No Jumper - The Paul Wall & Termanology Interview

Episode Date: April 11, 2022

Legendary Paul Wall blessed us with his presence, accompanied by the one and only Termanology, to talk about their collab album, their careers, how they work together and long time friends DJ Premier, Statik Selektah, being independent, building solid fanbases, road stories and much more! https://www.instagram.com/paulwallbaby/ https://www.instagram.com/termanologyst/ ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

No Jumper, coolest podcast in the world. I'm in here today. I always wanted to interview Paul Wall, but I never thought that when I did it, that he would be with terminology. Welcome to 2020. This is crazy. What's going on, guys?

Happy to be here, man, happy to be here with you. Very excited to have you guys both in here, especially because me and him were from, I mean, how far is Lawrence from Nashville, probably like 30 minutes? Yeah, not even like 20. Yeah. That's crazy.

How far as Houston is kind of plays kind of far as shit? A good 24-hour drive or so, yeah. It's like an invisible line that separates like, you know, where he lived in a little bit I live. Yeah. That's why I always wish that I was born like five minutes closer to Boston so I could say I'm from Massachusetts because people like New Hampshire but it's like it's kind of like it's basically just like a suburb of Boston. You know it's like 40 minutes out or whatever but yeah I mean that's pretty it's pretty crazy how the fuck do you got to start working together I got to admit I still don't know. Do Static shout out to Static

selector. Oh okay so we sure of course they've been working together for a long time me and Static been friends for a long time colleagues we just never really worked together we're working the same environment. We'd be on shows together, things like that, but in the studio never happened. And it just was one of those things where I always wanted to work with him. And I think he always wanted to work with me as well. We just didn't have an opportunity. We got in there. Actually, I went to New York to do the Summer Jam. And while I was out there, I was like, you know, I'm out here. What's up? Me and my boy satellite, we went to the studio, pulled up on them. And it was, I just wanted to work. I just wanted to rap on the static beat. You know what

shit. So that's what kicked it off. And then from there it was like, every day I'm hitting static, man. Send me something else. What else you got? We did a few songs while we were out there for the summer jam. And then we ended up saying, okay, we got a lot of, and me, I'm coming to static like, look, I just want to work with you. He's dope and every artist he works with is on another level of dope. So I just wanted to get into that rotation with all the dope artists he's working with. I don't care if they're at the level one or if they're at level 100. Whatever level they're at, if they're working with you, it's nothing but doateness. It's interesting me because if you had told me a couple years ago, like, yeah, Paul Wall and terminology is an album ago, I would be like, no.

Like, they're from totally different sonic universes. Why the fuck would that ever overlap at all? But, like, what was your perspective on him before you actually met him and stuff? So I'll keep it real. Like, you know, always been a fan, but more like, you know, mainstream, like stuff I knew from, like seeing them in magazines on TV, but once I got in the studio with him, I'm like, no, he could rap. Like, he's rapping, rapping, like, he's gunning.

And so that was kind of the general consensus of when he came to New York and hung out with us, we went to the fat boo that had a party. He came to the lab. We had brought him up to Shade 45. So, like, once we started kicking it with him, we were like, yo, this dude is a cold MC. Like, he's not kind of, I guess, how they would portray him to be, like, more like a mainstream artist.

He's actually like a super MC. So, you know, we started with the Pete Rock record. Then we went to the collab with Bun B. And, like, it just felt natural. It just turned into a project. That's a beautiful thing, man. Like, because, I mean, do you feel like, I feel like the game tends to, like, put you in the box that you came in on?

Right. And if you step out of that. Exactly. So probably a lot of people would never have assumed that Paul Wall would even have a taste for those types of beats or people who are rapping like that, etc. Well, I've always had an opinion that rappers outside of, like, the New York area. or the New York, you know, that area. Rappers outside of there for me from Houston, okay, just an example. For me to be, I get a lot of love in New York,

but my OGs that came before me in Houston, they warned us about going to New York. They would tell us, look, it's not like going to the club and doing a pop-up open-mic type of concert. When you go to New York, you got to be on your A-game. Don't bullshit, you got to have respect for everything they got going. This is what originated from. So everyone there is on another level.

of everything because they grew up in it from their parents grew up in it. Are we talking about some hip-hop shit or are we talking about like you're going to get beat up or robbed? Not hip-hop, boo, yeah. I'm talking about it. So they say, they say like, look, when you go to the, and I understand this a lot because this is mind frame in Houston where I got love for you, but I'm not going to, I don't want you thinking I'm on your dick. So I got to act like I'm too cool for you, a standoffice.

But if you come talk to me and you show me love, then, oh, I'm going to let it open. Oh, man, I love you, you know. But until you do that, no. I'm not gonna be on your nuts. Hip-hop's like that, for sure. So that's what they told. When you go to New York, they might boo you in New York. So that's what I would always expect.

But I never got that, but maybe because I was warned of that, I was always on my note of, let me be prepared, let me be the best me I could be. But I always felt like for artists like me or whatever to really get like real love and be, like, you know, cherished in New York, you gotta fuck with a New York producer. So like when TI did bring them out, like a lot of you guys, A lot of people from the South don't consider that one of his top 10 songs. But everybody I know from New York, that's his number one song. Right.

Because it's produced by Swiss beats. So that's just an example. And there's others throughout the, you know, throughout like Scarface. He rap sometimes, you know, on DJ premiere beats and things like that. So he gets a different type of respect from me. So I always wanted to, but when I'm on a mainstream or a major label, they want me to do a certain sound. They don't want that. So whatever my desires are, my, you know, personal preference,

preference or my integrity of what I want to music I want to make it don't matter it's always what's the most back in the day like 2008 I went to a fucking big ass showcase in new york city and i think the headliners were like jada and uh you know like styles and shit like that or like ghost face might have been one of the headliners or reekwon and then like waka flaka is on the bill but like before anybody knows who this is whiz calif is on the bill currency etc it's like a really crazy bill to look back on but oj the juice man was already kind of pop up And he had like a big song in New York even like in the hoods of New York. That was a huge song, the quarter brick shit, you know, and then like, and so he comes out and performs that song.

And keep in mind, like, we're like 45 minutes away from Rayquan taking the stage. Right, right. Oh, they booed OJ bad. Wow. The video is so online, I've seen in a real life, man. I wanted to wow out. I wanted to start punching people. I was like, I was hurt because I'm like, this is a real dude right here.

And over the years, the more and more I know about OJ being around him, et cetera, it makes me even more angry because I'm like that might not be the hip hop you fell in love with but you should have some respect for it which I think in New York is kind of like the number one place though that's not going to give you a pass in that regard I think when we first were going to New York what kind of maybe definitely helped us a lot was that we were hanging with Cameron and Jewel's Jim Jones all the time so they would do shows they'd bring us out to do you know I'd do still tipping or even before sitting sideways came out you know they brought us out of summer jam to perform so I'm you know I got a lot of uh uh a care

very over love from them. They definitely gave me a hell of a co-sign, although not on songs musically, like just in person. So a lot of their fans who, if it would have just been to Paul Wall show, they might have booed me. But if it's Cameron bringing me out, okay, they got enough respect for Cameron to not boo me. So then, okay, we're gonna give him a shot, you know.

Have you actually brought Paul Wall to New England? No, not yet. I can't wait. I can't wait. I want to bring them somewhere like the Middle East, you know, some, you know, middle, like 500 people. Oh, okay.

I thought you were talking about like Afghanistan. I'm like, wow, that's a totally different thing. That's the Middle East Club in Boston. I've been gone too long. I want to bring them to something like that. So, you know, for the people that don't know, that's like a little small, 500-person venue. And it's kind of like how you've seen eight-mile, you know, it's real, it's rough.

Everybody in the, you know what I'm saying, battle style, like underground hip-hop style. I want to bring them there. So I think I brought Bunby there. We brought Mabee, the locks, you know, many people there. But I think that's the next stop. We got to win a ball. Right. Definitely. Yeah. So for the people who don't 100% know, can you give a little bit of the background of who terminology is and how you even came to be who you are now? Because your career at this point, what? It's like at least 15, 20 years in, right?

I've been rapping like my whole life since a little kid and, you know, basically started battle rapping and shit like that in Boston when I was younger. Kind of eight-mile style. You just roll up to a club. You put your name in a hat. And whoever wins the battle goes home with $500, whatever. You know, so I started with that. and then, you know, that turned into me making demos. And I got a record deal when I was in high school. I got signed, put out my first vinyl, went on my first tour when I was in high school and graduated high school in 2002. So basically like, you know. Same. So we're exactly the same year.

Exactly. Scary. And Paul's the same age as us, too. Oh, wow. So, yeah. I graduated 9-8 for the record. I skipped a grade of high school. Shout out to me.

Yeah, and I stayed back. But, yeah, you know, I say that to say, you know, I just kept going with it. DJ Premier, you know, was my first big co-sign and, you know, went on tour with Red and Meth, 60-day tour right off the rift, so I learned how to perform from some of the greatest hip-hop producers, performers that you can learn from. And, you know, going on tour with Premier, going on tour with Red and Meth, you know, just kind of helped me get in the game and some other people like Bunby and MOP, you know, a lot of hip-hop legends co-sign me and help me along with Static Selecto, of course, my brother.

So, you know, it's just been a ride. It's kind of crazy because, like, you know, being out in L.A. now is, like, it's so about where you're from. Yeah. And, like, you know, on the East Coast, same thing, too. If, like, in terms of, like, New York is, like, the center of hip hop. And if you're from the Bronx or you're from Brooklyn or whatever, they get it. And as soon as you're like, yeah, I'm from Boston, it's kind of like, there's just, like, way. And for me, it's even worse because I'm from fucking 40 minutes outside Boston.

But did you always kind of feel like you were an underdog because of where you were from? because Boston doesn't have as thick a legacy of artist as somewhere like New York or Philly. Absolutely. And even, you know, taking a further step than that. Like, Boston at least had commercial success with ed OG, with made men and, with even Marky Mark, you know what I'm saying, with a guru from gangstar originally being from Boston. So Boston had somewhat success, but I'm from Lawrence. So that was even worse because they're like, you're not from Boston.

Right. You know what I mean? You looked at it as like you're from a city outside of Boston. And so pretty much my whole career, you know, I've been forcing people to, to, you know, show respect to my city and understand that Lawrence is, you know, is a force to be wrecking with. I did the BET Cipher with French Montana and, you know, Lawrence, Massachusetts at the BET Cipher. You know what I'm saying? When I got unsigned hype in the source, back when that mattered, when I was in double Excel, all that stuff, it was like, I made sure that it said Lawrence, Massachusetts. So I could, like, really put my city on the map.

It's good that we have a fucking pioneer like Paul Wall here too because he remembers the era in which to be a mainstream rapper from Texas seemed impossible, right? Oh my God. Yeah, definitely. Because Texas being so far outside of the mainstream, a lot of people didn't even know the culture of Texas. They assumed we all rode horses to work. You know what I'm saying? And they didn't understand the slang at all. So whatever we talk about, even though it will be highly lyrical, it was a foreign language.

So the lyricism, the bars would go over people's heads and they just be, oh, they're just bullshit. They're not rapping. But it'd be a lot of similes, a lot of metaphors, a lot of making up and creating your own slang. You know, and it just definitely, that's how we formed our bubble of support where we would support our own. But even then, you know, growing up in Houston, it was a screwed up city. So screwed up click, ran it. So me coming from the Swisher House, I didn't get no love in Houston, period. No love at all.

I had to go to Dallas where I was a screwed up. I got major love, Dallas, Austin, San Antonio, all the cities outside of Houston. In Texas, we got our own, like, little chitling circuit where you could go all through Texas, Louisiana, Oklahoma, the surrounding areas. And really do that for life and have a hell of a career doing it because there's so many cities there that will come out. And if you can't just show up and expect them to show up, you got to go, you know, be out there and see the people and let them see you. You got to put in the work, the actual legwork, or even the social media legwork, whatever you got to do to put in that work. work. If you put it in, they'll come support you. So we would just do that and, you know, get our own support. I would get that so much that eventually it trickled down to Houston. People from Dallas would

come to college in Houston or, you know, whatever. They'd come down there and they'd be showing me love. And finally, eventually I got Houston. Now it's, of course I get love in Houston now. But it's always interesting to me to see when I think how it happened and explaining it to new artists from wherever they're from. And I see this with artists, every city. It's hard to get love in your own city. They're all artists that come and completely take, like, Sauce Walker, when he came, when he came out of Houston, the whole city of Houston embraced him like on another level.

I was just thinking to him as an example of an entrepreneur from Texas that hasn't, it's not like people don't listen to him outside of Texas, but for sure that's where a huge percentage of his fan base is. And it seems like he's doing super well for himself. Right. So there are people like out the gate will get the love. But he even had to. to forge his own way.

You know, at first, people weren't giving them nothing. And he, you know, him and Sancho, that whole click, had to forge their own way to create their own sound. And the youth took hold of it, and it became an old versus new kind of thing. You know, the old people don't like it. And the new people don't like the old people, all this and that.

But, you know, of course, they just kept on with, and at the end of the day, Sals Walker is a go-getter, making his own music, making his own style, grinding with it, the old people. And I don't mean old rappers. I just mean like the older generation of people, you know, in Houston, you know, Eventually now, it's nothing but love.

So it's the same story, even though he got, initially got love. First, it took a while for him to really get the whole city to embrace you. And it's like that everywhere. But I remember when you first came out and I'm seeing you and some thug and everybody and, you know, we're listening in the G-Unit, the locks, shit like that. You know, I'm thinking like, I fuck with this. Like, this is dope.

But also, this seems so anti-hip hop in a way because it's so slowed down. Yeah, yeah. The lyrics are like kind of intentional. not complicated, you know, but also at the same time, I'm listening to dipset, and I'm hearing Jewel's sort of like use the same rhyming word four times in a verse and like, you know, shit like that where I'm kind of like realizing like, oh, there's a lot of people who have different takes on rap. Like this shit is not every fucking person has to be mega lyrical. But do you remember having a little bit of that experience with a lot of that stuff that was

coming out? Yeah, I wouldn't say that like we hated it or anything. I would just say it was just like so different to us. we're used to boom bap. Right. New York is home of boombap. So it was like, wait, we got to get used to this sound. This is a whole other sound.

And then I think where the part where you're saying where it kind of seemed like people was hating on it was because it was commercial. So that was kind of, it was like, yo, this is mainstream. It's like fuck all mainstream rap. It wasn't like fuck Texas. It's fuck all mainstream rap. And Paul even feels like that now.

That's how I felt. It was like a conundrum for me being successful because I'm anti-underground. So I hate anything underground. I grew up. That's how I grew up. Really? Especially in...

I'm sorry, yeah, I'm tripping. I'm sorry. Anything mainstream. So, you know, when I'm growing up in the underground, anything mainstream that's successful, I hate it. I can't even, you know, it takes for them to kind of fall off and then or stuff to happen. And now I can go back and appreciate those type of things. Because at the time I hated in mainstream.

What could be the last mainstreaming the DJ's group? Right, right. And this whole aesthetic, you know, like you thought you were doing the most counterculture thing you could possibly do. When we listen to the radio in Houston, it was a program, it was Clear Channel, so it was a lot of West Coast style of music on the radio. When we watch TVs, YoMTV Raps is BET, even before the basement and all that, Rap City. Okay, it's mostly East Coast rap.

So we didn't really get an outlet or platform to listen to Southern rap until DJ Screw created that avenue. And now this is what we can hear all Southern rap, but specifically Texas rap. Because back then, I hear New York rappers. talk, I wouldn't understand some of their slang because we don't speak the same slang. So we don't know what they, I wouldn't even know what they talk about and half the stuff, you know, or even the locations

they talk about streets or certain hoods. We don't know that. We didn't grow up there. So to hear artists on screw tapes talk about hoods, I know, streets I know, you know, people, you know, street legends that I know or I've heard of. You know, you hear that, it's more of a representation. You see like, okay, this is, well, we,

and growing up in Texas too, you're taught a great sense of Texas pride. You support Texas. You know, you always support Texas. Anything's tech. You just taught that throughout school. In sixth grade, they start teaching Texas history. And it's just, you know, on Texas being its own republic before it came to America.

So it's embedded in you when you grow up in Texas to support Texas. So when screw, they got screw tapes and is Texas rappers rapping about Texas, it was, okay, this is, you know, we represented. Now we did. We went in. We represent that with pride in screw tapes. And then you get to hear screw also. So divel and dabbling putting, you know, some hip hop on there, like New York style or some West Coast hip hop on there and you get to experience. But all about the underground.

This is the interesting thing though. You blew up by being like unapologetically Texas as fuck. But that's kind of always the question for people like from a place like Boston is like, do you embrace and try to like make your own style or sound of your city or are you like, nah, like shit is popping off in New York. So I'm gonna get on more of this style of thing. Like, did you ever feel like you kind of wanted to hide the fact you're from Boston or just, like, not emphasize it because it might hold you back or not be relatable to the audience? Yeah, I wouldn't say hide it. I just think that Boston is so close to New York that we have the same sound. It's four hours away.

You could be, you know what I'm saying? You could be, let's say, for instance, Buffalo, right? Right. The Gazelle, the guys, they sound like they're from New York City. Right. And they're six hours away. So if we, four hours away, it's going to sound the same. So we kind of had like the same sound.

It was like a lot of the same production and the same style. But I would say this, though, getting back to what he was saying about when we first started going to New York, sometimes, man, when the beginning shows, like when I was younger, they were like, give it up a terminology from Boston, and there'd be a crowd full of, like, 500 people that never heard of me. Boo. They never booed. They'll just do this. Right.

You got to make them. You got to. So what I did was I'd be like, y'all, terminology. Boom, blah. I'm about to spit something for y'all. I'd start with the archipella. Right. So they see, oh no, he got skills.

Fuck, where's he from? He got skills. And for people who don't understand the context, too, keep in mind that, like, you could wear a Yankees hat into a lot of bars in Boston and maybe not get your ass beat these days, but at the very least, people are going to...

It was beef. Yeah, people are looking at you like you're a fucking weirdo. And if you were a Boston hat in New York, it's less tense, but it's definitely like... No, that's the same thing. What is that? It was bad. Like, yo, it was crazy because when I moved to New York,

Static moved in 04, and I moved in 07. He used to live down the block. for me in Brooklyn. Did I? No, him. I used to see him at the Popeye's

on fucking Metropolitan or whatever it was. Murder. Yeah, yeah, yeah. Murder. Exactly. So we were on Broadway and murder for 10 years,

right? That was kind of like our new block. Right. Now we moved over to Bushwick like more down. But anyway, when we first moved out there,

we were in the Bronx. So we lived in the same apartment. So static, I lived on the fifth floor. He lived on the first. So we moved out there in 2004. He moved and I moved to 07. When did the Red Sox

win the World Series? 04 and 07. So we'd be walking around They'd be extra mad, bro. Extra mad. Because I moved to New York in 2004, so I remember that fucking energy. Even though you were saying, like,

it's not that tense, it kind of was pretty bad in 2004 because we still had to take the train. We didn't have money yet. So we'd be on the train with the Boston. People would be like, looking at you, like,

what the fuck are you wearing that shit out here for right now? You're bugging. So, yeah, it was a thing, but yeah, man, it's cool. Over the years, I think the internet made it

kind of like everybody from everywhere. Yeah, that makes sense. I know a lot of people who are from one or the other and it's like you almost couldn't even tell at this point because it's just like that. Yeah, the internet is like that. It's just sort of brought cultures together. But if I were to ask you back in the day in 2003 or some shit, if I were to have asked you what you thought of like DJ Premier beats and like the whole East Coast sound, would that have been

totally foreign to you or did you already have a taste for that? It depends. If you would have asked me about DJ Premier, all I said I loved it. First of all, we knew from the jump that he was, you know, was from Houston, Prairie View and went to New York. So we always have to, a sense of, man, he made it, man, he made it, you know, and for him to be respected, so deeply respected in hip hop, you know what I'm saying? It just is like, man, of course, I definitely premier. I was a huge fan of other people specifically, some of it was like not quite my cup of tea. Some of it I did, like I like Wu-Tang, definitely like Wu-Tang a lot.

Yeah, genius was my favorite jizzle, you know. Yeah, the genius? Yeah, yeah. You know, like, you know, I like, you know, a few others, you know what I'm saying? definitely I don't want to say who I liked and didn't because I don't want them. But, you know, definitely like, you know, Liquid Sores was my favorite right there. The Shores was crazy, yeah. But I remember you telling me that you, on your first album, you wanted, you wanted to work

with the Swiss and the Cognhets. Yeah. Well, I didn't get a chance to on my first album, mostly because they wanted me, because my first mainstream album, the People's Champ, they wanted to present me as kind of a certain way with a certain style. So they didn't definitely want a primo beat, you know what I'm saying? On there, they wanted, whatever. Even then, they didn't really, I didn't really have a lot of mainstream producers on there.

You know, it was mostly just, you know, the Houston producers that I was messing with or fucking with. So that's the style. That's what I'm saying. Well, when I got to come out, I always wanted to rap on a DJ premiere beat or a static selective beat, but I don't get an opportunity to. So when I finally get an opportunity to now, it's like, shit, I'm going in, you know. Because when I was younger, I remember it felt like the Paul Wall Superstar Machine was in full. effect for a few years there. And then I don't know if it was your choice or if it was the label or what, but it felt like you kind of took a step back from the spotlight and were maybe like,

I don't know if I want to be this character that they're trying to push me out here as. Well, you know, I always appreciated the opportunity I had to be on a major label. And I think about this and, you know, I see other artists who come and kind of, you know, when their contracts up, what happens? You know, do they continue with the label? Do I go to another label? A lot of artists too, once you get to the mainstream, you kind of feed off of being on a major label. So you need that. You know, I came from the underground. So even to be on a major label, it all period was like, man, this is unbelievable because

it didn't happen when you came. Little Flip showed us that it could happen. But, you know, from Little Flip to us, it was a five-year hiatus. So when Flip came, we're thinking, oh, maybe we all get a shot to go, you know what I'm saying? But we didn't. They didn't give us. they thought it was, they looked at it as like a one-time kind of thing.

But then when, you know, still tipping kind of kicked it off for us and we all got that opportunity, it was, we all kind of thought, because we came from, we're doing math in our head, we're doing the numbers. We knew more of the business of the recoupment and this and that. So every album I ever put out, day one, I'm recouping. I'm paying out my pocket for things, not the label. Because I don't want to have to owe, you know, a bunch of money. And, you know, it takes five years before I can start making profit.

Now, I'm going to pay, I'm going to pay like our way, because that's, in Texas, that's the way you do it. You independently do it yourself. You put up your own money. Somebody else don't put up the money for you. Which is kind of normal now, but very rare at the time. Right, right. So that was our way. So we always knew that us going on a major label,

we're giving them a big chunk, a big piece of our pie. And are we going to do this forever? Or are we just doing this to leverage us on a, you know, a national or global, you know, scene? And then we go back to where our heart is on the underground. And we all basically did it, Slim Thug, myself. Some people kind of stopped. making music like comedian he stopped making music but you know what I'm saying he transitioned into

the tech world and he making more money now than you know any any of us made off of music you know what I'm saying and there's some others like Bum B you know always continue to do it so you know it's Mike Jones also he's still putting out music zero of course puts out of music on a regular all the time so it's always you know there was always our like look we're not going to let nobody suck of us if we're getting something out of this for sure we're going to do it we get opportunities to be globally recognized or them to have that machine. And instead of us doing it independent and we pay here and there, and it might add up to 50,000 or 100,000,

but we're paying it here and there, here and there. Whereas on a major label, they're putting millions up. You know, that's definitely a bigger machine that we want to take advantage of. But at the same time, you know, they control the sound. They control what is the single. You can say, and I tell us the artists all the time, younger artists, look, when you go in there with your chest out and yeah, this is the one, this the one, you might be right.

But sometimes it's cool to be wrong. Because if you write and you're going at them and they fight and, nah, they want single B and you want single A. And it's cool to let them be wrong. Because if you go too hard, yeah, I'm right. Well, they're going to find a way to, nah, we're going to make you wrong. So when you were on the charts and shit like this and doing the major label thing, did you feel like you were almost kind of taking a pay cut compared to how you could be doing independently? Well, you know, it's versus getting 100% yourself, you know, and doing it small or getting, you know, 20% or 50% or,

10% and it's major. So, you know, definitely check to check, I was making more money on the mainstream, but they're getting such a bigger percentage. But I'm thinking long term as an artist, who do I want to be? I want to be Willie Nelson. Well, you're 80 years old out here.

You're doing touring, making music with your family, still putting albums out. In my mind, I'm thinking, okay, hip hop is still relatively young. You don't see grandpa's out there on the road or people like that. Now it's different. So I can, you know, now I can see who

want to pattern myself off of as a lifelong career artist. You know, of course, you know, I would like to do other things. I'm an entrepreneur. I'm making money on other things, but my heart, my passion is in making music. So I'm intending on making music until I'm 80 years old or until I can't record no more. So who can I pattern myself off of? Other musicians who do that, what do they do? How do they, you know, do one thing or another?

And you see their, like, true Hollywood stories of, you know, their careers. and you see, you know, like Stevie Wonder, he's 30 years old, and then he starts having his major hits that we know him for. Before he was 30, he had a whole career that, I didn't even really know a lot of that music. I know his music after he was 30, but then when I see the true Hollywood story, and I realized, oh, he was 30, and I'm thinking, oh, damn,

I'm 30 now, but at the time I'm seeing it, like, damn, I'm 30 now. His hits came after he was third. Well, damn, okay, well, I got to get to work, okay. And, you know, hip hop will have a way of feeling like, if you're not mainstream, you fell off. Yeah. And, you know, or if I don't see you every day, you fell off. But we come from, you know, where you're making money,

you might show it, you flex a little bit, but you'll never know how much money I really got. Right. And it ain't for you to know, you what I'm saying? It's for me to have fun with and do our thing with. It's kind of crazy the thing about, too, like, when I think of you, it's like Paul Wall, the icon, the fucking legend, you know, you're such a superstar, et cetera.

but how much of that is the label having like pushed you into the mainstream so much that you know that level of fame that they can get you you know 30 years of grinding in the underground might not get you that a lot of the people who are the most famous in the underground realistically at one point had a huge major label push that made everybody fucking know about them that's what they're good for that's why we couldn't we're not going to turn down this opportunity right you know what I'm saying we're especially we're all about networking so you get the opportunity to network on a number level with another machine, we just adding to our independent roller decks. So that was like, for us, it was always the goal. We're gonna, shit, we do our underground, and we get a shot to go mainstreamers. Because they always was coming at us with fuck deals, but we like, man, if they come with something respectable, then okay, and when they end up coming to us with our deal, we end up, Jay Prince actually co-signed a lot of the shit to make, to like enforce them, like, look, don't fuck over my guys, you know, these my guys, don't fuck them over, you know what I'm saying?

Like, he had that powerful of a voice back then as well. Yeah, he was, uh, he was, uh, He had his rapelot sign. Of course, definitely, definitely had that. He had that problem. But his whole rapelot machine was also tied in with asylum, who me and Mike Jones was on with Swisher House. So, you know, he had a whole part of that.

But for sure, he was actually his deal, he told him, hey, I'm not doing my deal unless y'all sign them, too. You know, he basically made them sign us where they wanted to sign us, but now they kind of had to sign them. Wow. So, I mean, he always had that type of, even behind the scenes, you know, And we don't know that at the time.

We don't know that until they tell us, man, you know really the only reason why we really signed jobs because we were trying to sign. He made him sign us because he believed in us. He knew what was going on. So he definitely had that, man, Jay Prince. Shout out, Jake Prince, man. He, from the whole time, even though we're going from city to city to city, he's not with us going city to city, but he there. You know what I'm saying? And so he got people worldwide that, oh, hey, I'm with Jay Prince.

Oh, that's what's up, man. You know, so they're always there, you know what I'm saying, just introducing us to this person, that person, or just helping us build our network. And, you know, so he always been there. Who's the Jay Prince of Boston? Man, I don't know if there is one. Boston is really, like, independent. Yeah.

Yeah, and it's not like a godfather. It's not like a godfather of Boston. Maybe that's what it's missing. Yeah. More fear. You know what I mean? More hierarchy. There's not like a godfather out there.

Everybody just kind of do their own thing. Yeah. That's weird. But could we say that about New York, too? Like, who's the godfather in New York? I mean, there's kind of a lot. But then, like, is anybody really like, I think there's like, you know, the big homie role that Jay Prince plays.

I don't think I've ever seen that in any market. I don't think there's any ever been such an influential person like Jay Prince from to my, I'm not from Texas, but I know a lot of people and I've heard a lot of stories. And, you know, I follow him on the gram. I listen to everything he has to say. He's a very intelligent person. I just never seen it. I never seen a, you know, an OG like that.

What do you think about, like, do you feel with what you're doing your career and everything? Do you feel like you're very much like trying to do this for Boston? Or is it more just for yourself? Like, do you feel like that's something you want to accomplish in your career is really helping to put Boston on the map further? The Boston area? No, I think when I was 21, that was kind of the idea. Maybe even 25, you know what I'm saying?

But now it's like, yo, if you know me, you know me? If not cool, you know, I have my own niche. It's like the underground supports the underground. And there's going to be people all over that don't know mainstream. So, you know, now Massachusetts got mainstream artists. We got Joanna Lucas, we got Bia, we got, you know, Millies is making

a lot of noise. So it's like where rappers are finally getting a shot to be mainstream from our hood. I don't got to be that guy. I've never been a mainstream guy. I'm an underground guy. So I'm okay with what we're carrying on the legacy of Gangstar and stuff like that. But did you ever think about sort of compromising

that in a way? Like, did you ever have a time where you were like, I'm going to try to really make some commercial shit so to people, you know, maybe be able to tap into the rest of my shit. See, think about it. You know, you said, did you think about it? Yeah, thought about it, but not act on it. Like, for when I first started getting, you know, major labels were interested in signing me.

So I went to every label. They all told me the same thing. Yo, we love you. You're great. We're going to sign you. Then they don't call you back. You know, because at the end of the day, it was like, how are we going to market this kid? Like, he's making boom bat music.

Right now, Daddy Yankees is the hottest thing smoking, but he doesn't do reggaeton. But he's Puerto Rican, but he's not famous. and like the only famous Puerto Rican is like Fat Joe. You ever think about doing a reggaeton heel turn? I don't necessarily, you know, make reggaeton or what even thinking about it. You could have signed to Norei. He could have ushered you in. Yeah, Norrie.

You would have been breded up. No question right there, bro. If I was next to Noree at the right time, I'd about to how to get those hit. You know what I'm saying? But I think that, I think that to be honest, man, I think that underground hip hop is so important for the rest of hip hop, including mainstream. because we're where it starts. So I think, you know, the universe wanted me to stay right here and be important and be an ambassador

the same way my brother Staticselecter has been. You know what I'm saying? We're like carrying on that tradition of making that style of music. Because we get money no matter what, we've been getting money forever. So it's not like we broke. It's not like we're not legends in the underground.

But mainstream success is kind of something that we straight away from, maybe because we just never got it, or maybe because we didn't really want to sell out. Right. But what really brought you guys together like sonically or maybe you want to work on like so much music together like this one thing to fuck with each other and be friends and do a couple songs but you guys seem to have formed more

of a relationship it was organic it was natural from the jump man from the first song we did together you know we vibe together personally like you said first and you know there's been people i made some you know some pretty big songs with that i don't vibe with personally you know and you no no no shit definitely not that shout out nelly man don't know no man we got I love Nellick, my boy. Now, but, you know, some of these type of people is like, man, I don't never want to work with them again, you know what I'm saying? So, you know, and there's been people I've met where I don't really fuck with them

and then I meet them and I, okay, yeah, they're cool. And then I start hearing their music and it's like, okay, yeah, I fuck with their music. You know what I'm saying? But with terminology, it was different because I knew who he was. I respected differently him as an MC, a lyricist, all of that, you know, these accomplishments and, of course, in the undergrad. So I knew for sure we do something. It's going to be dope.

I know it's going to be dope. But it just kind of, we had a little cohesiveness where I don't know. I got to, they definitely brought something out of me. One, the static beats and then him being my partner that's, you know, iron sharpening and iron. You know what I'm saying? So if it would have been me and somebody whack, it might not have been, you know, it might not have brought that out of me. But the static beats for sure took me somewhere where it's like, okay, it's so easy for these verses was just flowing.

I'm 15 minutes, I'm boom, done. It's something about sparring with another dope MC too. Like, Paul's no slouch. Like, if you listen to his album, give thanks, yo, he's wilding on that shit, the whole thing. And then that was kind of like the birth of, like, him doing the Boombab style, and this is kind of like the part two to that. But that's when I really took notice to it.

I'm like, yo, he's really wilding on these bars. So I kind of took it upon myself to show New York City underground. Like, yo, listen to Paul Wall. Right. Like, this is not the mainstream. Paul Wall that you might have heard. This is new and improved 2022 Paul Wall, and he's whaling, you know what I'm saying?

And I love it. All the YouTube comments, the Instagram, they're like, yo, but Paul Wall raps like that, they're really excited for him. And I'm excited to see him get his vows, you know? And I really didn't, you know, it's not like I'm switching it up too much, you know, I'm like, you know, still Paul Wall, you know what I'm saying, but it's just a different Paul Wall, you know, and I remember going to Sweden and my boy Chubby out there, he was like,

you know, he only likes boom bap, you know. And he brought me out there for a couple shows here and there. And he's all about only boom bap. So even though he got love for me, he's like, yeah, you cool. But until you boom bap it out, you ain't, man, you ain't, come on, you got to boom bap. This is what it's all about. So that kind of really in me, that sparked. And this was like, you know, about 10 years ago where even before that I always wanted to, you know, do it.

But that's what really sparked. It became clear to me that it was like, you know what? I do need to rap on some boom-bab beats because it's going to bring a different element out of me that I might not even know I had in me. And they're doing this allowed me to showcase because if it's just a regular Parawal album,

I put it out in a Boom-Bab album like this, this type of style. My traditional Parawaw fans, some of them are going to be like, man, they're going to like it because it's Par-War, but they're also going to be surprised because it's not the traditional beats I'm used to rapping on.

The question is, does he, Rep slower to match you or do you wrap faster to match him? That's what we've been getting next. Every interview they ask him. It might be a combination of the two, but I don't think it's either of that because he's coming with his style and I'm coming with my style. I definitely stepped it up on here, you know what I'm saying? And for sure, I think give thanks to the greatest album I ever put out out of all my album. I think that's the best one.

And, you know, and this is just right up there with it, you know, because it's basically the same thing. So, you know, I think it's definitely one of my better albums that I've ever put out. you know what I'm saying? You know, and it's me on there. But you definitely going to hear a little lyrical. You're going to be surprised a little bit, maybe. And here and now, I got to showcases with Toby Nguigweigway. When I did a song, Juice with him, shout out to Toby.

He's from another Houston artist. Although he doesn't really, you know, he's going to be far beyond just being a Houston artist. But he's also from Houston. I just meant to say, we did a song together. And I went off on there. And that kind of, that was one of the one where everybody like, damn, I ain't never heard you rap. like that, you know, and then it kind of get my, like, H-Town fan base primed up ready for it.

Then when they hear this, they're like, oh, okay, shit, that's what's up. They keep saying that. They keep saying, I never heard him rap like this. You know what I mean? But to answer your question, I'm pretty at home on the static beats. That's my brother. I know since we're 16. So, you know, we can't.

You know what to do with it? I can't, I'm at my speed on a static beat, you know, so I didn't really have to slow it down. And I think, I think Paul just went with the beat. It's not like he had to speed it up. If the beat give you the rapid fire flow, then that's what you're going to do. Right. Definitely.

Are you a Griselda fan? Oh, hell, yeah. You feel like they've done a lot to kind of push some more classical sound into the mainstream? They helped a lot, bro, because, you know, I was there when nobody knew who Griselda was. They helped a lot because it was like a time where vinyl was dead in music from, like, 2012 to 2016.

Vinyl fell off, and we thought we was never going to see it. again. And right around the time when like Griselda came out, like vinyl started booming again. And they were like charging a lot for their vinyl. Is that a moneymaker for you? It is. Yeah, we sold out. Our vinyl, you know, our vinyl sold out. We got the CD still left, you know, Link in the Bio. But I always hear about like bands doing and stuff. I haven't heard. I don't think I've talked to any rappers who've done the vinyl thing, but that's really interesting. I always thought about doing it for some like classic releases and shit. I did three vinyl just this year. I did I did one called Goia. Right. But three. I did one called three six.

with my eyeball took a picture of my actual eyeball and the vinyl come out and it's an eyeball do you think people are buying it just for the collector's item or you think they're scratching it and playing it man ain't nobody playing it's like maybe 10% of the people are playing it for the people who do scratching shit it must be really cool but i mean i don't know how many people really do that these kids even even the best DJs in the world DJ premiere funk flex you know static even the best DJs are using serrato and nobody using no vinyl like they might play it for the nostalgia because it does have like a nice sound to it yeah but it's really they just want to to sign it. They just want to put it on the shelf and be like, yo, I got that Paul Wall terminology

vinyl. Anything you can sell to the fans these days is good because like even your most hardcore fan a lot of times will really just listen to your shit on fucking Apple Music and they're not really giving you that much money by doing that. It's really different than the old days where you're selling CDs out the trunk and you're literally making 10 bucks off of each person and like they're really supporting you like that seems like such a distant like fantasy of how nice life used to be back in the day, right? You should see the DMs, right? And, yo, I love everybody who streams my music, right?

That's the new wave. Like, you need the streaming, but you should see the DMs. Doozil just, like, download it on Apple Music. And they're like, yo, look, bro, I'm supporting you. And it's like, yes, you are, but I don't think they understand. Like, that's like me walking up in here and putting a penny here and going, yo, listen, one-th-th of this penny is yours. I'm supporting you, bro.

But when they download it or when they purse you, No, I'm talking Apple Music, you just download it. Oh yeah, because you can't even purchase this shit anymore? You could purchase it, but you gotta jump through hoops. Yeah, it leads you to Apple Music. They don't want you buying. They don't want you buying. You know the vibes, you know?

But it's okay. I appreciate every single stream. It is not the consumer's fault. They don't know the difference between paying the $10 for the CD or giving you the $1.13 of a penny. They don't know the difference. So I appreciate every one of them, but what I do try to do is educate them. If I'm having a real conversation,

I'd be like, yo, do you really want to support you? the artist, buy the vinyl, go buy the show ticket. You know what I mean? That's more of a support than, you know. You got to give them those options because, yeah, these days being a rapper independently, it's just like you got to do the whole thing. Like, you have to figure out a whole bunch of different fucking revenue streams, and you got to make it so that the person who wants to spend a couple hundred dollars a year on buying shit from you has the option, too.

A lot of rappers don't even ever really give people that option. Once you figure that out, you golden. And it's, you know, for the up-and-coming rappers, Once you figure out how to make money, like, you know, as being a SoundCloud rapper or being like an independent rapper that goes directly to a tune core or whatever, you know, you use, once you figure out that you can sell stuff directly to your fan base, you don't even need a lot of fans. You need like 1,000 fans. If you get 1,000 fans to give you $10,000, you just made $10,000. And you can do that in a day if you let people know your release is coming, stuff like that. So I just, that's something that, you know, we've been doing in the underground since the beginning of the time, like since we started. 506.

For sure. Do you feel like when you're making music, is it, do you feel like it's, like does that even really scratch the surface of the money, your money situation? Because I assume when you're selling grills and doing all this other kind of shit, that putting out music is probably not really all that big of a business

compared to that? Well, from the very beginning, music was my heart, my love, my passion. So it was never a thought that I could, you know,

make money off of it. Michael Watts showed me how I could by selling mixtakes. you know by building up you know he had the machine him and O.G. Run C the switch house of this you know the I was just a little small piece that came in there and they showed me how it worked they showed me how to turn my love and my hobby of music DJing because I was DJ and I thought I was going to be a DJ that was my goal my dream job was to be a DJ on the radio station in Houston on 97 nine the box so and when I was 17 I was my start was to be an intern but they just changed the rule you had to be over 21 or something to be an I'm like, oh, fuck, I thought that was, I thought my career was all. Like, oh, man, that's it. It's over for me. Because there were no rappers that came out, you know, that were, that I knew from my neighborhood, there were professionals that have been doing this as a career, where

this is their job. But I saw DJs, so I said, and I really enjoyed playing music that I loved, not what, you know, because what I heard on the radio wasn't what I liked. I don't like that type of music. So when I DJed, I'm playing my music that I like, not Paul Wall Music, my music, but I mean, my music that I listen to, that's what I would play when I DJs. That was my goal, but when they allowed me to give me that opportunity, I was already rapping, but when they let me freestyle and rap on the switch house tapes,

it showed me the business side of it. It was like, okay, this is how you can make money. And I would see artists sometimes go lean in direct. And it's, okay, this is the thing too. When you sign to a label, they sign you because they want to make money. They're there to make money. So their number one priority is not if you're a good father. It's not if you're a good husband.

It's not if you're cool in your community and you give back to your community. It's not if you uplifting people. They care if you're making money. And making money from the music, not like the other revenue streams that you might be building at the same time that they have no involvement in. Music and the merch. Exactly. So, you know, they're always going to lean a certain way. They're going to pick certain songs.

They're going to want you to make certain music that they can market a certain way that will maximize your potential. That's the business model of it. Okay, well, I'm from the art side of it. So where does the art in the commerce meet where I don't go too far in the commerce where I'm a sellout where I still got my integrity. Okay. So that's always when you make into music, especially on any label, they're going to want something that they can push to promote. So they don't care that I want to make this. They want to make certain things that they can push and maximize whatever you got going on.

If it's love songs, I hate, man, I hate female-centric rap, like love songs. I hate love rap songs. Wow, I'm so glad we agree on that. Oh, God. No, that's not for me. My biggest song is, oh, girl. Man, I performed that maybe five times my whole life. Really?

I'm never, man, I hate that song, but it's my biggest song I ever made. You know, I do perform Busy Body, which is a, you know, female-centric kind of song, but it's, you know, with a mouse beat and it's with Webby, so it's a different type of feel. You know what I'm saying? But, you know, they want me to make that kind of music. I don't want to make that kind of music. You know, so any artist, you know, when you sign any label,

they try, it's always some type of give and take of how can they make. make the most money off of you. You know, so I, from the very beginning, it was always, what is most important to me? At the end of the day, what's the most important to me is I'm a good father, good husband, I make my mama proud, I make my ancestors proud, I make my future ancestors proud. You know what I'm saying? Whatever that's called, you know, so what can I do not, you know, if I make a certain music and it's charted or it's sold this or that?

Because you see these type of people, they're not always the best parent or the best, or the best husband or the best community member. You know, these people, a lot of times they have hard lives because they give so much to it. Sometimes, man, hip-hop for sure will break your heart. That music industry will break your heart and tear it in half. So if you don't know that going into it, and you're thinking all these people have your best interests at heart,

they have your best financial interests that benefit them at heart. You know what I'm saying? It's rare that you have people that... That's why I always from the jump I stick with the same people. was my boy Goo, my boy T. Fares, and our friends from the hood where, you know, we, look, I don't want somebody this, you know, yeah, I want somebody this going to, you know, know, know what they're talking about, but I don't want somebody who's only there because I'm hot now. I want somebody who cares about me, who, you know, we came up together so I can trust you around my

wife. I can trust you with my money or any of my personal information. And you see people always getting screwed over and you see this and that. It's, man, it's very hard to find people that you can trust. So to me, that was always important. These type of things. So it's like, okay, how can we make money without losing our musical integrity or art integrity, whatever it is called, you know, for our passion for what we love? Because it means something to me to go back to my hood and for them to still listen to my music and for me to not be a sellout. You know what I'm saying? That means something to me. So, you know, so it always was on my mind. How can you make? So being a hustler, I had jewelry. So I'm selling grills with my boy Johnny Dang.

or we got different clothing lines we're doing, or we got different, you know, cannabis companies. Or this, you know, we got so much stuff involved. And for me, also, it's always important that when I'm doing my other, you know, side ventures, it's not Paw Wow Grills, Paw Wild, power this, right? Because if Powwow ain't popular with a popular song right now, then that means the Powwow weed ain't nobody smoking that.

That's the best thing I ever did with this shit is that I named it No Jumper instead of, like, Adam 22's podcast, because now we have. have all these different people doing content under the one roof and it allows it to be way bigger than me. Right. Exactly. So we've seen that we can, as long as we can, you know, and that was just how my boy Omar used to always tell me, man, you got to have a different hustle for every season.

Same way you put on clothes. When it's hot, you put on some shorts or some slides or something, t-shirt. When it's cold, you put on a jacket. If it's half and half, you might, you know, whatever put on a long sleeve, like I got my B-Sahun one shirt on. So, you know, whatever, you know, it's just all about. having a different hustle for every season. If only you stick with only one revenue, one hustle, whatever,

your whole livelihood is going to be tied to that. But if you can have different hustles and you can whatever, then, okay, I can make the music I want to make. That's why we just self-release. Because, you know, of course we lose an aspect of having the machine behind you. And sometimes, you know, to have some success, you need somebody who has the vision where I have, we have a bias of what we like, because there might be certain songs we talk about,

where we talk about something personal, where this is my favorite song. Because it means something to me, because what I'm saying in there is just so personal that I'm sharing that, that I love this song. But you might not give a fuck about that. You might like a different song because my ad lives or something. But do you guys bother to, like, pay PR companies and shit at this point in your career to, like, help get you out to a bigger audience? Is that part of the game at this point? For sure, because, you know, we have our own connections of people we know.

But still, you need somebody to organize and set it up. And, you know, we could do it ourselves when we reach out to these people. But we want, we try to, you know, we're trying to be professional. You know what I'm saying? So this is our career for sure. We got to, yeah, we got for sure, we've got to pay the publicity. I would say that that's true what he said, but I will say that in this era where you can put out so much music, I think you pick and choose which ones you want the PR to handle. Right.

So, you know, if we're going to drop, you know, 10 mixtapes this year because the music's done and we can put it right to streaming, then you might not have to do a press run for each and every project to get all the projects out. But I do believe in definitely public this and handling it the right way for sure. I mean, it's a weird era we live in where you guys have Instagram and YouTube and shit. And if you post about your new project 10, 20 times on your Instagrams, yeah, your fans are going to know. But that's your fans. Like how do you get out to more people these days, especially when there, nobody looks at fucking blogs, you know, even something like World Star just isn't what it is and what it used to be. You can't go to media outlets like this and shit like that. That's definitely a good way to get out there.

But it's just very complicated. Like you have a direct access to your hardcore fans. but to everybody else, it's kind of hard to get to them these days. People have a misconception that just because somebody knows it's out that it's bringing in revenue or that it's even successful

and you're making a profit off of it. Sometimes they put so much money into the promotion of a project that you don't even recoup that. You might never make no money off of their project. And also, you know, with Instagram or whatever, it's, man, look, I have a huge Facebook following. Okay, but typically, I look at it,

I look at it like this. You know, there's different roles. There's different ways to get there. You know what I'm saying? And we can take any path or we can take all paths, you know. So I kind of go down every path a little bit, TikTok, Facebook, every social media, but, you know, they're different. Twitter's different than TikTok than Instagram or Facebook.

It's different type of people on each one. So to me, I don't make too much money off of my Instagram. I make my money off of Facebook. So, you know, there's a lot of my peers. They're not even on Facebook. Right. And it's like, hey, you ain't got to go that way, but you can. And those are people, we realize if we promote our shows on Instagram,

then, okay, the way the algorithms work, people follow me on Instagram from all over the world. So if I got a show in Toledo, Ohio, then what difference does it make if you know about it here? It doesn't matter if you have a million followers. If you post the flyer for the show, you're going to get like 50 likes, and then the algorithm is going to be like, nope, nobody else is seeing this shit. And it's not people in that particular city that's seen it.

But now on Facebook, we can say, okay, we got a show coming up in Biloxi, Mississippi, or somewhere, wherever, you know, and you know, let's promote, this target, just these specific, whatever age group we want that, you know, why we'd be promoting it to 18 and under

if you got to be 21 to get in? You know what I'm saying? So these type of things you can market a lot easier to tap into on Facebook where it benefit me, but I do still post on Instagram, that's for to get people to know. So we do something, we got something going on. Of course I got a post on Instagram, so people on Instagram will know, oh, you're doing this and that, but

they don't necessarily translate into sales or streams or dollars when I post you and you can TikTok you can TikTok also but it's different you got to and a lot of people get frustrated when they're not seeing the income result that they want but they see the the fame you know that they want and it's like well how do I translate this to dollars you got to sell a product yeah like I have a co-host on this podcast a little house phone who you know he raps rap shit is not huge and he co-hosts on this podcast, but he sells like $300 shoes. He has a brand, so $300 shoes. He can do a drop of a bunch of shoes and make a hundred thousand dollars. And it's like he doesn't really have to sell that many shoes when they're selling off rap because he's making money off the shirt. Exactly. So he can, you know, like if you

could find one good product that people are willing to pay a significant amount of money for. I mean, thinking about Netflix, one of the biggest companies in the world just because they got a million people, way more than a million people paying them $10 a month, you know? It's like the ultimate thing. You know, just to shout out the Good Dad Gang, that's a brand that I started. I wanted to bring that up, yes, because I like this logo. So with the Good Dad Gang, right, I started this brand seven years ago. And basically what we do is we inspire, you know, dads to be present in their kids' life, make an effort. You know, just be a good dad.

Just be proud. And be a good parent overall. But, you know, we were kind of talking about, like, the hustle of it. It's like, I ain't start this to get money. But now that we're here, it's like, bro, people all over the world have this tattoo. There's like 100 people in this world that I know of that have the tattoo. Those people are like lifelong, you know, fans of the brand. They're lifelong supporters.

So every time, okay, we got a sneaker dropping for Father's Day. Yeah, I'm getting a sneaker. Oh, we got a diamond collab dropping. I'm getting a diamond joint. Oh, you know, I got a, I'm going to Disneyland with my kids. I'm going to go buy me a hat and a shirt. So it's like, you know, the money is being made through that too without me having to do anything. You're making money while you sleep once you get your company going.

from the ground up. That means a lot more to me now at this point in my life because I got a one and a half year old and I never really thought about what it meant to be a good dad that much until recently. And now I see people in the news or on social media all the time where I'm like kind of horrified by what kind of like

lack of parenting is normalized at times. And we need it. We need the good dad game. You know, and it's been able to help a lot of people, right? A lot of the homies come home from jail and, you know, for whatever reason, they don't even check on their kids. They can't check on their kids. That's part of it, too.

A lot of dads are being kept from their kids. Oh, absolutely. And, you know, the system is put in place like that, you know, for whatever reason. So there's a lot of dads out there that are not good dads, and they didn't put in that work. And, you know, they're just deadbeat dads. And then there's a lot of dads that are really good dads that want to be in the kid's life. But for whatever reason, they can't be. So, you know, we speak for everybody.

You know, the good dad gang is not like a mom-bashing thing. Like, we support mothers. And we actually sell most of our sales come from mothers. They're like, yo, you know, I see the sales come through. It's women. Like, yo, thank you so much. I wanted to buy one for my dad. He's such a good dad.

Thank you so much for making this brand. You know, dads don't get enough support. And my husband is a great dad. And so most of our customers are actually women, but, you know, obviously the people wearing the clothes is dad. So it's dope, though. We've, like, Jamie Fox hit my phone. know, FaceTime, you know, Zoom, all that.

Like, how can I help? I want to help. And this was just last year. Wow. So, you know, he posted on his Instagram and wore the clothes, Ludacris, you know, Charlamine, a lot of celebrities, whenever they find out about Good Dad Gang, they're like, wow, I really like that. Like, that's needed.

And do you sell these, or is just like a single custom pair? So this specific sneaker is dropping in May for this year's 2020-Farthers Day. This is a Patrick Ewing Good Dad Gang Collab, so you can see the logo. That's me and my daughter. You think Patrick Young was a good dad? Man, I don't know. He's a good basketball player, so I assume so. Yeah, I don't know, but I heard he is.

I heard he is, because that was part of the deal. Like, they said that, you know, he was a good dad, and he was a family. If he wasn't, we were probably no. Yeah, yeah. No, and a funny thing is we did a commercial last year for Father's Day, me and DJ Premier, we did a good dad gang star.

Gangstar meets Good Dad Gang. We did a commercial. So he reached out, he got Ice T, he got LL KooJ, he got two chains, he got Logic, He got all these dope dads. And I asked him about one specific dad. And I said, yo, can you get this dude in there? Like, he's like, he's not a good dad.

Like, you know. And I really, I really, I really respected that about him. He wasn't trying to chase for the cloud. He was like, nah, he's not a good dad. So he can't be in this commercial. And I thought, I thought that was so real, you know? You can't be false claiming good dad gang. I don't know.

You got to really be about that life if you wear this, brink. How old are your kids now? My son about to turn 16. My daughter, she's 14. How are they dealing with? with the pressures of being Paul Wall's children? I think they deal with it great. Of course, they internalize a lot of it,

so they might not share it all with me. But I try to communicate a lot with them, you know, about who I am or, you know, why people, this or that, you know, it's, hey, they don't, but there are other celebrities, kind of that they go to school with here and there, you know what I am. They probably know a bunch of your friends

who are famous, so it's not that strange. It was definitely kind of weird, it's strange, because, you know, when they first started going to school, the teachers know who I am. You know, the parents know I am, but the students don't. You know, kindergarten? I don't know about rap. You don't have a teacher pass a mixtape to the kids?

Yeah, I actually. Really? Oh, my God. But then, you know, as they get older or not, you know, when they kind of get to middle school, especially coming from the Texas underground and that culture, it's like, okay, we come from an area where their parents grew up listening to us. So, you know, when they kind of come of age to start listening to really hip hop and looking up their own hip hop, that's when they like, oh, man, you're dad Parwawaw?

And so then especially when they get to high school, even though it's, you know, it's different generations. So they might, the high school kids might necessarily not listen to me, but they still might see me as, oh, he can put me on. So I'm definitely getting, there's other students always coming to me, talking about trying to let me get them to put them on or this or that. So it's a little awkward. But, you know, they deal with, they deal with the, you know,

the fakeness or some people want to be friends with them because they're famous or they rich or this or that, you know what I'm saying? You know, one time I went to jail and it was on the news, and they got to deal with everything. they say about me that way, this way. So I'm very aware of the things I do, how it affects them, and I try to communicate with them to try to, you know, encourage them to be them. Don't feel like they got to be a baby me or this or that.

Be them, you know, be yourself, whoever you know, whoever you are, be that. And, you know, understand all of this. It's a lot to grasp as a child. But, I mean, I definitely think they do very well with it, you know, handling it. I have a funny story. So I stayed in Austin in like 2009 for a couple months, right? Like me and a bunch of the BMX homies at the time. We're just like out filming every day and shit.

And I had this girl that I was chilling with who was from Texas. And we were all talking about Paul Wall at some point. You know, I don't know what we were saying. But apparently we're making you out to be a pretty big deal because this girl feels the need to be like, I can't believe that you guys are all acting like Paul Wall is such a big deal. Like he was my neighbor growing up. I used to see him mowing the lawn with no shirt on and shirt.

and shit. And I'm just like, what a lame fucking name drop that you saw him mowing the lawn. Like, I'm not allowed to be a fan of somebody who mows the lawn. So he's not a good rapper because he mows the lawn? But she was just trying to do that Texas cool kid card of just like, I've seen him mow his lawn so he's not that big a deal. I'm like, get the fuck. Let me have this.

Well, first, I kind of grew up in that where, you know, if you're local, it's like a, some people hate you because you're local. Some people love you because you're local. I loved anything that was local, you know what I'm saying? but there were always people that shitted on it because it was local. But then also, there are a lot of Paul Nal stories. That's what we call Paul Nal. Fake balls.

Yeah, you know, and this is something that I always get me. I remember one time, okay, this was, I was like, I don't know, 22 years old, 23 years old. And I seen somebody, and one of my homeboys say he knew this girl who swear I smashed her. She got just started me and her fuck. And I'm like, nah, I ain't mess with this girl. I don't know. At this time, I only slept with one girl. or something, you know, whatever age I was,

I don't really mess with one girl like that. So I knew this girl's line, but she was swearing, she was swearing it, I fuck power, I fuck power while, this and that. And then I meet the girl and she's like, wait a minute, you, you're probably, I'm like, yeah, you look different. And I'm like, what you mean, I look different? She said, yeah, don't you remember we had sex in the back of your truck?

And I'm like, a truck, I ain't ever had no truck. She's like, yeah, it was a pickup truck, so somebody claiming to be me, you know what I'm saying? So that's it, so that might have been a pile now. And then there's a lot of times where people swear they grew up with me too where they're like you know I meet somebody's honor uncle and they'd be like man you don't remember us and I'm like nah where you when we from over here this damn I ain't never live where y'all I never even been there what you're talking about but that's the pal now but also I mean you

meant a lot of people at this point in your life right because I had people in my hometown come up to me being like we went to high school together and I'm just like okay like maybe never said what was what's up yeah in high school you never said or even if we knew each other bro like I've been doing a lot of shit over these years not to mention smoking a lot of weed and doing a lot of other drugs. So, I mean, it's like a lot of information has been wiped clean from the slate. And then you're talking about somebody, you went to school with 10 years ago, 15, 20 years, the hairstyle, everything's different. They probably put on weight, gain weight, lost weight, gained it again, you know, changed, cut their beard, died. It got different clothes on.

So, you know, exactly. When I'm thinking about high school, I'm thinking the same clothes I saw you wear how you look at. You know, it's crazy, though. You know how you just said, like, somebody, you know, might have been pretending to be you. Like, I don't know if y'all seen that. We got fake terms? There's a fake call. There's a fake drake. I mean, these people looked just like, look just like, get the same kind of, you know. I hung out with the fake Drake. It was freaky. Get at it.

Yeah. Like, at moments, it kind of, like, weirded me out. Like, I felt like I was looking at Drake. Was the girls on him, though? No. There's not a lot of girls here, but, you know. Was he talking like Drake, too? That's, like, the weird part is this voice is different.

But he is from Toronto, so he does kind of have some similar voice things about it. So weird. Shit was weird. Um, fuck. Okay, what else is going on? You guys, you guys on Team Will or Team Chris? I'm on this man, I'm glad you brought that up, bro. Look, man, my blame is on the Oscars. This is the same blame I have for when Kanye went up on stage with Taylor Swift at the MTV Awards. Where was the security at? Look, man, I'm saying, I know they're certain people, look, ain't no way they let me walk up on stage. Right. So, if it's, and they can't say, oh, we thought it was part of the show. Either it's part of the show or it's not. If it's not, if it's not, if it's not.

If it's part of the show, you need to know. It's part of the show. You're security. You need to know it's part of the show. They're walking up there, they're going to do this. If it's not part of the show, there need to be some type of protocol. I'm talking about as many years as many awards, they don't have no protocol if somebody walk up on stage.

Because every rap show you've been to with 500 people there or 1,000 people. That would not, but it's their security standard right there. So, what happened? Exactly. You can't. Exactly. And that's at these rinky dink-dink-ass rap shows with 500 people. And they say, oh, we can't have security because it's,

intimate and it's, you know, a certain level of, you know, camaraderie amongst the actors. They're supposed to protocol this and that. Yeah, but where the security at to prevent this? Because at any time somebody could come up and they'll be fucked up, drunk, high, anything, and just wild out for whatever reason. At any time somebody could get up there with a political view that they won and somebody in the audience got an opposite political view and they're like, fuck it. And they're using this moment to go up and do something.

I'm talking about this. Y'all ain't got no security protocol. So my blame, I'm not on team, Chris. I mean, I feel a certain way about Chris where I, I, I'm. I like how he handled it. I feel a certain way about Will Smith. You know, I do, I applaud him standing up for his wife. Although I don't, you know, I'm like, damn, I don't think this was the right way or the right time.

But that's not me to judge. But my blame is on the security. Where was the security at, man? They ain't got no security protocol. Shit, man, they better, they better come up with it. There's a long walk up there to cross. They say, oh, we can't have. Look, I don't thought about this a lot, man.

I thought about this a lot, man. Look, they got, they say that we can't have security because it interrupt. they want to have the intimate look where it's just actors and it's just whatever but now fuck that where the security what if somebody really did something like serious you know what I'm saying like I'm surprised that they don't got no security protocol at all come remember they uh somebody snuff uh dr. Dre when you're at the Vibe Awards it's like how does that happen bro how do you know how does somebody run up on Dr. Dre like how like where where's the security do you think they would have learned by now that's wow sure is crazy yeah so they I know they're mad they

But y'all think it's real? Y'all think it's 100% real? I think so. I mean, at this point. You think it's real, Paul? Like a hundred percent real? I mean, the reactions look real, but we also talk about incredible actors, you know what saying?

And I don't know. You know, I think it's real. I'm on the fence. I feel like it's real, but then I'm kind of like not for sure that is real. Paul, there was a tweet that we discussed on this podcast a couple, well, about a year ago. And I just wanted you to read this and let me know what you think of it. it. Oh yeah, I've seen this. I've seen this. I'll read it. I want to know what it was about the social climate that made bubble sparks and Paul Wall acceptable back in the day, L.O.L. Because that shit would

not fly in 2021, L.O.L. I couldn't believe when I read that because I was like, I feel like Paul wall is one person who was always so cool and so obviously just a down-ass participant in the culture that I felt like I never really heard Paul Wall get the shit that you've heard an M&M get. With all respect to Eminem, he went through it. I never really saw Paul Wall having to go through that gauntlet. Paul Wilde to people's chant, man. Yeah, people's champ, baby.

I mean, I definitely have my criticism over the years here and there, but, you know, I mean, shit, man, I always try to group myself in with the Texas artist, so I don't really get compared to Bubba Sparks, you know what I'm saying, too? So for me, when I saw it, I was like, well, of course you're only saying that because we both white but you know to me it's like shit I wasn't

grouped in with the white rappers I was grouped in with the Texas rappers you know what I'm saying so and that's what I always aspire to be and then then too you know coming up on the switch house tapes maybe they didn't know what my race was when you hear it's slowed down this and that or a lot of times actually when me

and Camilla you know rapping on the switch house tapes they knowing it okay they might find out okay one on white a lot of people thought comedian versus was my verse because he had like more of a proper delivery where you know where he pronunciated his words was a little bit different so you know i don't know i didn't i didn't really ever get too much shit for being white or that type of stuff but i do remember one time in florida we were in pensacola florida uh me man we were at uh what was it called star 69 roy jones jr club i think it was called something like that and uh

me and my boy lu hogg rest in peace we were performing i was performing me and i was at the bar me and my boy Lou Hawk. I seen somebody next to me, say something to his homeboy. Say, man, when Power While coming on stage, that's the only reason why I'm here, man. I'm tired of this bullshit. I'm ready to go, man. When Paul War coming on stage? And I tap him, I say, what's up, man? I'm about to go on on stage in like 15 minutes. And he looked at me

like, he was about to slap the shit out of me. Like, man, what the fuck you doing talking to me? And I could and I'm like, I could see that he was looking at me crazy and I was just like, yeah, I'm about to go on in like 15 minutes. I see. Then I was like, man, what's up with him, man? Then I performed and I seen him afterwards. And he said, damn, this whole I ain't know you was white.

Because he said, man, look, I hate white people. Because where he lived, that's how he was raised. He was like, man, I hate white, but you're my favorite rapper. And I never knew you was white, so I don't know how to feel. Like, that's why when I seen at the bar, I'm like, who is this white boy coming to talking to me? Wow.

You forced him to confront his own prejudices. That's pretty cool. So shout out to Pensacola. Imagine the world before social media. Before he fucking Google. You know, imagine a world before that. I'm pretty sure Google was out for the entirety of Paul's career.

Even me, man, I always wanted to be myself, be true to who I am. That's what my mom always told me. That's what I always taught. Be you, be yourself. You know what I'm saying? So some people believe it. I believe that, you know, to be myself. So I always been myself.

So some people like it, don't like it. I'm the same, me and comedian, a few houses down from each other. So we're not too different. You know what I'm saying? Speaking of Camilla now, we have a host on here. This dude Duno, who's a Mexican kid from around here, he's 22. and he was doing a podcast with an older comedian, and the comedian mentions that he did a song with Camillionaire,

and Duno says, who's that? Should we discipline him for this? I don't know. He's kind of of a different generation or age. Different coasts, different age. So I kind of still feel like we need to beat the shit out of him for it, but I don't know. Yeah, I mean, shout out to comedian.

He's definitely had a hell of a musical career. Legend. You know, he went platinum. He won a Grammy. You know, oh, my God. Man, shit, for him to win a Grammy for Houston hip hop, man. That was, that was huge for us, man. That was, you know, the funny thing was,

we were nominated with grills up against Rod and Dirty. So in my mind, I'm thinking neither one of us going to win because some people are going to vote, some people are going to vote and it's going to split the votes, and then somebody else might win, you know. So, but he, man, congratulations. I'm glad he won. You know, of course, I wish I would have won, but, you know, I'm very, I'm so happy for him to win because it's just a, man,

a testament to his talent and hard work. But, you know, he's not, man, he's a businessman first and foremost. You know what I'm saying? So when he's not going to do a deal where he's letting somebody else get money that he feel like is his money, you know, and he's not going to pay you to do something that he can do. That's just how he is. He's a businessman. He's a very strategic businessman.

So with music, you got to let them eat. He's kind of doing all this tech shit and everything, right? Exactly. So as soon as I say, he's a businessman, so as soon as you start making money and tech, you're like, what the fuck I need a big money doing music for? I'm making way more money doing this. You guys aspire to like develop revenue streams that are outside of the culture and of music? Because like you see something like that. It is kind of inspiring to think, fuck, he went completely outside of the box that he came up in.

Absolutely. Like, you know, in a perfect world, bro, it's like you got money coming in from everywhere. You got real estate money. You got, you know, cryptocurrency money. You got merchandising. Paul Wall selling jewelry. Yeah, we're doing TV shows. We're doing sync licensing.

We're selling vinyl. We're doing live shows. That's satellite supply. We got that bug. In the perfect world, it's just money coming from everywhere. But the fact that we got revenue streams from elsewhere allows us to put our heart into the music, not our financial mind. We don't got our financial hat on when we make the music. So we got to be true to the essence of the art.

So as long as we true to it, you know, that's going to fuel all the other revenue streams. And as long as we true to the art, our fans going to like it. Sometimes we might have something that might be a little hit here or there or it might catch on TikTok or something might pop because, you know, somebody on there end up going viral or something. you know so it might get a little bit more levers than something but as long as we're staying true to it we're all about having a career in this it's not like a you know what's saying we're not doing this temporary and i see some artists talk about y'all seen young thugs say you know he didn't you know he don't see himself rapping when he 45 50 years old and man when he's 45 50 if he still got a passion for making music i'm sure he's going to change his mind i heard a lot of rappers said that over the years that kept rapping their asses off until they were old and gray look at snoop bro wouldn't we all aspire to be snoop right right exactly coolest shit. Exactly. He cooler than you and you half his age. So it's like come on, bro, that Snoop Dog. Like, to me,

like, I like to give games to the young cats, right? I give a lot of games to the young cats. So they always ask me different questions and they always have like a lot of misconceptions and I try to lead them in the right direction of like, yo, listen, man, aspire to be people that are going to last in this shit. Right. That's kind of the advice I try to give them. Can you see yourself doing

a Corona commercial like Snoop? I was watching a football game. I seen him doing like all these deals and shit. I'm like, Holy fuck, Snoop is like a different type of celebrity at this point. This shit's crazy. But one thing you can say, too, everything Snoop got is true to Snoop. You know what I'm saying? Like, man, and you know if he got his name behind it, it's going to be some good shit.

He was throwing up gang signs at the Super Bowl. Yeah. He's a goat. That's a big deal. Definitely the goat, man. Shout out to Snoop. Yeah, that was definitely a conversation. Are you trying to get him in the grill game or what?

For sure, man. We need to set up a jury store in Lawrence. Let's get it, man. I just need my own... Coming soon. We're going to set it off with the turn real first and then we go from there.

Definitely. You think I'm fucking up by not wearing jewelry? No, I mean, everybody got their own style. You know what I'm going to improve my life, though? I feel like in a way

wearing jewelry, like, makes people pay so much more attention to you that it's kind of like a better decision to do it. I'll say this. You know, of course, you got people that love you and you got people that hate you.

So you're putting jewelry on that kind of incite them to, oh, maybe make a move with this and that don't know what it's going work out in their favor, but still sometimes it might attract them because they're just waiting for something to throw them off the edge to give them that encouragement to try.

But I would say this too. Having a jury store, I've seen a lot of people come in there and they, Clark Kent, they put on that jury and then they're Superman. And it brings out something different in certain people. And when I've seen people when they lose it for whatever reason, financially go broke, go to jail, you know, whatever, actually lose it, you know what I'm saying,

will their jury, whatever, get robbed, whatever. However they lose their jury, they come back in there, it's Clark Kent. And now of a sudden they get their jury. jury game back up than they're Superman. So some people, the jury really do bring something out of them or make them feel a certain way to put their chest out, to fit, maybe it give them the confidence they need, you know what I'm saying? But just if it's, if it's you get out, man, you know, I used to be a lot more into jewelry in my younger days. As I got older, it's like, man, I got, I didn't have a thousand

chains. So it's like, man, sometimes I do get inspired to, man, you know what I got a new idea, something I've never seen somebody do. That's the only time I really get inspired on any type of jewelry to personally wear is if it's something I haven't seen somebody else do. But other than that, it's like, man, shit, I personally, I got a thousand grills, a thousand chains.

You know, it's like, man, I don't even care no more. I got to have Johnny tell me, hey, man, put on a couple chains. I'm man, I don't give a fuck, man, shit. Are you ever selling somebody some jewelry and thinking like, damn, this dude's a bitch? Somebody's going to take this shit.

Like, this shit is going to be gone. It's funny because, you know, when you're friends with the robber and the victim it's kind of, it puts yourself in a weird position and then people always come trying to sell me some stolen jury to us. Like, look, man, I don't want to get in the middle of none of this, man.

You ever have the cops show up being like? All the time, man, yeah, all the time at the jury store. So we do have people come sell us jury, but when you sell it, you got to give your license, all this. It's like, you know, Pond. We really got to get your information. And even then sometimes, you know, you kind of run it and see if it's something like a Rolex there.

Like, you know, you can check to see if there's one stolen. Yeah, some things like that. If it's really high injury, you know, you're going to check the, because if it comes out that we bought it from somebody stolen and the police find out, oh, that's stolen. It's not evidence. We lose our money. You're fucked. We fucked. So we got to do our due diligence to make sure that this ain't stolen.

You know what I'm saying? You know, that's some real shit because my uncle Nelson got murdered, right? He got murdered. My father's little brother. He got stabbed to death. and the person who stabbed him took his chain and they went to the pawn shop and they pawned it

it's like bro come on there's cameras in there so that's how they caught his murder wow yeah he you know he waited in the house dude came in stabbing the death whatever and then he pawned the chain and so it's just so crazy it's like bro that that's wild sad yeah well rest of peace among uncle Nelson

yeah but it's just I'm saying that's how deep it is like where he was saying the serial numbers behind stuff these cameras you got to give you a license to sell the stuff So it's kind of like weird. I wonder like when people, you know, rob these big items. It's like, where do you sell it? You sell it on the black market on the streets.

I mean, there's been a bunch of high-profile cases in Beverly Hills where people would be coming through to like high-end restaurants and just putting a gun to somebody and taking their like quarter million dollar watch off their wrists. Where do you sell it is what I'm saying? Yeah, I don't know. If my uncle had a little $500 chain on and the dude got caught, where you selling a quarter-milly a sec? Yeah, I mean, if you wait a couple years, maybe the heat is off.

but also like there's a quarter billion dollar wash it's probably not that many of them right that's what I'm saying I don't know the ends and outs of it but it doesn't seem like it's going to be easy to get rid of it and the person who's going to do that what are the chances that they're going to wait a couple years do something they're obviously desperate if they're pulling out guns in the store this remind me I'm sure you've seen it all oh yeah this remind me though back in the days uh you know the swangers the Texan wild wheels the 80 folds we ride on back in the days um when it was before texan wire wheel was the wheel company that came and basically modernized the 84 rims we ride on. So they make them bigger, longer, more sturdier, you know, so I had to take some wire wheel. But before it takes some wire wheel, the wheels were made by Crager. And they would come apart.

You know, they would clack. There was only a few certain sets. It was a limited amount of sets of wheels that were made. And, you know, people would get raw for them or jack for them. So it would be very hard to buy them. So to even find something to buy was tough. You find them, you buy them, and then you find out, oh, they stole them from somebody else, and you buy somebody stolen realms.

Shit. So, you know, even back then when we buying foes, we had to do our due diligence to make sure these holes wasn't stolen. Because if we pull out, if we all of a sudden we pull out on foes, they're like, well, where do you get them from? Because everybody knows there's only, you know, 20 sets of swangers around, you know what I'm saying? But it's the same way with the jury, man, shit. You got to do your due diligence.

Yeah, we live in a high tech world. That's for sure. Fuck. All right. So the new project? Yes, sir. Dropping soon? Yeah, man, April 8th, you know, start to finish.

Paul named the album that. And, you know, I'm assuming he named it that because he liked all the music start to finish. Of course, yeah. You know, we got NEMS on here. Yeah, fuck your life. That's my dog. NEMS is my dog.

I've been making music with NEMS since 2014. So, you know, I'm real happy to see, you know, his come up. It's crazy to see him get so much attention from just being like the realist New Yorker you ever met in your life. It's the real hand, bro. I call him, I call him, be like, yo, what you want? Fuck your life.

It's like that he's not turning it off for the camera. Fuck you. I remember him saying fuck your life because he fucked with some of these BMX dudes that I was a huge fan of. And that was probably 2008. He was banging that shit. Yeah, that was the man, bro.

Shout to him. We happy that he's popping, you know what I'm saying? Big Bang. Fire. Anything else we need to keep an eye out for? Nah, I just want to shout out the good dad gang, man. You know, if you're out there, man, take care of your kids, man.

Be present in your kid's life. And you know what I'm saying? It's always good to be a good parent. For sure. For sure. That's a fact. Shout to my boy TV, Johnny. What's up, baby.

My boy, Johnny Dang. What a dude? How's he doing? He's doing, living his best life. He really is. Oh, man, yeah, he's doing great, man. He's out here in the field. Yeah, man, he stays busy, man.

He's always on the grind doing something innovative. You know what I'm saying? Just bringing something jury-wise. He loves his job, too, man. And this is just what it's all about. And finding something you love to do. Man, and just going all in on it, man. So shout out to my boy, Johnny Dang.

That's a fact. Appreciate it. both of you guys. Thanks so much for coming through. Thanks for having us, Bill. Terminology, Paul Wall, No Jumber, coolest podcast in the world. Check us on YouTube, TikTok, Patreon, Instagram, all that shit. Like, comment, and subscribe.

Nojumber.com if you want to support. Appreciate y'all. Good serving. That was fire, bro.