet. Wow. Nobody had them yet. Wow.

There's no way to do that. Yeah. Amen. Because of that, we were so ahead of the game. So we had a little advantage, you know, as far as little A little advantage You know As far as the culture was

You know what I mean And then B and Sam would fly back To New York with me His dad worked for Delta Airlines So they'd get free flights So they'd fly back to New York They'd stay with me in Queens

And we'd go hang out Drive down to Philly With Clark Kent Hang out with Clark Go to Crown Heights You know what I mean That's what I'm talking about We in the story baby

We in the story You know That's That's it I mean I I story, baby. We end the story. That's it. I mean, maybe I knew him and I forgot. Metal Man Ace is your brother? Yeah. Wasn't he a part of the group at one point?

No. No? Not of this band. Not of this band. DVX. DVX. Like 10 of us. Yeah.

OK. But he had gotten signed before we got on. So, you know, he had. When Mentiros and all that came out. Right. So he popped off his own thing. And, you know, Sand Mugs and I popped off. But he had gotten signed before we got on. When Mentirosa and all that came out. Right. So he popped off his own thing and Sand Mugs and I popped off Cypress Hill. Yeah.

Hey, Yoaz, hold up a second. I got something to say. Addiction is a treatable disease, but finding the right treatment can be overwhelming and confusing. Shatterproof, a national nonprofit, is here to help without judgment. Thank you. you need to know about alcohol and substance use disorder. There's also a find help section to help you find the support you may need. Get help today by visiting shatterproof.org. Again, get help today by visiting shatterproof.org. Yeah, that's my younger brother. Wow.

He did his thing and had he and I had success and kind of more or less showed us that it was attainable to us as well type of shit and and along the way we learned from you know what he didn't do right or what he did right or whatever and you know we came up behind that but originally when I first started my first band I wasn't like my first hip-hop group I was like in high school still, and Mello was my rhyme partner. And it was all behind because I saw Run DMC on Soul Train.

You know what I mean? And I was like, these are the dudes, we gotta be like these guys, you know? So we started doing our own thing with DJ Julio G. Right, let him go. Yeah, and then that led to, you know, always somebody in the mix doing something together or apart. But it was always this crew right here. It could have been a combination of me, him, and him or him, him or whatever.

But there was always something in the works. There was never anything, any point where, like, we were not, like, actively trying to record or do something. You know what I mean? And it all started from that point. And that was like when I first started, it was like 1983. You know what I mean? I was still in high school at that point. I was doing my thing.

You know, I was just trying to, I knew that there was something there. Get me? You know what I'm saying? So that's what we always strive for on the block. Let me ask y'all a question real quick. Because y'all first video was shot in New York, right? No. It wasn't?

What was it? The Funky Phil one, which is the first one, was shot in downtown LA. It looked like New York because we did it in an alley that sort of looked like it could be East Coast-ish, right? Kill a Man, which is the second video, that was New York. That was like in Hand on the Pump. Killaman, we went in different locations. We were up in Harlem. We were on Times Square over there by Astor's Place.

And one other spot I can't remember. And then Hand on the Pump was Red Hook, Brooklyn. Right. So that's why I still. When it was right so that's why i still when it was red hook brooklyn yes when it was red hook brooklyn and that's another reason that people thought we were from for sure yeah because that was my next question q-tip in there but then cube was in there that was dope yeah cube showed up random that was random and they told me prodigy and havoc just got out of school and they was there you don't know. The UMCs were there. Wait, Q-Tip and Ice Cube were both random, or?

They were all random. Oh, wait, wait, wait. So we didn't know any of these dudes, right? No personal relationships at all. We had never met Cube. We only knew him. Were y'all on the same label or something? Nah.

So how the fuck? But he knew y'all from LA, though, right? He knew that part at least. Okay, so let's backtrack. Okay. EPMD was playing our shit for everybody, Ice Cube being one of them. So he hears about us and, you know, he becomes a

fan, according to the story, right? And he comes to New York for some promo shit or something he was doing in New York. He heard we were doing a video over at Astor, you know, the Cube. Where is that at? That's Astor's place, right?

The Cube. Yeah, Astor's place, downtown. Yeah, downtown. He hears we're there, and he comes down, right? Q-Tip, he just happened to get off the train, and he was walking through, saw it, came through. And it stayed there. UMC's heard about it.

They came through. And Tim Dogg was the only one, I think, that was planned by Sony. They knew we were doing the video. Tim Dogg from New York? Yeah, Tim Dogg from New York. Everybody else was just random. We didn't have a relationship

with any of these guys yet. We were fans of them, but we didn't know them and they came out and supported and that built like the relationship with Q-Tip

and Ice Cube and, you know, and even the UMCs for a minute. I mean, those were our boys whenever we come to the East Coast.

They was, and Brand Newbians, but they weren't in the video. But I'm just saying, the car shit was out. Our shit was out for six months before we started popping. Yeah, that's crazy. But everybody knew we was like the underground heroes,

but it took six months before everything just came together. And it was just word of mouth. It wasn't like that. Word of mouth, New York. We was popping in New York, stretching. Barbita was playing us. You know what I mean? This is a beautiful, let me cut you off for one second.

This is a beautiful thing because me and EFN, we always had this debate back then how New York didn't show love, but this is the opposite. The exception of the rule. The exception of the rule right now. Because we're West Coast. And y'all wasn't known for that. You got us on the radar.

And that video completely confused people some more. And they had the videos. And they had the shit. Here's the thing, right? As a hip-hop group goes from the West Coast, we came unorthodox. People expected us

to sound like gangster rap and we sounded nothing like, it was gangster, but it was not in that genre. It was more looked at as hip-hop and because of that

East Coast flavor that Muggs brought to the table in terms of the production and Sendog and I, you know, doing a hybrid new york slash fucking la slang on it no one could really tell you know what i mean so we got away with with a good one on motherfuckers but again you know because he was showing us all this music that

was coming out that we didn't get on the radio back home. We were ahead of the game. And so that all played a part in all that shit. But the East Coast was showing love. Mad love. Not just New York, because when you get New York, you get the whole, you get that Philly, Delphia, Connecticut. Stretch and Bobbito were the first motherfuckers to get underground. And then once we shot the Killer Man video,

we started getting on MTV raps like two, three times a week. And, you know, that shit was like, the shit only hit the watch, you know what I mean? Then the box, and then shit just started taking off. You know what's crazy about the Stretch and Barbito shit, right? And it speaks to this in their documentary. We went up there and, you know, this is, no one knew us yet.

This was like a total promo run. And they asked us to do a freestyle and my freestyle was crap, you know? I wasn't ready for it. My mind wasn't there, and I was slightly intimidated because I'm in the mecca of hip-hop in New York. And I'm a West Coast kid. I got confidence, but in that moment, I didn't do my best work.

And so motherfuckers was not feeling us that day. But they said a week later when that Killer Man shit popped, all the motherfuckers that was hating on us start calling in for the fucking record. And that shit sort of, you know, started the Kill A Man bubble right there. Do you think that some of those mysteries that people didn't really know where y'all were from, what the background was, kind of helped in a way? 100%. I miss the mystery of things.

Because your mind, when you're creative, you start making up these own things in your head that are bigger than life. You know what I'm saying? No, but I'm going to be honest. Even as a young dude looking at it, the way I dress, I can still feel that Los Angeles.

Although, like, you know, it was like, it looked like a New York thing. I could just feel that Los Angeles. It's just like Sin's shirt. Like, you just know. Like, I can wear that same shirt.

And you wear it at East Coast. You know what I'm saying? But not the rest of the country. Maybe you in New York automatically. But even me, I'm in Miami. You're right. And first I get Cypress Hill, and it's like, man, I think they're saying LA stuff. And then the Latino aspect, too.

I'm Cuban. And at first, I just think y'all are just Mexican coming out of LA. I was like, man, that's dope. Goodbye. And then I hear Tres Equis hold up I hear Cuban slang in this shit cause I didn't even connect Melo yet to you guys you know what I'm saying so I'm like holy shit they Cuban too and from South

my head just blew the fuck up right there it was like what Muggs always said this man better to be mysterious because you know it makes people want to know you more and do the homework on you. There's that mystery buildup and shit.

Back then, that was awesome. It helped because we didn't show our faces on covers. We even stopped going to clubs for a minute to be not so accessible to be that mystery and shit. It made motherfuckers want you more

rather than being out all the fucking time and being super accessible and the motherfuckers getting to know your game and how you roll and all that shit. And, you know, at that time, that sort of played you out. So, you know, for us, it was all about mystery. And we saw what the rock and metal heads would do

on their album covers. And they rarely showed their faces. There's always some obscure shit. And we love that shit, right? So that became our visuals for our album covers. Which I think is a whole other element that in hip hop I don't think was as strong. The way the imagery, the logo, all that just made it so much more dope. Record labels wanted to show the faces of the faces they're marketing right right here let me

show you these fresh faces this we want you to buy these guys right and you know we just didn't do that we were like we see something else and that was thanks to much just like by the vibe you know what i mean by the vibe that's what we was about yeah by the vibe not by the faces like a lot of people didn't know what the who the and the vibe. That's what we was about. Yeah, by the vibe, not by the faces. Like, a lot of people didn't know what the fuck, who the fuck. And you know you're dressing, you're on your cover, and then that gear's played out two years later. And you look at the cover, and the cover looks dated. You know what I mean? Right, right.

Shit, we just keep it timeless. And that logo just became iconic. Like, it's forever. So let me ask y'all, because, like, you know, we've seen Run-D.M.C. and we've seen the Beastie Boys, right? But it was like y'all music. Even just like Run-D.M.C. doesn't have a record called How I Could Just Kill A Man. Right. That was different. That's hella different.

We can say it now like it's nothing, but it was different when it came out. How did y'all have a balance having a record called How I Could Just Kill A Man and still be on festivals and on these stages like how the fuck and no one's offended like you guys are about how can i just kill him it's crazy because the shit on the radio when we was making music was mc hammer vanilla ice jazz jeff and the fresh prince and nwa comes and we coming and when we come with killer man all of a sudden that's on daytime radio right andre's Man all of a sudden that's on daytime radio and Dre's on daytime radio

and Snoop's on daytime radio like for about those five years shit just done flipped up like a motherfucker yeah sometimes when we're playing

the song I think just that like how the fuck you know it's just it's justified how you kill a man with these songs

right yeah it's a how you kill a man with these songs, right? Yeah, it's a trip. You know, I didn't expect that to be, you know, what it became. I don't think any of us did. We knew we had something, but we didn't know what was going to hit. And, you know, thanks to the DJs, salute to all the DJs that flipped that record and hit that song, because it was a double A side.

Folky Phil one and how I Could Just Kill A Man. But at the time, because we're a group that talks about weed, and it's hip hop, and we're talking about some violent shit, they chose to push, as in Sony chose to push Funky Phil one, because they figured that was more marketable. And it was cool, but it wasn't really resonating. That's why that first six months, no one knew who the fuck we were. And then DJs flipped that record.

And to add on to that, you had the Juice soundtrack, right? That, you know, it makes the cut. Yeah, what's the time frame? That's what Chuck D heard y'all all right. Yeah, Chuck D and the Bomb Squad were doing the score and the music for that. They heard How I Could Just Kill A Man, and they were like, that's gotta be the main song

in this shit. Positive ass Chuck D. I was a good killer man. I need to know this story! I need to know this story! Yes, Chuck D! Yes, okay, follow that. So the combination of the DJs flipping that song

and the momentum that was getting on the mix shows every day play. It wasn't getting rotation play, but it was getting heavy mix show play. And then the video starts hitting. I mean, fuck. What was crazy is that we were on tour with Naughty by Nature,

and we hadn't made a video to Kill a Man yet or Hand on the Pump, but the song's starting to go. Right? And this is just before, this is before Juice. This is like when the mix shows start playing the shit. They pull us off the road to film those two videos. I think we were in Virginia or something like that.

And Sony makes the call, pull them off the road. They got to come two days to film such and such and such and such. Kill a Man and hand on the pump so we knock it out jump back on the road with naughty and continue to fucking move and then eventually this juice thing happens propels the fucking song this is like what like 91 92 92 90 yeah 92 right yeah well it's yeah because we released in August. So it was, yeah, it was probably early 92, right? Yeah. Somewhere around there.

Or no, that had to be 91. Like late 91, because it was OPP that was the big song at that time. And we were opening for them at that time. Like Tretch was always family with us. Right. And they wanted us to come on and over for them. Speaking of all the juice soundtrack, did each of y'all get to

meet Pop? Oh, yeah, we did. We knew Pop from Digital Underground. From Digital Underground. They was our homies. So, they would come through L.A., they'd call us, we'd roll up to the shows, take away everybody. Because, technically, Digital Underground isn't from L.A., they're from California. They're from California.

And we knew them through a guy named Jerry Davis who worked for ASCAP, who was one of the guys that, he was like the first believer in us, I think. So salute to fucking Jerry Davis. But he introduces us to Money B and the rest of the guys. So we become friends. And like Mug said, we'd go to their shows

and stuff like that. And so when we got on, now and then when we'd go to their shows and stuff like that and so when we got on now and then when we'd go up to the bay you know Pac would come hang out with us and smoke us out sometimes just to go have our back I remember one time we were having a show in Berkeley somewhere he goes y'all going to Berkeley yeah

alright boom he pulls out a big ass hand cannon and a fucking ounce of some green bay area weed and was like I got your back. I'm like, alright, let's go. Pac himself. Pac himself. Out of his homies, himself.

He didn't have a bunch of homies. He wasn't the Pac that he became. He was the underground backup dancer at the point. That's right, he was by himself and he would come hang out with us and he was 1,000 about that shit and you know we relate to that we're like hell yeah let's go and uh shit i remember one show we did with um we were opening for uh um third base i think it was their last tour their last big tour before

they sort of went away um it was us tim dog and third base and we were at the dna lounge where we filmed eventually film um insane in the brain years later we film it there because it's a historic place to us anyway we're in this venue pock shows up and uh i remember this one dude getting dragged in a dressing room and beat up by these fools and throwing him right the fuck out it was like real awesome so so did to to you guys did anybody could uh jump in on this one was pock the same guy from digital underground on on death row or that was two different individuals well this is on road before he evolved he definitely evolved and you know he he saw things maybe a little bit different. And obviously, he was rolling with a crazily different squad at that point. I hadn't talked to him in that time when he was rolling with that squad.

Because, I mean, we were constantly going. The next time I seen him, he was in New York with the live squad, stretching them. Yeah, stretching them. Wow. Yeah. Yeah. I mean, yeah. Sometimes when we do the—do you remember when they would do the Jack the Rappers? Yeah, stretching them. Wow. Yeah. Wow. It's crazy. Yeah. Sometimes when we do the,

do you remember when they would do the Jack the Rappers and all those sorts of conventions and stuff? Impact conventions. We'd all hang out together then. Like, you know, it'd be Tretch, Pac, the Brand Newbians, Busta, Tribe, well, Q-Tips, sometimes Phife, you know, and we'd all be up just chilling, smoking blunts, back when I smoked blunts. Right, right, right. And, you know, and we'd all be up just chilling, smoking blunts back when I smoked blunts.

You told me you could roll a blunt with one hand. I used to be able to. I haven't tried it in a long time. When you're young. So let me ask y'all, switching the subject a little bit. How do you describe just now, like you said, Busta, Tribe, like the way y'all, the way it seems like it was, and this time, there was no East Coast, West Coast Not at all, man. Not for us. Yo, not for us. Yo, I used to come

out to clubs in New York before we were signed, before Busta and them were signed. I'd be at the, I'd go to the Long Island Railroad to catch a train back. Right. It would be that, I'd have the Cypress Hill demos, they'd have the leaders of the New School demos. Right. Oh, shit. Like, early days like that. I had the Cypress Hill demos. They had the leaders of the new school demos. Right. Oh, shit. Like, early days like that.

Right. So let me ask y'all, from the days going on from there to this East Coast, West Coast shit, how did y'all feel at that time? And y'all super accepted. It didn't feel like a beef. I don't think it was East Coast, West Coast. It was like, them motherfuckers right there, but there was nobody else. Yeah, we never felt the heat of that.

You know what I'm saying? Because we know that we sprung off from the East Coast. If it wasn't for the East Coast accepting us first, we don't get on. It's like that old shit that they used to say,

you know, if you can get on in the East Coast, you can get it on anywhere. If you can make it there, you can make it anywhere, right? And that was true for us because the west coast accepted us after the east coast did because we were not a traditional west coast group they just weren't gonna get it unless y'all did right and so that's what happened for us there right now that's real that's real because um a lot of

us grow up and that's all they know is this East Coast, West Coast. But me just hearing you describe that era, it was just like I just went to a child at that time. We'd be in New York. We'd be in a tunnel. You know how the tunnel was. We'd just be everybody just people. The thing is that we kept rooted in New York. You know what I'm saying? Like up until the pandemic, we were doing a show that we call Haunted Hill there every October for like 20, how many years, Bobo?

22 years. 22 out of the 30 years. And we just stopped at the pandemic. So we were constantly going back and feeding that core base that was our East Coast family there. You know what I'm saying? Right. So we never felt all that shit about the East Coast and West Coast beef.

We thought it was ridiculous. It was the media. It was that magazine print that said East Coast versus West Coast, but it wasn't the people. It only existed for certain groups that were actually beefing. It had nothing to do with coast. The only, you know, the only had, it was the proximity. These guys happen to be here. These guys happen to be here.

These guys happen to be over here, but it's got nothing to do with the rest. But the media perpetuated something different. And there's reasons for that, but that's a whole different conversation. Yeah, yeah, no, no, that's crazy. No, but it was so dope to hear y'all speak like that because, you know, people forget that times. People forget the times that it was like, you know, because I remember I was on death camp at one point. This is after Biggie died.

And I would land and they'd just be like, security, you got to go. Because it was just so on guard. Right. You know what I'm saying? Because after what just happened. You know what I mean? Oh, yeah. Yeah.

You ever thought it was going to get this serious, though, like once they started beefing? Well, you know, when you got cats that, you know, they may not be the ones that are, like, still living that shit, but they got homies around them, it's bound to happen, right? If you got those kind of cats in your circle, because somebody's going to stand up for you, even when you don't need them to or don't want them to and don't expect them to and then that's when shit happens you can't bring that

gangster shit into the music we're trying to get out of this situation to get into a better place and inspire motherfuckers to do the same thing right get out and do something better. And a lot of the times you see motherfuckers, well, since from about 96 or 97 and up, you see a change where it's like more motherfuckers are talking about doing fucked up shit and they're allowing this on the radio and all this stuff where before they wouldn't allow us to talk and allow singles like this, you know.

So now it's more about mindless shit. Right. You know, and less substance. Right. You listen to today's music? Some of it. Yeah? There's some good shit out there. There's some cool shit. Yeah, there's some cool shit. Hell yeah. There's a lot of shit I fuck with, because, you know, I spin, too. I learned from DJ Muggs from way back

in the day when he was taking those trips back east. I'd get on his turntables when I'd be watching you know the crib and so like I still

fuck with records today I still spin so so you gotta be hip to what's going on yeah so like I'm not that hip there's some shit

I appreciate I'm not that hip some of this shit I'd be like throw that shit out you can't take all of it as mugs what I think is

like mugs is fucking but a lot of new artists are the dopest fuck yeah and you stay fresh like that because you know what's out there, you know, and I think that's what keeps us all still sharp to this day is that we listen to shit, you know? Like Muggs told me, and I always say this, you know, if you want to be the best, you got to listen to what the best is out there. No matter, you know, how you think you are. Know what I'm saying? And so you have to keep doing that as you evolve as an artist and you progress. So, you know, we stay up on game like that. But there is a lot of garbage. But there always has been.

There's a lot more artists in general. There's always been as much. But we need the garbage. It just makes us sound better. Right. Yeah, you need the garbage so you know what the sound better. Right. Yeah, you need the garbage so you know what the good shit is. I mean, even in our early days

in the 90s, there was hip-hop that was that shit, and then there was the shit we didn't listen to because it slightly wasn't that shit. You know what I'm saying? Kid Flash.

I mean, yeah. I mean, there's plenty of records. I mean, but that's always the cycle. Right. But it's all, you know, subjective. It's what you like,

right? So there are some young artists that I fucks with and some that I definitely don't. Right. Well, let me let you know,

pick up to all people at Cherry Colorado. Yeah. Let's give them these blows. Yeah, but you know, our show is about giving people

Yeah, yeah, yeah. Salute to the Cherries. Salute to the Cherries but you know, our show is about giving people Salute to the cherries. Yeah, yeah, yeah, yeah. Salute to the cherries. Salute to the cherries. We're doing another show. Our show is about giving people their flowers while they're alive, giving people their flowers. So we wanted to give each and every one of y'all your own flowers, you know what I'm saying?

Oh, yeah. Yeah. Yeah. That's right. Yes, sir. We're loving it. We're loving it. Yeah.

Yeah. Yeah. Yeah. Yeah. We're all homies from Cherry. Cherry, where you at? Where the cherry coming from? Cherry Where are you from? Where are you from? Hey! Hey! Hey! Hey! Hey! Hey! Where are homies from Cherry? Cherry, where you at? Where the cherry coming from? Cherry, where you at?

Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at?

Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Cherry, where you at? Where's the flower at? Holy shit. Holy shit.

Yeah, yeah, yeah. This is tight. Now, you used to be able to roll a joint with one hand? Yeah, before we created the funky fill tips, yeah. Without a tip, yeah, I could roll it with one hand. Okay. A blunt or a joint? Both.

Okay. Because I heard Willie Nelson could do it, so I would practice it, and I eventually got it. It's a bitch, man. Your hand will cramp the fuck up. Yeah, yeah, yeah. Can we see it? Can we see it? We're not blocking nothing, right?

Wow. Wow. What is your relationship with High Times? Well, you know, High Times was like, they were like, you know, they heard about this hip-hop group that was championing cannabis. Right. And so they wanted us on the cover.

And that sort of opened up the bridge between the cannabis community and hip-hop right there and then after that you know that that uh that issue did so well and we we built a strong relationship with um with high times that they had other hip-hop groups and we were the first one there. Yeah, you had the first a lot of things. Make some noise for that guy. You had the first a lot of things. Don't even laugh. We did parties with High Times at the Wetlands. Remember that spot? Like smashing, like off the hook.

I mean, it's a little club, but it was jam packed. And when we were doing shows for High Times events, like old school High Times events, the small ones, with Chef Ra and all those dudes rest in peace man, they were fucking awesome shows, awesome parties at wetlands packed like this and motherfuckers just rocking to our hip hop set

it was just an experience little things like that sort of built our relationship with High Times and they always lifted us up and they found something in us and then they started seeing something in like Red and eventually Meth and eventually

Snoop and you know the list goes on and Wiz Khalifa they start started opening up to hip hop because who better to fucking champion cannabis I mean you know we went from the step step child's renegade genre, right, that is non-apologetic. That's the best platform for cannabis, right? Because no one else is doing this for this community right now. And so, you know,

they embraced us, we embraced them, and I think hip hop did as well. And a lot of hip hop kids that were like just reading the source start fucking with High Times Magazine now, and vice versa. The alternative kids that listen to rock and different shit like that from the High Times, they start listening to hip-hop. And now you see a shift in a combination of hip-hop kids and alternative kids coming to shows and shit like that. It was like a crazy bridge that it created, and it still exists today.

You mentioned Redman, and circling back to when you said that EPMD was putting people on to y'all, was that the reason why Red chose to sample y'all? Could be. For time for some action? Oh, no. Our album was finished and it was at Columbia Records

and it was circulating for six months before it came out. We was like, why the fuck's our record taking six months to come out? You know what I mean?

They was trying to set it up. You know, magazines was three months out back then on all that shit so they was setting it all up but we didn't get it so at that time

motherfuckers was hearing it and it was like an underground mixtape but the Columbia artists had it so it was like promo only and you'd walk into the office and you'd grab it off the desk you know what I mean like what's this new let me get that like in the front desk like you know when you go meet with your A&R or whoever it's on their desk and they're like check out this new shit you know what I mean and then you end up grabbing the cassette from them I think it was

a red snippet tape right it was a a red tape. So let me ask, searching through the internet, you know, searching everything about you after I watched the documentary, and I want to get into the documentary after this, but I see Onyx. Yeah.

And I see Onyx pop up and they go, well, if you want to do a versus, who would you want to do a versus against? And Onyx said, well, the only people we could do it against

is Cypress Hill. Right. And at first I was like, nah. But then I thought, I was like, maybe. And now I'm like, nah. And then I'm still like, maybe. How do you guys feel about versus

and would you do versus against Onyx? Well, we are doing it. Yeah. Yeah, we are doing it. Oh, I didn't know. You said something it. Yeah. Yeah, we are doing it. Oh, I didn't know. You said something today. No. Yeah, it's a real thing.

That's legit. Yeah, that was honest. It's legit. Okay. Yeah, the way it went down, you know, because as rappers, we get asked this question since Versus started, right? Yes, of course. You get asked, right, who would you go against or who do you think would be a good one, right? I get that.

You get that. Anyone in the business pretty much gets that, right? And so whenever they asked me, I thought, you know, it's either Wu-Tang or Cypress, I mean, or Ice Cube. It's the big, you know, that would be fucking awesome, right? But, you know, Fredro said something on Vlad TV about it before, you know, I ever said my first shit about any of the verses. Because, you know, I never saw us going against anybody. But I thought those two would, you know, either.

What you trying to say? You going to smoke on it? That's what you're trying to say? It feels like that's what you're saying. It feels like that's what you're saying. So, so, so then. No, no. You're like a Wu-Tang. I'm not worried about nobody

anybody anybody who will match up on it no doubt we have that kind of confidence we chop heads you know what I'm saying uh we don't go for the tie right you know what i'm saying or the l but um you know i like this type of talk that it i guess it caught you know the ear of triller you know that he he said that that would be a good matchup and i think the the the mindset is this right so with cypress you know that we have a hip-hop base but we also have an alternative energy so it's the energy so when they it comes together there's a lot of mosh pit stage diving and all that shit right that happens crowd surfing and they have this same type of energy right so i think i thought about it remember i said maybe guys i thought about i've been on tour

with onyx they got got that. Oh, yeah. They got that shit. They definitely bring the energy as we do. And I think that's the mentality for the matchup. Right. You know what I mean?

But like I said, we don't come to be second. But I think, you know, it's a win-win for the people because they're going to get a great show because I know they put on a great one.

Right. You know what I'm saying? Yeah. Where is this taking place at? At the Forum. In L.A.? In L.A. Home court advantage.

Well, you know, I don't make the call. I just go. It could have been in Madison Square Garden. I'd show up the same way. No, but they live in Cali for a long time. Yeah, they've been living there for a while. And when is this? So the date is already set?

May 14th. Okay, I'm off of drinking at that time. I think I might have to come and just see that. It's a crazy format to have to go up against your homies and shit like that, you know, because those are our homies. We did plenty of shows with them, plenty of festivals. This is not like Three 6 Mafia and Bone Dogs. They're throwing mics and shit.

No, there's never been a beat there. No disrespecting. No, no, it's all love. I mean, you know, shit, Sticky, Fredo, and I did a feature on ASAP. Ferg's joint, Get the Fuck Out My Face or whatever. And so, yeah, I mean, we're mad cool. You know, this is for the sake of, like, let's give the fans a show. But for the record.

Right. Wait, before. Before the record. For the record. To win? Oh, we already know. It's done. I need you to say it, though.

Cypress for the win. Yeah. There you go. Oh, holy shit. But the fans are going to win more than anyone because, I mean, I know they're going to bring it, and we are definitely going to bring it. Now, Sen, you and Flavor Flav had a best man battle,

hype man battle. Where was this at? How dumb was y'all? That put us in the air. Like, I was just like, holy shit, where's Spiff's dog? That should be a big thing. That's somewhere in Australia. It was in Australia, that's right.

It was in Australia and somewhere in Sydney or something. And Flay was on a good one and so was I. And we just took over this nightclub and got on the mic and did our thing. And then Flay, the funny thing about it, he tried to emulate the same thing that we did the night before. The next night on stage with Public Enemy, he invited me up there. And I'm like, coño, bro, I was fucked up last night. I can't do that shit again right now. I remember what I did.

Yeah, but it was a good time and it was a legendary night and that's when I got to know Flav. I already knew him, but that night I really, really got to know him because, you know,

when people are drunk and high and, you know, shit happens and shit like that and you see people's real true heart and that's Flav. He seemed like a good dude.

Yeah. Yeah, his intention, I feel, is always right. Right. You know what I mean? He's a down-ass homeboy, but it was a fun-ass night. And weren his intention, I feel, is always right. Right. You know what I mean? He's a down-ass homeboy, but it was a fun-ass night. And weren't you there for that?

I was right there. Yeah, he was right there with me. You wasn't doing the music. Man, I was right there, man. Yeah, there was no time. It was just like, you know, trading off raps and this and that. And then, I don't know, it turned into some other shit. And then we came back to rapping, and it was fun.

He was doing the flavor dance. He was doing it was fun he was doing the Flavor dance he was doing that then you was doing your dance I mean it was it was everything wow the two iconic dances popping off at the same time

legendary night and I always looked up to Flavor as as part of like and I feel like a small part of me is comes from him

you know especially my early Sandog when it was I was more of a hype man dude than an actual rhymer. I used to get a lot of that style from him and then put my own Southgate, California on it and combine the styles type of shit. We had a steady diet of public enemy. We loved that. They were one of our big influences for sure. You guys feel that you They were one of our big influences for sure. You guys feel that

you're a part of influencing that LA underground that kind of came afterwards with Soul Assassins and bringing hooligans and even House of Pain. All the affiliates, Funk Dubious, Psycho Realm, and then I feel like King T and Alcoholics and Liquid,

they came after and really solidified that LA underground. Do you feel, do you take on that, you inspired that? I believe we did because, you know, again, beforehand, you know, groups weren't getting signed unless they sounded like, you know, NWA or Compton's Most Wanted or something like that. And we sort of changed the dynamic.

Like, there's something else here. And, you know, Muggs was a big part of that because the style of changed the dynamic like there's there's something else here and you know Muggs was a big part of that because the style of production he was giving ourselves in House of Pain and Funk Dubious and in you know the inspiration that had on other producers in LA like okay we don't have to just do this we can do hip-hop shit style shit and I think that's where you see the influx of that style production happening in los angeles where now there's a balance of the gangster rap shit and like hip-hop right you know let's now let's talk about the gang culture for a second right

we all know that that's a heavy part of los angeles right but at the time all we heard was crips and bloods right that's all we. We didn't hear about nothing else. But now here you guys come. This is from East Los Angeles, correct? This is a whole other side. And then how was that, like, you know, going into that? Because I think you got shocked. Well, yeah. Wearing the wrong colors or some shit like that?

No, no, no. I banged with Bloods. Oh, wow. Yeah, yeah. But, you know, we grew up around, you know, most of a lot of homies that gang banged and, you know, Latino gangs and stuff like that. I just happened to go a different route. Wow.

And so, you know, I got caught in the middle of that shit. You know, we were in a neighborhood that was blood and divided by crip. You know what I mean? And anyone that got caught around that area, it could pop off at any minute. You know what I'm saying? And I got caught with my homies in that little zone right there, and we got caught off guard, and that's when I got popped. But I was banging, and, you know, you know that when you're banging,

this is a possibility, So that possibility happened. But we did grow up on the east side. It's considered, what, southeast or lower east, something like that. Lower east side, like Southgate, right next to Wark, Linwood, Bell Gardens, where Muzz grew up at. And then there's East L.A. past that. Down there, it's a total thing, you know what I mean? It's Mexican gangs, it's Salvadorian gangs, it's every Latino culture gang that there is,

they got a gang for it, you know what I mean? Wow. And it's different than Bloods and Crips, you know what I mean? Yeah, different codes, everything. And you have to know that when you go into those areas, you know what I mean? Because growing up as a black Latino, you know what I mean? Because growing up as a black Latino, you know what I mean?

They didn't know what you were. So the first thing they thought was like, go kick his ass. You know what I mean? And that's what we... Thinking you're from like a crip hood or something. Yeah, until they find out that I couldn't talk English and shit. That's how they figure out that you're part of them.

But that's what we all went through growing up in L.A. Because you're half Cuban too, right? No, I'm full Cuban. And you're half Mexican, half Cuban. Okay, continue with my bad. And Puerto Rico, right? Yep, Puerto Rican. Italiano?

Yeah. And then you had to, you know, at some point along the way, you have to put your foot in the dirt and say, I'm going to get down with a click because I'm tired of being, just getting my ass whooped by everybody that thinks, you know, I don't roll with nobody. So, you know, in fifth grade, I got down with my first clique. And as soon as I did that, like, half the bullshit stopped. Wow. Because you got to roll with somebody, man.

That's how it is in LA, right? In some places. Not everywhere, but in a lot of places where you know Shit pops off Yeah You gotta click up And if you don't You might just get recruited Even if you don't want to Right You mean if you're

From that neighborhood If you live there They're gonna whoop your ass Every day on the way home They see you Until you join their gang If they feel They need you

And they want you They're gonna put that You wanna walk down this block And not get fucked with You can get in this shit Over here Wow And rep for the block Right You know what I mean It doesn't happen with everybody you want to walk down this block and not get fucked with, you can get in this shit over here. Wow.

And rep for the block. Right. You know what I mean? It doesn't happen with everybody, but, like, if they see something in you, yeah, they're going to come recruit. Right. And some choose it.

Some choose it. They ain't got to be there, but they there. Right. Because they crave that lifestyle. Because, like, you know what's crazy for me coming from the East Coast, and I'm sure, Muggs, you know this. Like, in Queens, we have a melting pot. So, like, the Puerto Ricans, the black people, the Haitians, the Jamaicans, we all live on the same block.

It wasn't like until I... All right, Dominicans, too. Dominicans, come on. Don't make me count them. But it wasn't until I kind of went to Los Angeles where I realized

it's almost segregated like jail. You know what I'm saying? The Mexicans is over here, the Cubans is over here, the blacks is over here and I had never seen that until I traveled.

How is that? It's kind of crazy that it's separated like that. Cali's so big, it's so fucking spread out that you could do that where, you know, in places not as big of a state, you're sort of mashed together like the melting pot, as they say, right? Right. So, you know, you have that chance to click up and be unto yourself if that's what you choose. And a lot of motherfuckers do. Shit, I remember when we were, like this shit was a hobby to us

and we weren't even seriously doing demos yet. We'd go to different parties and one of them, I remember we'd go to the Cuban parties in Southgate at this place called the Oguinero, right? Yeah, my family was a part of that too. Oguinero. We were crazy. We needed to see shit. We got to see shit. We needed to go to the bar and we know everything. called the Oguinero, right? Yeah, my family was a part of that too. Oguinero, you were crazy. I mean, you see, I got it.

I used to go to Oguinero. We had the bar, we'd go to everything. Yeah. We moved to South. Now we're in Downey. Now my family moved to Downey. Yeah, right on. Mine too.

And it was crazy because everybody was clicked up there. We have a lifelong friend and one of our boys that rides with the Cypress Hillbillies with Sendog, the bike club and stuff. He grew up with us. And him and his wife used to go to this spot

so we'd get invited through them sometimes to go to these fucking, to go to the Orginero and the minute we'd show up, man, they'd be looking at us like, what the fuck

are y'all doing here? Like, that's how Clicked Up was. We weren't a part of that click. We didn't look the way they did. We weren't, we didn't look Cuban in the way they did. Because they were trying to maintain that tradition.

That's what those type of social codes are for. I looked like something else. Like, you know. The wild man, the big shirt, something like that. Yeah. We came in looking like thugs

and, you know, everybody's all nice and shit. And so, yeah, we, you know. And so, it's very much like that. You can go to another neighborhood party and it might be all Mexicans. The minute, you know, Sendog shows up till he starts talking. Right. They might be giving him a crazy look.

But then when they hear him talk, it's like, oh, shit, what's up, homes? You know, accepting. You know what I'm saying? It's crazy like that. The Medal of Honor is the highest military decoration in the United States. Recipients have done the improbable, showing immense bravery and sacrifice in the name of something much bigger than themselves. This medal is for the men who went down that day.

It's for the families of those who didn't make it. I'm J.R. Martinez. I'm a U.S. Army veteran myself, and I'm honored to tell you the stories of these heroes on the new season of Medal of Honor, Stories of Courage from Pushkin Industries and iHeart Podcast. From Robert Blake, the first black sailor to be awarded the medal, to Daniel Daly, one of only 19 people to have received the Medal of Honor twice.

These are stories about people who have distinguished themselves by acts of valor, going above and beyond the call of duty. You'll hear about what they did, what it meant, and what their stories tell us about the nature of courage and sacrifice. Listen to Medal of Honor on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. A lot of times the big economic forces

we hear about on the news show up in our lives in small ways. Three or four days a week, I would buy two cups of banana pudding, but the price has gone up. So now I only buy one. The demand curve in action. And that's just one of the things we'll be covering on Everybody's Business from Bloomberg Businessweek. I'm Max Chavkin. And I'm Stacey Vanek-Smith. Every Friday, we will be diving into the biggest stories in business, taking a look at what's going on, why it matters,

and how it shows up in our everyday lives. But guests like Businessweek editor Brad Stone, sports reporter Randall Williams, and consumer spending expert Amanda Mull will take you inside the boardrooms, the backrooms, even the signal chats that make our economy tick. Hey, I want to learn about VeChain. I want to buy some blockchain or whatever it is that they're doing. So listen to Everybody's Business on the iHeartRadio app,

Apple Podcasts, or wherever you get your podcasts. I know a lot of cops, and they get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. Across the country, cops called this taser the revolution. But not everyone was convinced it was that simple. Cops believed everything that taser told them.

From Lava for Good and the team that brought you Bone Valley comes a story about what happened when a multibillion-dollar company dedicated itself to one visionary mission. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. It's really, really, really bad. Listen to new episodes of Absolute Season 1, Taser Incorporated, on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

Binge episodes 1, 2, and 3 on May 21st, and episodes 4, 5, and 6 on June 4th. Add free at Lava for Good Plus on Apple Podcasts. The American West with Dan Flores is the latest show from the Meat Eater Podcast Network, hosted by me, writer and historian Dan Flores, and brought to you by Velvet Buck. This podcast looks at a West available nowhere else. Each episode, I'll be diving into some of the lesser-known histories of the West. I'll then be joined in conversation by guests such as Western historian

Dr. Randall Williams and best-selling author and meat-eater founder Stephen Rinella. I'll correct my kids now and then where they'll say when cave people were here, and I'll say it seems like the Ice Age people that were here didn't have a real affinity for caves. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today. Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. We know the influences that came when Muggs bringing a lot of influence from NY, but any local LA influences was like, was Frost or any of the guys that were doing it locally

influencing you guys? I mean, they didn't influence me, but I was a fan of theirs, like the LA Dream Team and shit like that. What was it rock berry or rock jam yeah you know and there was other guys too like Egyptian lover they did their all the guys that were on the radio in that first wave of of 80s hip-hop you know left their mark for the next generation to cling on to and and come up and out and that's where that's where I really started paying attention to is during that era and um

there was also other cats too involved like uh king t was actually before us yeah you know what i mean he was before us and he always had his polished down style with his yeah you know with a certain sample whatever yeah and it sounded in the pocket all the time and that was king t yeah you know when he brought a record it it was going to be, everything was going to be nice and proper. That was the first L.A. rapper I heard that when I was like, oh shit. Yeah. Yeah, right?

Before that it was like everybody was trying to make Planet Rock records. Right. You know what I mean? He was trying to spit. It was like an electro hop, they called it. His album cover of him bailing down the alley

with the sawed off shotgun, remember? Yeah. Right, that shit was ill, right? King T was the shit. For sure. He was definitely like an influence.

And WA too. You know what I mean? They're like, how could they not be? Of course. They were fucking slapping it. Cube. Yeah, Cube was,

you know, beast-like. You know, they all were. You know what I mean? They all had something different and that always motivated us. And throughout that whole time, we were just around the scene in the circuit, kind of like, you know, with my brother

being signed to Delicious Vinyl, and, you know, we saw Tone Lokes bring up and jump up and do his thing and then Young MC and all that shit. So we were right there in the environment. We were always, you know, huddled around it. So it was only, you know, in my opinion, only a matter of time before we got a chance to do our thing I mean cuz we were we were

always right there so it just happened just ice ice from there ice tea was an influence to this question was I see said y'all gotta give me too. Angel Dust. I thought it was dope. I like when it's dope. The guys that sound like Mexican dudes on Angel Dust. Yeah that's what he said. But it's dope. I think it's big to Angel Dust more. Holy shit. So yeah, describe that though.

Was y'all on my Angel Dust this week? No. I tried it though. We encountered on my angel justice video? No. I tried it. Don't. We encountered many motherfuckers on it. Right. But that was the shit back then. It was wet.

Totally wet, right? Oh yeah. You would see motherfuckers like freak the fuck out on it. In Southgate. Insane in the membrane. I ain't gonna front. I would've thought y'all was on wet too. I'm not gonna lie.

We were just crazy naturally. Right. You know what I mean? So why Ice-T say that? I just think because of the way too. I'm not going to lie. We were just crazy naturally. Right. You know what I mean? So why did Ice-T say that? I just think because of the way we sounded. We didn't sound like anything in L.A., even like the dynamic of our voices. My shit was crazy, high-pitched, and a different style. It wasn't necessarily an L.A.-based style,

and my sound was different. And with Sen doing the psycho beta voice which is the who all that on top of it it was just i i think that's where where he's he's referencing just because of the sound the tones were different sort of like chuck and flay right you know i'm saying it made sense when he described it that way like i understood what he was hearing yeah what made him hearing it for the first time. Yeah. What it would sound like to him.

What, Angel Dust? No, just. Like, you're tripping. Like, am I tripping? Yeah, that's crazy. That's crazy. Because, I mean, it was big back then. It was huge back then.

So, Sin, you're in a biker gang? No, man. There's no biker gang at all. That's just foul of you to even describe it like that. Wait, you were watching? It's a club. I apologize. It's a biker club?

Yeah, you sound like you work for the government. He saw something there. Yeah, you sound like you work for the government Back in the I bought my first bike in like 95 or something like that. Okay. Right. And that was like a cross rocket Honda. And that led me to Harley Davidson's, you know, scooters or whatever. And then now I'm sponsored by the Indian Motorcycle Company. Right. Right. So, and I just got into it.

And one day I had got all my friends into it. Right. And we had like about nine or ten of us. They were all, you know, had bikes. And so I was like, man, why don't we make a little patch? And I've never been about, you know, joining anybody's army. I've always been one of the type of guy to start my own thing. Right.

So I started my own thing. Hillbillies, right? Yeah. Cypress Hillbillies. Yeah. Yeah. Right? Yeah.

I'm scared to death for bikes. Yeah. But y'all ride cross country? we have man we've done long distance rides and shit like that and it's you know depending on what time of year you go on what kind of whooping you're going to take on that bike so what's the longest distance you went?

me? personally to Arizona from California from where I lived in Cali all the way to Arizona 18 hours? who's counting you know I'm just along to it I'm on the right till we get there you know and then we will when we get there then you know then we meet up with other bike clubs and then go to the rally that they invited us to and shit

like that now this is what navigation or you did this without navigation now my road captain will have a navigation right after the road captain big words I don't know positioning man you know and then and then we roll up that's what it is you know captain is the guy who's who's orchestrating their movements as they're rolling kind of a parade going through. No GPS. No GPS. Well, he might have GPS. He might have GPS now. But he's coordinating everybody's move. I feel more comfortable if he has his GPS thing going. He's like the road manager.

It's a swarm, basically. You're basically following him, right? On the road or no? Yeah, pretty much. Yeah, he has the coordinates. You know what I mean? So we roll out and whatever happens, happens, you know. But it's his responsibility to make sure that we get to the spot we're supposed to get to.

So that's it. Holy moly. And if he fucks up, they leave him with the scooter and he's got to get back by himself. Yeah, and the greatest... You almost bombed that. You almost bombed the housing You almost bombed that. I was like, really? Nah.

It sounds like a decent punishment. Right? If you fuck it up, you leave him with a scooter, and however you get back, you get back. You want to say something? I'm sorry. No, I was just going to say the funnest thing about it is actually when you complete the journey. You know what I mean?

Because it's a physical thing. You're on the machine. It's a physical thing. Right. on the machine. It's a physical thing. Right. And when you do it and come back, there's a, you kind of feel like

you went through a kind of threshold kind of thing and you completed something. You know what I mean? It's kind of weird feeling like that. Yeah.

On Wednesdays, is it a woman flash you? Whip out Wednesdays? No. We don't know whip out Wednesdays. You don't know? He was ready to join and that was real out Wednesdays? No. We don't know whip out Wednesdays. You don't know? He was ready to join

if that was real. That was a real thing. Like, you know, I've always seen whip out Wednesdays. You know, I'm doing my breaking shit.

Whip out Wednesdays. Hey. No, no. I'm lost here. I'm not sure what he means by that shit. He was hoping that it was a thing.

The girls, they do it. All right. It's not her. It's not her. No, but I could take you to he means by that shit. He was hoping that it was a kick. The girls, they do it. All right. The girls, it's what I heard. It's what I heard. No, but I could take you to that spot if you like. I know where it's at. Yo, Nori, that would cause a lot of accidents, papa.

You know what I'm saying? That's fine. That's fine. Because you want a bike. Yeah. You ride the bike? You want a little one? No, fuck no.

Low riders, baby. Low riders. Low riders. No, it's just, it's just. No, he got into it. I remember when they both first bought their bikes, because Muggs bought one and Sendog bought one and a few guys from our crew.

Right. And they got them crotch rockets. I was like, man, y'all are crazy. I used to ride dirt bikes as a very young kid, and it just wasn't my thing. I got into low riders. So if it ain't a low low, I don't go go. You know what I'm saying? Holy moly, guacamole.

So how is it being the only Puerto Rican? It's all love. You know, Puerto Ricans and Cubans, they kind of all blend together. You know what I mean? I mean, you know know where I was born I was born in Hollis Hollis, Queens Jesus Christ

let's make some noise it was always you know my mom's best friend was Cuban and everything and you know my dad

your dad is a super legend yeah you know so it was always love you know so you know I felt right at home, you know. Is that how you found love with music, seeing your dad? Yeah, yeah.

I started with him, you know. I was five years old, my first gig, you know. Wait, what? Time off. Wait a minute. What the fuck did you just say? I was five years old. Five years old.

On stage. It was in the documentary. Holy shit. That shit was crazy. Yeah, so, you know, my dad put me up there. That ain't even my notes. What the fuck? That ain't been over my head. You didn't rehearse, right? No, no, I didn shit was crazy. Yeah. So, you know, my dad put me up there. What the fuck? That went over my head.

You didn't rehearse, right? No, no, I didn't rehearse at all. Oh, wow. My dad just put me up there. You know, I was playing on the pots and pans, you know, before I could even speak. So, you know, my dad recognized, you know, I had a rhythm. Wow. So he put me up there, and then I was doing gigs with him until he passed away. I was 15.

And then I took over his band doing the Latin jazz thing, you know, playing Latin jazz festivals and Playboy Jazz Festivals, Monterey Jazz Festival, keeping that music alive. You know, but that I always loved hip hop, you know what I mean? And, you know, you know, the early hip-hop always had, like, you know, percussion in it. You know, if you hear, like, you know, Grandmaster Flash and, you know, all that stuff. So it was there. So I knew that this was something that I wanted to do. And then, you know, shit just came for me, you know what I mean? Right.

Nah, that's beautiful. What made you want to add the vibe to your shows? I saw him one day playing with the Beastie Boys. Right. Right? And I was like, man, he'd sound really cool playing with us. He just knew that. He just knew that.

So I invited him to a show we was doing at El Camino College because my little sister went there. And the Latino studies people hit me up. I'm like, okay, cool, we'll do that show for you guys, but I also invited him. And you told me you played on one song. I played on one song. I remember him being there the whole show, too.

Right, but that's where I first saw him, with the Beasties, and I was like, I love to hear how he would sound with us, with our sound, with Muggs' production and B-Roll's vocals and what I was doing with my secondary vocal. I just had a feeling that it would work. It did. To this day, it sounds great.

Was it real estate? No, it was Latin lingo. Yeah, Latin lingo. It already has some percussion in it. You know what I mean? So that's why I gravitated to it, because I'm like, damn, you know, there's percussion in this. I can do this. I already knew.

Because Beastie Boys, they were tinkering around a little bit with Latin sounds, but they weren't Latino. You know what I mean? Right. But with Cypress, it was a whole different thing. was rhyming in Spanish so I felt at home you know when they came to you to say leave the Beasties and come to us it was a no-brainer or you had to think about it I don't know if I was approached like that. Like when we said, hey. It seems kind of like that. The Beasys are still mad right now. Yeah, yeah, I think so.

Listen, we absolutely poached them, but I'm saying. At least you openly admitted it. What happened was, you know, I mean, for about two and a half, three years, I was flip-flopping. I was doing world tours with Beasys, and then I go on with Cypress. It was going back and forth, up until Woodstock, Woodstock 94. You was getting a lot of pussy, let's just make some noise for you, god damn it. Yeah, you're really in my nose, that's my next nose.

What, pussy? No, what's that? Yeah, yeah, yeah, so, you know, originally, Cypress was to play on the Sunday, and that was my day off. I was doing Lollapalooza 94 with Beastie Boys, and somehow it got changed to Saturday. So I was like back and forth, man, should I go,

and what am I going to do, and everything like that. My mom, last minute, she says, motherfucker, you better go to Woodstock. That's a big thing. That's the biggest thing right there. So I left a note from I.D. I put it under his door like about 3 o'clock in the morning and said, I'm going to Woodstock. I'll be back for the show.

I.D. is from the Beastie Boys. Yes. So I did that. I didn't tell nobody. So then I flew to Woodstock. We did the show. I couldn't get out because it started raining and shit. So then I flew to Woodstock. We did the show. I couldn't get out because it started raining and shit. So I was stuck.

Was there mosh pit in the way? Oh, man. They were doing all kinds of shit. There was everything in the way. And I had to fly here to Miami after that. And tour manager was all pissed off. So it's Miami's fault. Bo, Bo, we need to talk to you.

You shouldn't have left us. It was very bad. All this kind of shit. Is that Leo Cole? No. That's not Leo Cole. No, no, no. He was the tour manager

way back when for Ozzy Osbourne. This guy. He's a legend. He's a legend. He's a legend. All right. So the guys that go ahead

and talk to me, you know, everything like that, I figured, well, shit. If I get fired from this gig, I got another one. You know, so they let me slide. You know, they said, Woodstock is, you know, that was a big thing. But, you know, let us know. I said, shit, I did.

I left a note under the door. You know, but, yeah, that was a wild thing. And then that was, you know, really the beginning of me really being part of the crew. All right. Let's make some noise for that guy. Let me ask y'all something. Where was the moment? Because, I mean, to us, I mean, this is hardcore hip hop.

But the craziest shit about making someone make someone of making the hardest core hardcore hip-hop it crosses over yeah like i could never see dmx ever be in commercial but he's like yeah where was the moment that y'all started to realize that that is happening to y'all that you know it's i don't know but it's that energy you got that energy that rock and roll energy you know what i mean That shit translates across them festivals. Right. And you get groups like Public Enemy, Cypress Hill, Run DMC. You know what I mean?

Groups that never cross over. Just because the energy crosses them over. Yeah, yeah, yeah. It's like, ooh, that's that shit. That's that energy they like. But what was the moment that y'all was like, wow, this is really it? It had to be the festivals, like seeing all those people. I think it was

the Woodstock Festival. It was 500,000. 500,000 people. Let's talk about Woodstock. It was 500,000 people. That's insane. It was about 484, close to five. Five? Don't even

talk about it. Be real without being real. I respect that. But hold on. You get the call. And now, has hip hop been on Woodstock prior to this? No. No.

No. You guys are the first of this. OK. Well, Salt-N-Pep was on it, too. OK. They were on the same show. They were on a different stage, though. They were on a different stage, yeah. But it was around that time that

you know like that hit because i mean i was one bit of back well what was crazy is it like it it hit me in that moment at woodstock because when we got invited to that and then seeing like the ocean of fucking people bouncing to our shit and when how i how i could just kill a man comes on they go ape shit and it's and it's crazy you know what i mean and that that's sort of when it hit like because i mean you know previous to that we had played sizable festivals and stuff like that but nothing that right that big and to see 500 000 yeah That's crazy. That shit was so big, you couldn't drive into the show.

We had to get a hotel in this other state right here, get in a helicopter, and fly into the show. And then land in the show. Yeah, because... Because it was like a 10-hour traffic jam. Well, no, the roadways turned into a fucking parking lot. Like, for real, people just got out of their car, fucking walked it, and left their shit where they left it.

It was like in the 60s. It was like the original Woodstock, right. The original Woodstock was 1969, I believe. Yeah, and some went in on boat. You know, you had to go where the fucking boat was and boat it in or you helicoptered in. That was only two ways in for artists. Man, that was wild, man.

Just to see all them people that's over there, like, it was nuts, man. Yeah, we came in on a helicopter. And then y'all land, and then they say, y'all got to go straight to the stage, or how does it happen?

We were there for, what, 40 minutes before we went on, maybe an hour. A little bit longer? Hour and a half. Yeah. Yeah. It was when we got off stage

that was everything. They kicked us right the fuck out. They're like, we got to make room for the next band flying in. So, yeah, it's not like, yeah, we killed it. I lost my shoes and socks on that show. I didn't bet on nothing but us to win. And I lost my shoes and socks. How do you lose your shoes? OK, so me and said or Sen and I for proper grammar's sake, from the Beastie Boys shows, we were jumping in the crowd, and that became a thing, us stage diving and doing that shit. We did it for a very long time. But it was new to us then, and Woodstock seemed like the place to do it.

So I go in, I get ravaged. My fucking shirt's getting pulled this way, that way. You jumped in the crowd. Yeah, I i jumped in we both jumped in the crowd i had to grab my my collar so that i didn't get choked out by my t-shirt getting pulled this way and do the song because like we never stopped doing the song we always finish you know i'm saying and uh as i'm as we're doing this song first you comes off second shoot comes off sock comes off they pulled you right the fuck out and you know and where is that she would suck right now and then I came back on stage and you know

I was barefooted I was like a hippie up there you know what I'm saying trying to do some hip hop shit but it happened on the last song because we finished with we ain't going out like that

that was our finisher for a long time. And at that point, it was new. But like, you know, so that was the last song I get up on stage. I'm asking for my shit back. Ain't no one throwing my shit back. But years later on another tour, I shit. I came across one shoe, right?

A motherfucker. From a previous show or from that same show? No, no for like years later like 10 years later We're on a tour somewhere with I don't know if it's it's probably further than 10 years, but it was either with 311 or sublime with Rome or slightly stupid one of those three tours we did with those guys One fan comes up and says hey, yo This is the shoe from Woodstock, would you sign it? This is one of the shoes.

Wow, I was gonna say that. And I'm like, cool, it was my left shoe. So I fucking signed it, right? Get on, about another year later, we're on another tour. I might have been with Proffitts at this point. He found the right shoe. Got the right shoe, he goes, hey yo, man. Give your version. Yay! Let me check, it wasn't the right shoe. He goes, hey, yo, man. Give your person.

Give your person. Let me check. It wasn't the same person. No, it wasn't the same person. Okay. Two different people. I never got the socks, though. So we're looking for the socks. If you want the socks.

Holy shit. Now, can you say something else? No, no, no. Now, you guys were also the first rappers with a Hollywood Walk of Fame sign. Because Colin is getting his on Monday. Yeah. And I was thinking, like, how far has hip-hop came? And then I'm looking at the documents, you know, like the first hip-hop group they ever gave one to is you guys.

Yeah, it was like Robert De Niro, Marilyn Monroe, Cypress Hill. That's a dope line. It was right down the street. All right. You went too fast. What did you just say? It's on Hollywood Boulevard. Robert De Niro, Marilyn Monroe,

Cypress Hill. Let's make some noise for that. There'll be no stars down the road that nobody goes to, but they're going to go to those right there. How does it feel, man? It's crazy because, you know, we'll get tagged in pictures of fans going to the star and, like, you know, smoking up or leaving some weed right there and taking pictures and all that shit.

Because some stars, they be pissing on themselves. True that. Yeah. Now they wrong. No, I see them volley Donald Trump shit you see what they was doing at one point

they put weed on y'all shit they celebrate it like stoners do we get tagged on it a lot and it's cool cause it's something I know ain't none of us ever talked about or expected. That was just, because I don't think as artists we come in expecting to achieve these things.

These accolades, yeah. We're just doing what we're passionate about and trying to win at it. And everything else is an extra. So when they came to us with that shit, I was like, oh, wow. Really? It's crazy to be, you know, I mean, for years

just walking those streets, just, you know, casually. And then all of a sudden, to have one, that's something else, man. I mean, to see that journey from Killer Man to probably be like, this is just a dope street record, you know, we just want to do it for

hip-hop, for the culture, to doing these festivals and then the Hollywood star, that's got to do it for hip-hop, for the culture, to doing these festivals and then the Hollywood star. That's got to be mind-blowing for y'all. It was. Did y'all smoke weed at y'all's speech? Did we? Yeah, we were all stoned. It might have been everybody smoking until

it's time to go on. As soon as it was off, you started smoking. I thought about it, you know, but I knew there was kids there. Right, that's true. And my daughter was there, so I don't want to pick her up. But, you know, the cool shit was not the star in itself was cool, you know what I mean? But the fans that showed up to celebrate it with us.

That was because, you know, some star celebrations not many people show up and, you know, it depends on who it is and you celebrate your star and it's all good and then it's fucking over, right? But we had a lot of our fans there that I did not expect show up and celebrate that with us and that meant everything.

That kind of meant more than the star. And not for nothing, you know, we buried some weed under that star. Oh. Right, I would have never thought of that. You've been a time capsule now. It's forever blessed. Don't go fucking trying to,

you don't dig up the star because it's not good anymore. It's just in spirit there. Well, you know what? I want to tell y'all again, congratulations on that. Thank you. It's a great fucking accomplishment, man.

It's a legacy that your kids and grandkids will continue to see and visit whenever they want to. You know what I mean? It's a monument. It's there forever. That's what great-granddaddy did. It's going to be the same a long time from now. Right. It has to be respected.

Now, who's Mike Miller? Mike Miller was the photographer that took the shots for the first album. So he didn't film the whole album cover? Yeah, like all those shots in that time, you know, when you see us on the album cover where we're by the fire and, you know, we're all looking at different ways so

don't necessarily see our faces and stuff that was shot at uh his father's steel mill that was uh you know it it's um what street is that uh nate right before nado it's santa fe road santa fe street or road it was that one steel mill that looked abandoned right not close to that pig farm thing that that you know that one that's over there around that area? No, no, way before that. Oh, okay. It's like right when you're coming out of Southgate on the backside. You would know it if you saw it.

Yeah. But we didn't know it was his father's shit. I mean, we'd been growing up and seeing that shit forever, and then, you know, he says, I want to take you to this spot. And Muggs was very pivotal in that because he was giving them the direction, hey, we want it to look like. Muggs, you've had that vision from get. Sorry to cut you off, but the art direction thing was there already.

Right, right, yeah. So we had this idea of what we wanted to do. It was a trash can, you know what I mean, a burning trash can, like you're staying warm. It was like August, July, August. It was already warm outside, you know what I mean? So we were trying to get the winter feel in L.A. So we had jackets on.

We had the fire burned. It was like 89 degrees. We was taking the pictures in the steel mill right there in Southgate. And that was Mike Miller's father's steel mill, so it made it easy. And the funny thing is the guy who was the assistant to Mike Miller was Estevan Orio, director of our new documentary. But you did a great job on it. Yeah.

What made y'all want to do the documentary? Because y'all had people filming it from the beginning. And shout out Massapew. I didn't know that they were involved. And it's on Showtime. Yeah. And Showtime. All the camera shit from the beginning is just us buying cameras.

You know, when movie cameras started coming out, one of the homies would buy a camera. The other homie would buy a camera. We'd just be shooting shit behind the scenes. Documenting everything. It wasn't live on Instagram, so we had our cameras. We had our own shit. When you watch a documentary, what kind of emotions do you watch? Because I'm looking at it like, man, these guys had a fucking hell of a life.

But I didn't live that life. No, but hold up. This is the thing that when I'm watching it, I was watching it with my girl last night, actually. And we're watching it, and there's so much shit that happens, and then it cuts to MTV News. And I'm like, yo, MTV News hasn't been around for so long. That much shit happened? Like, y'all lived like two lifetimes, and still mad shit happened after that, is what I'm saying.

Like, so much has happened for you guys. And one thing that didn't establish in the documentary is why you left the group, because that was the MTV thing, Sid leaves the group. But I don't know if you ever, like, said why did you leave the group at that time. I think I was just a scatterbrain.

You know what I mean. I couldn't really focus on one thing and I felt like I was more of a something that was against the group than something that could help the group. Lack of a better term. You was like the ODB.

I guess. Yeah. You know what I mean? I couldn't get my shit together what I mean I just it was I couldn't get my shit together I couldn't concentrate for the first time in my life I couldn't figure

the shit out where I what I wanted to do you know and the road life is rigorous like that shit is crazy yeah especially

when you're it's your first time out there and I'm not gonna make any excuses or whatever but yeah I went through culture shock and all that shit that you know and I would see these guys just raging on fucking tour and I'm not going to make any excuses or whatever, but yeah, I went through culture shock and all that shit that, you know, and I would see these guys just raging on fucking tour.

And I'm like, man, I just don't feel that shit. You know what I mean? I wouldn't, no, I wasn't having fun. It was the, I don't want to say a burden, you know what I mean? But it was like a heavy shit on me, um, to, uh, to just stay the whole time out there with them. You know what I mean? Wow. And I had to battle the, I guess, demons that were trying to tell me, like, fuck these dudes

and split, you know? And the right thing, which was telling me, stay right here with your crew. Right. You know what I mean? And I didn't always come through with that shit. Right. You know what I mean? So I've always felt shitty about that. Right.

You know, until I figured that shit out and became a constant part of the touring crew. And you started your own crew as well, right? Your own punk rock band, I believe it was? Yeah. Yeah, back in those days, yes. I started a band that actually helped me stay in music. You know what I mean? Because my idea fucked up as it was.

I was like, I'm just going to quit. You know what I mean? But these guys, like, we just need someone to practice with. Can you just rap? And I'm like, oh, okay. All right, whatever. And that turned into me staying productive productive doing music and this and that the whole time

B-Real would not you know he'd come over to my house like once or twice a year and be like hey nigga you ready yet or

and I'd be like nah I'm not ready yet you know what I mean so when I became when I decided okay I'm gonna go back to the crew

because thanks to these three cats right here they kept the band you know alive thanks to those three cats right here, they kept the band alive. Thanks to those three cats? Yeah. And they kept the band going while I took my hiatus.

Right. You know what I mean? Until I figured it out and I developed this, you know, who gives a fuck attitude, you know what I mean? And that's, you know, the same shit that I'm on till today. Because that's what I mean? and that's, you know, the same shit that I'm on till today, you know what I mean? Because that's what I was expecting almost, or,

you know, Ice Cube left NWA, so, and then, it was disreconciliated and, you know, back and forth,

so I was expecting that, you know, when you left the group, like you said, MTV reporting on it, how come you guys never took that route? No, but then you see the footage of what you said MTV reporting on it how come you guys never took that route but then you see

the footage of what you said on stage did you ever see that till the documentary what he was saying on stage no no he was basically

saying that like he was bigging him up he was saying look he's not here anymore but he's still a part of the group like it was more

supportive words yeah because he's our brother that's the way we look at each other we're not just band mates we're more than that and that i think that's why it's been able to be what it is because we understand each other you know if one of us is having a bad time we just back up and let it breathe and you know the rest of us continue to toe the line and make it happen and

you know he he got me into this shit this guy and this guy right here and and you know to give him his flowers mellow you know they got me off the street when i was banging they were already kind of in the game they could have pushed on without me and figured it out but you know they brought me in and you know there's there's only a couple different paths when you're banging especially in that time when it was crazy heated. And these guys took a chance on me, right? So, you know, when Sendog left, we weren't mad at him. We just tried to understand.

We were disappointed. But, like, we carried the line until he came back. And, you know, Muggs would from time to time check in on him. I would. Bobo would. And in his time, he came back and we accepted it, embraced it, and knew, fuck, you know, we were back. Yeah, we let him have his time.

We let him have his time. I just got to say that there was no, like, fucked up treatment from these cats while I went through my own shit. It happens like that. Like, the minute you show weakness in the armor or something like that, they kick your ass out. It wasn't that with these guys. And money could get in the way

of it too. He saved my life so I could never disrespect this guy. Same as Muggs, same as Mello. I might have had my problems with Mello in the past but I always got love for him because that basically saved my life. So we got to be understanding to one another,

you know what I mean? Especially when we've built it up, like, at that point. But was it difficult, you know, going on tours without him? And, you know, especially singing his part. I believe you was, like, singing his part. Yeah, we did a few tours where I was doing all his parts. Yeah, yeah. I mean, they split them between Bo Bo and me.

And then the ones that they couldn't do, I would do Send Dog's verses and we just, you know, sort of split it up. It was, you know, we still brought a show. It's just that, you know, we had the missing fucking component in Send Dog's energy, you know what I mean? And his voice, his tone, when you don't have that, it ain, we had the missing fucking component in Send Dog's energy. You know what I mean?

And his voice, his tone, when you don't have that, it ain't necessarily Cypress Hill. But we gave it to Krause nonetheless, and they accepted it. And when he came back, it was just like even more so. Yeah. And so in his time, man, and I knew he'd come back. It was just he needed time to breathe and reset because we were on a crazy pace. We didn't see home but for maybe two, three weeks at a time and then we were back on the fucking road.

We didn't see our families, friends, and nothing. It was like seven, eight months a year. We were on the road for like the first five years. No FaceTime, no Snapchat. No fucking social nothing. But there was no social shit. So you had to get out there and get face-to-face with your fans.

Get out there and do shows and do in-stores. You know what I mean? Visit radio stations and morning shows and night shows. When I first used to try to bring my people

from the hood and I used to bring them out and like, yo, you come with me. I can teach you now. If it was like 15 of them, seven of them would go home. Hey.

Within the first couple of years. That's a fucking mind. You read my fucking mind. You read my fucking mind because I was about to just say that, right? Is that you can, there's some motherfuckers that are built for this. Right. And some that have to sort of learn and gradually get into this. And some are not built for it at all. Because we did the same thing.

We brought a couple of my homies that I banged with and one of them snapped in for sure. He could live the road life but the thing is, is he got reckless. You know what I mean? The hood started flashing up in different places

when he would drink too much. Different hoods. Oh yeah. Different politics. And that's a liability because things could pop off, right? And then there's the other homie that we brought on who was a G, you know, one of my Gs.

And he spent a full tour with us, but he didn't want to do another one. Another one. He never wanted to come back. Because all he ever knew was the hood. He missed so much money in the hood. Yeah, or he just missed being around that shit, and he couldn't disconnect from it. Being on the road was cool, but I'd rather be in a comfort zone here because I know this shit. And some get stuck in that mentality, you know what I mean?

And Sen wasn't that. It was just that we were fucking going so heavy, it just gassed him. You know what I mean? And for me, I was like like this is all i got right i'm fucking we're rolling right and uh you know so it never got i never got tired of it i you know sometimes now i might but um at that point i was like fuck we're on we got to keep going and mugs was the same way and bobo and and i believe that sen was in this way but it just eventually it get when you're seeing

only two weeks at home and then having to do another eight week tour man that shit bears down on you eventually yeah hell yeah especially when

like you said there was no FaceTime back then no there was no like you probably felt like you was disconnected from the world

going overseas where it's really a culture shock because it's a whole different thing. Before the worldwide cell phones too. You know what I mean?

And you know, different languages, different food, different things. You know what I mean? Yeah, but imagine the international beeping. Oh yeah.

That's annoying. Oh man, hey. What was key though for a second is when those next tells came that you could do the walking,

talking shit. Yeah. That was first joints. Have you ever slowed down on touring, or it's been like this from the beginning? There was a couple parts. I thought you said COVID. Well, yeah, COVID definitely. That's been one of the longest stretches that we didn't touch the road.

But there was stretch. I was playing paintball, competitive paintball. Yeah, you got a paintball team and all that, right? I used to play as well. I was totally fucking addicted to that shit. You don't do it anymore? You don't have the team? I could put it back together, but I just...

What happened was this, right? You'll be addicted to paintball? I almost went pro, too. I almost went pro. Pro paintball? Yes. What? Million dollar cups?

What are you talking about? Let me explain to you, Norman. Oh, my God. Let me explain to you. There's two different styles of paintball culture. There's the ones where regular folks go in, they play what's called scenario games. Right. And they go into a field and they try to shoot each other out.

That's one. That's not the one that we were doing. Speedball. we were doing the one called speedball well let's just say this is the field it's cut in half it's a team and it's like a sport like you got your you got obstacles over here obstacles over there it's a mirror seven guys seven guys you're trying to get there and you're shooting guns you know paintball guns at each other trying trying to, like, communicate and strategize, like, chess with guns, you know, how to get these dudes out. You wanted to play paintball.

We talked about it a couple times. I mean, that's what it is. You didn't play paintball. I didn't play it over your faces. I was fucking addicted. But it's therapeutic in the sense that you're shooting your fucking paintball gun. I needed that because that was my time off right there. Like, you know, Sendog took his time. When I took my time, we all had off right there. Like, you know, Sendog took his time.

When I took my time, we all had to take a pause because, you know, it's a little bit different, right? So I took that three years, and I didn't realize I was taking that three years. I was just having fun doing that shit because competitive paintball takes you touring to different places. You get paid for this. If you win. If you win. But you're paying back. This is like golf. It's very expensive to pay for this if you win if you win but there's big but you're paying this is like golf it's very expensive to play but if you win yeah there's big bags if you win yes and sponsorships i mean yeah like you get real sponsorships we did we did

decent we were we were pretty good team but like what happened was this on my last tournament um on my last tournament in san diego that i played that we played as a team um you know this this dude comes up and we did horribly bad in that that tournament like we weren't communicating we were just playing like shit and we got we got cheated all this shit was happening it was just a bad day and this fan comes up right he goes yo be real man it's good to see you out here with the people like this man you know like fucking down to earth shit and playing paintball ambassadorship yeah man can i ask you something like yeah and thanks he goes when are you gonna make a new album and get back on tour and i was like you know I put out three mixed tapes the gunslinger series

um then we eventually work on rise up and we get back on tour we start touring heavy again But it was those three years And it was that dude in that tournament Who gave me the reality check Like I should be working You know like enough of having fun Shout out to that dude

Yeah shout out to you bro Cause like you snapped me back in I know motherfuckers like What the fuck is wrong with him We got You know what I'm saying And thank you for understanding that, guys. We never even, you know, got into him.

He's on with our hiatus. He's playing paintball. Y'all going crazy. No, this happened at different times. Oh, different times. I'm thinking this at the same time. I'm like, y'all going crazy. Because, Muggs, you never really went on hiatus.

We all got shit to do. Like we all got fucking about 20 things to do. You signed Alchemist, right? No, he was the little homie Look on this arm on the not to interrupt but on the footage of Woodstock, I believe that's his footage right alchemist was there What is this my foot? He shot it on my camera on your camera. Yeah Alchemist with the- Alchemist been down that long? Yeah, yeah. What the fuck? Shout out to Alchemist. He was- Yeah, dude. Alchemist got- They'll make some noise for Alchemist.

Yeah. I'm going to take a pee pee. Anybody got to go to the bathroom break? Yeah. Oh, let's take a fucking- Yeah, yeah, yeah. We're going to take a bathroom break. Yeah. Teksting av Nicolai Winther Salute. Salute.

So we're going to do, you want to explain the game? So Quick Time with Slime is going to give you two names, two groups. You got to pick one or the other. If you pick both or neither, which is the politically correct answer, we drinking. Everybody's drinking, though. We drinking with you. We all drinking. We all taking a shot.

Oh, shit. So you pick one. Nobody drinks. You pick both or neither of them. We all drinking. And then, Sonny, you drinking for Nori, right? Yeah. Where's Sonny at?

Sonny D. Sonny. Nori's on a cleanse right now. Let's go. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny D. Sonny at? Sonny D! Sonny! You know he's on a cleanse right now, let's go. Sonny's on a cleanse right now. Yo, I'm out of here. I need somebody to help me. Yo, we got a ring over here. So here's what we're going to do.

We're going to ask y'all two, I'm going to ask y'all two a question, and then he's going to ask y'all two a question. And then it'll be the same type of thing. You saying it to me, Az? Yes, you're there. All right, so cool. You ready?

I think so. Quick time of slide. Big up to my people from Cherry, Colorado. Uh-huh. My folks. It's Chamblee. Kid Frost or Metal Man Ace? Metal Man Ace.

Metal Man Ace. All right. So that's... All right, y'all two. House of Pain or Funk Dubious? House of Pain. Wow. They're together, man.

They're looking at each other. Jesus. What is Funk Dubious to y'all? Ice Cube or Scarface? Ice Cube. Ice Cube. All right. I'm glad I didn't have to answer that one.

Dre or Puff? Dre. Hold on, hold on. It's a long game. It's a long game. All right. Send it and be real. I want to see if y'all can answer like how they answer.

This is my team? Yeah, this is my team. My team is good. Come on, Sid. Come on, Sid. That's the rhythm section. Yeah. Let's get into the rhythm.

Sid and me, we're all right. We're good. See, we DJs over here. We good. We good over here. Exhibit or Razzcast? Exhibit. Gee, oh, they did it.

Oh, they did it. Oh, we back? We back. Oh. All right, y'all ready? Tribe Called Quest or Souls of Mischief? Tribe Called Quest. Jeez, man.

Now, this is going to fuck y'all up. I'm sure. I'm sure. We can tell y'all tour a lot together, man. Busta Rhymes or Eminem? Busta Rhymes. Go with you. All right.

Okay. Snoop or Game? Snoop. Jeez. We need better questions, guys. Let's not you. All right. OK. Snoop or game? Snoop. Jesus. We need better questions, guys. Let's not worry. We're not drinking. We haven't drank yet.

We're both smoking. Take a shot. Yeah! Yeah! Yeah! Yeah! Yeah! Yeah!

Yeah! Yeah! All right, cool. All right. I'm going to have tequila, dude. OK. You got the right there. Right there.

This is tequila. All right, we ready? Hold on. Let's let him fill up. You took the, you take a shot. You got to take a shot. Oh, you're going to takequila. All right, we ready? Hold on, let's let him fill up. You took the, you take a shot. You got to take a shot. Oh, you got to take a shot. I guess he's a show.

We just got to take a shot. Take a shot. Take a shot. No, take it again though. We didn't see you. Oh, I know that tequila was good. It's cold and mugs is cumble. How'd you like it, Mohamed?

How'd you like it? It's good. It's good. It's good. It's good. I dropped a plug. Okay, this one, I'm pretty sure we're going to go with this one. But I got to ask anyway.

Tupac or Nipsey Hussle? Tupac. Okay. Big pun or Biggie? Biggie. Biggie. Jeez, man. We're not catching them at all.

DJ Quick or Battle Cat? DJ Quick. DJ Quick or Battle Cat? DJ Quick. DJ Quick. All right. Outcast or UGK? UGK. Wait. I was going to say Outcast.

All right, you can say it. We can drink it. We're taking a drink. We all got a drink. We all got a drink. Yeah, no, no, no. When they disagree, they got to say UGK.

No, no, no. They disagree. They got to wipe some. Especially in the way they've been answering. Yeah, yeah, yeah. I ain't going to lie. I'm ready to do it. I'm going to do it. I'm going to do it. Yeah, no, no, no. When they disagree, they got to do it. No, no, I disagree. They got to watch. Especially in the way they've been answering. I ain't got a lot. I'm ready to start. Hip-hop Hollywood Square

is the way they've been answering. Cheers. Cheers. Cheers. Okay. Cool. Nice. You see, you know.

It's on me, right? Uh-huh. Ooh. Ooh. Ooh, that's a good one. You know that is on me right uh-huh Nwa a Wu-Tang Clan Nwa on you All right fat Fat Joe or E-40? Damn. I mean, this is the one that's probably going to make us drink. Fat Joe. Fat Joe. Yeah. Oh, my God.

All right. You didn't want to drink, huh? Podcast or radio? Podcast. Podcast. Radio. Radio. You got to drink too, right? Damn, Muggers going heavy with this shot. He did that on purpose.

It's like someone else who wanted to drink it. It's on you. Oh, man. Oh, this is a good one. Let me see. Let me see. Let me see what's going on here. Oh. All right. Okay, man. Oh, this is a good one. Let me see. Let me see. Let me see. Let me see what's going on here. Oh.

All right. Okay, yeah. American Me or Blood In or Blood Out? American Me. American Me. Woo. Don't look at me, little puppet. Don't look at me.

Don't look at me, little puppet. Don't look at me, you son of a... I was scared of that movie. Both of them. The other one. Yeah. Legit. It's a legit story.

American Me and Him. Blood and Blood. That's when the white guy. They're both based in the same time. That's ill. That's ill. Okay. The Chronic or All Eyes on Me?

The Chronic. Chronic. Kush or Sour? Kush. Kush. Jesus. You got to start answering at the same time. I'm not believing you anymore.

Remember, you got to remember. I know, I know. I know, I know. The Beatnuts or Souls of Mischief? Beatnuts. That wasn't it, bro. We were successful with Mischief. You got an answer.

You got an answer. You drunk when I was drinking? Yeah, I mean, I didn't want to use alchemist. That didn't go together. Nah, I would have been. Nah, nah, nah. Beatness is a group more than production. I'm not thinking of beatness.

I'm thinking of vote. Nah, beatness or alchemist? That was the real one. Oh, that was the real one. That was the real one. Too late. I don't care, but what happened to the answer? The question was asked already.

We followed you. Cypress Hillbilly is fucking nuts right now. Yo. Go ahead. What? No, bro, relax. M.O.P. Mobb Deep. M.O.P.

Mobb Deep. We're drinking. Salute to both.P. Bob D. We're drinking. We're drinking. Salute to both. Salute to both. What's up, my guy? What's up? I'll wait for Sam.

They're getting smaller and smaller now. You're going crazy, man. You need a shot glass. I'm a beer head. You need a shot glass in your life just because that's what I want. Beer and tequila goes right together. Yeah, it does. Okay.

All right. You ready? Boys in the Hood or Menace to the Society? Boys in the Hood. Damn. Rakim or KRS-One? KRS-One. Yeah, KRS-One.

Okay, you ready? Coogee Rap or Big L? Coogee Rap. Coogee Rap. I don't like this one, man. This is stupid. New York or Miami? New York.

See, I don't like that one. That's the two New Yorkers. EPMD or Gangsta? EPMD. EPMD or Gangsta? EPMD. Jesus. Bucket hats, baby. But I love them both. Yes.

All right. Brand newbie or Tribe Called Quest? Tribe. Y'all double on Tribe. I say Tribe. Okay, we drinking. Let's go. I think I made some noise for that.

Mama Wheezy, baby. This one, I don't know which I'm going to pick, and I need to know why you do pick this. Your own TV raps or video music box? Your own TV raps. Video music box. Okay, I need an explanation for both of y'all. Your own TV r because um they held

it down through those early those years of hip-hop when we really needed that show and i felt that um that whole that whole thing that they did and they spotlighted hip-hop and then some of the greatest hip-hoppers of all time were on that show. Video music box because they showed MTV the way. Oh, geez. He'll get it. That's our box. We're going to drink to that. Yes, yes, yes.

We can. Yes, that was our box. That was a beautiful answer. And you next after that. I'm going to change it up, though. Big Boy or the Baker Boys? Big Boy. Primo or Pete Rock?

Primo. Moni Love or Yo-Yo? Moni Love. Yo-Yo. And this is the last one. You might as well answer this all four of y'all together. Loyalty or respect? Let's go one more one.

Loyalty or respect? Loyalty. Respect. Loyalty. Loyalty. Break it down. Yeah, you can take a shot, Corey. Fuck it.

I mean, it wasn't the same. We got to take the shot here. We're all explaining it. She's going to explain it. Yes. You want some more Mama Wheezy? Ooh, loyalty. Well, you know, loyalty.

Because one person can't do it all by themselves. You need a team, and you got to be loyal to each other. And with loyalty comes the respect. Without it, there is no respect. That's real. And I agree with the brother's thoughts on what he said. But for me, you know, respect is everything. I don't care if he said, but for me, he don't, respect is everything.

I don't care if you don't even like me, but when I come around, you show that respect. You know what I mean? Yeah, I can see that. There's different levels of respect, but loyalty, you know,

if you're true, you stay loyal, you You know no matter what Oh man so If a motherfucker's Loyal to you He might not even agree with you But he ain't gonna wanna kill you Cause he's loyal to you

You know what I mean But I could have respect for you And I don't like what you think And all that shit And I'm gonna kill you motherfucker Cause I ain't to kill you because he's loyal to you. You know what I mean? But I could have respect for you, and I don't like what you're thinking and all that shit, and I'm going to kill you, motherfucker, because I ain't loyal to you. That was profound. That was professional and profound.

Now, what do you guys love more, making the record or performing a record? It's both. It's 50-50. Really? You can't have one without the other, especially in hip-hop. You know what I'm saying? You got to love both.

I mean, some are only good at one. Yeah. I mean, the energy's different. You know what I mean? When you make a record, and you're in the fucking studio, and you're smoking with the homies, and then the beat's there, and then the song's done, you're like, God damn. And you listen to that shit and the fucking speaker's on high and that shit's banging. You're like, yeah.

And then when you do a show and you got 100,000 motherfuckers right there and you're rocking that shit, you're like, woo. It's two different worlds. It's two different energies. You know what I mean? It's two different ways of just living as an artist, too. Right. Some are better at one and not better at the ways of just living as an artist, too. Right. It's like...

Some are better at one and not better at the other, but some can coexist and just keep killing it and killing it. It's like connecting a piece to a puzzle, right? Right. If you come to see that song live, as much as the energy that you put into making that song, performing it is everything because you win people over in that performance.

Like, if you like your song and you're having fun to it it becomes infectious if it's a good song you know what i mean so like you got to want to do both you can't be good at one and not the other and some of us start good in the studio or shit live but then if you work on it you can become better at it like for me i could say you know our first years i was like my energy was great you know but longevity is i'm sorry dog longevity as an artist and to like keep your ecosystem like circulating and keep everything moving do your records do your shows do your records do your shows do you just keep going and the more shows you do you get better at it right right. You know what I'm saying? Because again,

I was shit in the beginning. My energy was there, but my control and all that. The exercise, like you're learning. Right. It came with time and doing it. You know what I mean?

So you got to have love for both. You got to love hitting that stage and performing that song as much as you did creating it and recording it. But once you already get it on the performance level, it's got to be so fulfilling, though,

because something that's subjective in the studio that you think is dope within the studio level, and you take it out to the world, and that world gives you that energy back, that's got to be

something special right there. It's two other energies. In the studio, you're creating something from nothing. There's nothing there, and you walk in a day, and you come out

with that motherfucking song, like, oh, we just made that shit show. But then tours, fun, but it's the same shit every night. The same shit. The traveling's the hardest part. The shows are the fun part, right? And you're doing that every night,

but that's a different energy you get from the crowd. But it ain't the same shit as making the records. Right, right. How about you? Being a part of a, being a musician, I love to stage, I love to stage. I love to perform in front of people. That's a jazz motherfucker since he was five at the Playboy Jazz Festival.

What the fuck? Titty's at five. What is it? What was that? Wednesday? What about Wednesday? He's at five years old. I mean, I knew about the stage before recording,

but the energy in recording and creating something is incredible, that energy. But I can't wait to get up on the stage and just blow it up, kill it, and just get that same reception or any kind of reception from that big energy from the crowd. That's real fulfilling for me. Yeah. For me, it's a 50-50 thing.

I mean, I love being around the brothers in the studio, smoking joints, hitting the bong and all that shit and recording jams and all that shit. And then we get a chance to tour around the world and have people trip out on what the fuck we just did, you know, six months earlier. So it all goes together. If you don't record, you can't tour. So record to tour. You know what I mean?

And that's what it's all about. down to talking about being a musician and actively, you know, hip-hop band that we do our thing, you know, there's not one without the other. You know, you got to have them both. And you got to figure out that balance in the process of your band blowing the fuck up and becoming world big-time famous. Right. You know what I mean? And remember that it's all about the recording, and then you gotta go do this fun shit.

And the fun shit isn't always so fun as it is work, like Mug just mentioned, you know what I mean? Make some noise for that. You also, yeah. Rivers come. Laird Van the White. So, speaking of going on tour, how different was it going on tour with Lip Biscuit?

It was different in the sense of, okay, well, let's start from back in the days when we were doing just strictly hip-hop shows, and then we'd come across this Lollapalooza thing, right? And then everything switched from there. So from 1992, late 1992, we saw people

walking on top of each other, flipping backwards off the stage and things like that. Like crowd surfing and shit. Yeah, we saw that.

So when Biscuit came around and the size of their production and the outrageous things they were doing, because Biscuit was always outrageous.

You know what I mean? So when we seen that shit, I was I'm like okay we just got to go up there and just be ourselves no matter what they do which I gave respect to you know we just had to go out there represent you know be Sam Bobo and mugs and be and do what we do because that's what people came to watch us for not not for not what they're gonna do what we're gonna do and we do because that's what people came to watch us for not not for not what they're going to do is what we're going to do and we always figured out a way to you know scratching that you know marking that stage that we were on and leaving it leaving that mark on there forever

yeah we're always competitive too about it you know like we were really going to steal your biscuits or this is your well that was biscuits it was Biscuit's tour. It was their tour. It was a Napster tour. Napster tour. Yeah, that's right. Napster was the first year. Free concerts. Free concerts. Free concerts.

Which is crazy. The first time ever, it was like, we're going to give your music, Nori, the shit you worked hard for, away for free. And just shut up and sit back and go have a seat. Were you conflicted about that? But they were training y'all for the tour, obviously. No, I knew there was a future. You knew that that was the future?

You can't fight technology. Right, right. I mean, technology is the realest shit ever. There was the horse, and then there was the car, and the horse motherfuckers was like, well, look at that stupid fucking metal thing driving down the street. Which Metallica was fighting in.

Technology never loses. You know, the record companies were behind on that shit. You know, they didn't fall in the way they could have. And, you know, it put a big dent in the game, but we saw something different. So we went on that tour with Biscuit. And, yeah, you know, it was fun. I mean, like, yeah, their production is crazy,

but they scaled it down for that one because it was significantly smaller venues than they were playing at the time. All the shows was free for the fans. Yeah. So nobody paid. You just got in line and whoever got in was in the show and then the door was locked. Not for nothing.

That's crazy. Not for nothing. We gave it a hell of a run though. You know what I mean? Those fans were there for it. Like when we went on and we played our set, it was significant impact. You know what I mean mean like they were going crazy it was explosive that was what what was the cool thing about touring with limp biscuit is that

you know their fans and our fans you know mixed together well and it made it for a great tour you know what i mean um they brought it we brought it and it was a win-win. But, you know, at the time, because we were on this Napster tour, you know, it wasn't very popular to be doing that shit. But, you know, we're always like, well, fuck it. Because Napster seemed like, at that time, especially like the industry devil. Like, this is the people that, yeah, yeah. Right, but they kind of saw where the industry was going to go.

Right. Even if they didn't really fully know. They were ahead of their time. They were ahead of their time. You got to skate where the puck's about to go, not where Even if they didn't really fully know they were ahead of their time. They were ahead of their time. You got to skate where the puck's about to go, not where the puck's at. You know what I mean? And for us, it was like,

okay, Limp Bizkit's asking us to play support role here. And I'll imagine some great money. And we're looking at it like, yeah, it was all right. It was more the fact that we were going to get out in front of these fans and possibly win some of them over.

You guys obviously, sorry to cut you, but it seemed like you guys always understood the investment in getting in front of the people. You know what happens? Like, you might not get the show money that night, but your merch is going to pop. Right. 30%. Your publishing checks that are already crazy are going to pop another 20, 30%. Because of that shit, you might have lost a little bit of something for them. Shows for the intermediate, but for

the long run, your shit's about to... You gain passive income forever. Mailbox money, just there because you sacrificed a little bit there, you know what I mean? So you got to understand, you got to look at your whole thing and what you're doing as an ecosystem and just like invest your time and energy

where it's the best for you to create the energy to get the, you know what I mean? And the other thing was, you know, the competitive nature of it, right? Being a hip hop group, going with this band that's very aggressive and holding ours within it. You know what I mean? Like we carry it. Right. You know what I mean? Like we carry it. And, uh, cause that's important to us. Like we can, we, you can put us in any fucking scenario and we're going to rip shit.

We, there's been shows that we did where it's like all metal and we're the only hip hop on there. And this is before we started kind of doing the fusion type shit and just still playing hip hop. And we're opening for, or playing support for Metallica and a fucking metal festival in fucking Germany. There's Biohazard. There's Fear Factory. There's Deftones.

There's Korn. There's all these different groups there. And we're in there, right? And as representative of hip hop, we're fucking killing it in the middle of all these fucking metal groups who, you know, a lot of these cats came to see and converting them into Cypress Hill fans. And that's been one of the gifts that we've had, that competitive spirit in us that we're going to go out there and we're going to make it hard for whoever's coming on after us. Like for me, there was all these motherfuckers that they started, like they couldn't rap. So they started getting, making rock bands and it was rapping on rock shit,

but they couldn't rap. So we was like, oh, check this out. I'm going to show you how to do this shit real quick. You know what I mean? Yeah, and it's like, we never had to have a big production, you know, all these crazy things on stage and everything like that.

Props and shit, right. Props. We never had to do that, you know, and a lot of- But at one point, yeah, I did. You had, like, the skull. The Buddha. The Buddha. Yeah, we had the skull on the backdrop for a long time,

and we tried to keep it, like, really, like, about our energy, right? And then there was a time we would take Buddha out with us and put him in front of the backdrop and holding that big ass leaf and you know that was probably like the the biggest stage figure that we ever had on stage next along with the king we had a king that blew up and he was sitting on the throne with a big ass joint or spliff or whatever and um those you know those were the biggest sort of visuals that we ever had on stage with us, because for us, it was all about our energy. If we can't if we can't move the crowd on our energy alone and not have all the fucking bells and whistles that you see a lot of groups spend a lot of production money on, then what the fuck are we doing? If I can't rock a small, if we can't rock a small club or a huge fucking house without all that shit,

then what are we doing? And so we've always relied on our energy and all that other shit is just, you know, a visual to like be extra. So, you know, we really focused on light shows for a minute because we knew a lot of our fans popped shrooms before our show

and would watch the show, so we gave them something to see, you know what I mean? But most of it is, you know, his energy on the turntables, his energy on the mic. That early shit, it was before electronic music. Like, it was, we got the inspiration

from psychedelic rock, you know what I mean, from the 60s. Right. That electronic music was weird for us growing up. It was motherfuckers, like, had high heels and some vaporizers on their nose. Eyeliner and shit. The electronic culture, we never, that shit was weird. We was like, that shit's over there.

The Medal of Honor is the highest military decoration in the United States. Recipients have done the improbable, showing immense bravery and sacrifice in the name of something much bigger than themselves. This medal is for the men who went down that day. It's for the families of those who did make it. I'm J.R. Martinez. I'm a U.S. Army veteran myself, and I'm honored to tell you the stories of these heroes on the new season of Medal of Honor, Stories of Courage

from Pushkin Industries and iHeart Podcast. From Robert Blake, the first Black sailor to be awarded the medal, to Daniel Daly, one of only 19 people to have received the Medal of Honor twice. These are stories about people who have distinguished themselves by acts of valor, going above and beyond the call of duty. You'll hear about what they did, what it meant, and what their stories tell us about the nature of courage and sacrifice. Listen to Medal of Honor on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts.

A lot of times the big economic forces we hear about on the news show up in our lives in small ways. Three or four days a week, I would buy two cups of banana pudding, but the price has gone up. So now I only buy two cups of banana pudding, but the price has gone up. So now I only buy one. The demand curve in action. And that's just one of the things we'll be covering on Everybody's Business from Bloomberg Businessweek. I'm Max Chavkin.

And I'm Stacey Vanek-Smith. Every Friday, we will be diving into the biggest stories in business, taking a look at what's going on, why it matters, and how it shows up in our everyday lives. But guests like Businessweek editor Brad Stone, sports reporter Randall Williams, and consumer spending expert Amanda Mull will take you inside the boardrooms, the backrooms, even the signal chats that make our economy tick. Hey, I want to learn about VeChain. I want to buy some blockchain or whatever it is that they're doing. So listen to Everybody's Business on the iHeartRadio

app, Apple Podcasts, or wherever you get your podcasts. The American West with Dan Flores is the latest show from the Meat Eater Podcast Network, hosted by me, writer and historian Dan Flores, and brought to you by Velvet Buck. This podcast looks at a West available nowhere else. Each episode, I'll be diving into some of the lesser known histories of the West. I'll then be joined in conversation by guests such as Western historian, Dr. Randall Williams, and bestselling author and meat eater founder, Stephen Ranella. I'll correct my kids now and then where they'll say when cave people were here. And I'll say, it seems like the Ice Age people that were here didn't have a real affinity for caves. So join me starting Tuesday, May 6th, where we'll delve into stories of the West

and come to understand how it helps inform the ways in which we experience the region today. Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I know a lot of cops, and they get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes, but there's a company dedicated to a future where the answer will always be no. Across the country, cops called this taser the revolution. But not everyone was convinced it was that simple. Cops believed everything that taser told them.

From Lava for Good and the team that brought you Bone Valley comes a story about what happened when a multibillion-dollar company dedicated itself to one visionary mission. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. It's really, really, really bad. Listen to new episodes of Absolute Season 1, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Binge episodes 1, 2, and 3 on May 21st and episodes 4, 5, and 6 on June 4th. Add free at Lava for Good Plus on Apple Podcasts. You know what's crazy about the group is I could go to an all-hardcore hip-hop party.

They'll play Cypher Zell. Right. Absolutely. I could go to a soft party. They'll play Cypher Zell. I could go to an all-white party where literally there's only white people there. They're playing Cypher Zell. I could go to any, like, you guys are a universal group.

Was that something that was calculated or was that something that was done by mistake organic organic yeah that's what i mean excuse me organic we just did whatever the vibe was you know like you know it's it's like painting pictures you know mugs would make the beats and be like yo i hear this on this shit, so I would try to write what that was. And then, you know, same, you know, as we're constructing this shit, it's just working towards that goal of painting that fucking picture. You know what I'm saying?

Let me ask you, how important, was it even important to represent Latinos when you came out? Like, I always tell Nori, when CNN came on the scene, just him flipping those couple of spanish words was a was it like a like a beacon for latinos out there hip-hop heads you know it's very important yeah because we but the thing is is that what i try to explain to people is like, we never, Latinos are a part of hip hop culture. Since day one.

But, you know, the DJs, the graffiti artists, the b-boys, everything, we're never as much in the forefront. Right. For whatever reasons. And so, for groups like you to come out, like, did you guys know what you were doing? Like, how much, like, what it could do for Latinos in hip hop? Not right away. You know what you were doing like how much like what it could do for latinos and hip-hop not right away you know what i mean like we as far as me speaking and i i think that we we were just more concentrated on being a solid hip-hop band and and since my brother had already done the latino thing and and frost and these these are all guys that we rolled with, you know what I mean? And I kind of felt like we needed to separate, right?

But at the same time, it was showing through, it was coming through in the vocals, you know, and you could tell. It wasn't overt, which is what made it dope. Exactly, exactly. And when I look back at it, I think it was a very important move to, you know, to be be on there on that level because it opened up to not just America or whatever, it opened up to the whole globe. What's crazy is that we got signed from an all-Spanish song that Send Dog had done, right?

Not Latin lingo. No, it was called Caliente, Cosa Caliente, or something like this, right? It was whack. And, you know, that's what got us signed. That's what got us signed. It's not that whack, buddy. It was good.

Obviously, we didn't end up using it. But, like, you know, they saw the potential in a Latino hip-hop group, which there wasn't at the time. And we happened to be Latinos. Yeah. You know what I mean?

And so they thought, we're going to lean on that, and we were like, nah, don't put us in that box. We're going to sprinkle our shit. We're going to sprinkle our shit, like Muggs would say, we're going to just sprinkle little pieces of it, because realistically, there's no market for that, and we're going to be stuck.

Man, the real shit was, you know what I mean? Like, you came out and like, you marketed yourself as Latino. Yeah. And then like,

let's make dope music. You don't even need to know what we look like. We're going to do our shit like this. Hence the mystery. Hear the fucking music. Right, organic shit.

We don't even need to be in the pictures. Here's the music. You know what I mean? Boom. And we sprinkled it with Latin shit because it is a part of who we are. You know what I mean? But you don't lean on it.

Like, this is my thing. It's not a gimmick. It's not a gimmick. Because at that time, because at that time, if you were Latino, you were expected to sound like either Frost or Mello,

and we weren't that. And we weren't going to, yeah, and we weren't going to allow anyone to box us in like that because we were trying to make hip-hop music, not Latino hip-hop. And doing that and saying, you know, don't market us this way. Market us as a hip-hop group. We opened the doors for other Latinos because we showed what Latinos can do just without a fucking label.

Just being a hip-hop group, you know. And that's a label in itself, but it was representing hip-hop. Because you weren't overtly trying to be Latino. That's the thing. We were just being hip-hop group you know and that's a label in itself but it was representing hip-hop because you weren't overtly trying to be Latino that's the thing we're just being hip-hop being Latino right it's a big difference right and we never really we never really played to it heavy it was just sprinkles it was like the weed songs it wasn't like shit like we planned it you know it was like whatever mugs gave me if it spoke to me this way this is the way i'm going right so that's that's the way the latino shit was oh this shit sounds like we should back then you know we come from a different part of la he's nice for a latino that's they used to say things like that like i'm nice for a lot i'm saying like period they used to be

like oh like he's nice but he's nice for a latino you know what i'm saying like they used to say shit like that yeah um i. I think you guys transcended that and I think what deaded it all was pun. You guys transcended that and then when pun came, you deaded it all. Hey, because my man right there and Joe as well. Yes, fat Joe.

you know, in salute to Joe, man. Flowers to my man. Before I walked in, Joe called me. I forget what he called me about. This was crazy because I was so studying y'all. And I was like trying to get him out. He was like, and I said, yeah, I'm about to interview Cypress Hills. He said, well, those are the only guys I look up to. Joe is my man.

We've always been locked in, man. You know, he asked me to get on a record with him punting Coogee rap. And that was like, wow. He asked me to get on a record with him punning Coogee rap, and I was like, wow. Wishful thinking. The B-side of that joint. Still not a player joint. Yeah. And this is where pun is coming up. Yes. But, you know, so salute to my man, Joe, and it's much

respect, but pun was a different animal. You know what I'm saying? In terms of being an MC and a writer and a stylist, like, a lot of motherfuckers are not doing shit unless they heard his style. Right. And, you know, I fucks with pun in that way,

like, because he was a stylist. Like, his flippage, his verbiage, and just, he was, rest in peace, man. He was one of the best. He don't get enough flowers. One of the best. Yeah, sure. Hold on, hold on, hold on. Hold on, enough flowers. One of the best. Yeah, sure.

Hold on, hold on, hold on. I was gonna say something. Do you remember what you were gonna say? You were gonna say something, you were saying something. I don't remember. Oh, no. You got all that fun, right? You got anything to say about that? Oh, absolutely, yeah, yeah, yeah.

Man, you know, on the Latino thing, I think it kinda also hit when we went to places like South America and they love hip hop, but Cypress Hill gave them something that they can relate to. They can understand. They can understand and they can relate. And doing like when we did the Spanish album, that was like, for them, it was like, oh my God, they're really like listening to us, you know,

that this is for us. And when we do like, I Want to Get High in Spanish, they're singing the hook. I mean, B doesn't even have to sing the hook. Are you about to cry? I got emotional. I got emotional. I got emotional.

No, but they don't, you know, they sing the hook. Because it's like something like, wow, you know, they got it. Because a lot of them, they're not speaking any English, but they love hip-hop. Yeah, it was crazy seeing that. Like, you know, before we even did our Spanish album or EP, whatever you want to call it, to go in these Spanish-speaking countries and them you know singing songs all in english they don't know what the or maybe they got some sort of translation on it but it's a lot of slang so how do you properly translate that right but to see them singing

the songs and you know for us that album that that Spanish album, Grandes Éxitos, right? That was our play in saying, you know what? We know we got a Latino fan base. We're going to fucking smash one for them. Yeah, and we didn't really know how well that would be received. Because the way that Sendog and I flip in Spanish in Los Angeles, it's a different sort of dialect. It's a hybrid.

You know what I mean? So like everywhere, like anywhere, it has different slang. But it didn't matter because everybody's just going to. Right. It's representative of that. Right. So we didn't know that. We were just doing the shit.

And when it hit in South America and it hit in Spain and it, you know, in Central America, man, we were like, oh, shit. And then you like, it's a whole nother career that just opened up. It wasn't there yesterday. There it is. Yeah. It's fucking birth like reggaeton and all that. Like you and us. I was about to say that.

You. I was about to say that because, about to say that because you know I always take advantage after I did reggaeton and I would like we would go to like hip hop spots and then I would notice Spanish people were in the building

I'd be like I'm taking full advantage yeah I'm taking full advantage of the crowd nobody else can do this shit right yeah yeah yeah

I remember I had I remember one year I had the Puerto Rican April Raid and I had it was me Jadakiss, and somebody else. And I brung out. So it was the Puerto Rican April Ray. So I brung out Nina Sky, Daddy A.D., Fat Joe.

I just brung out every fucking Latino that I knew. And I just threw the mic at everybody. Like, your turn. And I was like, fuck you. And I was like, yeah, I mean, I take full advantage. I remember, you know, I did some shit with with Tony touch salute to my man so I've done many collaborations

with Tokai you know what I mean that's one of my good friends salute to you motherfucker he's a great dude and you know

so I did this joint with him and Nina Sky and you know he wanted to film a video for it I'm like oh hell yeah

he's all flighty to New York papi you know what I'm saying I got you so I go out there and we do it and it's for puerto rican day parade oh yeah it was that shit is wild man we don't have that shit in la so like it was just another experience it's like when you're not the cuban

day parade nothing no man it's not the same it's not the same. It's not the same. The Cuban Festival, remember that? That's right. They don't do ring and barbells in L.A.? It's not the same thing. I remember that. It's not the same thing. And, you know, Muggs would give me experiences and shit like this, but, like, Tony asked me to come out to do the video for that shit, and, you know, it was fucking amazing. And then Fat Joe comes through on his float.

He got to fly his fucking float in the fucking Puerto Rican Day Parade. It was like nothing, man. You know, like, that's the cool thing about New York, man, is it has... You got to party the fuck up. You got culture. You got mad culture. Every culture is thick and celebrated. You know what's funny about the Puerto Rican Day Parade?

My father used to make me ride the train. And I used to sit on a cooler and he used to make me, don't get off the cooler. And then I would sit on the cooler and then we would make it to the actual Puerto Rican Day Parade where you got to get there early to get a spot. So you got to get there like around 7, 7, and my father will have me selling beers. I swear to God. Seven years old. Such a Puerto Rican. You know what I'm saying?

I never saw nothing wrong with this until I had children my own. That was like my father was a father. There's still nothing wrong with that. There's still nothing wrong with that. I'm selling beers in Manhattan at the point of me they were raised. Hustle Hall.

Yo, for real. Seven years old. How much for the beers? How much for the beers? Back then it was five bucks. Five bucks. Five bucks back then still. then it was five bucks. Five bucks. Five bucks. Five bucks back then.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot. That was a lot.

That was a lot. out here. So, what made y'all want to do this documentary? I think the history of it all is important. You know what I mean? Because we were the, the kids, we were the kids that everybody

had caught it out. You know what I mean? No. Yeah. Not from our point of view. No, I'm talking about

from the original inception. Okay. You know what I mean? Kids in general. Like, he was off, you know, doing some hardcore

gangbanging stuff. Right. I was working warehouses. I hadn't met Bobo yet. kids in general he was off doing some hardcore gang banging stuff I was working warehouses hadn't met Bobo yet Muggs was always the driven one trying to go get him we need him for these vocals

we knew Muggs before that group but that group was the entry into and and you know so that but that group was the the entry into the game right you know i mean and uh because we were already boys before then you know julio g salute to him he introduced us to mugs you know what i mean and you know we were like-minded individuals all of us the type of shit we listened to aside from hip hop before hip hop and and hip-hop. You know, this is like something we all had in common. And, you know, that's how we met, Muggs, was through Julio and shit like that.

Let's talk about Julio for a second. Like, how did you hook up with Julio? Big up Julio G, by the way. Yeah, big up Julio G. Yeah, legend. I had a homeboy in Bell Gardens that had a cousin that knew Julio and I was DJing some hip hop shit. And was Julio on the radio at the time? He was on the radio.

He wasn't on the radio. LA was about some freestyle shit and it was all Latino, you know, all the neighbors was Latino. You mean freestyle music or freestyle? Freestyle music. And then hip hop was like, you could play Planet Rock at the party. And that was the hip-hop you played. So I was on some hip-hop shit. And he was like, yo, my cousin's homie's on some hip-hop shit. So I went to this club. It was a Capri, right?

Capri, yeah. This club called the Capri right there, right where they lived and shit. So I went over there, met Julio, and then kicked with Julio for about a year, DJing. And then one day he was like, yo, I'm going to bring these dudes over. We need to make a cassette. Cool. And I was like, pull up. And then B came.

Your brother came. How did y'all go with Julio then? Well, Julio was, you know, he went to Southgate High. Did he? Yeah, with Sendog's brother. Yeah. And so we knew Julio through, and he was

in the B-boy circles over there, man. He was nice on the floor, but so was Muggs. Muggs is a beast on the motherfucking floor, Mike. Different story. But we knew Julio through Mello. And they were both into the hip-hop

shit, you know, B-boying and all that stuff before we got into rapping. You know what I mean? And so that's how we knew Julio, and Julio eventually transitioned out of the b-boy shit into the turntables. You know what I mean? And, you know, that's when these two guys met, when they both transitioned out of the b-boy shit into, you know, getting on the turntables and doing shit.

And so we knew Julio for a while, you know what I mean? We saw him go from doing breakdance shit into going to turntables and eventually going to K-Day, which was the hip-hop station in L.A. at the time. You know how there's certain clubs and there's certain parties in that neighborhood, right? And we all go into those clubs and parties and you see motherfuckers like

going through their stages and shit. Right, right. And, you know, so Julio, we saw him go through all that and, you know, when we were just sort of doing this shit as a hobby, you know, them two met.

And which fella he felt like this time? We didn't know who he was. No, he was too young at that time. doing this shit as a hobby, you know, them two met. And where's Felly Fella at this time? We didn't know who he was. No, he was too young at that time. No, he was too young. He was, that was,

this was like in, what, 87? 86. 86, yeah. I was 16 years old at the time. So we was kicking in 86

and our first record came out in 91. Wow. So we was kicking it. Yeah. Metal Man and Julio actually went to out in 91. Wow. I mean, so we was kicking it. Yeah. Melo Man and Julio actually went to high school together. Wow. Right? So we were

always aware of his, of him in the area, right? So when we first started, you know, doing the rap thing, the only other guy in Salgate High School that DJ'd was Julio G. Yeah, and Julio was Melo's DJ when he got on

with Mentirosa and all that. Like, for his most, Melo's run, it was Julio G. Oh, yeah? Yeah. As his DJ? Yeah, as his DJ. And Tony G was, you know, his, like, the guy that Julio

was, like, an apprentice to. You know what I mean? Like, Tony was, like, the guy that Julio was, like, an apprentice to, you know what I mean? Like, Tony was, like, the master at the fucking time. We all looked up to Tony G, and, you know, Julio G came from Tony, you know what I'm saying? And so, you know, we went that far back with Julio, you know, and that's why he even spent time on tour with us, like, DJing. Wow.

You know what I'm saying? So salute to Julio G out there. Yes, yes, yes. Julio G. If it wasn't for Julio, we don't meet Muggs, and there's no fucking Cypress Hill. Yeah, there's that connection that all of a sudden happened one year, and brought us together.

Julio was from Linwood. Yeah, he's from Linwood. I was from Linwood. They was from Southgate. Yeah. It's from Linwood. I was from Bill Lawrence, they was from Southgate, Julio was from Linwood. It's all close in proximity. We was kicking it and then one day

we had a homeboy named Eli, he was like, yo, I met these two dudes from New York called Brett and Sean from 7A3.

It was my, these two kids from East New York, from Linden Projects in East New York and they was signed with Ice-T and then I got down

with them. They was signed with Ice-T you said? They was signed with Ice-T. Okay, cool. And then we was throwing a party in East New York, and they were signed with Ice-T. And then I got down with them. They were signed to Ice-T, you said? They were signed to Ice-T. Okay, cool. And then we was throwing a party in East LA, and they came. And it was like, hey, you want to do a show with us? We're throwing a party in East LA, and they came. And then eventually I got with them, put out a record with them on Colors,

the Colors soundtrack. Colors soundtrack, yeah. Yeah, and then we went out and put out an album and shit, and those were some of the homies, too. Wow. He was down with Rap Syndicate at one point, right? Rom Syndicate, yeah. Rom Syndicate.

Yeah, Ice-T, Rom Syndicate. That group, 783, was down with Rom Syndicate. Right. So we was down with Ice-T. He was like a little older homie, you know what I mean, putting us up on game, talking shit, letting us know what's up. He's like, he's a little older homie, you know what I mean? Putting us up on game, talking shit, letting us know what's up.

He's like, you want to fucking be in this rap game? Y'all want to hang out and like flex in front of these bitches and shit, you know what I mean? Yeah, y'all motherfuckers don't even put it

in the motherfucking work, you know what I mean? Put it in the motherfucking work, homie, you got to show up to this shit eight hours a fucking day like a fucking job if you think you're going to get money

off this motherfucking shit. It's Ice-T telling us, yeah. In like 87. In 87. And I was a little kid like, hey man, we got to put in this fucking work, yo, if we're going to get this shit. Oh, you're soaking it up. This ain't like a little hobby or some shit. If we're going to do this shit, we're going to do it right.

We need to put the fucking work in like it's a nine to five, you know what I mean? He was always closest to the sources, so we'd absorb from him. I see. No, mugs, because he'd be with Ice and them, you know what I mean? Absorb the music. The music industry was small back then. There was nothing. There was no access

to a record label. You had to know a homie, either I knew a homie, or I knew you that knew somebody at the label, but that was it. There wasn't a shortcut to the label. And I got to big up Brett B, you know i'm saying because he actually taught me how to write a song i went you know i was writing raps before and i was pretty good at writing but like i didn't know shit about writing songs and he he knew that

you know back then in rap there wasn't hooks yet my focus was rapping so it was like hooks like bridges yeah making songs, making records. Like in other music genres, they were doing that, you know, but in hip hop, it wasn't so prevalent, right? So, you know, the one thing about Brett is he showed me how to break those pieces down, you know we i think it was um i think maybe hand on the pump like was like the key in where i i was like oh i get it now right you know what i mean in our demos in our in all our demos like we did a lot there's shit that you know people would trip out on because we don't even sound like us at that point but you know at a point where we snapped in right hand on the pump was one of the songs where brett like we we co-wrote that song

he took lead but i co-wrote it and that sort of gave me the the the oh this is how you write a fucking structure right and so i started structuring structuring all my writing after this. And man, if it wasn't for that experience with fucking Brett, I wouldn't have never never learned how to write a fucking song. So salute to you, Brett. You know what I'm saying? So you guys marketed yourself as like the rap Chi Chi Chong, right? I don't know if I pronounce Chi Chi Chong. Chi Chi Chong.

But how dope was it for them to embrace y'all? Like, because... Yeah, seeing them on the dark was... Yeah, like, they had jokes on y'all and everything. It was like, you could tell y'all are friends. Yeah, they discovered you guys. I broke into their house. They told me I should be practicing. As a kid growing up, you know, Cheech and Chong movies were everything.

Of course, yeah. For us kids in Southgate, and wanting to be like them led to all this shit here. So it was kind of very, I received it very well, and I was very grateful. You know, for me,

it wasn't more like, not necessarily being like them, because we're not like them. You know what I mean, but the weed, the cannabis. It was representing the way they did unapologetically rebellious style and they didn't really care what people thought you know what i'm saying so we said fuck it we're going to be that because this is who it is who we are and

you know they were definitely an inspiration because yeah we all grew up to their movies we was like on the corner drinking, smoking, doing whatever right there. You know what I mean? And we was like, let's just go in the studio and do the same shit. Right. And start making records. And we was like, oh, the money's better right here. And meeting Cheech and Chong.

I mean, I think we met. You know what I'm saying? They embraced y'all. That's the part because, you know, people could have been like, well, these kids are kind of like kind of trying to be like us. Fuck them. But they didn't do that. They actually embraced y'all.

That's what's dope about it. They were actually on two of our albums. They did intro pieces or transition pieces or sketches or whatever. And I remember the first time we did some shit with them, I couldn't keep it together. I was laughing the whole fucking time and I blew the session because Chong was hilariously funny. You know what I'm saying? I know that's redundant, but he was.

But having them say yes, right? When we've been praising them the whole time and sort of referencing them in lines and like Red and everybody else did after that, it was everything to have them come and do sketches for us and be funny for us and then develop a relationship with them because i did meet and greets with chong and you know sat with both of them and in different

places and we've all done that with them and they really embraced us you know what i mean so you know to have like guys that influenced us be like that, you know, fuck, man. I mean, there's no words that can really describe that. It's sort of like Chuck D. I mean, we grew up fucking with Public Enemy. Like it was one of our biggest influences. And to be able to work with them and him embrace us. So you get in a group with them.

Yeah, it's surreal, but with Cheech and Chong, I mean, they were one of the biggest influences in terms of the cannabis representation. So for them to embrace us and say, yeah, these motherfuckers are the guys. We fuck with them. Everybody else that was in that industry fucked with us

at that point. Did y'all ever have a smoke off with them? Who smokes smoke? A smoke-off. That's a versus that needs to happen. Maybe back in their younger days, they smoked a lot, but I think...

One of them don't smoke no more. One of them... Yeah, well, they sort of smoke. Nobody can outsmoke B-Real. Come on, man. Who's going to outsmoke? Ain't nobody fucking with me, man. I got my money on anybody.

I put the house on anybody. I put the house on B-Real. You know, he smokes a lot. I might have to get the beach in the hood over here. He's so fucked up, he don't even know. All the guys that we know as the big smokers smoke a lot, right? Either they smoke a lot of joints,

or they smoke a lot of blunts, or one might do a lot of dab hits, or this or that, right? I do it all. So like, you know, in the realm of of of of the homies where we all smoke heavy i mean we can all smoke flour together like you know and hang you know as many joints as i could smoke burner and snoop could smoke as many smoked is a currency all the guys right they're all pros it would just be one big smoke session. Right.

But the guys who could do everything. That's everything. That's Wiz and myself. You know what I'm saying? We do it all. So if it's edibles, we fuck with that. If it's the dabs, we do that. If it's the flower smoking, we do all that. So really, you know, Wiz is like a fucking monster

like I am. I don't do all of that. I do all of that. My girl does the other day with Styles P on Drink Champs. Oh, no, that was... That's true. That's different.

We used to do shrooms on stage. But they wasn't raw shrooms. I like raw shrooms. That was chocolate. I love my processed and all that. But they wasn't raw shrooms. I like raw shrooms. That was chocolate. No, no. Not for nothing. But this crew right here, we used to do shrooms on stage.

We'd pop like maybe an eighth of shrooms and fucking go on stage. Was y'all hallucinating? Was y'all feeling? Yeah. You didn't hear the story in the documentary

that was sent? In the hat? He got offended by the hat. Oh, yeah. The guy brought it to him, right? Yeah. We were doing... This is hilarious. We were doing this place the guy bought it, right? We were doing this place called Casa Camino Real, right? And it's a spot that was legendary in early hip-hop in Los Angeles.

Sounds like a lot of tequila was in there. A lot. Okay, cool. Gang bangers and everything, right? And I remember we got this purple unicorn acid. Remember that shit? this purple unicorn acid. Remember that shit? Your purple unicorn acid? Somebody got it at a Grateful Dead concert.

Wow. Even worse. And we fucking popped it. Do you remember that? No, I don't. Why would you remember that? You fucking definitely popped the shit with me. We were like, oh, no, no, you weren't there.

Maybe I was the only one that popped the shit. You were the only unicorn that day. I was the only unicorn. And I swear to God, dog, I popped the shit. And, you know, like we're doing the show, and everything got crazy, like, in the middle of the show. Like, I'm walking on stage, and I'm feeling like I'm walking in quicksand. Right. Right? That's one. the show like i'm walking on stage and i'm feeling like i'm walking in quicksand right right that's

one and then you know this is at the time where the new style of lighting is coming on with those fucking beams that switch colors they're like a stream the neon yeah okay and i'm like in the middle of the show and we i start peeking and i i catch eye with that fucking beam and I'm just looking up at the light doing my verse like totally concentrating on the light show that's happening above me and I don't know what these guys were doing in the middle of that but I was just totally fucking snapped into that fucking light show and that was the type of shit that would happen when we were fucking doing psychedelics on stage because most of the- That's what mushrooms

is called, psychedelics? Well, we would do mushrooms. Well, it is a psychedelic. That night I did acid, but a lot of other times we were doing mushrooms. Are mushrooms considered psychedelic? Yeah.

Yeah. Oh, yeah. I took a mess tab one night and I was on a seesaw, but I was by myself. And not even on a seesaw. It was going up and down. You just take an ounce of mushrooms

and put them in a coffee grinder and grind them up to dust and then put them in some honey. That part. Mix it up and then just take a little spoon. Scott Storch gave me a... Just take a little spoon. Is that mushroom tea?

Mushroom tea? Yeah, you could take that honey. You could do mushroom coffee? No, you just put it in... Oh, it's the Keg of mushroom tea. All that shit's easy. Scott Storch was doing the mushroom tea. Yeah, mushroom tea. Yeah, yeah. That hits you quick and it hits the honey. Bubba was the king of mushroom tea. All that shit's easy. Scott Storch was doing the mushroom tea. Yeah, mushroom tea.

Yeah, yeah. That hits you quick and it hits you hard. It's light and it just like turns you. Well, if you take too much, it's not light. Have you got too high?

Did you kill before? We never did microdose back in those days. No, you did microdose. You did microdose. It was all macro. You overdosed. Yeah, yeah.

The other one time I did too much. I'm sure there was no microdose back in 1992. We know since it was everything was overdosed. Yeah, yeah. That was one time I did. I'm sure there was no microdose back in the 92. We know. Everything was overdosed. I did some mushroom tea. We were doing

Smoke and Grooves tour. And it was in Colorado. And some homies came, you know, and they brought some mushroom tea and everything. They said, only take a little bit.

I did like the whole damn cup yeah and within minutes I was I was done I was leaking all over man I only knew this fool's phone number I mean on the hotel phone, you know, room. And the first thing I says, I can't think. Whoa, whoa, whoa. It was, help me. Sounds like some horror movie shit. I'm like, Bobo, and he's like, help me.

And he goes, I can't think. Yeah, he was like, I can't think. This was on a show day. This was on his birthday. Oh, shit. Yeah, and I don't remember that show, but I somehow made it to the stage, and I couldn't play.

For the first time in my life, I could not play. I somehow got up on the stage, and I was playing some crazy rhythms. He was in the multiverse, playing some other rhythm that he did not understand yet. He had the homies. Sample that, because that might be the future me. He had the homies that cut me off the stage and put me in the bunk like, yo, get this fool off the stage, you know. So, yeah. No, no, no, no off the stage. You know? So, yeah.

No, no, no. No mushroom tea for him. What's your favorite place to perform at? That's tough because everywhere, you know, we get a pretty goddamn good reception. New York has always been crazy with our annual show down there.

Nuts. But I would say in the last big shows that we did, like festival style, France. France. Them motherfuckers went off for some Cypress Hill shit. Right? They get live. Incredible.

When it's done properly, and it goes off correctly, Los Angeles, California, I always like to perform in my own backyard. Yep. And flex my style. Southgate, nigga. Not just in Southgate?

Like in recent years? No, never. Because that could be chaotic. No, they don't want us down there. The city or the people? Because it would be chaotic. Oh, you mean the city. The city doesn't want us down there.

Not because they hate us, you know. It's because it would probably be chaotic. And I don't know if they're ready for that. Right. You know, done properly. But what better example than you guys for the kids and the youth in Southgate? I'm just waiting for them to call him for the Christmas Day float where he goes down the street in a whip and you know i'm saying the paper wave yeah fuck it did you guys ever feel at any point that you weren't doing like you weren't a part of hip-hop anymore because this is one thing that

i think about that's ill about cypress hill is that regardless of how many like if you went into the rock realm or whatever it felt like you guys always kept it hip-hop a hundred percent hip-hop no matter where you guys ventured off into whatever festivals whatever realm and it shows with also the people you collaborated with like as you kept moving forward the cypress i mean the the wu-tangs the the fuji joint which mind you the fuji joint in a whole other realm, there's a whole other conversation because of the Haitian-Cuban thing, which in Miami, it was a big deal for us. But it feels like you've always kept it hip-hop regardless of where you guys ventured off into. That's our roots. I think others thought we were venturing away and trying to do something different, but we were just being, you know, creative and experimental.

You know, the hybrid shit with the rock stuff that happened on Skull & Bones, I mean, you know, we had done a lot of rap songs, a lot of hip-hop songs. You know what I mean? I think we were, what, at 30 deep or some shit, right? That's like the fifth album, I think. Yeah. That's what you're talking about. The fifth album, when we started adding the rock, it was like the fifth album i think yeah is that that's what you're talking about the fifth album when we started adding the rock it was like right yeah

and and it was because we were ahead of schedule and we had so many fucking hip-hop songs and send dog was sort of into the that that scene at that point mug said hey let's we're gonna do some different shit right here and add this sort of feel. So, you know, like we always do, we threw caution to the fucking wind and just started experimenting with the shit. And, you know, because we knew we had a base of fans that fucked with that. Right.

You know what I mean? They weren't necessarily hip-hop fans because all through our shit, we'd go on tour and motherfuckers would come up. Hey, I don't necessarily listen to hip hop, but I fuck with you guys. Right. And so, you know, we knew we had fans out there like that. So, you know, we're going to go. And that sort of became the thing for a second. And we even, you know, to double stack on that, you know, we brought a band out on tour with us. You know, we created our band and, you know, put them back there and played some of the songs that we created for Skull and Bones

that were like, you know, the hybrid shit. And people accepted it. I mean, fuck, people were going nuts for that shit. I mean, like the Beastie Boys would flip between instruments and go into their shit. And it's like 10 years of rocking shit and rocking shows. It's like, okay, we want some new shit to do live. We're going to keep doing what we do,

but then the show's going to flip with the band. You know what I mean? So it kept live fun, right? Right. You guys all live in the same apartment at one point? Well, you know, Muggs lived in these apartments on

Kingsley in Hollywood and most of the fucking syndicate were up in this apartment building, right? And so that's where we would always be at Muggs' spot because he had... Did Busta R has the rounds of this complex to know Fun client

Yeah Yeah, great sheep it was like $800 for like a two-bedroom. Yeah. A lot of the guys that... I mean, there's some food spots in Hollywood. A lot of the guys that were in Hollywood. A lot of the guys that were in Rhyme Syndicate, they lived in this particular apartment. Which Everlast was a part of Rhyme Syndicate as well, right? He didn't necessarily live there. He lived in the Valley at this point.

But, you know, guys like Muggs and Aladdin lived together in this building from low profile. Yeah, that's a hell of a building, bro. So we knew Dub C before, you know. Aladdin from NWA? No, Aladdin, he was from a group called Low Profile with WC and Coolio. He'd be in my apartment. He'd be with WC and Coolio and Aladdin and then me. What a crazy ass apartment.

There'd be no furniture. There was like milk crates. The TV was on the milk crate. We had microwave popcorn. That was it. And what was crazy is all the motherfuckers that he would bring records back to us to listen to, you know, like the old school

crews. Some of them were living in this fucking apartment complex like Cass. All the records he's bringing to y'all. Yes, like Cass, like Prince Whipple Wh whip and fucking you know guys like that and um they were all in this fucking apartment building and you know we were fucking just all like a little community right yeah we're taking game from like the likes of kaz though because that's ill that to have someone like kaz well he was around you know

what i'm saying but like you know it was just the folks we were around like some of the guys that like we were Was listening to their shit Right Just to see that around Yeah just to see that around You know cause a lot of those dudes From the east coast

At that time The old school cats Moved over here To get down with Ice-T Cause he was creating The Rhyme Syndicate And he was embracing A lot of those old school cats

Shout out to Ice-T Yeah And you know A lot of them embraced us. They embraced Muggs first, then eventually myself and Sendog, and, you know,

so salute to them motherfuckers, man. You know, that was like, they were the first real clique in Los Angeles. Rhyme Syndicate. Right? Yeah, yeah, it's like 88. You know what I mean?

Like 88 out here. Wow. Yeah, Rhyme Syndicate, they were like the real first click that's the homie yeah that's the godfather um we have whack on here and whack said that ice tea is originally from new jersey he might have been born there yeah but like you don't that's true sorry to cut you off yeah no no it is true i've heard that before no no it that's a fact you know he was born there Much like Bobo was born

In fucking Hollis You know what I'm saying But You know where you're raised That's a different deal Come on man I'm raised in Miami Born in LA

That's kind of where you're from You know what I mean Right That's where you at Now In 1992 The Billboard Awards I believe you guys won an award

And then you said legalize it. Yeah. 1992. What year is this right now? 2022. Yes, sir. Yes, sir. It's still not officially legalized.

Yeah. But we've made some fucking gains. You know what I mean? we've made some fucking gains. You know what I mean? We've made some strides. There's 37 states that have legal, is it legal cannabis or medicinal cannabis? That's a big step for where we want. And when you say medicinal,

you're talking about medical use. Yes. Okay, continue. It's decriminalizing on a lot of levels. Yeah, and it's decriminalized in a lot of these places. Yeah, you know, we're still working. Yeah, and it's decriminalized in a lot of these places. Yeah, we're still working towards federal, and it's maybe within the next five, ten years, but it's going in that direction.

And if you ask us, does that happen? Like if you ask us in 91A, does this happen? We might say, yeah, we're working towards that. You don't know the fucking future, but we know what we're working towards that we you know you don't know the fucking future but we know what we're working towards you know what i'm saying we know the possibilities we were looking at places like what you know how amsterdam was going down and we're like that well that's possible for us here i'm sorry to cut you off for one second but let me let you know how bad the weed laws used to be i i one time I was sitting on my block.

Police drivers by. On the other side of the street, I'm smoking. He makes the U-turn. As he's starting to make the U-turn, I throw the bud. There's no way he can find it. And he arrested me.

For seeing me smoke. He never found the joint. Just saw you. Just saw me and smelt it. I had nothing on me. I went through the system in New York. And they've immediately been walking down there now, just smoking. I'm like, I want my charges back. Yeah.

I want them to drop my shit. They need to do that. Drop it. They need to do that. Yes. But that's. I know they were supposed to do that here, right, in Florida. Do what?

Drop like charges when they change the laws here. I don't know. I think they probably didn't yet. I don't think they're going to do that yet. Oh, man. They need to go past medicinal for that to happen. Well, you know, hey. But that needs to happen nationally.

The people can work toward that shit because really that's where it comes from. It doesn't come from fucking them. Right. Because they got votes to fucking worry about. And like if someone's too progressive, you might not get those fucking votes that you traditionally need. Right. So it's up to the people to go make this a thing. Like always.

The real change happens from the people. That's the good thing about, I think, and I don't even smoke, but I think that's the good thing about cannabis is that I think it crosses all those party lines. Yeah, absolutely. And it could change. The laws could change because of that. You know what I'm saying? Easily. Now, is that the green thumb all of y'all's thing?

It's me. It's you by yourself? And you got your own strand too? Or are you thinking about doing something like that? I've done things here and there, you know what I mean? I have a brand, whatever, but it's not a... I feel like you should come out with your own mushrooms. You know what, I'm thinking the same thing.

But shrooms aren't legal, I know, are they? Yeah, mushrooms are legal in Colorado, for sure. They are? Yeah. Also, you need to come out with your own shrooms. Since that last time, I haven't done any of that. Central. You don't have to do it to come out with it.

That store you go to. You can sell it forever. That store you go to. Yeah. No. He has, B has the Dr. Greentham stores. Right. And I have a thing called Hill House.

That's about it as far as I know. Hill House, that's flower? What is that? Yeah, pretty much, yeah. Okay. Yeah. But it's not like the Dr. Green Thumb thing is like a... How many stores do you have? Six.

Wow. There's actual Dr. Green Thumb stores? Dispensaries. Dispensaries? Yes, dispensaries in California. That's dope, man. The thing is, we definitely want to do that with Cypress Hill. It's always just very picky about what we do because we don't ever want to rush to do it wrong and stuff like that.

So there's been opportunities for us to do shit, but for us it's always if it's going to be the right thing, not the right look, the right thing. And so one of the goals is to eventually open up some stores under Cypress Hill, as well as, you know, my Green Thumb stores that exist and stuff like that. Because realistically, Cypress Hill is the root of all of it. If there's no Cypress Hill, there's no Green Thumb. Right, right, right.

I mean, so it's something we definitely want to do in the future and shit. So that's on the agenda. Does whichever make you say we're cookies? Oh, well, you know, Burn is my boy. We've done albums together. We've done four projects together. So we sort of push each other's brand and stuff like that. He's got cookies.

I got green thumb. And we celebrate each other. You know what I mean? And we do this music together for the cannabis culture and for music. You know what I'm saying? But it's been great working with them, man. The sessions are, like, you know, just a great vibe. You know what I mean?

And Smokey is fuck. I mean, we smoke that studio the fuck out. Like, he burns the way I burn. You know what I mean? Like, we both smoke up. We'll match each other joint for joint. But it's about to work. It's not about the smoke. That shit is, you know, just a part of the vibe. It's about to work. Like, we get

in there and we do work. And we got another one in the chamber that Scott Storch produced. Oh, wow. That we're about to, you know, pop off later on. So, Burner and Will were fully produced by Scott. Fully produced by Scott Storch. In the past, you know, we used other producers,

but for this one, you know, I sort of wanted to do what we do with Cypress and, you know, lock in with one producer and make a sound, and Scott definitely did that. So, you know, when people hear it, they'll, you know, they'll feel it.

So, you know, Burner and I, you know, that's my boy. So salute to Big Burr. Big up Burner. So, Sim, what's your part of the game that you can't live without?

The part of what? The part of the game that you can't live without. Like, even when you left the group, like, what was the part that you was missing? The stage, man. The stage. I knew he was going to say that for some reason.

And it all came down to one day I saw them perform on MTV or something. They were in Canada. And I was watching the whole shit at home. And when I saw that, I could almost smell the concert. It was legit. That's what happened, for real. Yeah, that actually went down, yeah,

and that's when I knew, like, I had to have it back in my life, you know what I mean? Like, that had to be part of me, and I always knew that. I kind of felt like I always knew that, but there's just that one time when it slaps you in the face that you should be out there. And then I think like a couple of days later, Muggs called me up. And I'm like, hey, Muggs, what's up, man?

He's like, where you at? I'm like, he said, I'm on tour where you should be. And that was like another thing like, okay. And then we went around to fixing that whole thing. And I got back into it and everything. And, you know, it was on from there. Sometimes you got to go through that bullshit to figure out what it is that you had to, you know, to regather it all back. 30 motherfucking years, you know what I mean?

She's going to go through some shit, you know what I mean? It's like a real organic family going through life, you know what I mean? And we're right here. We're right here, you know what I mean? It's like a real organic family going through life. You know what I mean? And we're right here. We're right here. You know what I mean? Love is love. And then being in front of those type of crowds that we were in front of, I mean, that's fucking addicting. Because it's a lot of control at your fucking fingertips right there.

You're making the crowd move through your music and you see the impact happening. That's hard to let go of. That's why rappers never retire especially they got when they got a good run popping off you know what i'm saying you don't want to let that go because you know the control you have there and uh it's great seeing it there's no high or no feeling like that better than ripping a crowd yes you tearing that shit down you know what's up. Yeah, yeah, yeah. We do this thing, right, at the end of our show where we pay tribute

and celebration to our homies, you know, House of Pain with doing Jump Around at the end at the show.

Like, it's not our song, but fuck it. You know, it's in the family. It's Soul Assassins. He produced the record, right? Which one? Jump Around.

Yeah. Okay. So it's all in the family. So what we do at the end is we save that for the fucking very end, and we make everybody get down to the ground like in a squat position, right? And then we pop it off. The horns come on. And then it goes, and you see everybody explode.

And that's, you know, there's no feeling. Like, I felt what House of Pain felt when that fucking song popped off everywhere. You hear it at every sporting event. It's the pop-off at any given time. You could cover it at the end of your show. And motherfuckers, that'd be the highlight of the show. Because guess what?

My man right here in Everlast created one of the greatest pop-off songs of all time. I'll put that shit against anything. Yeah. Because I've seen the results of it. And they could co-sign on this. I've done this shit on my solo shit with prophets of rage and with cyprus there is no bigger song to pop off on right so we get everybody and think about you're seeing 70 000 to 100 000 to 150 000 people all squatted down and when that shit pops

off boom explosion overpowering right no I'm saying it's the craziest feeling there's no high that you could get better than that it's crazy salute to you motherfucker real quick though I just want to say, and not real quick, real long, actually, the production, the sound that you brought, Muggs, to Cypress and to everything you touched, Soul Assassins Abroad, it changed so much in the game. I don't think it's acknowledged as much as it should be. You know what I'm saying?

You're one of the top-tier hip-hop producers of all time, and I think it's amazing what you guys the top tier hip hop producers of all time. And I think it's amazing what you guys have done, man. What you've done. Thank you, bro, appreciate that. That's real talk, let's make some noise for him. Guess what? Give it up for the man who took the top spot.

Let's do it. Somebody get Brozki right here. The White King is ready for it, bro. Let's do it. Let's do it. You want some more? Yeah, let's do it. Get your hands off of it.

Go ahead, man. Go ahead, proper. Somebody said you're going to go topless, bro? Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers.

Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. Cheers. What would it be? Ah shit, that's a good one man. Five. I would say, you know, believe in yourself and believe in your friends. That's fire. That's it?

That's fire. Wow. You know, don't be afraid to dream. You know, the dreams can come true. I remember being a little kid and making, like, these toys I had and these musicians, and I put all my army men out like they were the audience, and I just imagined, like, a big, you know, field of people.

And when Woodstock happened, I said, that was it. So, you know, believe in yourself, believe in your dreams. Wow. I would have thought of it, I would have thought of it, don't drink that mushroom tea.

Oh. The question was, what would you say to your younger self? If you got to meet your younger self, what would you say? Just be patient, man. Just be patient, you know what I mean? And just stay focused and stay calm and don't get emotionally attached to any of this shit. And just stay calm and stay patient. Everything will figure itself out.

That's fine. Thank you. And just stay calm and stay patient. Everything will figure itself out. That's fine. I'll make some music. What would you say to your youngest son? I would say to myself what Sendog's mom said to me was have faith. Don't hope. Have faith in what we're doing and in yourself and work towards it. So, you know, it would have been redundant,

but that's what, you know, his mother told me. I would have told myself that shit. That's real. Let's make some noise. What would you say to your younger self? Watch out now. I just coded the beat nuts record but I know this is a cliche type of question but did you ever think that hip hop would make it this far?

I always knew for sure since the moment I heard it this was the next wave of rock and roll whatever you want to call it it was a new counterculture that's what I thought about it what'd you say? because like them like I was a new counterculture to go over the wall that's what I thought about it what'd you say cause like them

like I was a skater I was into punk rock I was into counterculture music like the scene you had a mohawk no definitely didn't have a mohawk

and so when hip hop came on that actually spoke more to me and it was counterculture as well so I felt

right in line with that and you said you knew it was going to be big from the beginning. Yeah, from the beginning. From the time I heard Blondie doing Rapture and all that shit, I knew this was the next big thing that was going to take over. There was music, but there was no hip-hop. Then all of a sudden there was a music called hip-hop.

And you're like, oh, shit, what's that? And you're watching the shit. And you're like, 8, 9, 10, 11, 12, 13, 14, 15. And you're like, oh, that's that shit right there all right well not everybody like this is the thing we all didn't know it was hip-hop we were listening to rap music we were just yeah and there was a point where i realized holy shit this is hip-hop culture like it was dawned on me that someone another person yo this is what it is you're already breakdancing you're already writing graffiti you want dj there's a culture and that shit is what blew

my mind about it yeah i i didn't know where it was gonna go i just wanted to be part of it you know that that's the passion was there from the minute i fucking heard it because i mean you know i was listening to a lot of different shit before i knew hip what hip-hop was you know what i mean and the minute i heard run dC, I was like, oh, that shit right there. And then Rockbox from Run DMC, most definitely, that shit kind of flipped me right there. I was like, I fucked with this right here. Now let's talk about Rap Superstar. Yes, you were on that.

So let's get a salute to Dory for you. Hey! Hey! Do you remember the day you recorded that shit? Absolutely not. Man, I saw the video. But let me just say something. I'm very proud to be a part of that record. I definitely

need my plaque. You can order it, buddy. Yeah, yeah, yeah. Listening to that today, you know, driving here, going through this discography after watching the documentary, just soaking up all the game. And then I'm listening to the lyrics of Rap Superstar and I'm like, whoa, this shit is relevant right now. Like, this shit is relevant right now like this shit is not an old record like how the fuck did y'all think of that shit like you know it's living it right you know and what people's expectations and perceptions are outside

of it right you know they think it's all gravy once you get a deal and and you know you're rich and famous off the top but they don't know the road to that. If you should be lucky enough to get it. And that was like, you know, us being in the game and absorbing all the positive and negative energy from it. And us just being like, boom, this is what it is. You know what I'm saying? And to be this, these are the sacrifices that we make. You know what I'm saying?

And it was a very real fucking song. You know, I think, and salute to my man Muggs on this because like the way that I look at that song is like it's like our cashmere. Like if you're a rock fan, Led Zeppelin's Cashmere is a big fucking song for Led Zeppelin. It's like, you know, it's just so fucking different. And that was our cashmere as Cypress Hill rock superstar

because it was very much what we were living at the time and just the fucking musical backdrop that he gave me to tell that story because I had that idea in my head for like a number of years, you know, because we had been soaking up what this game really is and all the shit and, you know, people's false perception of what it is to be in this business or rap star or rock star or whatever. Yeah, pretty much the same thing. And I held that idea for a long time until he came up with that beat

that became the fucking song. And I was was like this is it right here and uh you know i did not know it would resonate the way that it did i thought it would just be a great album song it was a great idea but i didn't know it would be one of our like so-called comeback joints you know what i'm saying right so um yeah that that song was was was huge but i was telling people what the game is for us. Right. It's still the same game.

Yeah. Like I said, I was listening to it today. I listened to it the other day. I was like, damn, this shit is so relevant still right now. Like, that shit is amazing. And then you had Eminem a part of it as well. Yeah, Eminem was on it. Everlast was on one.

Chino Moreno from the Deftones was on the rock version. Yeah, y'all blessed us, man. And we was always like, these are our brothers. Because y'all saw what the shit was. Right, right. And that meant everything to us, to have you on it, to have Em on it. Because everybody wanted Em at that point, right? My only record I've ever been on was Em and Em.

Yeah. That's one of two I've been on. One of two. And, you know, to have Everlast, who is our family, and Chino, who, you know, the Deftones, you know, we all love the Deftones and shit like that. So to have those four guys with us, you know, that was everything. So salute to them.

Because they gave their background on what the game soaked up from them. And that was tight because that's what that song was about. Well, it's interesting to hear you say comeback record because, you know, us as fans or us as you know people that are observers We never felt like you guys ever left anywhere. So why would you say? It sucks, yeah Yeah, so why would you say comeback record? Because the mentality is is you know when you're on a major label

They're always That's what it is the major label mentality Just me and him is the big ass Yes, they're always weighing your last shit against the shit you're doing right now Big and better, big and better, big and better. Come on, baby, you can do it. Let's go. Let's go.

And at the time, you know, like it had been a minute since we had dropped one. And, you know, this is our fifth outing. And our fourth outing was okay. But it wasn't like one, two, and three. You know, so they thought we were fucking done, kind of. But they still, you know, like Donnie Einer salute to my man. He was the chief up there. He had faith in us and he had faith in mugs and,

you know, every now and then he would suggest shit that was helpful and he would push our line. And he had that belief in us in, in this particular instant, because, you know, we did all this dope hip hop shit and then we did this hybrid shit

which was cool because it we were doing something no one else was doing at the time right and he saw it and you know some of his suggestions helped push that particular album and showing like that we never left you know i'm saying because our mentality was we never left. You know what I'm saying? Because our mentality was we never left. What the fuck are y'all talking about? But, you know, we were always the underdogs. You know what I'm saying? Like, they, you know,

like, when motherfuckers talked about us, it was like, well, I don't know because, you know, we were representing cannabis and it was just slightly different.

And, you know, we were out to prove everybody fucking wrong. Let's make some noise for that guy. Mark, have you ever felt out of love with the game? Oh, yeah. You know, there was a few years where I got to just start handling my other businesses. You know what I mean?

Right. Whatever they are, just doing that shit and having a passion for other things at the time, but the game was right there, but the levels of the energy that I want to give to the game, you know what I mean, versus what I'm going to get out, like those have switched up throughout the years. Is it the business that, once you start learning the business? It's the business side, you know what I mean, for the creativity side and kicking with the homies and making music and having a good time, that shit's always fun, but that other shit after a while, you know, sometimes you just want to leave that shit, just get that

part of the world out of your life. Right, because we heard like Pete Rock just say that he did an album 22 years ago and still haven't got paid on certain things is this something that you experienced as a producer no i haven't had that that that problem but um you know just other other things you know what i mean just i think it becomes like when you're young you're trying to figure out the balance of your success and your family and like and everything trying to figure out the balance of your success and your family and everything. Right, regular life. Figure all the balance of everything out. Make everything work. Feed everything.

Give it some sunshine, some love. You know what I mean? Water it. And you figure it out, and you're like, all right, cool. But through 30 years, you're going to have a few years here and there. I'm going to paintball for three years. You know what I mean? I'm going to stay in the studio for five years and not go tour with them.

Right, right, right. I'm going to go pick it up and do some punk rock for a few years. That's where the balance starts. But it's a real natural life. You know what I mean? We know each other so long. We just let everybody flow and go through life's fucking changes. You know what I mean?

Figure that shit out and shit. So we're still right here. How about you? You ever fall in love with the game Boricua? I did for a minute when my father passed, you know, it was a big, it was a big blow

and I had a lot of, you know, pressure because of what my father had accomplished and trying to keep that legacy

going on and almost having a little bit of self-doubt if I can, I can do this and continue on and how am I little bit of self doubt if I can, I can do this and continue on and how am I going to make my own way? So, uh, I had to go, I took a break. I went to school, um, studied there and, but something was always calling me back. And when I did leave school, my mom said, well, you leave in school,

you got a, you got a school, you got a year. You got a year to get your shit together or else you're going to have to go back to school. And within that year, my whole life changed and music got me back in. That's when I started out with the BC Boys. I met the guys here and I knew that this is what I was supposed to be doing.

But it's very easy to get a little nervous about the future when you're unsure about where you got to go in your life. And sometimes you do have to take a break and reevaluate and reset. But I'm glad that I didn't stop. We're glad you didn't stop neither, brother. Yeah.

Besides, you know, you leaving the group, if there hasn't been a time prior to that where you felt like, fuck this business, fuck this game? No, never prior to that

or never at all except during that point when I, you know, the source was during that point okay when i you know the source was talking shit about us and you know trying to magazine yeah trying to clown us in in their articles and this and that i don't know if you remember that shit of course they were talking shit you know and i kind of just felt like is this what i worked you know on my my ass off for so this motherfucker could talk shit about us or whatever. And I kind of just like, around that same time, I kind of like turned off from, you know,

the business of hip-hop and looked to somewhere else to get that freedom and creativity out. And I definitely felt that part of me that wasn't in love with hip-hop at that point. But luckily, I was able to find it again, you know what I mean? And attach myself to it again and come strong with it. You know what I mean? It's nothing that once you love something, like, you know, hip-hop, you just can't just turn your back on it. And even if you do forever, you're going to have that regret.

You know what I'm saying? So I didn't want that regret. You know what I'm saying? So I didn't want that regret. You know what I mean? I didn't want to, what if I would have stood with these dudes or some shit like that? You know, it was very important to come back to it and reset in myself and refocus myself and go strong, as strong as I can. But I could go hardcore with these dudes again do you mess with the internet uh here and there so you don't you don't mess with twitter no instagram twitter yeah twitter no I don't fuck with twitter I have a uh scndog send dog with

the blue check by that motherfucker that's no that's that's Twitter. That's Twitter. Instagram. Instagram, okay. Yeah, and there's Send Doggo Cypress on Facebook. Right. And that's as deep as I go, ain't it?

Yeah. And I mean, I still rely on, you know, your own persona, you know, being bigger than life type of thing.

Right. No matter what the Instagram does, whatever. Yeah. And I know what it's worth. Don't think I'm stupid or ignorant.

No, no, no. You know what it's worth don't think I'm stupid or ignorant you know what it is because I think a lot of us didn't adapt that way of life because I hear you saying that you know the source was talking

shit about you and that's what's crazy is the internet makes me it's terrible to say the internet makes me like adapted to say someone one person is terrible to say the internet makes me like adapted to say someone

one person is going to say something bad right that was different times that was a bad I'm talking about that I'm talking about that

you know the sources voiced their opinion okay I'm a young buck 27 year old in the game and all the

for a long time all we had was glorification of the Cypress Hill group, right? Right. And when our second album came out, they didn't feel that way, kind of. Right, right. You know what I mean?

And they voiced their opinion and they said it, and I kind of felt like upon myself to talk shit back. Well, there was a reason for this, right? I mean, we were all kind of friends with James Bernard, who was senior editor at The Source, right? And he came and did the first interview with Cypress on the Cypress block. And we were cool with it. All good.

You know what I mean? They celebrated us on the first album. And then Black Sunday, they gave us a great review and the whole shit. But then the very next write-up was, you know, it was negative. And the reason was we were at an MTV party or an MTV after party for MTV Awards when we used to go, right? And, you know, we're sitting there shooting shit with everybody that we recognize and they recognize us.

You know how it goes, right? Right, right. And so I'm having a conversation with James Bernard about the TLC cover. And, you know, I was like, well, you know, like, you're, because there was, I don't know if you know. Of course you know. And I know you know. But there was like a criteria that had to be. Get a source cover. To get a source cover. Yeah, yeah, yeah, of course. And there was like a criteria that had to be. Get a source copy.

To get a source copy. Yeah, yeah, yeah, of course. And they didn't meet the criteria at the time, and I expressed that to them. And as I expressed that to them, Joe the Butcher, who, you know, one of the owners of Rough House Records, who was. Yeah, I just think that. Yeah. In the documentary. You've seen y'all's documentary, right?

Yeah, well, yeah, he was the one that got, you know, that signed us. He knew Muggs. Right, okay. Yeah, well, yeah, he was the one that got, you know, that signed us. He knew Muggs. You know, he kind of interrupts in that conversation, unknowing of what the conversation was. He was like, yo, B, I got to talk to you about something real quick. And I said, yo, James, let's pick this up at a different time. And he took it personal. Like, he didn't get his rebuttal on, you know, at that point, like as to why Tia,

but he didn't have to fucking explain to me. I was just giving him an opinion like, you know, because they held our shit so close. Like we only got but one cover and we met the criteria times 10. You know what I mean? But we never really complained about anything. We just, he asked me an opinion. I gave it to him. He didn't like it.

So then everything else that came after that was all negative about Cypress Hill. So then we said, well, fuck the source then. And we started burning that shit on stage, you know, like going at it. In England. Everywhere. Not just England. Everywhere.

Yeah. And it made people go crazy when we did that. And salute to the source because we squashed our shit since then. But it started with James Bernard and my opinion of that TLC cover. And TLC are legends. And salute and respect to them.

But he was asking me my opinion about that. And I gave him a real one. At that time point. Because again. He didn't understand that time point. Right. We were purists. You can't see TLC later.

Yes. You got to see that specific moment. Right. We were purists. Had to be hardcore hip hop on the Source cover. That's who we were. He was like, we asked him one time, can we get on the cover of the Source? He's like, no, it has to be your second album.

And then all of a sudden, TLC was on there on their first album. You know what I mean? And Weepy was like, yo, what's up with that shit? Again, my name can't be B-Real if I'm not being one fucking thousand. And I was one thousand with him and he didn't like that. And so the campaign

against us begun. Hence the shit talking that Sendog was talking about. Because they were celebrating the fuck out of us before then. After that, nah. Fuck Cypress Hill, fuck Soul Assassins. They told Sendog, they said, next time you burn a source on stage, watch out

you don't burn your green card. And they wrote that shit in the source. Remember that shit? Shona. And we kept burning them. We kept burning them. But kept burning him we kept burning him but again you know eventually

you know we sat down with Dave Mays salute to Dave Mays and we squashed that shit out because I mean it was

you know sorry it was over nothing you know what I mean it was like you know over an opinion and you know

at the time James Bernard and he jumped ship to XXL magazine after a while. And then we had beef with them. Where's the fuck? With XXL. He jumped over and took the beef we had with him over there.

The writers used to think, like, they was gangster writing articles about you. You know what I mean? Like, motherfucker, just write about what the fuck we're doing. Shut the fuck up. Wow. We forgive you, James Bernard. Yeah. We forgive you.

You know what was fucked up about them? It was like, you could write an article in, like, January, and the shit would come out to, like, March. And you guys could have fucking squashed the beef. You guys could have met. You see what the fuck he was talking about. You're like, oh, I'm going to fuck him up, man. Like, it's up, man.

It's crazy, man. That's why I asked you about the internet, because the internet, I remember literally when my first solo album, second group, second album, but my first solo album, and we would drop it, and I had to literally go to these countries. They couldn't send the records. I had to go there, I had to literally go to these countries like we they couldn't send the records like I had to go there I had to go to London and perform I had to go

and then right now you could just send this shit to Japan and send this shit to Japan like that like it's streaming something you guys

and I know you guys did the Napster thing it's streaming something that you're embracing or you have to embrace I think every kind of technology that comes along

you know you know the road of your adventure. And, I mean, if you don't, then that's just a certain amount of numbers that you're going to lose, in my opinion. Just get with it. Yeah, you have to get whatever they change. However the game changes, a certain amount of you have to change with it and go with that new certain platform. You know what I mean? Because that's just the new platform and it's just how it goes.

And you adapt with the times or you don't. You know, if you adapt with the times, I think you live on longer than if you don't adapt with what's going on technology-wise. Right. Yeah, I mean, you know, and you got to look at it as it's a broader platform. It could get out to bigger bigger numbers instantly too yeah if you know if it goes quote unquote viral right you know what i'm saying but it depends on the work you put into it and how you promote it and how you market the shit and like how much you how hard you

go to get it out there because we've done live streams i mean mean, I've been doing that shit for 12 years now, like with my Be Real TV platform, and I realized that that was like a platform because I used to do radio in Los Angeles, Bobo and myself, and we realized having a platform is everything. So if you wanted to do performances, if you wanted to market your new shit or whatever, creating a platform is everything.

So, you know, if you have it at your fingertips, you do it. And we've tried to utilize it in every aspect possible. The internet we talk about. Yeah, yeah, yeah. You know, because realistically, you know, that's the one way you get out to everybody. Right. And, you know, like, so for For instance With the pandemic Right

Yeah That's crazy We were all shut down At that point We weren't doing any live shows At this point Like getting in front of people But

We were fortunate Enough to be Still Doing shit And be busy While that was happening Via these streams You know what I mean

Cause we would put out Live stream performances Or You know things like that. And so it could be your friend if you use it right. So, you know, we've always tried to, like, utilize the tools that we have in front of us. So that's definitely one of them. Now, both of you, Sin and B-Real,

y'all both got, like, very unique voices. Like, there's no, like, when I hear your voice, I know it's you. When I hear your voice, I know it's you. There's not a lot of people who have distinct voices

like that. Who's someone who's, both of you guys, who's someone that has a unique voice that you guys are fans of? Chuck D. That's a good one.

Chuck D's unique. Okay. Rakim. Okay. Chuck D. That's a good one. Chuck D's unique. Okay. Rakim. Okay. Unique. Ad-Rock. Mm-hmm. Unique.

Q-Tip. Q-Tip is a good one. Unique. Busta Rhymes. Mm-hmm. Unique. Mm-hmm. You know what I'm saying?

Like, these guys got voices that cut through anything. Right. And so, you know, we wanted that for us, so we developed our shit. Like, my rap voice wasn't what it was on records before we figured it out. Right. You know what I mean?

It was very, it was fucking whack, to be honest with you. What, your voice? Yes, my... Get the fuck out of there. It's just like the Young Demos, you know what I mean? That's what I was trying to figure out, what the fuck we doing? Right. And then I figured out my voice from, again, a Ram LZ record.

Ram LZ used to pitch his voice. He'd start off with the low tone, and then he'd flip to a fucking high tone out of nowhere randomly in a rap song. And that's what gave me the idea to do my shit like that because my voice wasn't cutting through. And we all knew at that point, you know, like Sendog, I mean, Sendog, Muggs, and myself, this is before Bobo, we knew that, like, you got to be distinct and it's got to cut through.

So me pitching my voice was an idea I had to, you know, to cut through because my voice, my writing was an idea I had to, you know, to cut through. Because my voice, my writing was good, but my voice was just not there. And when that happened, it became a little bit more interesting. And the songs became a little bit more interesting, and they had more color in it. So, you know, having, you know, a distinct voice is, I mean, you know, like where you recognize it off the top.

Oh, that's like Jay-Z. Right. Distinct voice. Yours. You want it to be distinguished. Right. There's people who bit Jay-Z. Yeah, but they can't sound like him.

Just like people can't sound like you. You can't be the original, right. Yeah, it's true. It's true. Like there's been many motherfuckers trying to sound like Busta. And sound like you, too. They come close. Who's somebody you like, um, um,

voice tones? Uh, uh, King DMC. Wow. From the Hollis crew. Oh. Know what I mean? Wow. That's one of the dudes,

one of my original, like, dudes that I looked up to as, like, a, because he wasn't on, he wasn't even the primary rhymer and all this stuff. Right. He was a secondary rhymer and I respect that kind of shit I mean so I looked at him as a as a like a like a

inspiration and then also said G from ultra magnetic am I taking you. Ultra. I was always Kool Kidz, come up with the lyrical Danger Ass shit, and then Seji come up, you know what I mean, and follow that up with a certain punch, and that always impressed me. You know what I mean?

It wasn't always the, you know, it's all a production thing. So the primary dude is all good and great, but I want to hear what the next guy come in, how he's going to add

to the song, and how he's going to add to the song, and how he's going to uplift it, and that kind of thing. Muggs picked up on that as I was doing the whole, you know, killer man shit, and he's like, let's elevate that to make that more of a prominent secondary role.

You know what I mean? So that's the kind of dudes that I would look up to. It wasn't always the primary cat. It was, you know, sometimes I would look at the, you know, like the second dude or sometimes even the third dude. You know what I mean? And I would find inspiration in that kind of thing. That's crazy.

Like Lost Boys was Freaky Todd, right? Yeah. It's all about what you layer it with. The state. You know what I mean? But you needed that. That wasn't something that you could go without. That added to what the group was. Like even Flav.

Like even Flav. No, you can't public anything without Flav. No, dude. That's true. Also like Eric Sermon. Okay. You know what I'm saying? Eric Sermon's voice was very distinct.

Oh, his voice. Okay. Of course, of course. Yeah, yeah. Yeah. Like, he had that slight lisp. I mean, you know, like the EPMD shit,

that was like we had major run with that shit. Like, that and P.E. was always in the system. And, you know, like, Eric Sermon's voice always cut through just in a different way. You know what I'm saying? In hip-hop at that point, that's what you needed,

that distinction and your own sound. That's what we was listening to like 89. PMD, Public Enemy, Ultramagnetic. You had to be mad different than anything that was out there. It wasn't just needed. It was a must. You had to be creatively different than anything that was out there. Yeah, it wasn't just needed. It was a must. Yeah. That was a requirement.

You had to be creatively different from everybody else. Yeah. And I don't know that I said so much of a thing today, but back in our day, you know what I mean? That's how you couldn't sound like a motherfucker. You couldn't sound like a motherfucker. You couldn't use a sound like Dre. You couldn't sound like Kool-Aid.

You couldn't use a sound like Kool-Aid. You had to come with your own original fucking sound, and that's what set you apart from the feel. Yeah, that's the truth of it, though. Absolutely. You ever did a show at a place where they don't allow to smoke marijuana? Yes. Anywhere in Texas? Everywhere in Texas.

Everywhere. There was no, when we started smoking on stage, there was no order. Because you weren't getting arrested and shit like that, right? No, we were not. Oh, were?

I don't, listen, here's the thing. Either they had mad love for us and they gave us a pass or they didn't think we had the audacity to be smoking real weed up on stage.

That had to be fake. You know what I'm saying? I don't know what it is. I can't answer it for them, but we got away with it in places that you normally shouldn't and wouldn't get away with it. We were blessed.

God blessed the fuck out of us in some way that we got away with smoking in places that you don't or you're not supposed to. The Bible Belt? Yeah, most definitely. We took our chances. But I'll say this.

For some spots, they would warn us. And in those spots, we were like, okay, cool. They would warn you? Yeah. If you light up on stage, you're going to jail. They're waiting for you. Like back in the day in Texas. If they were fans, they'd come and warn us and give us the heads up like,

hey, listen, we're fans, but you can't smoke that shit on stage. Otherwise, we got to arrest you. And that's us doing our job. Do what you want to do. But guess, you know, just know that we have to take you in if you fucking go. Right. So when they gave us the heads up. Yeah.

We were inclined to be smart enough to listen to that advice. If they didn't tell us, we would just take it upon ourselves to be like, we're going to do this shit and that's it. Because I feel like

y'all and Snoop got like the ultimate smoke weed anywhere pass. Right. Like, you know what I'm saying? Close, yeah, close. I feel like, I feel like,

as soon as y'all check into the hotel, they're supposed to be like, excitement sales here, let's fuck it. No, I'll tell you what. I took a lot of fines all of my time in hotels because my room is church when it comes to smoking weed. $2.50 a night.

Chin-chin. You know what I'm saying? That's $2.50. We're going to get in there tomorrow, right? $2.50 and bam. Yes, my room is the temple. It's the church. So, you know, we blow my room up and I get the charges.

But you smoke inside or you go on the balcony? If we got a balcony, we going on the balcony. If not, we blow this fucking room up. I'm just firing balconies these days. Oh, my God. We covering the smoke detector and we blowing that shit up. That's what we did with the first Snoop episode. We had to put the towels on the smoke detectors, take them out.

Shower cap, papi. Yeah, take them out. Shower cap, papi. Shower cap. Yeah, but do we, I mean, back in the days, used to put, you know, a towel under the door and have some oseum spray. That shit don't work. We predate oseum.

Yeah, we predate that shit. I got to have me a balcony room. Got the shower cap on a smoke alarm. Yeah, that shit don't work work No, that shit works, man Holy moly guacamole, man Man, Jesus, man This has been so great, man Like I said, man

When we started this show We wanted to give people You know, their flowers Their roses while they're alive You know, so many people You in this game Ten years And they want to say

You know, you washed up And it's like that word don't exist in any other genre of music but hip-hop true it's like and the thing is we know this is a young man sport we get it we get it we know it's a young man but it's also the ogs who taught us we looked up to ogs and now that we're the ogs i don't want to just bow out like that we still this is still our game it's a what I'm saying? It's a creative sport. Let's just say that. Listen, listen. To the young boys coming up

and y'all on the radio, we give it to y'all. We love y'all, but you cannot take away from what we laid down. Because there will never be another Cypress Hills. You know what I'm saying?

Absolutely. There will never be another Cypress Hills, so I want to give y'all love to y'all face. Thank you. You know what I'm saying? We love y'all for real.

Y'all open the door for not only West Coast rap, not only Latinos, but just for great music. And music that you just want to just... And all of you brothers. I know all of you brothers individually. All of you brothers are fucking great people. I just wanted to say that to your face. Thank you, family. I got to give you mine.

I got you guys here. You stop my clap. Can we just... No, no, no. Fuck your clap. Come on. No, no, no. We're going to clap together.

We're going to clap together. We're going to clap for one of them and yours. Come on. We're going to clap. We're going to clap for yours. Fuck your clap right now. No, no, no.

Fuck your clap. Come on, you guys. Come on. Come on. I'm not going to clap for you guys. Thank you. It's okay. No, real talk though. It's crazy for left for you, pal. Let go. Nah, real talk, though. It's crazy for me to be right here sitting down with y'all.

Absolutely. And I'm telling you this as a Cuban kid, born in L.A. to Cuban exiles, raised in Southgate to a young age, and then moved to Miami and be a Cuban kid in Miami, didn't understand being a Cuban kid in Miami because I'm an LA kid and then y'all come out and how important that was to someone like myself.

You know what I'm saying? To understand like, oh shit, there's roots there. There's something I can identify with and I'm already a hip hop head and it inspires me and that might not get me here sitting down right now

just letting you know that and it's just so inspirational man I want to thank y'all y'all the biggest thing to me and to a lot of my crazy hood crew that's here like we love y'all man like y'all thank you thank you so I just want to say this right

to that this is the young man's game shit right that's a narrative that is the young man's game shit, right? That's a narrative that is, you know, perpetuated by record companies and radio stations. Absolutely. And that's because both don't know how to reach out to the folks that grew up with this shit. They don't know how to market and promote

to the folks that grew up with our shit who now are parents and they got mortgages and fucking leases or whatever the fucking bills to pay that they're not, like, tuned in to the Friday and Tuesday new music drops. Right. The record companies forget about them. They grew up with you, and they're always fucking with you,

but they're not as aware as they were when they were teens. News is dropping on Fridays now. Well, Tuesdays and Fridays. Yeah, Tuesdays on our calendar. We own school. We own school. That was Friday. Tuesdays and Fridays.

Let's just say it like that, right? But Fridays, yeah. Right? So they don't know how to get to the people past 30-something into their 50s who grew up with this music, who still fuck with it. But they don't find it like they used to 30-something into their 50s who grew up with this music, who still fuck with it, but they don't find it like they used to because they got real life things

that they're dealing with as opposed to when you're a teen. I'm waiting on this day for the new shit, right? Different responsibilities, right? And the record companies and the radio stations ain't geared towards finding them. They're like, this shit right here is what we've been doing,

geared towards finding them. They're like, this shit right here is what we've been doing. Geared towards the teens. How do you connect 50-year-old, 30-year-old bands, 50-year-old rappers, 30-year-old bands to teens, like 18 to 34?

How do you connect that? They don't got the formula. That's why a lot of times, groups in our time, we don't get rotation from these radio stations. You go up there for the interview and all that shit, and they're going to play it that one time,

and when you leave, fuck you. Cool, it was good having them up here, but they're not rotating the record because they don't know how to connect with that bass. But guess what? It's out there. It's out there because we who grew up to hip-hop still listen to hip-hop.

New shit and old shit alike it's just these motherfuckers ain't figured out how to connect that together so this is a young man's game that's bullshit as long as you have it in you and you still have the passion this is your game for as long as you want to fuck with it

look at KRS-One and it's a creative man's game or woman so you know all that young look at KRS-One and... It's a creative man's game. There it is. Or woman. Right. So, you know, all that young man's game shit is a false narrative.

Yeah, yeah. I agree with what you were saying. Now, the mainstream industry is what we're talking about. That's the young man's game. Right. But that's it. But we've already...

That's obsolete. That industry is obsolete. It's been obsolete. Yeah. When you guys did the Napsa tour, it's the beginning of how that's obsolete. Right. is obsolete. It's been obsolete. Yeah. When you guys did the Napsa tour, it's the beginning of how that's obsolete. Right. They say there's two things you should never worship,

money and youth, because they all come and go. True that. That was deep. Then I got deep. Facts. You got real deep there. That fucked me up.

That fucked me up right there. That was a bit deep right there. A bit deep. So, what's next? What's next? That was a bit deep right there A bit deep So um What's next? What's next? You know New experiences

You know what I mean? Like Musically We're going to keep doing our thing But we're trying to You know Develop a new experience For people

Rather than just Traditional albums Because I mean You know Hey Doesn't make sense anymore Yeah It doesn't make sense anymore

So you know We've been talking about A different experience mean you know hey doesn't make sense yeah it doesn't make sense anymore so you know we've been talking about a different experience so you know we might do one last traditional album and then the rest is like NFTs well who knows um could be NFTs could be immersive it could be some just something different you know what I mean because I mean we've been in this game a long time and like how do we stay interested, right? There's got to be... And we're always trying to be out of the box. So it's like challenging

ourselves. What can we do different to give to people than this traditional album shit? But you know what's important is that you guys have the opportunity to take advantage of the investment you put into the fans to be able to play with that world,

that new world of that, how do we do this? Because the fans will follow you. Right. And that's an example that needs to be understood to anybody doing this and in this industry.

Like, you need to invest in your fans. That's right. You know what I'm saying? And I think that what you guys have done, you invested in your fans that's right you know i'm saying and i think that what you guys have done you invested in yourselves that's right and and you know salute to our fans out there because they've held us up with new records and without they've come to the shows and they've represented and they've been you know the ones who like hold us up you know when other motherfuckers count us out. You know what I mean?

Our fans, who we do it for. You know, we're vessels of our creativity. Boom, it goes to the fans. They receive it, and they hold us up. Now, why did you stop smoking blunts? You know, it was fucking with my voice a little bit. You know, we had a run where we were doing a whole lot of Jack Daniels and Blunts before and after shows. It's a winning combination.

You really have to try. It's a winning combination. It's a losing game. We were the Jack Daniels crew and we were smoking Blunts at the time but every show I was like fucking up my voice. It'd come back and it'd be hoarse and like doing the next show, my voice would get worse and worse and worse. And partially it was the blunts and the fucking whiskey, you know, and I changed up a lot of shit to keep my voice similar to what we do on the albums.

Because like that always bothered me as a fan like if i went to see someone and they they're screaming all over the fucking place and they don't got no control and they don't sound shit like they do on the album that bothers me so i thought like if i was coming to see us i want to hear me the way i am on the fucking album so i like tried to get control of that blunts was one of those things and drinking the whiskey before the show was I want to blame the whiskey I got to blame the Blunts too

you got to blame the Blunts I got to blame the Blunts Rihanna is a singer singer Rihanna? yes she smokes Blunts I was like where does this come into play look at her her shit is Blunts there's no like, where does this come into play? Yeah, look at her. Her shit is blunts.

There's no joints. But singing is different. It's different. Hold on, be real. Yes, listen. Hold on now. You want me to break it down for you? I would like to hear the breakdown.

Okay, so they're sustaining notes, right? They're sustaining notes. Lesser phrase, right? In other words, lesser words in their phrases. Their verses are... They're just extending one word. Our 16 bars for a rap verse is their 8 bar.

You know what I mean? Understand me? So, like, when they do their shit, it's not necessarily that it's less work. It's not. It's absolute work. They got to stay in key. They got to hold that pocket in what they do, but we are rapping 16 fucking bars. You know how many words are in 16 bars?

And then the breath pockets within those fucking bars, it's slightly a little more difficult. Now, we don't got to necessarily stay in key the way singers do, but we got to stay on that beat. And he got a great argument. And we got to stay on that beat. He got a great argument. And we got to keep our tone because anyone

can write a song and then put it out a certain way, but when you go performing, do you sound like that? And the blunts were fucking... And blunts were working against that for me. It kept on fucking

cutting my voice scratchy you know raspy I was starting to sound like Busta Rhymes out there dog you know what I'm saying

that's not the way I sound on records I'm going to blame the whiskey man both I got to say both okay okay take a shot

yeah take a shot alright I'll take a shot fuck it what is that that's beer okay you put beer in a cup no no oh yeah this is beer okay okay okay Take a shot to that. Yeah, take a shot to that. All right, I'll take a shot to that. Fuck it. And what is that? That's beer? Okay. You put beer in a cup?

No, I'm doing the moment. Oh, yeah, this is beer. Okay, okay, okay, okay. Holy shit, man. This is great. This is fucking great. And, you know, I fucking love this shit, man. I love this shit, man. I love this shit, man.

We are one. Yes, yes. I love, I love, um, you guys are always positive. Why you ain't got a little bit of negative juice? Because the negativity has never scarred me as bad as some people would think it has. I mean, since me and my brothers here, you know, we built the thing up and it became successful. It's kind of hard to be sour behind success. You know what I mean?

You have to enjoy what you guys have built and what we've made with our lives and everything. And now, our families, you know, get to live,

you know, a good life behind that. So, I have no, I have no fucking sarcasm or anything like that with the shit that we have done because there's no need for that. You know, we get to make good money and tour around the world and do what we love as teenagers, what we talked about.

Right. Right? And then continue on forward. So I don't really have, like, a negative side to this. Past my younger self, right? My adult self is completely fine. I'll say this. 96 Be Real as opposed to 20, 22 Be Real, two different people.

They don't like each other? No, no. They fucks with each other. They kind of hang out sometimes. Yeah, they hung out a couple times. 96 Be Real in 2020. Yeah, I was pretty much mad at the world at that point. I don't fuck with Young N.R.

In 96. In 96. I don't fuck with him. I'll answer his calls. Like, you know, we were working on Temple of Boom at this time, and we were fucking mad at the world at that point. Like, you know, shit, people counted us out

on the third record. They thought we was done, and you know, shit counted us out on the third record they thought we was done and you know shit with sony was kind of weird and management was kind of weird and that was kind of at the time where sendog sort of you know dipped for a minute you know what i mean and so it was it was a crazy time and i was like bobo could tell you I was that guy you know asshole asshole damn

with everybody with everybody I could own that like not the fans but like you know yeah man I was just like on some

fuck everybody shit at that point but not cocky just no no no not that yeah you know like because what the business is you

know like when you get in you don't know what the fuck it is you're like oh shit i'm in right and then as you learn what it is and you learn it turns you off manage managers agents fucking record company motherfuckers and shit like that and and just the game and you know it could fucking get to you in the in the in the realm of like, you know, fuck this shit. This shit is fucking bullshit right here. It's fake. It's bullshit. It's not what motherfuckers think it is, hence rock superstar.

You know what I mean? And in 96, I was like, man, fuck all that. And I was drinking a lot of whiskey at that point and smoking the blunts. And, you know, I just did not give a fuck at that point and smoking the blunts and uh you know i just did not give a fuck at that point and you know i it wasn't that i was terrible to people because i know i wasn't to fans but like i was terrible in my fucking head it was crazy but we were doing well better than a lot of motherfuckers thought you know with that temple of boom album is, is pissed off as I was in that time. That shit was well received. You know, when people thought we were going to fucking fall off,

we were playing that music on, on smoking grooves tour and salute to Kara Lewis for putting us on that tour at the time. Um, we were playing that music before anybody had heard it and this was not something that you did in hip-hop when you were established we were on that tour playing temples of boom music before anybody fucking heard it and the reaction that we were getting was fucking awesome right was it temple of boom right it was temple of boom and you know that was that was satisfying to see people move into shit they didn't even know right but in that time we were fucking pissed off so or i was definitely so seeing the people embrace that shit and that be one of the favorite albums when i was so pissed off writing in that fucking time um that was that was satisfying because people connected to that album you know a lot

of people when they come up to us they say that's their favorite album temples boom that was at my height of fuck everything you know but not out of cockiness out of like you know tired of what what the game actually was right you guys been on plenty of labels. What was the favorite label you guys ever worked with? Start with you, Mark. I think Cypress was on one label. Pretty much our whole first run. I think we put the last record out

with a second label, but for the first 15 years, I think it was just Columbia. Yeah, it was Columbia for 16... Columbia Roughhouse? Roughhouse Columbia. Well, it was Rough was Columbia for 16th of your rough house rough house Columbia well it was rough house Columbia for the first four albums and then I think when rough house dissolved we were just on Sony Columbia for that time then we finished our contract which a lot of Tommy and Donnie both of them. And we finished out

our contract there, which a lot of motherfuckers don't do. And we did one album on EMI, which was Rise Up. Snoop wanted to sign that, so we signed it with him.

But he was president over there? Right. And so we did that. And the next one was more like on an independent label, which was Elephants on NASA.

So three labels, pretty much. But most of our career on Sony, Rough House, Sony Columbia. Would you pick Sony as your favorite? Oh, yeah. I would. Okay. I respect that. Because realistically, they could have tried to mold us into what they thought we should be,

but they allowed us to be us. You know what I mean? Sure, they tried to make suggestions here and there, and, you know, Muggs would be like, yeah, that's cool for you. We're going to do this. And, you know, he stood his ground on the creativity of it, and they allowed it. You know, they didn't try to, you know, twist our arm.

Was Rough House a big part of that, though? Yeah, they were. Because they had a lot of dope groups signed to Rough House. Uji, Nas. Chris and Joe were big advocates for us when it came to dealing with Sony. And Joe was like, he got it, man. I mean, Joe and Chris,

they both got it. And salute to them because realistically, we shopped the album around for a minute and we were getting turned down by labels on the west coast uh and we and we uh we were talking to funk and klein rest in rest in peace who was at the time with hollywood basic and they were interested but they kept asking for demo

after demo i think we gave them like six seven demos or different demos yeah shit that didn't make the album but you know they kept asking for more shit And Rough House or Chris and Joe were like We're ready now We'll fucking take it as it is And Send Dog called that shot And said you know what We're going with Joe and Chris

And they're in the Philly They were a Philly based label That's crazy Yeah I really like their whole approach to our group because it was like, just do whatever you want, say whatever you want. That's dope. I felt like we had someone that was willing to have our back

no matter what he said on the mic or anything like that. Right. So I really, those first couple years, it was just Cypress and Rough House were, you know, a special time for me, myself personally. Is there any plans of, like, starting a Cypress Hills record company and you guys trying to go, like, find another Cypress Hills? It's always possible. I mean, Muggs is constantly on the works, you know what I mean, through Soul Assassins. Right.

So, you know, there's always diamonds in the rough out there, man. Right. You know what I mean? We were that once upon a time. And, you know, if you follow the direction of the producer, right, because some of us as rappers have, like, egos and be like, ah, who'd like, I'll just do, let me do me. But if you follow the fucking direction, right, you might come up with something significant. I always followed the direction of mugs and I learned through mugs to follow directions of other producers. Now, if they're letting me paint the picture and going at my pace,

then sure, I know how to take that shit over because, again, I learned from this man right here. You know what I'm saying? And, you know, so it's important you put your ego aside, you know, because a lot of us will love our own shit like that. Right. But we learn not to do that early.

You know what I mean? Like if Muggs gave us this beat and we took that fucking beat home with us and fucking listened to it a thousand times, Sendog and myself might fall in love with that shit. And then when Muggs changes something, we might be like, oh man, why'd you change that? And then it creates a fucking dynamic that's, there's tension and then chemistry's broken there. You know what I'm saying? But if we give trust into Muggs saying like his name's on it, he's got the same, the same want of it being fire as we do. He's not going to put his name on something that's whack or shit

so let's follow the direction and and like create something special you know so I learned to do that with Muggs and I did it with other producers if they had direction if they didn't I painted the canvas you know what I'm saying

I think an artist if they're if they're being 1000 with themselves follow the producer when producer fucking gives you a fucking direction you know like that made it easy for me to be creative when he had an idea for something i hear this okay let me paint that that's fine got something to add on to that? No, I think that was great So, let me ask y'all Mount Westmore, right? I believe it's Ice Cube, Snoop

Too Short And E-40 E-40, yeah Right, they say they're doing an album But now they're saying that they're doing a tour Right Is there talks about including you guys in this tour? Not that I've heard of.

Because that's what I heard. I heard that... That would be cool as fuck, I could tell you, you know, if we went on with them. That would be dope. That's what I heard.

I heard that they're adding y'all exhibit. What? Oh, shit. And Nori got the plug. You got the plug, son. Yeah. That's a real...

I swear to God, I think I... Exclusive drink chance right now. Exclusive. That's what I heard. Airhorn. Airhorn. I swear to God exclusive drink channels right now exclusive that's what I heard Airhorn

Airhorn make some noise for that is that something you guys would be interested in it's not a good Airhorn if it's not a German because look I'm just saying

let's just think about that Mount Westmoreland all four of those guys can do their four set right absolutely but then you know. That'd be amazing.

Like all the West Coast. I think that would be just crazy. Yeah, I don't know if it's true or not. Yeah, me neither. I read it somewhere. But I would say that that would be a fucking enormous show. It would make sense. Yeah, because you got Titans as that group right there, the Mount Westmore.

I mean, everybody is everybody. And, you know, Titans as that group right there, the Mount Westmore. I mean, everybody is everybody, and, you know, we fuck with all of them. You know, those are our brothers right there and shit, so, you know, if we were called upon to play support for our bros, yeah, of course we would do that. If that rumor is true, hey, celebrate it, because

let's make that rumor true. Hey! You know what I love about you guys is I love OGs being OGs. I don't like when people try to copy the new sound, the new style. I like us being, you know, acting our own age. You know what I'm saying? That's why I love this. I love this.

That we can be cool at the ages we at. I don't got to be two- Like, I don't got to be, you know, I don't got to be two-step. I don't got to be doing that new dance. You see that new dance? What's the new word?

Maybe Skywalker. All that shit. You don't touch the floor. Like, I can't do that. I can't do that. I know I can't do that. None of us. My knees fucked up.

None of us. You know what I'm saying? So, I'm glad I have, you know, we have our own platforms. Big up to Rock the Bells. Right. Also,

we could be ourselves. We don't have to, you know, try have our own platforms. Big up to Rock the Bells. Also, we could be ourselves. We don't have to, you know, try to cater to this new generation. That's the evolution of hip-hop right now. You know what I'm saying? I feel like we started it from Drink Chance, but, you know what I'm saying? Part of it. Definitely a part of it. And I just want to salute y'all one more time, man. Thank you.

You guys are living legends in a lot of ways. You know, you paved the way for both of us. You know what I'm saying? Us getting to see Latinos. Thank you guys, man. Because it was crazy, me being born and raised in New York City. I only thought it was Puerto Ricans.

I didn't know it was like, I thought it was Puerto Ricans and Dominicans. I never even knew. I was like, what? These fucking Cubans? These fucking Mexicans? And then to see people on TV, on my video music box,

and to see it, and you got to speak, you got to speak about Latin lingo. But you got to say it in Spanish. And I'm sitting there, and I'm like, holy shit, there's Latinos everywhere. And I had not known that. That was crazy. Y'all was like my geographical map back then. Like, you know, I didn't know how to read a map or whatever. I was like, wow, these people could be from over there, too.

And we're not just in fucking Queens. They could be over there. It was, it was. Y'all was there. Y'all was there. I was there as a young kid. I was just like, I just thought it was my block. Like, they literally called me Papi because I was the only Latino there.

So, I was, you know, it's racist, by the way. Just be real. That was a racist act. Papi, how were you that day? Like, and then I realized, and I want to say that to y'all, you know, and I think we have to end on one more shot. Let's do it.

Let's go. I want to say to y'all man that was a big inspiration that was big motivation it was it was everything man it's so dope and like I said it's not only that

for me to look up to you guys for me to meet you guys and you guys be the same exact way you guys be real as fuck you guys be you know what I'm saying like just always being the figure that and you guys be the same exact way. You guys be real as fuck. You guys be, you know what I'm saying? Like, like just always being the figure that I've seen because I used to meet people that I used to look up to

and then I meet them. I'm like, ah, fuck, this guy's a prick. You know what I'm saying? And you guys are really that. You guys are really, and you guys held it down together

30 years, man. You know what I'm saying? That's something to really be proud of. That's something to really, and we want to salute you. We want to give you our flowers. And we got your shirt. We got your shirt.

We got your shirts too. Yeah. Every one of y'all got a shirt. You know, from the Juicy Juice Ball. But listen, I want to tell y'all, man, thank y'all for what y'all did. Thank y'all for what y'all sacrificed.

Thank y'all for leading the way. Thank y'all for being leaders. Thank y'all for motherfucking being who the fuck y'all are. And, you know, one time for your mind, two times for your soul. Like, my man, you know, motherfucking F.C. Shand said. Thank you, Cypher. You know what I'm saying? Thank you, motherfucking Cypher

Shand said. Thank you, brother. Cheers. Thank you, brother. Cheers. Take pictures and some promo. Yeah, man. Thanks for joining us for That ain't about done. That was awesome. Thanks for joining us for another episode of Drink Champs, hosted by yours truly, DJ EFN and NORE.

Please make sure to follow us on all our socials. That's at Drink Champs across all platforms, at TheRealNoriega on IG, at Noriega on Twitter. Mine is at Who's Crazy on IG, at DJ EFN on Twitter. And most importantly, stay up to date with the latest releases, news and merch by going to drink champs dot com. For more podcasts from my heart radio, visit the heart radio Apple Podcasts, or wherever you listen to your favorite shows. A lot of times

big economic forces show up in our lives in small ways. Four days a week, I would buy two cups of banana pudding, but the price has gone up, so now I only buy one. Small but important ways. From tech billionaires to the bond market to, yeah,

banana pudding. If it's happening in business, our new podcast is on it. I'm Max Chastin. And I'm Stacey Vanek-Smith. So listen to everybody's business on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. The Medal of Honor is the highest military decoration in the United States. Recipients have done the improbable, the unexpected, showing immense bravery and sacrifice in the United States. Recipients have done the improbable, the unexpected, showing immense bravery and sacrifice in the name of something much bigger than themselves. This medal is for the men who went down that day. On Medal of Honor, Stories of Courage,

you'll hear about these heroes and what their stories tell us about the nature of bravery. Listen to Medal of Honor on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. Why is a soap opera western like Yellowstone so wildly successful? The American West with Dan Flores is the latest show from the Meat Eater Podcast Network. So join me starting Tuesday, May 6th, where we'll delve into stories of the West and come to understand how it helps inform the ways in which we experience the region today.

Listen to The American West with Dan Flores on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. I know a lot of cops. They get asked all the time, have you ever had to shoot your gun? Sometimes the answer is yes. But there's a company dedicated to a future where the answer will always be no. This is Absolute Season 1, Taser Incorporated. I get right back there and it's bad. Listen to Absolute Season 1, Taser Incorporated on the iHeartRadio app, Apple Podcasts, or wherever you get your podcasts. This is an iHeart Podcast.