Drink Champs - Episode 474 w/ Jessy Terrero and Ulysses Terrero

Episode Date: October 10, 2025

N.O.R.E. & DJ EFN are the Drink Champs. In this episode we chop it up with the legendary, Jessy and Ulysses Terrero! Jessy and Ulysses pull up for a legendary family affair full of vision, hustle, and Hollywood game! N.O.R.E. and DJ EFN sit down with the Dominican-born brothers who helped shape the look and sound of an entire era in music and film.  Jessy, the iconic music video director turned filmmaker, breaks down working with 50 Cent, reggaeton legends, and how he helped bring Latino culture to the mainstream. Ulysses, a powerhouse casting director and talent discoverer, talks about finding stars before the world knew their names and opening doors for the culture in movies, TV, and music videos. Together, they reflect on growing up in Queens, navigating the industry with no blueprint, and building a legacy rooted in authenticity and representation. From G-Unit stories to directing worldwide tours to launching careers of future legends, the Terrero brothers drop gems, tell never-before-heard stories, and remind everyone why they’re true pioneers behind the camera. They talk brotherhood, business, betrayal, and winning on their own terms—plus plenty of laughs, shots, and classic Drink Champs chaos. This episode is a masterclass in longevity and creativity from two industry giants who changed the visual language of hip hop and beyond. A must-watch for anyone who loves culture, cinema, and the grind! Make some noise for Jessy and Ulysses Terrero! 💐💐💐🏆🏆🏆 Listen and subscribe at https://www.drinkchamps.com   Follow: Drink Champs https://www.drinkchamps.com https://www.instagram.com/drinkchamps https://www.twitter.com/drinkchamps https://www.facebook.com/drinkchamps   DJ EFN  https://www.crazyhood.com https://www.instagram.com/whoscrazy https://www.twitter.com/djefn https://www.facebook.com/crazyhoodproductions   N.O.R.E.  https://www.instagram.com/therealnoreaga https://www.twitter.com/noreagaSee omnystudio.com/listener for privacy information.

This is an I-Heart podcast. Hey, I'm Jay Shetty, host of the On Purpose podcast. I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had. This shit was not given to me. I worked my ass off for me.

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or wherever you get your podcasts. What's up, everybody, it's snacks from the trap nerds in all October long. We're bringing you the horror. We're kicking off this month with some of my best horror games to keep you terrified. Then we'll be talking about

our favorite horror in Halloween movies and figuring out why black people always die further. And it's the return of Tony's horror show SideQuest written and narrated by yours truly. We'll also be doing a full episode reading with commentary. And we'll cap it off with a horror movie battle royale.

Open your free I-Hard radio app and search trap nurse podcast And listen now. He's a legendary queen's rapper, He's your boy, N-O-R-E. He's a Miami hip-hop pioneer. What up is DJEFN? They drink it up with some of the biggest players

In the most professional, unprofessional podcast And your number one source for drunk facts This drink chance, motherfucking podcast Where every day it's New Year's Eve It's time for drink champs Drink up, motherfucking, motherfucker What it good be, homie, homie, homie, homie, What up is DJ EFN?

What up is DJEFN And it's military crazy world Drink Chaps, Yariahua, make some love! Now, when we started this show, we started and we said we're going to give the people who flowers, you know, to legends, to icons, the people who paved the way. Not only, we have not been able to, you know, urban directors, Latino directors, it just doesn't exist. It's a handful that, you know, you can count on on your hand that's not only dope, but that's

really a part of the culture. When I tell you, these two brothers here. They are, I know, I feel like I know on my whole industry life. They have been down, they have been sincere, they have been involved with everything quality. I remember at one point, you know, looking at reggae thrown videos, and I just being, just being sad, me coming from hip hop. And when they into that reggae throne culture, now you look at that culture, now it's high four your videos now. Now it's big boy videos now. Before, they used to holler, I well-up to film their video.

videos. And they used to be in the back of the couple with the cow feeding straws. Now they got real videos because these brothers came and they disrupted it. They did what they had to do. They learned what they did. And now, Wrigo is one of the biggest genre of music in the world. Because of our contributions, I'm taking some of that too. In case you don't know what we're talking about, motherfucking turnaround, really? I love the humble beginnings of the fact that, you know, your mother gave you your first camera. Yes, yes. And he was your Denzel Washington.

Yes. And you was the director. You was asshole Ku Quah. Yeah, I was trying to be Denzel, too. You know, that's right. So, because you was being an actor as well. Yes. But, you know, at that time, and, you know, we grew up in Jamaica, well, we grew up in the South Bronx.

And then we moved to Jamaica Queens. And at that time, like, nobody thought about being an actor. We were just having fun, you know. Right. Who was famous Latino actors at that time? Ricky Ricardo. Ricky Ricardo. No, damn.

He was Cuban, right? Yeah, yeah, he's going far back. I mean, he revolutionized a lot of stuff in the industry as a Latino. Yeah, but, you know, early on, I mean, I think a lot of us at that time looked at Al Pacino because all the big movie. Because of the accident, the accent, the fake accident. Scarface is because of Scarface. No, but what I'm saying, he was playing the Latino characters that were big in that era. Right.

Kalino's Way. Yeah, you had different actors. coming up at that time like Jimmy Smith and there was a bunch of different guys doing their thing Jimmy Smith did the NYPD Blue. Okay, okay. You know, there was a bunch of guys but nobody sort of, what we had

was what, we had New York on the cover. Okay, yeah, yeah, yeah. Malik Yoba's the partner partner. He was Puerto Rican, right? Yeah, that was the closest we had. Okay, something that I felt, at least that show that felt urban where we saw Latino characters pop up, but we didn't really have

someone you can hang a movie on at that time. Right. I love the fact that two of the most gangster one is a series and one is a movie is like kind of what put you all on right?

Juice, which is a gangster movie you saw juice and you switched your college semester and I saw juice I was in jail and it's a big difference and but the sopranos Oh, the sopranos

You know I had I had someone told me you was in there right But I had never, and I, every now and then I go back, I watch Seinfeld, and I was just watching The Sopranos, just randomly. I was like, oh, my God, right there. How the fuck did you get into Sopranos, you know? You was definitely the typical Latin guy, too.

Yeah, you know. Selling cocaine and got shot. You know, we, at that point, we were already in the industry, right? So when we got into the industry doing, like, internships, my brother interned in casting. I interned in productions. I was working, like, the producers, trying to learn how to make a movie, and he was working and casting.

So as he evolved, he was working. There was a moment where we were doing a big project, and there was these two casting directors, Georgianne Walken and Sheila Jaffe. Georgian is Christopher Walken's wife, the guy from King of New York. Okay, yeah, yeah. So they were doing the big movies in New York.

And while we were working on the project with them, he was doing extras casting. They were doing principal casting. Their assistant, something happened. Like, they lost their assistant. So my brother was like, you should go work with them, I can learn how to do, you know, that side of the business.

So then I took that job as the assistant. Uh-huh. And I started working with them doing principal casting. On the soprano's that? No, this was another project. Okay, okay, okay. So after this project, they were doing all the big stuff. They started working on the sopranos.

So I would always, you know, we were cool. So I would touch base with them. I was like, yeah, I love the sopranums. I was like, chill. And what season was this that you was on? Oh, I don't remember. No, it wasn't the first season. No, it was later on.

I thought it was the first or was it late in the first. No, maybe it was late in the first. Okay, yeah. So you had already seen a couple of episodes. I already saw a couple of episodes. It was bubbling, and I told that, I said, look, if there's ever an opportunity, I would love to be part of the show. So then Sheila called me one day and said, Jesse, you know, there's a character,

there's Latin character. We don't know if he comes back or not. So she told me, so I went in for the cast. But it was like one line. All right? Like Latin Doug, right? Yeah, yeah. Number one.

Yeah, yeah. It was like Lion Duck, number one. And basically, before they kill me, I was supposed to say, like, I'll let them know. because it was like the Spanish guys were coming into their area so when I went to the audition it was a done of Spanish dudes and they was taking this shit mad serious

like they weren't even saying hi to me I was like yo what's like everybody's super serious I can't believe they're studying this one line so when I went into the casting Sheila was then the director he was like this is Jesse or whatever and I said look man

I don't know how serious these people are taking that outside but it's one line you know what I mean so it's like it's pretty much going to be based on how I look and you know whatever and he started laughing because we were joking about how every serious everybody was and he was like you know what they came in here too serious and he told shit i like him let's just go with him because i have a better time with him on set and that's how i did it but during the rehearsals the guy that plays pussy was like you know what it'd be better if i slap him in the face with the tape that's how i would do it i was like this motherfucker just took my life And you're green, you're green, right? Yeah, so you don't know, you don't know that. It means really slap you.

Yeah, but the director was like, that's a good idea. So it was like, somebody gave me some tape. So I was thinking about, like, I know he's not about to put it in the next scene, slap me with the fucking tape. And then my line became, he took the one line that had, he killed it. But people still recognize you for that. Yeah, yeah, yeah.

But it was good to work with them. It was cool. It was like, it's not as, I was a fan of the show, so it was great. Yeah, it's iconic to be a part of that. To get killed by that. But you know how, like, sometimes, and I work in the film business, you see things that are like, I was getting shot, and, you know, I thought the blood was going to shoot out the back of my head.

But they just put the makeup shit out of me in one take, and some dude stood next me with a brush and red paint, and it was like, lean back. I was like, at least I thought it was going to be dramatic, but it wasn't. Okay, so now let's fast forward. How did you go from, was Sopranos first or was juice first? Juice, juice first. So how did we get to juice?

because, what was it, an audition? I know you was part of the Rottermas gang, but how did you guys get there? The juice thing happened because at that time, we were, that's when we were making. My mother worked nine to five. My father worked five to one in the morning. So, you know, my father, because he didn't speak the language,

he always had, like, those Latino kind of jobs that were, like, a different hours. But he was driving trucks. He was a super in the Bronx. So he was working maintenance for CBS, and it was a late-night shift. And my mother would go nine to five. Then he would go to work at four.

She would get home by six. It was like a two-hour gap in our house when nobody was home. So my mother had a camera. She was like, yo, entertain yourselves. I don't care what y'all do. We were young. She was like, just don't go into the street.

Right. While until one of us is here. So we started making movies. Like Nightmare on Elth Street. Yeah, yeah. We started making... Yeah, everything was super Yulee, Yulee on Elm Street. He was like, he was a star, everything.

Every time we had a new concept, he was like, yeah, Yuley on Elth Street. Super Yule. I was like, where am I going to get my show? I never got it, so I had to learn how to direct. So as we were doing that, we learned the skill for,

like, just having fun making movies, and then we got tired of making movies and video music box used to come on over the time. So we used to watch video music box, and we were like, oh, shit, let's do the,

redo the EPMD video. Let's do the LLLCOJ video. So we were doing remakes. Remake it. Okay, okay. Yeah, like when I was playing EPMD. Not like spoof, like not spoof. Yeah, like we were trying to be cool and gags at the same time.

Okay. So we would redo these things and one day watching video music box, a commercial came on for juice. They were looking for people for this movie. We didn't know what it was. It was like an extra. Like an open casting commercial? Yeah.

An open casting, like an open can. They used to do that back in the day, Spike Lee would do it and open it up to like young black kids because there was nothing in the union. Wow. So they were like, they're looking for black and Latino kids a certain age. So I saw it. So we were like, yo, it's probably getting me mad chicks there. You know what I mean?

So we were like, yo, let's go. All right. So usually I don't think he went. Right. Because, you know, he was like, whatever. So I ended up going. And when I got there, it was like a truckload of people. They would bring you in like 50 people at a time.

And then they would give you a speech and say, thank you very much to take a picture and your gun. All right. So when they were kicking me out, I was like, damn, like, you know, something inside me say, yo, this could be a real opportunity. So I told the person in the front of you had not acted prior to this. No, just in my, and I lived. Yeah, they were a terrible actor. Yeah, yeah.

Okay. So I told somebody, I was like, yo, I think I lost my keys in there. So they let me in before they brought in the next 50. Right. So when I went in there, I didn't lose my keys. It was a lie, but I wanted to try to talk to somebody in there. So I went in, and the casting director,

Winston Sinclair, rest in peace, because Winston passed away. She was one of the prominent figures at that time in casting a lot of Spike Lee's movies, a lot of the early movies, and she was doing the casting for juice. So I spoke to her, and she told me, like, She was like, yo, then I like you look, blah, blah, blah. And then she was like, we didn't have a lot of Latinos coming. Right.

So we were wanting to create this Latino gang. So she was like, I would love for you to come meet the director. Right. So that initiative got her to call me. And when I told Yuli, he was like, oh, I'm going with you. Right. Right. I was like, they like you.

You know what I'm saying? Yeah, yeah, that's fire. And Yulee had a pimple. Oh, yeah, the banding, right? And he threw a bandit on his nose and the director of, oh, I like the guy with the bandtie. What happened was I had a people So what were the Band-Dade And when we got cast

And I showed up to set Without the Band-Dict The director was like, Where's the band-Dade? Yeah, yeah, yeah. They didn't realize there was a people Yeah, yeah, yeah, yeah.

And the reason why I didn't go into the castling Because a year before that was at the mall, some lady was like, Oh, shit, are you a superstar? I was like, who's me? She's like, yeah, I was like, nah, not really. You sure? I was like, nah.

You got to be kidding me. You know, here's my car. Come in me tomorrow. Right, so I go meet this lady. I go meet these people, and long story short, they were like, oh, my God, we're going to make your superstar. Where's your headshot? I was like, headshot, what's that?

Hey, you don't have a headshot. Don't worry we got you. Come Saturday. Bring a credit card. Bring your credit card. $1,200. I still got the pictures. They got these terrible horrible pictures.

The Casablanca picture. And they suckered me. The hand of you was it. And they suckered me. That was the, so then when they, it was just like, yo, so open court for a cat, like, I'm like, you won't get it. There he's going to take.

You're like, I'm going to stay home. But then he was like, yo, this shit was real. There was a lot of people there, cameras, got a discussion with the director. I was like, I'm coming. Fuck that shit. They're like you.

Like in days, they couldn't tell us apart. I mean, so this is the answer to your story later about how they can't tell us apart. And sometimes they get confused. It was a real big confusion. So let me ask you, you know, I love these episodes because very suddenly we get to speak to people that's behind the cameras, right? So many people in our culture, their objective is to be in front the camera, where there's so many people making more money that's behind the camera, there's so many people that's making more money that's not in front of the camera, there's so many other jobs that exist.

So I would like for you to start down what exactly is casting, right? Like if a person wants your job, right? What would they have to start doing? Because casting. I mean, you know, I don't know what anyone needs to be a casting director. What happened to me was, I said, we started casting. We did Jews. That was our first movie.

Then Tretsch happened to be one of the Rodhamis crew guys. So then he did the OPP video and threw us in that. And then it's like, you know, we had little jobs here and there. But like you said, it was like, you know, Latino Thug One. Right, yeah. You know, a rape or two. Like, you know, it was just like... Raper 2, geez.

You know, I still have, I still have my resume. You tell me, but it's like, Thug 1, crackhead 1. That's it, right? But, you know, you don't have, you don't, you don't, you don't have, you didn't have names. That's it. You would literally have, like, a name like that, like Thug 4. Yeah, yeah. It was a fucking Stug 3, you know?

What's funny, there's this actor named Noel G. Yeah, yeah, we just had a lot. Oh, you just had a lot of one. Did he showed you his message name? Yeah, oh, heck, yeah, heck, yeah, heck, yeah, heck, to hate it time. So that was it, but he was, he was a star, so he was getting the people, we were the one, two, three, four, whatever. But, what was the question? Casting, cast it, yeah.

So anyway, so, so that was it. That was it. So at some point we were like, is that it? You know, so, you know, I was complaining in the morning, and my father was like, you can't get mad. You got to learn it, learn how to do it and fix it because they don't know. How do they know what Latinos look like? Because at that point, it was only Mexican because all the movies done with Latinos was in L.A. So it was very Mexican driven, blood in, blood out, out of American meat.

So that was kind of the vibe. So it was like, who's going to change that? All right. So when I came to the cast, I was like, yo, that was really good, man. But he'd be more Latino. I'm like, I'm sorry, I'm sorry, white lady, what do you mean? You know, like, older leg, give me the purse. I'm like, this shit takes place in the Bronx.

Right. They don't understand that. So anyway, so... Get okay, baby. So anyway, so then I used to always say, if I was a casting director, I would change, I was a cast director, and then me and Jesse, we were involved with Darno Maher, who did I like it like that. And when she was developing that, she had us do readings, like, you know... Because that was like a Latino movie somewhat, right? Yeah, I was a big...

That was a big attempt at doing that. So anyway, so we were involved in that, you know, with the readings and all that stuff. And then me and Jesse, we used to be rappers, right? No, I didn't hear that part. Oh, yeah. I didn't hear that part. We used to be rappers back in the case. So we went.

What was the name of your group? Probable cause. Big Jets to fly. No, probable cause. The probable cause? That's not that bad. It's not that bad. It could have been worse.

You know, a lot of times when cops put you over because they got probable cause. Oh, they're probably cause. So I was like a popular term that Big Jeff would fly you Anyway You even change your voice right there You're gonna fly you Anyway so long story short

When the movie got picked up We were in Canada So the beepers didn't work out there So they tried to beepers and they couldn't get us So we missed the opportunity It was like this We missed the opportunity so we came back We were calling for this movie

So since we knew the whole team They were like you know what you used to always talk shit if he was a casting director you would do something but won't you do an internship on this to learn the process so that's kind of how I got involved

so one thing I would say is do an internship right in the entertainment business you know actually do an internship you work for free to learn the process that's what I did

I worked for free on on a liking like that there was a Latino film back then there was nobody in the game so my boss at the time Ilana Gerald was like oh shit how we were cast this movie we don't have anybody here

like, what do you need tomorrow? 50 Latinos. Got it. Yo, yo, yo. So I had access to it. Right. So then she was like, wow, this guy's an answer. He got access to the Latinos and African Americans.

It didn't exist in the union or the agencies back then. Like this, then she hired me. Then we did New Jersey Drive above the rim, such as the park, you know, and we did a lot of the urban joints, you know what I'm saying? So basically a person writes a script. They get their main characters, right? Yeah. And then they come to you and they have you cast them.

The rest of the characters? Yeah, well, there's two levels of casting. There's principal casting, which would be the stars and all the speaking roles. And there's extras cast, right? Sometimes you're just casting, like, the background actors that don't speak. The dog, number one. The guy that gets seen, but he, you know, he doesn't have no lines. And rape for three.

Yeah, because basically, it's rape for two. It's a financial thing. It's a financial thing. Once they open their mouth, if it's a union movie, they've got to get paid X amount of dollars. If they don't speak, they get X amount of dollars. Wow. So, like, let's say if I was here and I was here, and I was, like, podcaster too.

But I didn't speak, and the scene was just him. I would be here, and every once in a while I would laugh and do shit. But they would put somebody else's voice in my voice. Oh, so they don't have paid you. Oh, shit. Right. So would you know what do you teach us? Because it's union?

Oh, no, he said that there's a work around the union. Fortunate? I forgot the term he used. Fricor. Yeah, that's it. Yeah. Yeah, yeah. So that doesn't really exist, though.

It's something that happened years ago where urban... Where you can work for union and non-union? Yeah, yeah. That's what that is? Yeah, so it was like a fight, you know, a long time ago where they were like, it's not fair, there's not enough roles for us in the big space, so we're dying right now.

So we have to be able... So they create this thing called FyCore. Yep, that's exactly what. But if you call the Union, they tell you, FyCore, that doesn't exist. But people do it. So I don't know how real it is or how... I mean, he swore by it.

I get it. And I use Union people in non-year movies all the time that have five. call on their picture, when you call the union, they go, that does not exist. So the problem is when you go away, when you go back to that era of like the juice era, that was like the explosion of all the black films. Right. Juice, menace, society, boys in the hood, all these urban movies were being done.

Were they considered indie at the time of those films or no? There was studio finance. But, you know, like Friday, those movies were still no budget. Friday was like half a million dollars, $600,000. It might have been a budgeted at like $2, $3 million, but that was the music. That was other stuff that was a cost on top. So that was like the explosion when you saw like Hollywood say, you know what?

Hip hop was getting so big. They needed things to mirror the culture. So they started making these movies that were like geared with urban people. And then when they started casting those movies, there weren't enough people in the union. Right. So they were like, you know, we can't even, there's no black extras in the union.

There's no Latino extras in the union. So when people were trying to do authentic projects, they couldn't find the people. That's where casting directors like my brother started to grow. because they had the access and the authenticity to say, you know what? I know people, when people were making music videos, Dan Martel, you know, rest of peace, yeah, exactly.

Diane, that's how he started working with Diane because Dan, like, the raw videos, and she didn't find those kind of casting in the music. I thought she started working with Diane Martel because you wrote Money Power Respect. Yeah, but we were working with her before already. Because he started working with her on the casting. That's how I met him.

On the casting. All her, everything. Yeah, so. Yes, right of peace, Diane Martel. Yeah, yeah. Yeah, no, Diane, you know... She passed away recently, too. Recently, yeah.

She, you know, she was sort of my first mentor in the music video space, and he was working with casting, but, you know, Diane's videos were raw, so she was like, I want a crackhead. And then he'll bring somebody, he was like, I don't want the actor crackhead. I want a real crackhead. Like, I want you to go find some dude in the street. She made me performing for the fire. And I was like, not fake fire?

She was like, no, you know, I was like, you don't want, I was like, I don't want, you don't want the fake shit? Like, no, no, no, no. She's like, keep it real. Yeah, yeah. I was sweating and everything. So she was super raw. So what happened was that somewhere along the lines,

there was a moment where I was, like, around her and people that worked with her. And she had an assistant at that time where I found out that there were writers in music videos. I didn't know that. Like, there were other people that wrote concepts. Right. Right? For directors. Like the treatment, you mean?

Yeah. So you could write the concept. Wait on. Okay. So one time I was like, oh, shit, there's, like, people involved. So, like, one time we were somewhere and she was on the phone, and I think it might have been puffed. Yeah, yeah, yeah.

He didn't like the treatment. You were like the treatment. And at that time, you know, it was like Diane. It was hype. It was like all the big directors were up for those kind of jobs. Like, I wasn't directed. And, you know, like, I, I, you know, I, you're hustled this. So I heard, like, the convoy a little bit.

So I tried to jump in. And I was like, you know. And I was like, you know. And she was hard course. And she was like, well, fuck, you know. Right. Fuck, you know. Why won't you write this shit?

And I was like, you know, I wrote the concept. Right. So she submitted it, and then she got the video. So the production company she was signed to was like, oh, maybe the Dominican kid knows something. Right. And then after she did Money Power Respect, I started getting music. Right. Like that she started to sing her herself?

The production company should sign. She started sending me music. So then I started to write this concept. Yeah. And, you know, I would talk to her first. So she wasn't like just letting me write blind. Right. And she was like, study this movie, study this movie, look at these scenes in this movie.

She would give me references. I would look at the movie, come up with a concert. She might hate 50% of it. I rewrite it. And then she was big then. When I started working with Diane, she was already here. Right. So, you know, everything we was doing was like big shit.

Wu-Tang, Mariah, it was like all big Christina Aguilera. It was all big stuff. And then at some point, I got approached by some reps. Hey, I'm Jay Chetty, host of the On Purpose podcast. I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had.

How do you think you're misunderstood? I'm not this evil, mean person that people think that I am. I'm too compassionate. I have sympathy for that my man. You put so much heart and soul into your work. What's the hardest part? for you to take that criticism. This shit was not given to me.

I worked my ass off for me. Even when I was a stripper, I'm going to be the best pole dancer in here. When was the moment you felt I did it? I still, to this day, don't feel comfortable. I fight every day to keep this level of success because people want to take it from you so bad. Listen to On Purpose with Jay Chetty on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

I started trying to get pregnant about four years ago now. We're getting a little bit older, and it just kind of felt like the window could be closing. Bloomberg and IHeart Podcasts present. IVF disrupted, the Kind Body Story, a podcast about a company that promised to revolutionize fertility care. Introducing Kind Body, a new generation of women's health and fertility care. backed by millions in venture capital and private equity, it grew like a tech startup. While Kind Body did help women start families,

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app, Apple Podcasts, or wherever you get your podcasts. December 29th, 1975, LaGuardia Airport. The holiday rush, parents hauling luggage, kids gripping their new Christmas toys. Then, at 6.33 p.m., everything changed. There's been a bombing at the TWA terminal. Apparently, the explosion actually impelled. metal, glad. The injured were being loaded into ambulances, just a chaotic, chaotic scene.

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is what is going to keep you growing. And that's all that matters. World Mental Health Day is around the corner. And on my podcast, Just Healed with Dr. Jay, I dive into what it really means to care for your mind, body, and spirit, from breaking generational patterns to building emotional capacity. Healing is a journey and wholeness is the destination. I'm going to walk away feeling very healed and feeling like, yes, I'm going to continue my healing journey and I'm going to get some keys from you. Listen to Jess Hilbert, Dr. Jay, from the Black Effect Podcast Network on the IHeart Radio app,

Apple Podcasts, or wherever you get your podcasts. And they were like, yo, we just signed this kid out of Baltimore named Chris Robinson. Yeah, robot film. Exactly. And that sort of got me in the world with Chris, and I started writing with him. But he was at a different stage because Chris was on the come-up. Okay. Which sometimes people feel the impact more in the come-up, not on the top.

Right. So with Chris, when I started working with him, Chris didn't let me write solo. So they would fly me together in the same room. And we would rock out a bunch of treatments, and then Chris's career started going, and I was like part of that wave and then ultimately Chris signed me and blah blah the rest is history, you know.

Right. So, by the way, let's make some noise for that. So I'm going to bounce around a little bit. Yeah, yeah, yeah. So you know Lena with? I know who she is. I don't know what person.

Well, she has a series called the Shai, right? Yes. On Showtime. I absolutely love it. I absolutely hate giving any critique to anybody especially people I love

but I had to tell her one day I said there's one thing about the shot I just can't get with I said you showed you know the streets you showed the police showed the political thing you showed everything

the one thing that I didn't see in the shot that bothers me there's no Latino especially Chicago in Chicago I'm like a Puerto Rican First of all for Puerto Rican should have been there

Like I'm sorry I'm sorry I'm playing my boy But now like if you look at so many Mexicans In Chicago And I'm like You know This is my home girl too by the way So I just

I'm my only critique Other than that I believe that series It's like It's up there I believe that eventually It would be A label of a classic But my only thing is

There's no Latinos Right And that's always been The tough struggles was that, like, we never had a unified voice in Hollywood, you know? The African-Americans got unified and was like, yeah, we don't see ourselves winning Oscars. We don't see ourselves doing this. We don't see ourselves at the awards shows.

We don't see enough in Hollywood answered. But with us, they have never answered, you know, like for us to make up, you know, 20% of the population, you know, we're one in five people, but we're one in 20 on the acting side, you know, in terms of roles. Like in the writers, directors, it's like we're minuscule. And Hollywood has never opened the door. to say, hey, it's on their mandates, like, we're supposed to make Latino

projects because the Latino movement is there, but they don't really make them, you know? And if I was, like, a director that I was complaining, and then I'm out here on your show, but then you can point out to six directors that got mad, the Latino wire, the Latino power, the Latino. But it ain't there.

Right. You don't exist. Well, I'm going to give you all your props. Because... I just want to say one thing, and the reason behind that is because we don't support that's it like the Mexicans rule because the Mexicans support Mexicans if there's a Puerto Rican film or Dominican

film or Colombian film we don't support if Latinos all got together and support great content there's so much infighting within the Latino community and that's the problem it's so much hate against each other but it's like if the studio saw hits after hits after hits it's a no-brainer

that's why right now we're putting all our chips and so I'm sure you heard about it we're doing the fat Joe series next year. Oh, um, the stars. Oh shit.

Was it called all cats? Nah. Nah. My brother. You know that. No, like like, like,

hold on time out because you get me I got goosebumps. Okay. Because I'm going to be honest with you. When y'all just said the wire,

the closest thing that I saw that I compared like a Latin wire was the Nikki Jam shit. Like that shit was so good, yo. I watched that shit like three times I don't remember how I know I was bothering you

I called you mad time I was like yo I was asking questions I was like because it was just so like God bless me I heard it your brother not that I don't credit Nicky Jam obviously I've credit Nicky Jambs it's his story but what I'm saying is

what made me fall in love with it was the cinema photography you know what I'm saying as how it was shot because you can just shoot anywhere but like it's fucked up for me because I've been in this game 25 years so I can tell I know when you put hell on the camera I know where

that's the dude right there he didn't belong in the film he was walking his dog but it looked good you know what I'm saying it looked good so they kept filming like I can see that

you know what I'm watching it like I went through the whole thing this is how good the series is I watched it three times I swear to God I kept going and I kept I was like I missed something

right and I kept this is how good the series is you know Nikki Jam makes it out of it you know that he becomes successful But as you watching it and you go through it, you're like, yo, I hope he was going to, I hope he makes me. And you're like, idiot, you saw him yesterday, about it.

But that's how good this series was. Like, you know he's okay. Like, in real life, you know he's okay. But watching the series, you're like so into it. You're like, man, what does he do next? Like, how, how, how was that? First off, how did you even, how did you all get even approach to do this project? Was it Netflix or was it Nikki Jams?

But what really happened was that for years, as when I pivoted from hip-hop videos to start doing reggaeton videos, I was looking at what happened in hip-hop and what happened in regga-ton, seeing if I can repeat. Right? So, like we said, when that era of hip-hop was so big, Jews, men as boys in hood, there was a moment where, like, all these TV shows were coming out. So I was like, okay, Gregitton is about to be America's new hip hop. So if I follow the same trend, that means we need the same movies. We need the same content. Right. But I couldn't get anything sold.

Right. I was trying. I was trying. I was trying. I was trying. I was trying. I couldn't get everything sold. So even at that time, Daddy Yankee has signed to Interscope.

He was a person. The guy signed him the white kid. See, a little kid like this. Yeah. Three-HH was the one that got me working with Daddy Yankee. So when Daddy Yankee came and signed him in the Iniscope, right? that they're rompe and gangsters. Snoop Dog.

Yeah. And Puerto Rico. With 3H. Right. I know my shit. Come on, man. I'm sorry. Yeah, yeah, yeah.

So he brought me into that fold. So it's like when Yankee had done a movie called Talento del Barrio. Right. Right. That was his movie. So they did 8 Mile, right? They did Get Rich and Die Trian. And then they were going to do Talento del Barrio.

And they were trying to figure out something with that movie, but they just never got behind it the same. It never came out or it. It came on. It was the top grossing movie in Puerto Rico at that time. Okay. You know what I mean? It was a huge hit. Okay.

So there was a, so to me it's like when, and this is a story that I'm not sure it's true, but it helped me get Nikki Jen. Okay. Right? At the time, I did Wangster. 50. Right? And what happened with Wangster was that I was already working at Enoscope.

So DJ, who's Jimmy's nephew that worked at Enoscope, So when 50 got signed, you know, I'm from Jamaica Queens. He was on fire in Jamaica Queens. So when he got signed, I told DJ, I said, yo, I think I was doing Stiles P or something. And I was like, yo, I want to work on the 50 project. He was like, oh, it's coming down the line. I say, yeah, I want to work on the 50 project.

Right. So he kept his words. So when the 50 project came out, he reached out to me to write on Wankster. And when he reached out for me to write on Wankster, all the big directors, because the budget was lower, didn't jump in. So I had like an opportunity to do Wankster, right? So not just write on it, but actually direct. Directed video, right?

So, so I, you know, because at that time I was directing video, so I got to do that. So I did Wankster. A lot of people don't know that Dr. Drey is a director too. More on Wainster? No, Dr. Dre's a director in videos. Okay, yeah, yeah, okay. Right, him and he had a partner Phil Atwell. Right, you know, oh, guys, I love Phil and Dre.

So Wankster was like the low budget video. It was the warm-up because 50 had that song out for a while. So I did wangster. Then 21 questions came. Oh, no, in the club came. And Drake was like, oh, I got this one. Because the budget was like five times. And then the next one was 21 questions.

He was like, sit this one out, my friend. And Phil got this one. Those budget were big. And when the budgets came back down a little bit, they reached out to me again. And they said, we got this other record, many men. That's like the movie style. you did. Yeah, so they went 50.

Basically, like the intro to get rich and die trying. I'm sorry. I'm doing your interview for you. I'm sorry, I'm sorry. My bad, I'm into you. Come on, I'm into y'all. Come on, come on, come, come, come, come, come, go ahead. I'm sorry, go ahead.

So, when I spoke to 50 about get rich and die trying, I mean, um, they know, he was like. Well, that's 50 making sure you're saying something good about him. He got your lie. Okay, my bad. So, so. So anyway, so I ended up writing a concept that was like loosely telling his story, how he got shot, how other cats kind of came up, his shooting, were they involved, blah, blah, blah, and I wrote this thing.

And at that time, I had relationships with a lot of actors. So I got actors from NYPD Blue, people from CSI, Miami, and I really cast Mackay Fyfer. We really cast this was like a little short film. Right. And this is where the story goes. Someone told me that they took that to Paramount and said, hey, this is the next movie, get Richard die trying. The thing was is that they didn't see any directors of color

at that time, right? So, like, there was nobody on the list of the directors that they went out. And I'm not knocking the director that did it, but he was a director that did a movie called My Left Foot. That was a huge movie, was nominated for an Oscar, so they felt like, you know, marrying like Urban with an R.T. director. The white guy. Yeah. But, you know, with M&M,

they went with a really RT director for eight miles, so they were like, you know what? Maybe that's the move. Right. But I would have assumed, I never thought it was going to be me but I would assume it was John Singleton and of Gary Gray guys that were like in that moment having their moment when someone told me that they

showed that. It was like the sizzle reel to sell the movie. That's what they told me. I wasn't there so that's why I said but that always stuck in my mind. So for years I was trying to figure out a story with Wies in the Intel figure out a story with this person trying to sell stories but I couldn't sell a story.

And I was doing a video with Nicky Jam and I asked them, there was like a guy, where Nikki was hot and they disappeared and then he was hot again and I was like, what happened? He was telling me about the drugs and this and that and I was like, I didn't even know none of that story and I was like, wow, that story is amazing.

And he had a song called El Ganador that was similar to many men. So I say, you know what, Nikki, let's shoot a music video with El Ganador, I'm going to put you in the suit, put the hair back on you, I'm going to do this shit. We're going to shoot it like I did many men. I feel like I'm having deja vu.

I live this moment. And we're going to take that to the studios and when I shot the video, sat with the Netflix execs, press play, pitch them the show, and that's how I sold it. And Ben Diesel was in there. Oh, I got a little video. And Ben Diesel made a cameo. No, but that series, so how true to that series is it?

Because one thing that I didn't know this whole time is that you write. I always thought you just directed and I always thought you just cast it. I had no idea that you guys were actually writing. The show is sold with my vision. What happens in television is that you build a writer's room. Okay. So I had a writer in Puerto Rico named Ari that was an incredible writer. And Netflix had wanted a showrunner with experience, and they brought a Mexican showrunner.

Now, showrunner for people that don't know, can you break that down? Yeah, a showrunner is typically a writer who has experience in television that can run the entire show. where he can see the vision because usually television shows are done with a writer's room where there's like six writers. There's one person that controls the vision of what the show could be. He's the one that can track the story and tell you, you know what, we can do five seasons. We can do four seasons. Because when you saw a TV show, they ask you for what's called a Bible. And then that TV Bible, it tells you what five seasons look like.

Okay. Budget and everything? Not budget, but just like story. Okay. Because a lot of people don't want to buy a show that's going to die in one season. So you need to show them whether they make the five seasons. Typically, you're dealing televisions for five seasons. Right, that word vision, right.

Yeah, so the show running can help shape that and control. So, like, it's just not random stories that don't make sense. He's seeing a bigger vision. Right. Right. So Netflix was like, we need a guy that can show run the show. You know, like, I was considered a non-writing showrunner. They were buying into my vision, but they were like, we need somebody with experience on the writing side.

So I brought this writer from Puerto Rico, and they were like, he doesn't have experience. and I was like nobody's born with experience you know what you do you get somebody the chance to they fucking prove themselves but they weren't going for that so they wanted this writer in Mexico

named Jorge Durante but Jorge had a vision too so I went to Mexico I told the right idea I said let's go to Mexico meet with Jorge and then Jorge he had a vision

he understood and he gave us a respect to say you know why I know this is your show I know you got a specific vision but he helped crafted. That's what we used to create it by. It's me and him. Okay. And then we designed the show. And then

Puerto Rican culture and Mexican culture is not the same. But what people don't know. I shot the show in Mexico. I did not know that. No. You fucked me off. I lived in Mexico seven months. I shot that almost for a Nicki Jam. I only went to Puerto Rico for two weeks. How about

how about the, um, the Columbia? Columbia went to Columbia. We went to Columbia for about a month. Okay. We shot all the Boston scenes, Lawrence and, in, um, in Mexico City. You saw the Boston scenes in Mexico City?

What the fuck, y'all? It's crazy. Damn you got me, yo. Then we came to New York for a week. Wow. So is that saving the budget? Because a production company I did the deal with, they had great relationships in Mexico,

they were in Mexico, they had studios in Mexico, and financially, you know, what people don't understand is that, like, you look at Netflix today and it's Netflix, right? Right. At that time, Netflix didn't break into Latin America.

Right. Right. Right. So they weren't the Netflix that they are today. Right. So Tessa Rand, when we were shooting, um, prepping Nikki Jam, he had a huge party in Mexico to announce that they were bringing all this content to Mexico. Wow. The only thing outside of, um, content they were just buying the, they did the Luis Miguel story. Right. So I don't know if you know, Luis Miguel is a huge, iconic Mexican singer, but they did his story. Right. So when I went to Netflix, they were like, look, the Luis Miguel story. Right. So I don't know if you know, Luis Miguel is a huge, a huge, iconic Mexican singer, but they were like, look, The way we're doing these deals is that Netflix takes the rest of the world and we need somebody else to take the U.S. So they wanted me to make a deal with Telemundo because in my mind, I was like, I don't know if I want to do a deal with Telemundo because, you know, no knock to Telemundo, but I felt like this wasn't the right show for them.

Wait, Netflix wanted you to deal a separate deal with Telemundo. I'm not understanding. So Telemundo will have a broadcasting rights in the U.S.? Yes. So, so basically the way they wanted to design it was that Telemundo were released first in the U.S. right well people don't understand when you do a deal with amazon Netflix they only could buy one territory sometimes so you you do a deal with Netflix they would only buy the US if you had a meeting in the US that doesn't mean it'll be on Netflix in the entire world right you could block out the rest of the world you can say yo you're not giving me enough money I'm only giving you US rights and then you go to Amazon and sell the rest of the world so so that's genius yo I did not know that so a lot of people don't know that so sometimes don't make the deal like Netflix and they give them the world and they don't have to you know what I mean because they can block out. So Netflix was like, so you can actually say Netflix,

I'm making a deal with you for, for said cup. And, but this set cup can only be on the East Coast for instance, right? And then Netflix says yes. So you can sell this whole other cup on the West Coast and it's,

and it's no Conflak. Like places like Camp Finfield, so they do a lot of those deals like that. Yeah, so, so the thing is when you go to Khan, those are sales markets, right? So they sell, they sell foreign. So when they come to buy, they're saying, you know,

Italy, everybody's bidding. So everybody has their own version of some channels. So you can be on Hulu here, you can be on Amazon here, you can be on Apple here, you don't have to be in one platform across the world. So at that moment, Netflix in the conversations

I had, they didn't have the power in the U.S. with Latinos. So they were like, hey, can you make the same deal Luis Miguel made where Telemundo takes the U.S. first. So in the first six months, it lives on Telemundo. And then Netflix who have played in the rest of the world

six months after that, they would come back into the U.S. because they felt like Telemundo had 10 million homes that they pumped content to Latinos. They can pump it. Like introducing it. Now, I wasn't sure that was the right deal. And Telemuno would have commercials, right? It wouldn't play like...

Yeah, it's linear. It's linear. It's linear. And it's PG. We won't have no curses. Okay. But, you know, I mean, that's a big story if you want to hear it. It's a good. That's a tough one. What happened is that sometimes people make a generic deal. Okay.

When I say a generic deal is that Luis Miguel is like an iconic pop star, right? He dated Mariah Carey. Like, he was in that. Oh, he was out there. He was out there. But, you know, he's like he's singing love songs. He's, you know, he's an iconic figure. And he's Mexican.

Non-thug. Right. Yeah, he's Mexican, right. So they say, because it's another Latino project, similar, music artist, music artist. They say, hey, do the same deal he has. So my partners, Alejandro Rincon, you know, Sergio Pisolante, they were like, okay, we can make a deal with Netflix.

I mean, with Telemundo, when Netflix told us, they wanted us to make this, they were like, we'll put up half the money, can you go get a deal with Telemundo? Sergio Alejandro was like, oh, we can make that deal happen. My partner's on the show, and they made the deal happen like that. So I flew to Mexico, and there was all of a sudden we had this deal with Telemundo, I was like, okay, these guys is moving this stuff. When we started in production

and I started working in Mexico, I didn't see any Puerto Ricans. So I had like all these actors come in and they were like playing Daddy Yankee. It was like, no mama's way. And I was like, and I was like, you know, no mamas. And I'm not, you know, I love the Mexican culture.

I'm just saying, well, I was like, yo, he can't play Daddy Yankee. It wouldn't want the opposite way either. I was like, he can't play Daddy Yankee. Right, right, right. And they were like, Jesse, don't worry. These are really good actors. We're going to get them a voice coach or like an accent coach.

I'm like, all the accent coach is in the world. They ain't going to make this dude a fucking Puerto Rican. So I told him, I said, look, honestly, I don't care where they come from. I don't care if they're Mexican, Ecuadorian, but I don't care. But when they come to the casting, they should just sound Puerto Rican. Now, if I believe it, they got the park. Right, right. But they weren't coming in like that.

They weren't method acting. So more than that. I was like, yeah, I know, great. Look all the older artists from the U.K. They come in and kill the access. I'm offended when I hit him to speak in the U.K. I'm like, you're from the West Coast. Yeah, they're killing.

Yeah, they kill it. So what do you do when you can't find it? So what are you doing when you can't find out? I was, I called my brother. He got some guy. Yes. You found Puerto Ricans in Mexico? No.

Okay. No, I found some Puerto Rican's in Mexico. So one of the writers, he was like, you know, he knew mad Puerto Rican actors that were in Mexico. But they were, like, living as Mexican. Mexicans, you know what I mean? Because they change their accent because they're not going to work with their Puerto Rican. So he started calling a bunch of them like, yo, there's a Puerto Rican project. So they started showing up.

So the girl that plays one of the lead characters that's in Nene, she's a huge star in Mexico, Colombia. But they don't, you know, she came like, she was like, I could be Puerto Rican. She was like, killed it. Wow. You know, and there was a lot of cats. And it was interesting. There was one cat that played one of Nicky's friends in Lawrence's dad. And he was a black Puerto Rican.

and we called him because he was working. He did the Selle-Cruz doc, the show. We called him, and he was like his agent said that there's nobody his type in our project. I was like, yo, who the hell of these agents? So it was a fight. It was a fight. I kept fighting.

I kept fighting. And I would get these calls where people, like, on the Telemundo side were like, well, I know you're not casting a bunch of Puerto Ricans in this day. And I was like, what are you talking about? It's a Puerto Rican story, yeah. But they were like, yeah, you got to understand. Like, you know, Telemundo has a thing where they do like a neutral accent. You know, so they were like, you know, we have to like open it up.

Like, and they were showing me characters from Spain or different countries to play like the character. I was like, yeah, I was like Nikki Jam, Daddy Yankee, they're still alive. You know, I can't do a show and look these guys in the faces. The shit ain't authentic. So it was a huge fight. It was a huge fight. It got to a point where I quit. the show.

Get out of here. There was a Mexican female producer that they have put on the project and she was fighting with me and then I was like, yo, I'm out of here. And then she was like, well, you should go because you're damaging the whole project. And I was like, oh, I'm gone.

Left Mexico, went home. And then she was like, good ridden. She called the writer Ari, my boy. And she was like, you want to direct this thing? And he was like, yo, Jesse, he was calling me. I'm like, I was already in L.A. I'm like, I'm good. And then a week later,

some lawyers called him like, I think you forgot that Jesse owns the rights to Nikki Chan. Oh, shit. So it was like, Jesse has the rights to the life story. He was not the guy you should fire. Right. So they were like, okay. So I was like, told my lawyers, I was like, oh, we got to fix this.

And I was like, I'm not coming back to Mexico unless I see Puerto Rican actors. And then they were like, okay, they started lining the people. And then I started calling my brother. I brought him in. I said, we need to find somebody. You found a kid that played Daddy Yankee in Philadelphia. Wow. That's a Puerto Rico.

It's a Puerto Rico. Boston. Boss, that's a point of a good place to. He didn't even have hair. He was a young kid losing his hair. It was like 30-something. And he usually showed me, I was like, he looked like the Yankee, but no hair. Like, oh.

So I was like, bring the wig guy here. We got him a fucking wig. I put him in acting class. And we started doing, yeah, we started doing all that stuff. But it was tough because when I was getting ready to release the show, if anybody knows about the show, the show never came out the way it was supposed to. We were supposed to come out like the same day on Telemundo, same day on Netflix. But because I didn't listen and I made an authentic show, the Netflix guys came down and they were like, Jesse, what's up?

What's going on? We're hearing all this stuff. So what did you officially do? We'll release it on Netflix first? I mean, I didn't control that deal. It had to release on both. Okay. But when I showed the first cut, Telemundo responded first.

So all the producers, they were like, yo, this shit sucks. It's not going to work, blah, blah, blah, blah. So for like a week, I was like the worst direct in the planet. So like all my partners were like this one, we knew he was crazy because they never saw the episodes because I was shooting episode 13, 8, 7. They were all blended. They were like, they didn't know what I was doing.

So they were like, yo, this is a disaster, right? Because Delamundo says it's a disaster. Then a week, two weeks later, Netflix called and they say, oh, this shit's going to be a hit. Right. The exact opposite. Okay. The exact opposite.

So there was a huge fight. And it was funny because, I never forget this and shout out to my boy Nengo Flo. But Yengo Flo did a scene in the prison. So Telemundo, one of the calls was that they didn't understand the language.

They were like, what are they speaking? Are they speaking Spanish? Dude, these people are Latino? What the fuck is wrong with them, man? So they were like, we might have to subtitle Spanish from real Spanish. Well, from Spain? What the fuck? And I was like, you can't do that. If Nikki talks or somebody told us,

you can't put like fucking Spanish subtitle. So I was fighting against. that and I remember going to the edit and I slammed the fucking door and they were like they don't understand and I put play on the Nengo flow scene in prison and he was talking I was like damn I don't understand it was so much

but I told him I said that's what makes it all sense to and I fought and I fought so Telemuno never released it they said fuck it they never released a show okay so when we came out it only came out in the world was not available in Puerto Rico or the United

States. So when it came out, only on Netflix. But in other territories, not, yeah. It was never available. Six months. Right. But six months. And it came out of Netflix six months later in the U.S. Okay. So people were watching. So we did it come out at first. Netflix in the world. In the world. Other than Puerto Rico, U.S. mainland. So I had the first kind of Puerto Rican show, but it wasn't available in Puerto Rico. Wow. So everybody was watching it on YouTube. Stolen versions of it. So it would get like a million views and then they would drop it off a copy.

Bootlegs, right? But that probably helped the hype, too. It helped the hype, but it hurt us because it didn't have the boom at the same time. The six months later, or like eight months later, during pandemic, it came out during the pandemic. A lot of people started doing the pandemic. I must have been one of them. But the views were combined. So it was like, these views here, these views here.

It wasn't like, when you combine the views, it would have been a huge hit. Did the telemoral wind up? Yeah. Did they come back? They released it late at night as like a throwaway. Like a deli-at-nobino at nights. Like a tip-trow video? Like a BETT after-a-doll?

So what happens is that you have to understand that Universal owns Telemundo is like one big thing. And Nikki Jammer is signed a Universal, correct? No, not even signs of Sony. But when it talks about corporate in Hollywood, Delamundo has a show that for them didn't work. and for Netflix it was a hit but Hollywood Netflix doesn't show numbers

so Hollywood has like you know Universal Telemundo fucking NBC you know it's all the same thing so I would go to meetings where someone would tell me yo I heard you did a show called Nicki Jam

I'm like yeah man and somebody like maybe a Latin person in the room like yo the show was great it was a hit and then I'll tell the other guy yeah you know it was a huge boom blah blah blah then he'll make a call

the next day to Telemundo and Telemundo would say it was a disaster. Didn't work. On their end. So then they would call my agents, like, yeah, Jesse's a lie. They showed didn't work. They sabotaged it, man.

Wait, wait. Well, in Telemundo. Yeah. Okay. Telemundo's a U.S. though, so you have to understand that. It doesn't matter. Like, what we feel, like,

when we understand the streets of culture, they only understand corporate. So if they're, if the biggest Latino distributor in the U.S. is telling you a show to Latino didn't work, you don't, you're not listening to me. It's like they're one of the, big credit unions and that credit union was

scoring. That's it. Equal facts say yeah, it's credit ain't good. So I was having love and hate at the same time so I couldn't get arrested in Hollywood because Hollywood is saying I did a show that didn't work and then I'm going out and the culture's like, yeah, they fucking chose

a bomb. So it was crazy you know. So let me ask you right, because one of my favorite shows that I ever in life is the show called Kenny Powers, right? He's bound and down, right? And one of my friends that I know who worked on the set, they said it was too dangerous

for them to film in Mexico. So they swapped Mexico for Puerto Rico. What made you swap Puerto Rico for Mexico? It was really a cost... I love Mexico. Mexico City is one of the best cities in the world. It didn't appear dangerous to you at all? No.

Okay. You know, I think, honestly, you know, a lot of that is hype. You know, a lot of Latino countries when it comes to certain things are dangerous, so you can't take that for granted. Just got to respect where you go If I'm in Puerto Rico

And I got love in Puerto Rico I feel like I might be more concerned than Puerto Rico than I would be in Mexico Really? At least in Mexico City Like I you know Maybe there's other parts of Mexico But you know Puerto Rico is like the South folks

In Mexico City Where the little girl got kidnapped And Denzel Winigata That was a fiction to tell That's been real to me You know Look I think Mexico gets a bad rap Now there's real stuff

Like, Mexico's real. Like, you know, the thing is, when you look at most land artists and some of them that grew up in the ghetto and grew up in the streets, like, they're not singing about the streets in the ghetto. Because, like, if they sing about that violence, the violence is right there. Like, they can't, like, have, like, this fake image and then do a tour through Mexico and promote themselves like they're super gangster because Mexico is real. People will come knocking on your door. But what I'm saying, it's just not a random thing. If I'm shooting in Mexico, you know, we're not worried about equipment getting stolen. I'm not worried about stuff happening.

It's not people like you've got to go through the cartels or something like that to get permission. No, you know, maybe not at my level. Maybe if you're an artist and you're moving through, I think you've got to worry about stuff. It's like people talk about all the cartels involved in the music and the Nalcoridos and the Mexican music. And it was like, okay, what's not the streets involved in hip hop? Like, you know, the reality is like... It's like people hearing about the U.S. outside of the U.S. town. The U.S. looks crazy to people in other country.

Like I said, in the beginning of the music video space, before there was agencies and all that stuff. They would send me first to that city to look for the casting. It was no agencies. So it's like- Cast locations as well? No, I mean, he wouldn't...

There was no social media. Okay, that's right. You had to physically go to St. Louis. We were sent you to, like, go to St. Louis, like, two days earlier. Yeah. Find the tag. You're filmed the cheeky video, right?

Yes. Yeah, and he would go find it. So they would always send me early because there was no agencies. Why would they be agencies in St. Louis? Who's doing videos in St. He's doing recal for real. Yes, I went out there to come from real.

We did Tennessee, Cashville, you know what I'm saying? And every city I would go to, it was the same shit. As a matter of fact, we shot a Hailea, you know, a Don De Niro video

20-something years ago, right? And we're shooting in the scene. These drug dealers come like, yo, we're losing money. You guys can't shoot here anymore. Like, yes, we could. We got a permit. They go, yeah?

Like, you know what I'm saying? Not that permit. Not this permit. You know, like, oh shit, what do we do? Hey, I'm Jay Chetty. on-purpose podcast, I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had. How do you think you're misunderstood? I'm not this evil, mean person

that people think that I am. I'm too compassionate. I have sympathy for that my man. to put so much heart and soul into your work what's the hardest part for you to take that criticism this shit was not given to me I worked my ass off for me even when I was a stripper I'm gonna be the best pole dancer in here when was the moment you felt I did it

I still to this day don't feel comfortable I fight every day to keep this level of success because people want to take it from you so bad listen to On Purpose with Jay Chetty on the IHeart Radio app Apple Podcasts, or wherever you get your podcasts. I started trying to get pregnant about four years ago now. We're getting a little bit older, and it just kind of felt like the window could be closing.

Bloomberg and IHeart Podcasts present. IVF Disrupted, the Kind Body Story, a podcast about a company that promised to revolutionize fertility care. Introducing Kind Body, a new generation of women's health and fertility care. Backed by millions in venture capital and private equity, it grew like a tech startup. While Kind Body did help women start families, it also left behind a stream of disillusioned and angry patients. You think you're finally like with the right people in the right hands, and then to find out again that you're just not. Don't be fooled. By what?

All the bright and shiny. Listen to IVF disrupted, the Kind Body story, starting September 19 on the IHeart Radio. app, Apple Podcasts, or wherever you get your podcasts. But the humility in knowing that life is this classroom that we should never graduate for is what is going to keep you growing. And that's all that matters. World Mental Health Day is around the corner. And on my podcast, Jess Hill with Dr. Jay, I dive into what it really means to care for

your mind, body, and spirit. from breaking generational patterns to building emotional capacity. Healing is a journey and wholeness is the destination. I'm going to walk away feeling very healed and feeling like, yes, I'm going to continue my healing journey and I'm going to get some keys from you. Listen to Jess Hilbert, Dr. Jay, from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. December 29th, 1975, LaGuardia Airport.

The holiday rush, parents hauling luggage, kids gripping their new Christmas toys. Then, at 6.33 p.m., everything changed. There's been a bombing at the TWA terminal. Apparently, the explosion actually impelled metal, glass. The injured were being loaded into ambulances. just a chaotic, chaotic scene. In its wake, a new kind of enemy emerged, and it was here to stay. Terrorism.

Law and Order Criminal Justice System is back. In Season 2, we're turning our focus to a threat that hides in plain sight. That's harder to predict and even harder to stop. Listen to the new season of Law and Order Criminal Justice System on the IHeart Radio app, Apple Podcasts, or wherever you get your podcast. So, so, you know, it's a great story. And then we quote, that's the whole shit, as you said, yeah, yeah, I'm saying, so, so, you know, Kat and Nashville, I'm going to get shut down in LA like that.

Right, right, right, right. So it don't matter. So, so, so that's what if you say, Mexico, it's the same shit. Around the world. Anyway, you know what I'm saying? If the outside has come, if you go to the Bronx, right. You can shoot a Bronx. The hood is the hood, man. Matter of fact, remember we do?

The thing is, in Mexico, Colombia, Medellian, everywhere. It's the same shit. I never felt that energy that you would feel here. Right. Like, we were shooting on the block, something with Romeo Santos. And the dudes were like, yo, you're messing in the money. More appreciative sometimes, actually. Romeo from the Bronx.

No, we shouted his block. We shot at his block. But what I'm saying is that in New York is more aggressive. Yeah. Atlanta, Texas, you know, LA, like, it's more aggressive. Like, I never felt that in Mexico. Wow. Right, but in LA, I got shut down

Where people were like, yo, and it had cops on set. Wow. Where the cops walked on set, the dude that was telling us, I said, Yo, why are you trying to shut us down? He was like, yo, man, this is my block. And I'm like, yo, this group is from here too. You know, they were like a nice kind of like, you know, R&B soul kind of group. And I was like, yeah, they're from here too.

And he was like, I don't give a fuck. And every time I was trying to shoot like the girls close-ups, he was like in the back throwing up gang signs. And I was like, yo, why are you going to do that? He's like, yo, you're a band cousin? I was like, yo, chill. I said, yo, I'm just trying to shoot a video. And then the cop walked up, you know, in L.A., you don't have real cops.

You have retired cops. On the set. On the set. Okay. So the old cop walked up, and the dude and the two just turned to the old cop. He said, what the fuck you're going to do? We got guns, too. Wow.

And then he was like, nothing. We're out of here. Sets closed and I had to leave my set. And I was like, what kind of shit in that? In New York, it would happen. New York got real cops. The retired cops said, wrap it up? Wrap it up.

You didn't want no problem. In New York, you got. Jews up, it's like, get the fuck out of here, you know what you're in New York is hardcore, but you deal with that here, you deal with that in other cities, you deal with that in Atlanta, like, you know, I don't, in Mexico, you don't see that. I mean, you got to think that, like, it's not corner drugs in Mexico, it's not corner gangsters, not guys that own blocks, it's guys on those cities, you know what I mean? The Costco, right? No dudes ain't coming out, you know what I mean? Yeah, they're different. And we've only had shootouts in New York, right? Yeah, yeah, yeah.

That's it. No, nowhere else. Wait, shootouts on the set? Yeah, yeah, yeah. What's set? What's that? I'm trying to think now, because I'm looking at Norrie going,

what's Norrie on that set? No, no, no, I was not. I was not, I was not, I'm claiming that right now. Don't tell me Buster Rhym set. Oh, it's, um, DJ K Slate. Oh, shit, I heard of me. That was uptown, um, and the projects. And, and, um, okay.

What happened? Tell us. You don't know. You don't know. I think I was at that video That's what I didn't know I tried to think that you was Allegedly

What What does that happen Because obviously I know the artist's point of view Right It had nothing to do with us Okay Okay They had nothing to do with us

And that's that's a problem But this is where the city kind of puts you in the bad situation Right You know And you know better than me Kay Slade had his apartment In a way

You had to go to do the mixing. He would throw you the keys out the window. You grab the keys out the window and you go upstairs and you record it. Like, you're still in the hood. Like, oh, shit. Yeah, yeah. So it was him.

It was, uh, rest and peace. Yes, yes. It was Nause. It was, um, I think baby from cash money. There was a bunch of people on the song. Okay. So when we put in the permit for the city, they denied the permit on Caseley's block.

Why? Because basically like some of the priests they have to approve. So, like, when you submit the permit, they call the precinct. Like, hey, can we get a permit? They want to shoot it. And people that might hate that a lot of rappers come to his house said, no. Yeah.

The precincts was like, we don't want to deal with that headache. So they canceled our permit. And the video was like two days later. Wow. So we're like, shit, what do you do? So then somebody was like, then I hired a location scout that got us of projects in Yonkers. Okay.

Wasn't his neighborhood. Right, yep. So we go to Yonkers to shoot the video. So we're shooting the video. And you have all these artists coming up and Kaisley had a bunch of people coming up because I remember Boy Banks, this, like people that weren't on the song, Ray Vaughn, like, people were just

showing up, Norrie, potentially. Yeah, I believe it, yeah. But all these people were, always people were showing up. So it drew out the whole projects. Right. But when it happened, it drew out other projects nearby. That wasn't part of getting loved. Exactly.

So it started getting hectic in terms of crowd. And I remember my boy Dana, who was a, you know, kid that. that grew up in my neighborhood, and when he came out, when he came home, I gave him an opportunity to start working on sets. At security or? No, he was working as like, he ended up starting to work as a grip. Okay. Like, dealing with, like, you know, the electricity and the sort of function, the functionality of the set because, you know, he couldn't interact with the people.

That's another story. Okay, okay. He was a gangster dude. Okay, I get it. You know, so, but he came up to me, he was like, yo, Jess, man, it's about to be a problem. You know, I was like, what are you talking about? I was like, look at the playground, and like, everybody's grabbing the kids and, like, bringing them inside. And I was like, oh, shit.

I was like, yo, what kind of problems is this? And then, all of a sudden, like, pop, pop, bah, pop, pop. You know, fucking they started let off. She just cleared out. And I just remember because my boy Dana, like, he dug me under a bench. He was like, she was crazy. Some guy that got shot, they put him in the car, they took off. We had cops on set.

They didn't do nothing but be on the floor like us. The cops got on the floor? After the shit was over, there were like sets over, and Foxy had got there late. Right. I'm not saying that she shows up late, but she had got there. This time she did. This time. So I remember going in the trailer, and she had wanted me to shoot her before.

I was shooting A. Marie. Okay. And she got there late, and I was shooting A. Marie. So I was like, yeah, let me finish your A. Marie. And, you know, I was like, yo, don't worry about it, man. We're going to get to your part. And then the shoot, I happened. Oh, man.

So then I had to go in there, her brother, pretty boy, whatever. And he was like, yo. And she was like, this is one other fight she started going off on me. The video was fucking over. And I was like looking at her brother, like, yo, I got there to do with this.

And then she was like, he got shot in the leg. This is hip hop. Let's keep it going. Let's keep the party going. And I was like, I'm out of here. Oh, shit. It's great.

Well, our show is about giving people with their flowers or they can smell. them, it drinks why they can drink them, it thoughts why they can think them. We wanted to give y'all, y'all flowers face-to-face, man, man. Tell ya, how we appreciate y'all, what I'm saying? We don't have a lot of people in this field that do what y'all do, and again, you know, I'll let this promote to these kids or to these people that's following the culture, there's people that want to be involved in the culture, that it's not always, you know,

to be behind the camera, you know what I mean? There's so many other jobs. That's why definitely we know about the directing call, but I'm sure there's a lot of people that don't know about even a casting thing even exists. I don't even think that, you know what I'm saying? So there's so many people. So that's the reason why we just really want to give you our flowers, man, and let y'all know, man, how much we appreciate y'all, man.

And let's keep a call. How do y'all feel about AI now in dealing with? One of my boys in my crew, Michael Garcia, he's a big music video director as well. I know his work. And I talk to him all the time about this, and he's conflicted about the technology and what it's going to do. You know, I would say that I'm conflicted too, but it's like if you see a tsunami coming at some point you got to leave the beach. You know what I mean? So it's like you don't want to be on the other side of the bridge when it's the wrong time, right?

So you have to adapt. is it going to change the way we see cinema to a certain extent, right? I think the consumption of a content is different. You know, you see like the younger kids consuming streamers and there's consuming different type of content. But it's like there's a certain bracket of people that still consume content, the way we consume content. So I don't think it's going to eliminate talent.

You know, so like I think AI, you want to use it as a tool to enhance what you're already doing. Now, in some regards, if you're whack or you're mediocre, yeah, it's going to replace you. Right. Right, because it's like if you're whacking and mediocre, it's going to replace you. But at some point, it's like people are going to look at who can take the AI and do better stuff. Unfortunately, what that also means is that if they used to pay $100 for something, they want to pay $20. Right.

Because the technology could do, fill that 80. And that's hard because as a filmmaker, as a person that has a team, how do you eliminate people from your team? You know, how do you eliminate the value of certain things? You know, so does AI do great stuff? Yes. Is it there where sometimes we watch on the internet the commercial of AI? So we all work in the business.

The commercial didn't have it yesterday. They did six months with this campaign. So when they roll out the campaign, they make everybody think that you can do that. Then everybody pays the $29.99 or the $39.99 and they're there and they realize they're not editors and they can't fucking do it and shit looks weird and then they just already got the money. They already got the $39.99. They got the membership. And then maybe six months from now, it'll do something that you really wanted it to do. It's an amazing tool and it is going to shift the game.

So you have to really figure out how to implement it into your lifestyle. You cannot push it away. You don't think that the big studios, though, would eventually phase out the traditional filmmakers for just people who tech people that know how to use the AI systems. Potentially, but today there was a thing that I saw about Lionsgate who did a deal with runway early. And there's an issue with copyright. So there's an issue with copyright. There's a huge issue with copyright. That still hasn't been figured out.

So I was uploading a song, you know, I have my own record. to our music group, let me shout it out. But we were onboarding a song with Symphonic, and they were like, what parts of this have been AI driven? Like, what part of this song is AI? And I was like, what is that about? I asked them, and they were like, it's not about anything, but we want to get ahead of it.

Because what could happen in six months is that if your song is AI driven, they might ask, to ask, what was your prompt? And if your prob was like, I want something that sounds like Timberlin's record, then Timberlin's going to get paid off your shit because you use

his, you know. What the AI actual model was mining from, because that's the other problem. Exactly. Let me say one thing. This is when I hated and loved AI for the first time.

Supranos. Remember the mom died. Yes. And you can tell that she didn't finish her script. So do you remember

that when the mom died and they used her but they used her where you could tell it was AI. No, no, no. You don't remember that was a visual effects.

It wasn't tech. That wasn't AI. No, no. That was visual effects because remember she died in real life. Yes, right, right. And they had this visual effects.

Like, see, there's a big difference. AI, visual effects is somebody controlling the atmosphere. That's what they had, Tupac doing it. on stage, right? That was visual effects when they had Tupac on stage. The hologram?

Yeah, hologram. Yeah. AI is something like where if we're here and I took a picture and I want to change the environment, I just press one button and it does it on its own. Wow. Without the use of another huge. Completely on its own. Wow. So, look, the AI is incredible.

It's about consistency, but you know, what happens sometimes too is like who owns it. So imagine I do an AI and I say, you know, I'm going to make an AI about this, you know? and then I create something that's cool, starts going viral. And then you say, I want to make the AI about that. AI is going to make you the same thing.

If you can sell T-shirts and the same thing that I just created, but I don't own it because AI... So none of us is in copy infringement if we do it like that? But that's what I'm saying. It's like, who owns the IP? That's the big thing. Okay. Right?

So that's why the studios are suing mid-journey, because they're like, you're telling people, people are typing in. I want a show that looks like Pixar. All right. And they're creating characters in the style that they created. Right. So it's like, how do you own it if you're copying the style?

Remember, think about the sample of vinylized. He goes, no, mine is 10, tin, tin, tint, tant. That's a different. That little different, they're trying to say, no, it's not the same. It's like somebody, like, pulling up a beat and saying, I want the song to sound like, oh, you mi-conda. Right. Yeah. I told the shit the other day, so I want, I want, what, what, what, what, I was on that shit.

And they came in your voice and everything. It just got it. I just did. I might have to know. I'm not saying to know. Yeah. I know somewhere now that they're in London. I mean,

I'm not going to say London. They're somewhere now. And they have the actors there talking to AI. Because they're doing the whole movie, AI generated. So the actors are licensing their IP for the movie. They're like this. So all I got to do is basically go to the studio and not set.

No, but they're talking to AI. They're drinking. They're hanging out. They're talking. And then AI can do the movie with the images in it. So the whole entire movie, the whole entire movie is going to be AI. The whole time out. Are these actors acting when they're talking to AI or they're being in themselves?

No, no, they're just chilling. Like they say right now, so they can pick up their map. You're getting your references. They're getting paid right now, a lot of money to hang out, chill, drink, fight with AI. And then they'll talk to AI in different tones, different energy so so AI can get their mannerisms. so they can recreate them in this movie that's not going to be real.

And then another thing, sorry, and another thing that's happening now with AI as a casting director, so now women or actors are doing AI reels. So they're like in action movies, running, chasing, fighting aliens and stuff, and they're sending me their reels

of something they've done before. But it's all AI generated and they look incredible. So I love them. I have to come to the cast. I have to come to the casting. No, they're incredible. Oh, my God, I haven't come to the casting.

She can fly. Then they walk in like, and I'm like, oh, my God, who are you, Godzilla? Like, no, I'm, I'm Jenny from the, I'm like, Jenny. I'm like, Jenny, do you look nothing like that? Well, you know, it's a little polish, polish. Well, you ain't seen the thing with the podcasters? It's all over Instagram where they show a dude, and then he shows himself as a chick, doing a podcast or live streaming, and he looks like a chick, and he sounds like a chick and everything.

No, no. My brother's hardcore, though. And sometimes he'd be like, yo, come to my acting class and like, let's say we're in the room like this and there's a door that opens the acting class. Like he'll put like a hundred chairs, like stacked. Like if the acting class starts at 3 p.m. at 301, he puts like 100 chairs like stacked against the door. So like I'll be there and I'm like, what are you doing? Then he'll be like stacking all these chairs. And then someone comes in at 302 and those chairs like just go out.

And they're like, let's see what the excuse this person got. Oh, oh, you were busy, oh, the traffic on the train. Did anybody else take the train? That's hard come. I love being on time. It's go acting rehab. That's my classes. I've been doing it for 22 years.

Let's talk about that because you have acting classes. One of my home girls, as soon as I told us, she was like, yeah, like her friends go to your acting classes. This is in New York City? No, I used to do it in person. And then when... Virtual? COVID happened.

Somebody just with a Zoom. So then I started to Zoom things. I've done it all over the place in New York, Pariko, L.A., whatever. Miami. But then Zoom happened, and then my class is sell out in two seconds because there's three people from Queens, they grew from L.A. And so it's been Zoom, but

then I would cast people and then they would come to set and freak out because they were just great on TV, not in person. So that's 150 people. A crew, lights, camera, action. panic. So when I do pop-ups every once in a while, like two months in,

I would have a pop-up and do it in-person so I'd see what happens or whatever. But acting rehab was created. He's a tough teacher. No, it's not tough. It's that people are going to tell you. No, no, no, no.

He could be riding the board of cancer in a good way, in a good way. But he's hard because, you know what happens is that, like, in our culture, and that's why he started acting class. In our culture, everybody just think they're natural. Oh,

some don't start. You'll bring him in that. Right, right. Why don't want to say, I'm bringing you in right now. Let's go. We go anywhere. Let's go.

You were the burgl active rehab. I was in what? I was a terrible acting? No, no, no. You were the burpher acting rea? You got to be drinking this shit. Okay, yeah, that's right.

I had a drink. I know, what's the last time I had to drink? I don't know. When that's a drink, I'm going to just left there. You know, but part of that was started because, like,

a lot of times my brother was the one that I had to get like Latino actors and you know a lot of people come in and they're just like if you study people I'm natural you know I'm a star And they have like one sentence they can maybe do one sentence as their persona and they can't go beyond that

because they don't have the ability they don't have the structure to work And so he's tough I've been in this act he's tough on the people and I think they like it because he's like you know, he's forwarded face and like, oh, he's terrible, you're wack so I'm just like, yeah,

you got to swear it. Nobody likes it. Everybody hates me until two years later I get the phone call, oh my God. I just got that role. I just got it. And this happened, and I did that, and it was so impressed that got the job. I love you, I love you. But you hated me for two years motherfucker. And I tell everybody, well, you're

going to love me later. It's like, you know, you're on school. You hung up the phone this way. It's like, that's right. You don't get the phone. I tell you, the birth of act of rehab. Okay, go ahead. So I did, we did a casting for a movie called Prison Song.

Prison song, that's right? In 1999, right? And it's crazy. I still have the VHS. Okay, wow, wow. And everybody came in for that. Eve. It's five people dead in that.

I was like the videos like six months ago, and it's like five people who passed away, prodigy. Murder Santana, a bunch of people on that. Anyway, so, so that was, like I said, it was in the era that Darnel Maherne, direct that movie. I was cast and Jesse came in to tell me with it. Oh, Dorenelein, that was your director of that, yeah.

So she did an article like that. Okay, okay. She brought me, she gave, she forth the studio to let me cast the movie. They wouldn't let me do it. She said, well, I'm not doing the movie then. You know, she held me down like that. Right. So then Jesse was in LA, so I was like, oh, Jesse, come to New York.

Let's do this, let's do this prison. But side started to jump in. When I got soul plain, I told them that my brother was going to cast it. And he had mad credits at this point. Okay. And they said the same shit. Yeah.

What? That he couldn't cast it. Wow. And I was like, you know what? He wanted to see a different face. So those ladies I work with, I call Sheila. And I say, yo, Sheila, I'm doing this movie. They're trying to hate him.

My brother. Can you come in and do it with my brother? you know, blah, blah, blah, blah. And she said, I got you. She said, I got you. And they said Bresil. Yeah, yeah. Sweet's no, she's seen her.

Very, yeah. We've been fighting for 34 years. All right. You know, and we're still fighting for Latinos to get in the building. Anyway, so we do a prison song, right? Uh-huh. So I saw everybody in New York that was black, that called themselves an actor, and every rap star, every rap star,

anybody that was anybody in New York. He can't call him a prison song, right? Originally it was new line films It was like 15 minutes That was a big deal for New York, right? Right So I saw everybody right And everybody that came in

Was terrible Right, right Superstars I was big fans Yeah, you gotta tell them they're terrible And they were terrible Right No, they know That's true

Even Bon Jovi came in Oh my God What I'm saying? From the end up getting cast No it was Oh shit was snow No No

No, look at it And Jovi didn't do it this Wow. And Parma. And Parma. Yeah, yeah, yeah. Oh, he got the Bon Jovi port, the one that Bon Jovi took in? Yeah, yeah, yeah, it was everybody.

But nobody was an actor. This was in the 90s. Right. Nobody was acting. Nobody knew how to do it. So then this guy walks in. Okay, let's talk about it. I was Denzel walked in.

No, no, no. No, no, no, no. No, no, no. This is what drink champ started. Yeah, yeah. The drink champ started. Okay, I came in drunk? No, you, you did.

Okay. Okay, okay. Came in sober. Okay. Came in sober. Left drunk. Came it sober, and it didn't work out. Like, the scene didn't agree, right?

So I was like, yeah, man, I was not sure if it worked out. He said, give me a minute. He left. He left. For like, for like an hour. You know what I'm saying? Then he comes back in. What I was that?

You know, right for me? I can see him doing that exactly. He said, he said, so like, okay, actually, he said, say the lines was like, Yo, what's up, brother, what's good? He's like, yeah, what's good? You smell me? We're like, you know, that's not in the script. Come on, you don't smell me?

Come on, like, let's go. And I'm like, what are you talking about? And the director was, they're saying, no, I like that smell me. Let him keep doing that. We're like, all right, cool, cool. I've never read up the script in my life. So he doesn't smell me thing, right?

So she's like, I love to smell me thing, right? So she's like, I love to smell me. thing. Let's cast him. Then we cast him. He comes and said, like, a couple of weeks later we're in the Bronx somewhere. Yeah. Yeah. He pulls up. He gets into his trail. He's like, yo, where the fuck's the Hennessy? I'm like, what are you talking about?

Remember? I went to, when I went up, I got the Hennessy and came back. I'm like, I don't know. I thought you did I thought you did, I thought you did to push him or something, you know what that? He's like, he's like, he's a yo. I'm like, yo, it's six.

And you know else I remember they tried to give me a car And I was like, nah, fuck that I'm using my own car So I use my own car But you know, let me tell you a funny story about that That's funny, man When they castes this shit I'm not gonna castes, excuse me When they do like a secret

A screening premiere Just for the actors or whatever So I don't know it's Mary J. Blase Right in front of me So I go in there and Marry J. Blize And a couple of other the I believe Q-Tip is there And this is like a private screening And you know I love myself

So I was like, oh, I killed this shit. I was like, oh, look it in it. And I'm sitting there, and I'm kicking the chair the whole time. Like, you know, like, I'm in the real movie theater. But I'm not realizing there's someone in this chair. Not only I'm not realizing there's someone in this chair. You're that bad kid kicking the chair. I mean, this was one of those.

Like, I don't think she felt it, but I'm so, she heard it. And I'm sure it's like something. And then at the end of the day, she was like, you know, she was called? And I was like, oh, shit, I was so starstroke. I was like, oh, shit, that's Mary. And she was like, and by the way, you didn't even say hi to me the whole time. I was like, yo, I didn't even have to feel like it was married. I'm sorry, I was about some sawstruck moments.

Mary was the biggest star in that movie since that. Yes. Nobody could talk to her, just me. I was like, this is great. All right. That's great. So, now moving on. Now, this is a question.

Why isn't there no Latinos in Soul Plain? There is. The biggest one question. That's a good question. Which one? That's a good question. Let me tell the story. So, okay.

When, um, I was working on the project. Do you know the movie Trading Places? Traded Places. That's a great movie. Um, you're talking about Eddie Murphy trading places? Okay, yeah. So I was working on the movie. With Dan Aykroyd.

What's the name? Dan Ay. Yeah, I was close. I wrote a concept. Oh, you saw the game. You know, she's on, let's go. Oh, good. So, um, I wrote a concept.

a concert that was like trading places about this kid who like these rich guys who like the airline was down and they gave them there. Okay. So I sent it to my agency. Oh, because they had SoulPlan already, right? I didn't know at that time. Okay. So I wrote this idea and I sent it. And they were

like, oh, blah, blah, blah. We think it's a cool idea. And then as they talked to people in Hollywood, it was like, oh, there's a project called SoulPlan. Yeah. They didn't like the name. I didn't like the name. So I was like, yeah, soul plane. Like they don't got to be called that, blah, blah. So they were like, yo, but this movie's already going at NGN.

Right. So you won, blah, blah, blah, I take a meeting with them. So I took a meeting with them and I ended up getting the movie. Right. Hey, I'm Jay Shetty, host of the On Purpose podcast.

I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had How do you think you're misunderstood?

I'm not this evil, mean person that people think that I am. I'm too compassionate. I have sympathy for that fuck my man. You put so much heart and soul into your work? What's the hardest part for you to take that criticism? This shit was not given to me. I worked my ass off for me. Even when I was a stripper, I'm gonna be the best pole dancer in here.

When was the moment you felt I did it? I still, to this day, don't feel comfortable. I fight every day. to keep this level of success because people want to take it from you so bad. Listen to On Purpose with Jay Shetty on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I started trying to get pregnant about four years ago now. We're getting a little bit older and it just kind of felt like the window could be closing. Bloomberg and IHeart Podcasts present.

IVF disrupted, the kind body story. a podcast about a company that promised to revolutionize fertility care. Introducing Kind Body, a new generation of women's health and fertility care. Backed by millions in venture capital and private equity, it grew like a tech startup. While Kind Body did help women start families, it also left behind a stream of disillusioned and angry patients. You think you're finally like with the right people in the right hands. And then to find out again that you're just not. Don't be fooled.

By what? All the bright and shiny. Listen to IVF disrupted, the kind body story, starting September 19 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. December 29th, 1975, LaGuardia Airport. The holiday rush, parents hauling luggage, kids gripping their new Christmas toys. Then, at 6.33 p.m., everything changed. There's been a bombing at the TWA terminal. Apparently, the explosion actually impelled metal, glass.

The injured were being loaded into ambulances, just a chaotic, chaotic scene. In its wake, a new kind of enemy emerged, and it was here to stay. Terrorism. Law and order, criminal justice system is, Back. In season two, we're turning our focus to a threat that hides in plain sight. That's harder to predict and even harder to stop. Listen to the new season of Law and Order Criminal Justice System on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. But the humility in knowing that life is this classroom that we should never graduate for

is what is going to keep you growing. And that's the humility. That's all that matters. World Mental Health Day is around the corner. And on my podcast, Just Healed with Dr. Jay, I dive into what it really means to care for your mind, body, and spirit. From breaking generational patterns to building emotional capacity. Healing is a journey and wholeness is the destination. I'm going to walk away feeling very healed and feeling like,

yes, I'm going to continue my life. a healing journey, and I'm going to get some keys from you. Listen to Jess Hilbert, Dr. Jay, from the Black Effect Podcast Network on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. So you wind up a get, so you could buy your movie with their movie and that's what So Plain is? I try. I try to a certain extent.

And, you know. But they didn't buy your script or anything like that. They didn't buy my script, but they might hate me for this stuff. Okay. So anyway. So plain. two, your script. Let's go. Let's go.

Well, let's still play Crestes in Puerto Rico, in there? So, so. Thank you. You know, I felt the story needed rewrites. Okay.

So I was like, yeah, the movie needs rewrite, and these rewrites, and they had me meet with a bunch of writers. So I met with these two black writers and the Asian kid. They were like a team. Right. And I was like, these guys,

the guys, you know, this shit is the funniest version of the movie. Right. And I was like, we're going with them. They pitch just the movie. It was fucking grave, blah, blah, blah. And then cut to, like, a month later, thank you. Cut to like a month later. And I'm sitting in the room in the conference room and there's

like a dude that's not them on the other side of the room. And he's like, yeah, we're going to do this, changes. Is the writer? Yeah. Okay, okay. Well, we're going to do these changes. He's telling me everything these three kids didn't tell you no the same thing they told me he just checked their shit yeah so i was like yo so this was like my first like hollywood moment i was like yo

i can't do this like you know these kids who i was just like yo we got you you know me like they gave it the best idea and this dude is giving me all the ideas same exact ideas so i called my agent right and i was like yo this don't feel right you know what i'm saying like this not right. This kid just stole their ideas. Right. So when I went to the studio, they were like, he's just a better writer. Like, meaning these kids were so young than I could write it.

So I said, why the fuck did you have them meet with me? To steal their shit? Right. Is that the concept here? So I was like, yeah, I told my agent, and he stuck by me, you know what I mean? Charles King. You know, Charles King's an incredible fucking dude. Right. And we fought it,

and then they let those kids write the movie. Oh, so they, the three kids came back. They did the rewrites, you know what I mean? Because I was like, yo, I can't, I can't have stomach this if I ever saw them again. So we started writing it. So at some point, I was like, before we cast Kevin or whatever, I will, you know, I was working with Chris Robinson. So let's go back to that story. Okay.

Right, so I was working with Chris Robinson writing concepts. So Chris would do like a retreat every year. Like he was like, let's do a retreat for the robot films. Okay. Let's go to Brazil. Paya. But it didn't happen that way. What happened was...

No, no, no, no, no, no, no, no, no, no, no, no, no, no. But that particular story, what happened was that Chris was like, um, when, um, I saw Snoop, and this is another story, I met Snoop outside of the music business. Okay. On some street shit. Okay, wow. I met him outside of the music business. But I go to MTV Awards.

I'm nominated. I'm fucking with Chris. I see Snoop, so we were, like, talk. And the Snoop's like, yo, I got you, my brother. I'm going to give you a bag tomorrow, call me, you know, blah, blah, blah. But Chris was like, yo, like, he had never been to Snoop's house before. Snoop was, like, come to his house tomorrow. We had the MTV Awards.

He was the biggest artist in the world. So Chris was like, damn, I did like four videos with Snoop I never been to his house. Wow. So Chris was like, yo, I'm going to rock with you. I'm going to go to the house. So we go to Snoop's house. and Snoop is like he starts playing a bunch of music

and he gives me a job but where does I go with the story he was asking about why no Latinos and soul playing that's where it all starts yes so no this is where it's going I just got to make sure but you ended up in Brazil so that's good

no no but this is where this is where it's going so Snoop is like he plays me a song that he gives me out of his heart 150 grand I think I know where you might be going with this. So it gives me $150,000 in that era

to do a video for him. I was nominated at the MTV Awards for Joe Scott, Long Rock. And I see Snoop at the MTV well, he was the biggest rob in the world. And he sees me, and Snoop, like I said, I met him in the streets. He shows me mad love, and everybody's like,

yo, how do you know Snoop? And Snoop's like, yo, he says random stories. Like, we ain't just fuck the same bitches, but it was just running the shit. Right, right. I wasn't right. Maybe he was fucking some bitches I didn't know about it. My girl.

Right, right, right. But he just said that's a joke. But everybody was confused or how I knew Snoop, but I had met him. They couldn't connect you guys. Right. They couldn't connect. But when he invited me to his house to take care of me and Snoo show me the love, he said, yo, I'm going to give you a video.

Come to my house tomorrow. Chris was like, yo, shit, you're going to Snoo's house. Chris came with me. And he played the song. He wanted me to do the video. Snoop out of his, yo, Snoop by love Snoop. Snoop out of his, you know, Snoop I love Snoop. Right.

He gave me the money out of his love and said, yo, I'm a fucking push Jesse Thoreau forward. He gave me a job. I did it. But while we were at his house, Chris Robinson at that time, Dan Martel, which I worked with, did a video for Snoop's that album. And then Chris was like, yo, what's up? Like, you know, Chris was working with Snoot. And Snoot was like, yo, Chris, man, I saved this best shit for you. And he pressed play to Beautiful.

Oh, wow. And when he played Beautiful, we were like, holy shit. So I was like, yo, let's go to DR. We were talking about a bunch of places. and nobody had ever been to Brazil. That's why I knew her. So we were like, fuck it, let's go to Brazil. So we ended up going to Brazil.

And Chris Robinson, that moment, say, you know what? His retreat for every year was going to be Brazil. I would have changed it to that, too. Yeah, so he brought everybody to Brazil. So we went to Brazil. So when I was in Brazil, that's when the news of soul playing was coming out. And Snoop was like, yo, Jess, we was like having a snoop session. And he was like, I want to fly the plane dog.

And at that point, we had already cast John Witherspoon. Oh, shit. That's a bang, bang, bang, bang. Yeah, no, no, no. He was going to fly the plane. He was cast. All right, okay. You already, he was cast.

All right, okay. So, Steve was like, yeah, I want to fly the plane, dog. So, you know, we were so fucked up. I was like, you know, we were high as shit. I was like, you don't fly the player. This sounds perfect. I was like, I love it. I thought, you don't really fly the plane, though.

But he was like, I want to fly the plane, so I went back to him. him and I said, yo, Snoop wants to fly the plane. And then Jim guys were like, they were, you know, Matt Super Corporate and they were like, oh, he's the gangbanger, he's this, he's that. I was like, have you ever met Snoop, dog? Like, what the fuck are you guys talking about? Like, I was like, look, do me one favor.

Let's go to Snoop's house, have one meeting with Snoop. And if you feel different, then whatever. So then Snoop invited us to the church. You know, he has his house here in the church. They invited us to the church. And, you know, they were getting searched. the way in to try to, like, they get to fight it down. And we went in, and Snoop was so funny.

They had an incredible time with Snoop. Right. So they were like, yo, so they went with Snoop. So after we cast that, I had a little more strength because it's like, now I got Snoop. Right. Because Kevin Hart, you got to think about it. He wasn't a star at that moment. Yeah.

Oh, he bought for Kevin because I thought. I think he only had paper soldiers. That's with me, too. I'm also in that moment. Oh, yeah, yeah. Yeah. I was supposed to do people, so. Yeah, yeah, yeah, but go ahead.

No, so when we ended up cast a snoopy at John Witherspoon. Okay. Monique, a bunch of people. Kevin was one of the last pieces, too, because Kevin wasn't a star at that time. All right. So I told the studio, I said, hey, and this was crazy because I told him, I said, I was Latino. Yeah. Yeah.

You had to tell the studio you was a Latino? They didn't know. No. But let me tell you, when I told them. Right. Oh, because why? Is this over the phone? No, no, in my meetings, I had an office at MGM. They wanted to fire you after that.

Yes, almost. Because their eyes were like, holy shit. You're not black. You're not black. This is how cool as they are about the diversity. They were like, you know, like, get what you're saying. Now I'm like, okay, okay, okay. How can I do a movie if I'm not black?

It's a black movie. Right, right, right. And they were, like, hide me because I was doing hip-hop video and they thought I was black. And when I told them I was Latino, they were like, yo. And I was like, yo, chill, chill, chill. That's hilarious. It's going to be okay.

I mean the black community loves you But they were so worried I was like, yeah what the fuck But I did tell them because they were like I said look man I can't do this movie If I don't put Latino characters in it Because I got at least show part of my culture

And so I wrote A stewardess I had one line And I wrote these two Latino kids That worked like baggage check And they were like fuck that They were trying to go on the plane So they snuck inside the baggage claim

Oh, shit. And Jam was like, you know, we read your changes in the script and the Latino two male characters, there are no go. But the hot Latina stewardess, she's a goat with the one line. So I was like, okay. So I told the casting director, you know, with Yuli, they were like, what do you want? I said, I sent up a video with Sophia Vergara because she was popping in Columbia. I said, yo, I wonder Sophia Rigada type.

And then all of a sudden, they worked it out, and she came into the casting. Wow. And I was like, oh, shit, fucking Sophia Rigada. Oh, the real one. The real one. She was a Spanish star. You wanted the face. She hadn't crossed over.

You wanted the AI. You wanted the AI one. I just wanted Sophia Vergata tight. That's crazy. She hadn't crossed over here. She was a novella star, not an American star. Oh, she had to cross off distance in 20. So this is her first crossover.

That's no. Wait, so many, it's 20 years ago? Yeah. Boy, it's a lot of that. Yeah, we're all over. Because it's such a classic. 22 years. It feels like it came out last year every year.

So, like, when they, when she walked into the room, I was like, it's Sophia of her god. I wasn't there's a fear of a guy type. It was one sentence. How did she get in the cast? So I was like, you know, Ulysses, you know, flower time. But they got her to come in. So I was like, wow.

So I told Sophia, I said, you want. to be in this movie she said you know her son had read it she had a she you know had a son young so she had a son that had read and she she hadn't done american movies so she was like oh i wanted to do so i said you know what you want to be in this movie i'm gonna put you in this entire movie now rewrote the movie and that's why she's going to the stars in the movie oh yeah i'm looking for like a Latino presence and i was like i didn't realize that because you know she was in your face yeah yeah but you know you know she's so embedded my brain. I didn't even think

like that. You got a picture of something that broke your dog? Yeah. You brought her to the movie? Yeah, the cast of the movie. I know my brother because they try to hate on him. And then my wife, Sheila, she had the student comfortable, and he ran the whole thing. And I still have the video of that, too. Her audition, she had like two lines.

It's mind-blowing. A little two lines. And Jesse was like 10 pages. Let me tell you, and like, Sophia. because she was a novella star at the time she was gigantic beautiful fucking you know she was ready to be a star

she would come to set and because maybe in the Spanish television they did whack makeup you know what I mean she would do her own makeup and I would tell her like yo there's makeup artist in the trailer there's a studio movie no no and she would just chill

and she didn't you know she had this thing where it was It was beautiful because she was, like, beautiful and hot, but she had this, like, force field that made you feel like, I want to be cool, whatever, Matt, say no stupid shit. She had a cool. Like, she commanded respect to you. Yeah, she was cool.

She bite people. She was cool. You know, what's interesting is that an interesting antidote is that when I work with Diane, she did Meth and Mary during the time. Diane Montel, rest of peace, yes. Matthew Man. We cast it. And Method Man is in soul playing.

But let me ask you something about that. I'm sorry to cut you all. It was a rumor that Metzeman took that role very, very serious. Oh, no. He's a beast. Tell us. So, look, we see where Method Man's career is. Yeah.

Right. Because we have Methad on here and we have Snoop on here. And we both asked him. So now we've got to act. Now, by the way, this is you guys behind. the camera, so how did this come up? Mentha's a syspian now. Like, he took it really serious.

Yeah, let me tell you, everything Methamans done, he's take serious. So are to Snoo. They're both similar in terms of work ethic. But what happened was that, you know, I was already fighting for Snoom. So people don't understand the fights for

a methad man. You know what I mean? They just see like, you call the agents, but I'm like on the other side telling them a method man can be a star of a comedy. I mean, it's tough, you know, like, I built a fucking platform for Kevin Hart to walk on, so he could be

tall enough to fit in the frames of people, because they didn't see him as like a leading man. He didn't look tall and so plain. He did look tall and think about it. Pull out the poster. Somebody pull up the poster. What did his little people say? He was heightening. He was heightened. That's crazy. Yeah, he was heightening.

He was like, that's what the little... No, no, no, no, not me. I'm not the Googler. But, um, Yeah, No, that's crazy. I'm not saying the story How you feel of me? Yeah.

He was between him and the other person. So, all right. So the first person you cast on Soul Play. No, no. So it was different people we cast. So what I'm saying is that when Snoop to the trip to Brazil, I fought for Snoop, he got cast.

Okay. But Metta Man, he put in the work. So he had to audition? No, he put, yes. He put in the work, Met the man as an actor. and it was about being serious because, you know, at that time,

rappers weren't serious so we don't know what we're going to get. Right. So part of, like, what the studio might have asked from, like, a method man at that time was that you can't smoke, no weed, no this, no that,

because they were like, yeah, we don't want that shit on our set. Right. Right? We want to control it. We want to be cool. Like, we want to be professional or whatever. Snoop, we got for five days.

And he was one of the big stars of our, movie. He smoked every day. So, so we got Snoop and I was able to close that deal. We had to try to figure

out and Snoop had a big altercation at the time with Shug and a bunch of shit that had happened. So we had a lot of police and people after us and so we had to create this environment. So we built an environment inside the studio because let's say Snoop was in his trailer

he was smoking weed. cops could maybe enter because he was doing something illegal. So we had to build something. Okay. I'm saying, like, it's not what people thought. Like, Methamemad thought we gave him, like, extra privilege. But it wasn't because Snoop was under, like, a different situation. So we built inside the studio a room for Snoop to have fucking ventilators and a bunch of shit

because we know he was going to smoke. But he couldn't smoke in the trailer because he had a mad drama. And there was this drama with shit. It was a bunch of stuff. So we shot, man. maybe four or five days with meth. Right. He was on pulling, like,

we're smoking on this, and there was a motherfucker's disciplined. Was he doing push-ups? Not that I saw him. I'm just playing around. Good heck. But when Snoop got there and Matt hooked up with Snoop

and he saw this room we built with Venture. Right, right. So Snoop was going away and you made me fucking dude and shit and you have this motherfucker and it wasn't a that, but, you know, I felt bad because

it wasn't about that, but it was about snoopers in the tough situation. We was just trying to make the best situation we could. Okay. You know, but for me, as a director, I also didn't want the artist to be perceived a certain way from the studio, because I'm trying to protect them, too, because I'm like, we want to make more movies like this.

Right. Right. So let me ask you, right, because, you know, I don't, I don't want to, I never claim that I discovered Farrell, because I didn't discover Ferrell, right? I just worked with him on a come-up, and he became who he is. But that was, like, his first, you know, outright hit was with me. Yeah, let me tell you, let me tell you.

It was with him. Forrell, not to get you off, Farrell is incredible. Right. I discovered him from this kid from Lefrak City. Okay, so, so, so, and then the last story, the story I just told about Snoop. Yeah. Who came with us in Brazil? That's right.

Forreau. Forre. That's right. That's right. That's right. So check it, right? So I never, like, kind of, like, claim that. But I do claim the fact that, you know, we both took that journey together.

You know what I'm saying? Like, like, first hit record that he's in the video, like, outright. Well, this arguably, like, Kevin Hart's first, like, hit movie, right? Like, you know, like, he was in Paper Soldiers before that, and I don't know I don't remember what else. But this is outright, so plain. And it's a cult following, right, to this day. But so you got. Metta Man, you got Snoop.

How did you cast Kevin Hard? And what made you cast, for lack of a better term, unknown at that time? Up and coming, everybody. Instead of, you know, you could have got Wesley Snipes. You could have got, you know what I mean? You know what? I would say that it's a gift and the curse sometimes where you just want to do shit from your heart, you know? Because the studio gets pissed off when you don't do the shit they ask you to do.

and I had a lot of negative energy around MGM because I cast Kevin Hart. Right. But I was aggressive in terms of my strength in terms of I felt he was the guy. Right. They showed me a lot of guys, and I won't talk about everybody, but some of the comedians that they showed me at that time were what they called uninsurable. How's true? Like, when you do a movie, it has to be insurable.

Like, meaning, like, I put a $15 million, who's going to insure my $15? Right. So somebody, an insurance company, comes and insures that money. Wow. So because they're too big of a... No, they're liabilities. Oh, and, like, personal life, their liability. Okay.

So, so let's say, let's use Noria as an instant for my story. All right. Who, you don't want to lose Mr. Lee? Use Mr. Lee. Because I don't know what his story is going. You don't know. Dominican, Dominican, go ahead,

use another Dominican, go ahead, yeah. That's his, Mr. Lee is uninsurable. Listen, he's, he's uninsurable, for sure. He said Mr. Lee was a star in my movie. Okay. And his mind, he is already, though, by the way. Let me tell you, Mr. Lee's already a star. Yes, he is.

Yeah, I mean, they're motherfuckers. He's an icon in the game. So, let's imagine Mr. Lee, right? So, imagine Mr. Lee, I cast him in the movie. But we have to raise capital. Right. So the capital raise ain't guys like us. Right.

It's corporate motherfuckers. And they go and y'all... B.C., bits of capital people, right? Shit like that? They're like, we're going to put three, four million dollars on Mr. Lee. Then they check Mr. Lee, and Mr. Lee's out there doing shit that Mr. Lee does. He's in booby-trap. Oh, my God.

Yeah, yeah, yeah. He's in booby-trap. But let me ask this question, though. Isn't this already a studio film or this is... No, I'm talking about studio. The studio has to raise the money like that? No, no, no, but what I'm saying is that. Sometimes they have insurance against the movie.

Gotcha, okay, okay. So when we were trying to cast a soul playing, there was a lot of people that I liked that were risky. So Kevin Hart was safe. No, Kevin Hart was no one in the equation. Okay. There was other people that were popping at that time. Mike Epps?

I couldn't say. Mike's my guy. That's my guy, too. Some guys were risky at that time. I'm trying to think. 2003. I'm trying to think. You know, you're the year.

We get it, man. We don't need to say names, bro. Come on. I'm saying names. This is a show guy there. So, Kevin was new. I mean, he was new. Right.

When he was little. He's still little. He's nice. No, I mean, like, little. He's still little. Hight-wise. That's what I'm saying. This is the tallest cast of all the time.

Makes you talk, no. Nah, you don't, you don't see Kevin Hart is hilarious. He takes pictures on his Instagram, and if you're tall of them. He gets me up. I think that's the last. And then it was so funny about it He tags the people So I just click on the people that he cut off

And then they'll have the picture Like the picture exists With them together perfectly But Cab was to be an asshole I'd say this is your fault for being tall You know that's crazy But everybody that was super tall Everybody was taller than me

Yeah everybody So you had to give him Cab a clink And he was doing stuff No he said he built platform You built two options right So there was one option to do, like, heels. And Kepp was like, I'm not wearing heels. And then there was an option to do the, like, we call it the K board.

And then we bring the board in and he could stand on it. Because the girl, the lead girl was 5-9. Methodist's like 6-3. Snover's like 6-4. You know, so it was hard to fit them in the frame. The Kev, like 5-1, right? I don't know. But I love Kev is short.

Yeah, he's short. I can definitely dunkle him in the basketball game. Foot show! I think it could not meet me in basketball. So the thing is that, you know, we had to make those adjustments in the studio hated me for him. So then I was bringing snoo, but it was just so much stuff. But I told him, I said, I had to have Latinos in this fucking movie. Right.

And the only person that gave me was Sophia. You're right. We run it with it. Is there, because soul playing. I don't think we finished the Kevin Hart thing, really. Like, how did you? We're able to actually finesse him into the film, though. Yeah.

You know what it would? Like, Kevin Hart came to an audition, and my brother brought him in, and he was incredible. Incredible. He was the best thing that I saw. Incredible. And I was like, fuck, this guy's so good.

Hey, I'm Jay Shetty, host of the On Purpose podcast. I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had. How do you think you're misunderstood? I'm not this evil, mean person that people think that I am.

I'm too compassionate. I have sympathy for that fuck my man. Put so much heart and soul into your work. What's the hardest part for you to take that criticism? This shit was not given to me. I worked my ass off for me. Even when I was a stripper, I'm going to be the best pole dancer in here.

When was the moment you felt I did it? I still, to this day, don't feel comfortable. I fight every day to keep this level of success because people want to take it from you so bad. Listen to On Purpose with Jay Chetty on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. I started trying to get pregnant about four years ago now.

We were getting a little bit older, and it just kind of felt like the window could be closing. Bloomberg and IHeard Podcasts present. IVF disrupted, the Kind Body story, a podcast about a company that promised to revolutionize fertility care. Introducing Kind Body, a new generation of women's health and fertility care. Backed by millions in venture capital and private equity, it grew like a tech startup. While Kind Body did help women start families, it also left behind a stream of disillusioned.

and angry patience. You think you're finally, like, with the right people in the right hands. And then to find out again that you're just not. Don't be fooled. By what? All the bright and shiny. Listen to IVF disrupted, the kind body story, starting September 19 on the Iheart Radio app, Apple Podcasts, or wherever you get your podcasts. But the humility in knowing that life is this classroom that we should never graduate for is what is going to keep you growing.

And that's all that matters. World Mental Health Day is around the corner. And on my podcast, Just Heal with Dr. Jay, I dive into what it really means to care for your mind, body, and spirit. From breaking generational patterns to building emotional capacity. Healing is a journey and wholeness is the destination. I'm going to walk away feeling very healed and feeling like, yes, I'm going to continue my healing journey and I'm going to get some keys from you.

Listen to Jess Hilbert, Dr. Jay, from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. December 29th, 1975, LaGuardia Airport. The holiday rush, parents hauling luggage, kids gripping their new Christmas toys. Then, at 6.33 p.m., everything changed. There's been a bombing at the TWA terminal. Apparently, the explosion actually impelled metal, glass. The injured were being loaded into ambulances. Just a chaotic, chaotic scene.

In its wake, a new kind of enemy emerged, and it was here to stay. Terrorism. Law and order, criminal justice system is, back in season two we're turning our focus to a threat that hides in plain sight that's harder to predict and even harder to stop listen to the new season of law and order criminal justice system on the iHeart radio app apple podcasts or wherever you get your podcasts and i went to the studio and they were like he's not a leading man he's not i did this is that that and I'm a short dude

maybe not as short as Kevin but I'm a short dude and I said that like am I going to remove his talent because of his height so there's heightism in Hollywood not racist heightism

that's racism highism I didn't know it's heightism every ish every isom madism is it grayism for you in front bad

no no no we got that shit yeah no no no No, this is called choiceism. You have a choice. I made my choice. No, but for real,

yesterday I was like you today. Hey, remind you time, baby. But there really is, like, people, like, Cass wrote for heightism. Like, I know I'm playing around. But is that something that really exists if you're, like, too small, like... What are you?

Yes, that's my question. Let me speak for... Yeah, yeah, yeah. Yeah, yeah. Let's go. Let's go. Let's go. Let's go. Let's go. Let's go. Let's go.

You said cats. I was like, let me use as an advantage to say something. Man, casting his race. Casting his races. So I say Tom Cruise, he's little. He's little. He's little five, six. So, really, yeah, yeah.

In the Tom Cruise is a star, anybody five, six, and over, they're not cast. They have to be five, six, and under. Oh, what I'm saying? Wait, wait, wait, wait, hold on. Tell me out, time out. You said the cast? Yeah. You said the cast, so if he's the star, they got to cast everybody.

So they can be. He's like this. The Lone is my height. So they cast everybody's short. Yeah. Mr. T is short. Everybody's short to make it feel like. So they look wrong.

You said Mr. T is short? Yeah. Yes, because Mr. T is short? Yeah. Yeah, I messed up with him. And I was like, I was like, well, but casting wise, you do this.

Right. So they look like this. So they're, yeah, you. You got to cast a quarter of me. Like Ben Affleck guys, I got a tall. So you cast up. Some guys, you got to cast a real shit. This is where AI really.

help. It just automatically adds the idea. So I took over casting now. All right. Yeah, yeah. Oh, see the same thing that happened in our fucking house. You didn't let me have no love. No, we'll see the new life.

I let him get all of love. That's right. That's right. But anyway, that's right. So, so casting, right. Casting, right? I started casting to change the game, right?

Let me get this sweat I appreciate I appreciate I love I'm in Philadelphia man I'm gonna fight later I use the regular

let me do the yeah yeah you got shot his sweat for right but you don't got a powder

girl here come on no we don't do we don't do hair makeup here no he just you know

it's terrible by the way I just want to throw that out there just so you yeah sweaty I had to take

my brother but get ahead but get ahead cast it because like Cameron R in particular like

Um, the height. No, no, no, so casting is racism. So I said, so I got in to change the game. So my cross-over movie was a movie called Kids, right? Yeah, that's a classic. I did that, right? You did kids, boy? Yeah, yeah.

Wow. No, so, so this was 95, 96, so they cast somebody, I'm sorry, they cast someone to do the casting, and she got Telly and she got Chloe, the two leads, right? And then everybody else was the writer's, Harmony's friends. Rosaga, Dawson. And then I cast everybody else. You know what I'm saying? So my credit was additional casting.

So I cast everybody else, the vibe, whatever. So that means. Which became a multicultural. No, no. Because before that, it was white, Ken and Barbie. Right. That was the we used to on TV. So kids was so realistic.

It was, yeah. Everybody said, oh, shit, I want that. Then they'll hire the girl. She'll get the job and she couldn't deliver. Then they'll call the director. You know, so, oh, no, it was Ulysses, they don't call me. Now, so that's when things started changing or whatever, right? But I think I'm twisted too now for what I was saying.

What was the direction we were talking about? Casting. All we were talking about was casting. Yeah. I know, but damn. You cast out. Racism. And racism, you say.

I get chipped in and talk for you. So anyway, so long so you're sure. You know, so then the game started changing. And they started putting realistic people in there. and nobody had it and that's how my birth came about because they were like you need real casting you got to call me or whatever right and then i started i was on the you know all the urban films all the commercials all the coiff and crazy come on you got to smoke yeah come on man Say, oh, you don't know what the Jeechance, Hey, hey, hey, yeah.

What are you doing? What are you going to go? That was a drink chance, baby. This is the corporate guy. I'm supposed to be the same guy. Oh, Lord. Anyway, so, no, I'm not doing that. He wants to stay in cerebral.

Stay in cerebral. So anyway, so I started doing all the Jent Chats, baby. Right, baby. I was working on all the old. the crossover movies that made the noise, like I said, above the rim they hired me to do out of the extras casting on it. They're like,

you look at the juice, did it? I was like, yeah. Do you know, Tupac Chicago? Yeah, can we pay you to go pick him up at the airport? I was like, sure, why not? They were terrified to him. So I got paid to bring him at the airport. Yeah, I'll tell you this. So he's same way, but, you know, Tupac during above the rim

caught a bunch of the charges and then he got during that movie. And they would call him like, yo, you want to go meet him or whatever? The bail him out? No, the studio was bail in the mouth. Okay. But it was a crazy time, y'all.

No, it was insane. Then everybody started getting bigger. All the hip-hop videos started crossing over, and I got into the commercial space. And then that's when the money started coming in. Okay, and that's when you stopped talking to me. No, no. I said, oh, no.

Drink-chat. Drinks, no one's ever seen this guy. Only I know this guy. The world that doesn't know this guy. Listen, everybody, welcome to drink chance. Welcome to drink chains. You guys got a concert right now. No one seen this guy.

I'm this guy, and he's the corporate brother. I'm the one of the street. He's the one with the corporate people. Anyway, so when I'm corporate... He's talking that shit. He's been in there. He's been to the tweets. I've been to the streets.

Don't get to twist it. Oh, Lord. Oh, you got it. No, you got him. No, you got him. No, record this. You got it. Oh, you got it.

You got him, buddy. He lets you meet before again. And you know, you got to not drink so much. You got to, you know what I'm saying. Don't say what you think. Let me read the rest you. Let you read the touch me. All right.

They're telling them that because he said some crazy shit. He's like, yo, please be easy. You know what I'm saying? It's a big show. People see this shit. We got the show coming out soon. We can't get the show blocked. Don't say no.

I was going to say that stuff. Don't say this stuff. Anyway, let's say, short, when we crossed over and the money started pounding, I was 5,000 in a video. I was doing three videos a week. I was doing commercials, $50,000 video. I'm a young guy. All this money's coming.

They got the big office, the big staff. It's mad... It's going to... Huh? What's the mad dudes? Yeah. Oh, things. Yeah, you know.

Mad things, of course. Of course. I want to get the job with Norway because of my office. I forgot mad dudes, no job. We got mad things. We worked it. I had to you these angels. I had to do these angels.

And you know, you know. Ten daddies were in me. It was like the best business car in the world. My brother was a king, man. I give him that. He was on marketing. Anyway, so long so short, when I got into the big space, I started doing the big jobs, right?

Then that's when it all changed. When I was like, this is the best actor here. Yeah, but he's dark skin. What do you mean? No, no, he's dark skin. What are you talking about? You know, we need more like commercial skin. What the fuck is that?

That's what he's there? So he's there. What's that? That's like, I'm really. You know? No, like him. You know, like, you know, like, not us. Yeah, yeah, yeah.

More like, you're not the same skin, son. Why don't even? Yeah. Yeah, go on. See, if I, that's the same shit. You know, all right. I'm like, you know, we're going. I got a minute like that.

Just a little, you like my brother. You know what I mean? No, I'm not sure my mother's side. You're my mother's side. All right, we go like this. You, you than me. Yeah, exactly. That's the color green.

Exactly. No, no, no. You, you, you. Exactly. Exactly. Exactly. Exactly. I'm like, you leave here.

We're all, I'm talking about the black guy. You're the black guy. You're the black guy. Right. They weren't the black guy. You lost me now. Oh, no. They're saying the casting.

That casting you had the black guy, he said. Oh, shit. The big guy. I was showing in Norrie. Right. I was sure to be the lead guy. Right. Like they thought he wasn't Latin.

on for soap playing like that. Exactly. You know, and I'll tell you another side story. So you remember my belly? Of course. All right? Yeah. So I got higher to cast belly.

You know what I'm saying? I read the script. I'm like, yeah. Hi, Williams. I was so excited. Jamaica Queen's, I was there for 30 years. Right. I'm like, yeah.

Fuck that time. He was there for like six, seven years. Third years today. Okay, yeah. Sorry, Jesse. Seven and a half years. Yeah, right, right. I'm excited.

He's got. Easy. Easy. Easy. Who gave him to the weed? You get a little. He got me. He got me. He asked for it. No.

I didn't actually. He just gave it to me. He was like, yo, I was trying to be cool. He said, don't be cool, man. You deserve y'all props. You deserve y'all props. Go ahead. And I always just got my name.

This is incredible. This is incredible. This is incredible. That's right. No. B and T used to spell my name wrong. This wasn't the word. I swear to you, when I looked at it, I swore it's going to be wrong.

Yeah. I'm going to be honest. I'm going to be honest. I'm going to be honest. You know what your name is like? Your name is like Westchester sauce. Like, no one can't really put down. Which Chester sauce?

Like, no one knows how to write Winchester sauce. Like, even when you're sensitive to the grocery sauce, you're like, Winston's sauce. You don't want to say it straight up. No. Like, how to spell your name? I was like, that's like Winchester's sauce. No one knows for you. Yeah, this is epic.

But shout out just, Paul, Paul, drink jazz, boy, you got, you got it. And what the flowers. Shout out what the flowers are. You got movie credits that come up. Movie credits, and my name spelled wrong. Right. Raisin Vic de Vagas, peace out, I see.

Now, is that a Dominican name? Uh-huh? Ulysses. No, what the Americans do is like, they try to give their kids American names so they can fit in. Like, that's not American. Like, you're not American.

No. You snouty? You snouty? That's a Greek name. It's a Greek name. Ulysses, Jesse, Sandy, Leslie. That's our whole family. He's got his grants right here.

A family is trying to give us the American names if you fit in. Right. No, that didn't work. That didn't work. Oh, it didn't work. Oh, hold on. Let's go back the belly. Hold on.

Hold on me finish his belly. The name's shit. Oh, yeah, the belly. The name's shirt. The main name what? The name stuff. Oh, good. You messed up your name?

No, I say. Oh, the name's still there. Continue to something. Oh, you got them lit. Look at him. I'm sorry, Jesse. Go ahead and talk. Yo, the gang's the shit of my brother.

He was like, yo, no, he got him acting out of character. Oh, all right. Yo, Jesse. We celebrate. Go ahead. Say, you, oh, the brother's shit. He's like, you know, I'm the real talk here. You don't do that.

You don't do that. He's like, no, you got my brother out there in comedy. He's a little brother. Like, y'all. I don't say any of that. Can I say that? I love me. Yeah, you showed him, my brother.

I just showed him. He's just. He did it. He did it. I didn't tell the belly story. That's a good story about racism again. That's about racism. What I did.

We've been fighting for 34 years. The bad story. Group of the bros with Jimmy and Queens who were never black enough we were never Spanish enough I went to a white school wasn't white enough

we were always the guys just never accepted you know what I'm saying a whole life never accepted so I was always fighting so belly they hired me to do belly

I was so excited or whatever right so these are people I've been working for for years okay but let's say just pause this sometimes it's like it's our assistant Just you know

Steve Torero Jesse ain't involved Okay Hi William's just he's not involved just me I'm saying so yeah yeah Tell me this shit, it was different.

No, it was just me, not Jesse. Yeah, but he's rapping for the family. What did you say? Oh, I thought he was going to fix. What did you say? I thought it was just my story. I feel like you're doing it because you want me to take a cheesecake to Brooklyn. Why are you doing that?

We are out there. We're together. You know what I mean? You guys are outside. That, no, he is our brother. He was edited it's the right way. He comes up and me like ditty in the reality show. Oh, my God.

Oh, my God. He's trying to kill me on him, though, yeah? I'm not trying to kill you. He's not. But I love him. Everything I've done is because of this motherfucker. That's right, goddamn. I came hard because of him.

God damn. You know what I mean? Mm-hmm. I didn't want to, I wanted to be an actor. He didn't let me, so I began my director. Boom. He said, I stopped his acting dream. He said, I stopped his acting dream.

He made him a director. That was a joke. Hey, man, that was fire. That was fire. Yeah. I love your shit. You want to fill his belly? Yeah, I love to it, actually.

No, I'm just saying. There's another story about the struggle. About, you know what I'm saying? Latinos just would never fucking accept it. So I get hired to do belly. Cast belly. The people producing it, I've done their jobs for 15 years. I'm their, like the soap plane.

I'm their black guy. Okay. So I do all their black shit. Not much. They do their big white company, but the two, three black things they call me, right? Okay. Like, hey, you listen, you know, Robbie Reid just quit on this movie. We're doing it.

That's a true story. It's a true story. It's a fact. You know, what are they going to do about a shit? I was able to walk around Paramount and get some of my mic, try to smite this show. Paramount ain't hiring me. Fuck Paramount, you know? You know what I'm saying?

We're doing our own shit right now. Anyway, we're doing the own shit right now. We're creating a new platform right now. But anyway, so they were like, yo, can you come on board and do this movie called Belly? They sent me the script or whatever. They sent me the budget. It was 50. 50 bands. I'm like, okay, yeah, 50 bands sounds nice.

I'm showing him I like this script, you know what I read the script? I read the script. I like to read the scripts. He still thinks I don't read scripts. So I read the script. I was feeling it. Jamaica, Queens. You know, it feels according to the bands. You know, how much do you want me to read it for? Okay, this is it. Good script. That's a fact. If it's a $2,000, I didn't read it no scripts for $2,000. This one got out of here.

He's reading the title. That's what I'm saying. I'm not even reading that. It's like, there was a joke today with these cats talking about. I won't say their names without. They were like, they called me for my movie. I was like, you can't afford me. And you know who they are.

But anyway, so, love story short. So I took the job as excited. So I started prepping or whatever. And they called me two days later. Like, this man, we're sorry, man. Please don't force us with a cancellation fee because, you know, we got you. We hold you down. But we're going to have to release you from this project.

They said what from the start? We'd have to release you from this project. So if you get hired and you start working and they fire you, you got a cancellation fee. So they're like, please release you then? That's what I'm saying. That's what I told her.

I would have told her I'm unreleasable. That's what I told us. No, no. And anybody say, that's what fucking are you talking about? Use your fault. You did that. You're responsible now. They gave you a reason?

They gave you a reason? No, no. So they don't like to that. Yeah, you should say, I'm un-releaseable, baby. They fed me for many years. I loved them. Until this day, I still work with them. But anyway, they were like, please don't.

It was a cancellation fee. He's a good guy, my brother. You see him? You held these people down. He wasn't shitting on them because of me. What are you talking about? What are you talking about? Then you wasn't shitting in your people.

I mean, that's real talk. I said, you love me, but you just was holding it down for your people. I was showing you love. Nobody's even saying that story. We didn't know that we were in the story Oh, what I'm saying is I got released They told me not to give him a cancellation fee

And then I was like Why are you releasing me for They were like Because when they told the director Who is casting the movie He was like Terrero Where is he from And they were like he's Latino

And then he was like Latino We need a fucking black casting director You know about fucking Jamaica Queens He's like He lives there He's been there

For, we've been there for 20 years. We thought he'd be a great choice. Yo, I need a black casting director. Wow. Fuck that shit. You know what I'm saying? And then... Is that a white dude saying that too?

No, this is Hype Williams telling him that. Oh, shit. Yeah, yeah. There's a facts. I like hype. We just met last year, I think, or two years ago. Okay. And we hit it off.

But anyway, so long, so he's short... I was a tough one because I like hype. I don't want to... Yeah, I love hype. I'm a big hype fan. So, low, so he's short, they, they, they, um, they were released me, they released me, then they call me back the next day.

Hey, do you have any recommendations? I'm like, for what? To cast a movie. I'm like, what do you mean? He was like, you're our black guy. There's a white company that's like, we don't know any people to do black stuff. All right. So I was like, you know what? The fact they talk like that is crazy. These are my friends.

I worked with them. I worked with them. The fact that they talk in those terms is what do you recommend? Winston-Clair. So she gets to cast a credit. She's doing the highest in juice. So I said, you know what? I know somebody and I and I and I hooked them a whistle wisdom gets the casting credit of belly yeah yeah yeah so I'm just saying but like these I can tell you 800 stories 800 stories of like being Latino just ain't the wave you know what I'm saying like say when the whole black life matters said like we were the kings in Atlanta they're saying do all the cheesy I did I did um Trapper die then he did um the manny fresh joint then I did uh the what I do the the the the the the the that's a big one

I did the big one that he did that I love me no hold on stop it stop him just saying I'm making a point I got you

I'm making a point I'm making a point I love you but it's drink chance baby you got to talk about me okay

the point the point the message and she say yeah let's go let's go up the show let's keep the fucking align

with the shit that we do high quality okay I don't know what's happening. He's what's happening. But no, so he's sure. Shout out.

He won't the brother's fighting. Let me get two. Let me get one minute. Listen, I got to fix this. I got to fix it. I got to fix it. Now we're good with Jim Chaz, man. I get it.

Let me tell you. Yeah, no, no way. What do you do? You know, let me tell you. You're like, what's the guy, man. Let me tell you. You don't have a top level show like this. You don't have control of the edit.

These motherfucker got seven cameras. You can't control the edit. You stopped, though. Who, you stop, like, you know. We're going to fucking around. We're good. We're good. But who's fucking around?

I'm saying. I told you a long time ago. Drink chance. The shit you signed says, like, let's show him the story. Okay. It's freaking nor do you. Don't want to sit through shit. Okay, okay.

I'm sorry, guys. I'm sorry, guys. I'm sorry. I got it. Jesse, I got it. I got it. Let me just wrap it up. Okay.

Because I said, jeezzy. I was going to, let me just finish it. Hey, what was it trying to tell you wasn't the king? Don't get touch. No, I get it. No, no, no, no. Just my older brother. Then he gets touchy like I'm just shy and shutting down.

You get me the rules before we shot. I can tell the rules, I'm going to be easy. We're out here. We're together. Yeah, we're together. I was just saying this. This is a new show, family matters. Like, we're bitching me.

You see that? You see that? You see that? You see that? You see that? You see that? I tried to do a podcaster that he was hating on me. You didn't want to do it.

I was like, yeah, we should do it, man. I'm out here, man. I'm out here every day, I told him. I don't get what. But I got to finish the statement. I mentioned Gigi's name. We love Gizi. But I'm saying, like, the point was, we were in Atlanta doing a lot of stuff, T.I.

I mean, I did ATL out there. You know, we were out there early, early, right? ATL the movie. Yeah, I cast that, too. My title again, additional casting, but I got, I cast. Oh, wait, no, no. Hold on, here's a story. Here's a cast story.

He's a cast story. So, Killer Mike, right? Emmanuel Panico who used to be a video commissioner at Atlantic Records. She hit me up. She said, yo, you, that's why I was direct the video. She said, yo, you should direct this guy killer Mike's video, whatever.

And if she mentioned the number it was, and I was just like at that time, I was like, you know, that don't make sense for me right now. She said, yo, this guy's the godfather. Right. You know, I'm telling you, you should fuck with him. And I wasn't really do a rap. I was making the transition to the last thing.

When he was on his mixtape run? Early, early. It was the ATL, whatever that year was. like 2005, I think, something like that. Hey, I'm Jay Chetty, host of the On Purpose podcast. I had the incredible opportunity to sit down with the one, the only, Cardi B. My marriage, I felt the love dying. I was crying every day.

I felt in the deepest depression that I had ever had. How do you think you're misunderstood? I'm not this evil, mean person that people think that I am. I'm too compassionate. I have sympathy for... that my man. Put so much heart and soul into your work. What's the hardest part for you to take that criticism?

This shit was not given to me. I worked my ass off for me. Even when I was a stripper, I'm gonna be the best pole dancer in here. When was the moment you felt I did it? I still, to this day, don't feel comfortable. I fight every day to keep this level of success because people want to take it from you so bad.

Listen to On Purpose with Jay Chetty on the iHeart. Radio app, Apple Podcasts, or wherever you get your podcasts. I started trying to get pregnant about four years ago now. We're getting a little bit older, and it just kind of felt like the window could be closing. Bloomberg and IHeart Podcasts present. IVF disrupted, the Kind Body Story, a podcast about a company that promised to revolutionize fertility care. Introducing Kind Body, a new generation of women's health and

fertility care. Backed by millions in venture capital and private equity, it grew like a tech startup. While Kind Body did help women start families, it also left behind a stream of disillusioned and angry patients. You think you're finally like with the right people in the right hands, and then to find out again that you're just not. Don't be fooled. By what? All the bright and shiny. Listen to IVF Disrupted, the Kind Body Story, starting September 19 on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. But the humility in knowing that life is this classroom that we should never graduate for is what is going to keep you growing. And that's all that matters. World Mental Health Day is around the corner.

And on my podcast, Jess Hill with Dr. Jay, I dive into what it really means to care for you. your mind, body, and spirit from breaking generational patterns to building emotional capacity. Healing is a journey and wholeness is the destination. I'm going to walk away feeling very healed and feeling like, yes, I'm going to continue my healing journey and I'm going to get some keys from you. Listen to Jess Hilbert, Dr. Jay, from the Black Effect Podcast Network on the IHeart Radio app, Apple Podcasts, or or wherever you get your podcasts.

December 29th, 1975, LaGuardia Airport. The holiday rush, parents hauling luggage, kids gripping their new Christmas toys. Then, at 6.33 p.m., everything changed. There's been a bombing at the TWA terminal. Apparently, the explosion actually impelled metal, glass. The injured were being loaded into ambulances, just a chaotic, chaotic scene. In its wake, a new kind of enemy emerged, and it was here to stay. Terrorism.

Law and Order Criminal Justice System is back. In Season 2, we're turning our focus to a threat that hides in plain sight. That's harder to predict and even harder to stop. Listen to the new season of Law and Order Criminal Justice System on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Because when he came out with a Deerze, he was on a record label, and then he had the crazy mixtape run. Yeah, I don't remember, but...

So anyway, so she's like, yo, look, trust me, you should meet this guy, and you should do his video. So I meet with him or whatever. He takes me around Atlanta. I don't know who he was, but this guy, where we went, they rolled the red carpet out. Right. So I'm like, who the fuck is this guy?

He got mad jewelry. It's just me and him. Yeah. Some of, hey, you're not scared. It might take your chains and shit. He's in a Lamborghini? Huh? I don't remember.

Okay. Because if I tell you the end of the story, you understand why. Okay. So we keep going. We hit every club. Every club was like the master's here, red carpet, love. And I'm like, who the fuck is this guy? Then we, at 5 in the morning, we go to this place called Body Tap, right?

Uh-huh. And we sit down with these ghouls. Huh? Florida. Atlanta. Atlanta. Atlanta. It's called Body Tap.

And we walk in there, and then we were with these ghouls. dudes and somebody gives me a stack of money and they're like, just throw it in the air. All right. And I was like, why? You know what I'm saying? Why? I don't want to do that.

There's a lot of money. Like, yo, it was just throwing the air. So I was so upset. It was a strip club. So those are no body tap. Right. And now everybody knows a body tap. Right, right, right.

So, you know, so I'm upset, throwing in the air, whatever. There's money everywhere. I went to the bathroom. I fell because I tripped on money. It was just, no, it was insane. It was insane. Like, what the fuck is that shit? It was insane.

I was like, hey, guys, just give me some of it. There's just so much money. I could understand that. Anyway, so then when we leave, ask, I ask, Killer Mike. I'm like, yeah, who is that goon? He's like, oh, that was Big Boy. I'm like, from Outcast?

He's like, yeah. I was like, oh, shit. They passed on him for ATM because they felt he was like the happy rapper guy. So then he dropped me off at the, The Georgia terrorists. They ain't tell the movie. Yeah.

So he was supposed to be the... Let me tell you the story, guy. He was supposed to be T.I? No, he was nobody. No, I'm saying. Who he would have been casted for? The drug dealer, dude. Oh, okay.

Let me finish the story, and I'll tell you that. This was the ice you on the cake. Thank you for spoiling the story. So anyway, so he dropped me up. Tell me, y'all. Oh, I got to go. So long the story? Okay, sorry, guys.

So long story short. Mr. Lee kicked him under the table right now. He drops me in the Georgia Terrence. I smoked cigarettes. I spoke to cigarettes. I passed out. It's 7 a.m. Somebody wakes me up.

It's Chris Robinson. And he's like, yo, you what's going on? I was like, I got you the drug dealer. It's fucking big boy. You know, it's a gangster dude. I was with him yesterday. He's gangster. Trust me.

I set up the meeting. Big boys in the ATM. Got ground. Got ground. I probably should have asked you this earlier, but I'm going to ask you it to you now. Earlier, but now it was a perfect time. Maybe not, maybe not. Maybe not.

You're known as hip-hop director, but you get an opportunity to work with Robert De Niro, right? And I even read somewhere that he even told you to call him Bob on a set. You got so personal. How was that? Like, you know, I'm working with a prestigious actor like that coming from, you know, hip-hop where people don't usually get the chance to be in the same room with Robert De Niro, a letter-known director. I think what's interesting is that at some moment, like, you don't expect us to be on a certain level on the filmmaking game.

They don't expect us to be, like, on that high level. For us to have, like, a guy like that, like, how many Dominicans shot Robert De Niro? Probably not any. You know, I'm not trying to make it off I'm just trying to be honest, like, you know. You're going to get that real talk now. You're going to get that real talk now. Did he take direction?

Did he take direction from you, Will? Okay, let me tell you. Tell him about the meeting. Tell him about the meeting. About the cop selection. That's a good one. I'm sorry to fuck him, whatever direction you were going. I'm sorry.

Go back to that direction. No, no, no, no, no, I can't believe you were fucking in my shit. God. This is the best person in my life, right? One, two, three. There's nowhere it's like, you know. We're out here, but, like, if you want to judge your life on who is there the entire time, there's people that are in sections that they fucking were there

and the sections where your life was needed that person. So you can't deny them of being the fucking guy that would you through the fucking pain. Right, right. but there's probably when you look at that section different sections of people that are engulfed in your life and maybe if you're lucky you have one person

one person that maybe took the whole journey two three people in this motherfucker took the journey how about Robert De Niro don't oh who gets a day that you're going to take the journey how was that working with him?

It does The shit was crazy because Was the... Do you want more? I don't know, bro. I think you're good. I need the drink to at least have

something here. I don't know. Hold on. I want a drink says We don't we give no more drinks. I don't think I've ever heard that before. You're no longer a champ. You have to be a champ the whole time.

He's a drink can. He operated. He upgraded. He was traded. He was traded. From a champ to a champ. King. Yeah.

Yeah, but have the opportunity to even be in the same room with Robert DeNiel. And he's the director himself, so that, was that intimidating? It's tough.

You know, I think it's a, it's a different situation. It's imagine I was like someone that wasn't Latino. Right. Sometimes you sit in front of a Robert De Niro,

but people judge you because of the way that you look, the way that you dress, the way that who you are, you know? They think that that who you are doesn't put, put them in the same level, on the film level,

in the conversation about film. It doesn't matter if you study film, you know a fucking broke down film, you cut the shit when you were shooting your short film. It doesn't matter anything you did. You just Latino and they look at you and they say, you know, fuck this motherfucker, you don't know shit about film.

When I was there, cutting this motherfucker fucking film, doing the shit that I needed to do, but they see you sometimes and they fucking judge you for that. You know what I'm saying? And they don't show us to love and they're like, yo, what are you gonna do, we're gonna do this, we're gonna do that, and do all these different kinds of things,

but they don't do anything, you know what I mean? And Robert Deere felt that way? No. So when sometimes they make you feel a certain way, and Robert De Niro, even though they offered him a deal, they were like, unless he says yes, he has to meet the director. And they call me and they, you know, no, come on, man.

It's like, I'm not a dude who, like, just, like, losing an imaginative world. Like, Jesse Truro's dope. Like, I know I'm ill, so why I'm here is drink chance, baby. He's the fucking number one show that girl. I know why I'm fucking here, because it's drink chance, baby. But I heard you didn't want to wear a suit because you didn't want him to think you were corporate when you was eating. Yes, that's what I'm saying.

It's Robert De Niro. Like, never in my, never in my journey in my life that I think my journey had me Robert DeNiro moment. Yeah, me know. That's big. And I was out there, like, like, surfing. from the big shit. Right. Like, come on, man.

That ain't a game. Like, I did this shit that was dope. Who walked into that meeting? Yeah. No, but the crazy thing is, like, let's say I was a white American person or white. I wouldn't worry about nothing but meeting Robert De Niro. Right. When you're Latino, you got to worry about the way you look, the way you dress, the way you.

You know what I'm saying? Because people judge you on that. And they just don't give you the respect. So I told my brother, I said, what am I supposed to do here? Like, there's going on here, dog, pop culture. Like, I'm doing this shit for real, like, I'm doing this shit for real. Like, we affect this shit, you know what I'm saying? Right, right.

So I told him, I said, you know, but you're like, holy shit. Robert Janelle. Getting to the point, getting to the point. We lost him. He lost it. I'll tell the, you want me to the story for you? I'll tell the story. Yeah, let's hear it.

So anyway, so, and you can pick it up where you want to, right? So you know where I'm doing, so I try to come with him and they're like, I'm just the director, no brother. No, I really grabbed you up like that? The woman that was with him, like, you got to fall back. It's one-on-one, okay, but I got a spot walker, watch. All right, watch, I was excited. Anyway, just went in there, and just tell him how Robert De Niro came

match you with the absence. No, it was interesting because it's like all of a sudden you come into a position like that and, you know, you got to sit with someone that he might see the world different. Right. So you started talking to him about different things and the one interesting about Robert DeNiro is that because most of his marriages, the wives have been African-American. Yeah. His kids is black too, right?

So I think he understands. Yeah, he knows what's up. He'd be messing with a chocolate box for a long time. Great, man. I can say it. Was that like a dream come true? The wrong. It's a dream come true.

Let me tell you. Let me tell you. There was one point. It was a different actor. In the way that business works, sometimes it doesn't work like us. Like, we love something. And we just love it.

And then the money. tried to, like, make us think different. Yes, yes. But with him, it was something different because it was like we had... Not the money. No, I liked him. He was part of the money.

Oh, shh. He had the money already. He didn't need the money for it. He didn't need the role. So he's just doing this out of love. That's what I'm saying, but sometimes for us, it's like we want to prize it's to make sense. And sometimes it doesn't make sense.

It's just, like, about the bread. Oh, yeah. Hell yeah. I get it now. You know what it is? Because Jesse, I say, even though he's feeling nice, he's still corporate and safe and you don't want to share certain information.

Well, it's a big moment, you know what I'm saying? And I say, Bobby hears it. Right. That's what I call him Bob. You know what I'm saying? But I'm saying they might hear it and, you know, he's cool. I'm not saying anything. They know what it is.

So what's the next? Because we see Donner and Erierey and we see five fights. Me and my brother, that's his name. Don De Niro and five mics keep hosting, y'all. So that's, we just wrapped yesterday. What is that? So it's called Spanish Fly. Oh, Freighter of Spine here.

So you have spiking bitch's drinks? Oh. That's what it was back in the days. That's not, that's not actually. That's what it was, man. That's what it was back in the days. You're buying the flea market. That was the original Bill Cosby.

It's called the PIL Cosby. Go ahead. It's a comedy that, uh, uh, uh, Dundanetto wrote Because of Don General He did it He wrote it He produced

He put the money Of him and his nephew And we just rap Yesterday It's like a It's like a Friday Cheech and Chong You know what I'm saying

So we just finished that Like I said Was me Jokes blah Shout to Jokes Man That's the home He was the main horse

On that He was like the ghost director Man jokes is a legend You man That's our homie For back in the day Now we just did something Yeah, no, that's our homie, bro.

But like I said, you know, this could be the first thing we see for the first time. I say it's a Dominican and a Puerto and a Cuban and a Cuban and a Cuban. Yeah, he's Cuban. He's Cuban, B. Yes, there's a Cuban act. And a whole bunch of diversity in it. Like, it's pretty funny. Like, we think we might do something with this.

And it might be the first time you see the culture. Because Don DiNeno, he really enforces the culture. He deserves his prize. He's going to pop mic as well. For sure. Before we get up out of here, I got a movie for y'all that we're going to do together. Oh, we're going to do. That we're going to do together.

Guess what it's called? What's it called? Hand balls. What's that? It's a movie about handball. Oh, handball. But you want to call it handballs? Handballs.

The title gets you off top. Yeah, yeah, yeah. You got to say, pause. All that. You're going to do you. But it's about a god named, a guy from Queens. He plays Hamble. He becomes the illus handball guard in the world.

And he goes to Turks and Kekos. He, he... Oh, it's you. Absolutely. Absolutely. What are you saying? It's about a guy. It's about me.

I'm not, no one. I'm not. I'm fucking the guy. I'm the guy. I'm the handball guy. That doesn't mean you to feel like. Yeah, yeah. I'm from a coliseum.

I'm from a coliseum. You know what I mean? And then he goes away and then there's these guys, the L.A. guys come in. Because, you know, because you know, Because, you know, New York, we have our certain style of handball. Then Miami has a certain style of handball where they play on racquet courts and tennis courts.

Then they have the L.A. style where they play it on a totally different thing. But I want to migrate it. Noel G. will play the people in L.A. And he went to the new breed on how they do it. And then they get me back coming from Turchase and Kekos, have the beard on. I'm like 500 pounds. And then I get in the gym. I start jogging.

And then I come back to win my hands back. Because that's what it's called. Hands. You know what I'm saying? Come, guys. I was out with a bitch. Yo, this is Gritchie. You know, man.

You know what I'm going down? Besides that. Because, did we talk about the documentary that I'm in for y'all? Oh, the hip-a-bos timbreed. That's right. We didn't talk about that. You know, we didn't tell me. You're talking about that before you, I turned out of it.

Yeah, where was it premiered at, Amazon Prime? Yeah, Amazon Prime. Yeah, Amazon Prime. Thank you for. That was so fun. It was so fun. You know, we got a Rolling Stones Awards, right? Oh, no, hell no.

Oh, welcome. I got a roller store of awards. Give me a little one. Give me a little one. They gave me one. I was like, I was like, four of us. I was like, can I go from my brother, like $1,500? Yeah, Jesse, you can have mine.

So I don't even have one right now. So anything else coming out, y'all want to promote? Yeah, it's real. But for me, act of rehab. Act the rehab is the future. Act the rehab is the future. Let's go. Like I said, we make stars there.

We don't give diplomas. We give jobs. That's it. That's it. Drink Champs. Drink Champs is a Drink Champs LLC production, hosts and executive producers, N-O-R-E and DJEFN. Listen to Drink Champs on Apple.

podcast, Amazon Music, Spotify, or wherever you get your podcasts. 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 the real Noriega on IG. At Noriega on Twitter. Mine is at Who's Crazy on IG.

At DJEFN on Twitter. And most importantly, stay up to date with the latest releases, news, and merch by going to Drinkchamps.com Hey, I'm Jay Chetty, host of the On Purpose podcast. I had the incredible opportunity to sit down with the one, the only, Cardi B.

My marriage, I felt the love dying. I was crying every day. I felt in the deepest depression that I had ever had. This shit was not given to me. I worked my ass off for me. Listen to On Purpose with Jay Chetty, on the iHeart Radio app, Apple Podcasts, or wherever you get your podcasts.

Introducing IVF Disrupted, the Kind Body Story, a podcast about a company that promised to revolutionize fertility care. It grew like a tech startup. While Kind Body did help women start families, it also left behind a stream of disillusioned and angry patients. You think you're finally, like, in the right hands. You're just not. Listen to IvyF Disrupted, the Kind Body Story, on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. What's up, everybody, it's snacks from the trap nerds and all October long. We're bringing you the horror. We're kicking off this month with some of my best horror games to keep you terrified.

Then we'll be talking about our favorite horror in Halloween movies and figuring out why black people always die further. And it's the return of Tony's horror show, SideQuest written and narrated by yours truly. We'll also be doing a full episode reading with. commentary. And we'll cap it off with a horror movie Battle Royale. Open your free I-Hard radio app and search trap nurse podcast and listen now. I'm Dr. Scott

Barry Kaufman, host of the psychology podcast. Here's a clip from an upcoming conversation about how to be a better you. When you think about emotion regulation, you're not going to choose an adaptive strategy which is more effortful to use unless you think there's a good outcome. Avoidance

is easier. Ignoring is easier. denial is easier complex problem solving takes effort listen to the psychology podcast on the iHeart radio app apple podcasts or wherever you get your podcasts this is an iHeart podcast