The Ebro, Laura, Rosenberg Show - 201.) FOTS Fridays: Dawn Richard Talks NOLA & Opens Up On Diddy (10/16/26

Episode Date: October 16, 2026

Hear more of today's show on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/c/ELRShow⁠⁠ Today on Ebro, Laura, and Rosenberg  - Dawn Richard, formerly of Danity Kane & Dirty Money, sits down with Ebro, Laura Stylez & Rosenberg for an honest conversation about her New Orleans roots, Haitian and Creole heritage, and the inspiration behind her latest album. She reflects on her journey from Danity Kane and Diddy–Dirty Money to becoming an independent artist and producer, while opening up about the challenges of working under Diddy, speaking out about alleged toxicity, and her experiences at Bad Boy Records. She also discusses her personal growth, upcoming tour, and connection with Durand Bernarr. Her new album, “Creole Culture” is out now! Learn more about your ad choices. Visit megaphone.fm/adchoices

Just don't call in a podcast. The Ebro-Lara Rosenberg Show. Friday, Vives, Friday, Family Friday. Thanks for joining them. Hey, yo, hello. All right, everyone be quiet. Why? I am trying to get into Apple.com right now.

Oh, man. So I can get this duo crack-a-lack-in. You want to do that? I want a duo. that. You're such a hype, babe. I'm, Laura, you know me. Since I was a little kid, I always wanted a mini TV in my pocket. This is like having a mini TV

in your pocket. Yeah. Are you both getting it? No, Natalie doesn't want it. Okay. She, Natalie only cares about cameras on her phone. Okay. Yeah, and this, the duo has a worse camera. Well, it's just not as good as the 18. Yeah. You know, that was, that was PR speak. I'm saying worse. You're saying, not as good.

Okay, okay. If you just want one for a camera, you want the 18. If you want something that you could like. Well, I think, Even specifically, the video on the 18 is like the zoom, zooms, wham-wams. Zoom, zooms, whams? Yeah, that's like the, you know, the real jump off. It's a new.

It's knees is the- Fuego. By the way, eventually, how is Apple gonna keep making the camera video better? Like at one day it's gonna be like, it's not even video. It's just real humans now in front of it. Yeah, they're gonna just pop up in your phone.

No, I think, well, no, you could shoot a movie on the joint. You could, they've been saying that for at least four iPhones and you can't. And I'm not saying they're saying it and it's a lie. You can. You can. But I'm just saying it's already been. Yeah, yeah, I guess. Well, I also saw, I don't know much about cameras, but I saw something the other day too, like about, you know, the frames per second thing. Yeah. And this had more to do with like some dark web video game thievery. What? Where now the, with AI, people are cracking into video games. Oh, yes, yes. Yes. Yes, I didn't.

And you can be Super Mario in HALA. Oh, that's kind of crazy. Right? So they're taking like old school characters and then dropping them down in like, ill newer video games type thing. That's pretty cool. I even heard on the Internet's,

and I don't know if it's fat, that like the new GTA 6, they're going to AI that joint, and they crack that joint even before it goes on sales. Really? And that's all AI anyway. And that's all, yeah, that's all AI anyway. So like there's a whole, anyway, that's what the internet's saying.

I'm not a video gamer. I'm just watching it. But anyway, apparently the PS5 is like 30 frames per second. So when you're playing video games on like the newest, some of the newest consoles, some of these new AI games where they've taken Super Mario and dumped them down into wherever world, it's like 60 frames per second. It's way more vivid. The graphics are way better.

I think the pro can go 60 though. No, that's what I'm saying. I think the pro, the iPhone, pro 18 go 60 yeah in video which to people who do that is a big deal so pre-order it's right now I got to try to get this but the thing is it's so much money it's gonna add so much to my bill Ricardo was like why don't you get it you watch TV on your on your phone because I you know I watch it at the gym right I'm good bro I can watch I use my phone right now I just I also like the idea of like you know the hype is gonna get lower when she sees that duo

When you actually use the duo, you're like, yo. I'll just borrow yours. Time out. It's crazy. Time out. I'm not a hype piece for the newest phone. I wait until like... Can I tell you why?

Hold on. Do you want to know why I'm excited? If you guys remember all of my Apple hate over the years, the number one complaint I have is, stop trying to hype me up for a new phone that's the exact same as the old phone. Yes, yes, yes, yes. You updating the specs slightly, don't. doesn't get me excited. Yeah.

Now I have to put my money where my mouth is. They created an actual new phone. So like this is the first time. I have been getting a version of the same thing for 15, whatever years it is, right? 15 years? The iPhone's been out? No, next year's 20. 19 years.

I've been using the same phone essentially waiting for that day because back of the day, I used to level my contract was up and I try a Nokia and I try a Motorola and I try something new. It would be fun, a sidekick. I miss that about the phone experience. Yeah, yeah, yeah. So the fact that now they have a new phone, I kind of am tempted to give this thing a shot.

Although Maya's just every time you pull a phone out. Holdy, holdy, holdy, holdy, holdy, won't stop saying holdy until, like I have to really go hard to not allow her to holdy. Well, so I went the other way with that with Salasi. You said, just take it. Periodically, I'll be like, here. No, I do that too. I do. And then now, and then I give her.

and she usually wants to take a picture. She's like, family, photo, cheese, everyone cheese. And she wants to set up, gather around so she can take a pick. That sounds fun. Into the picks. That's all she really cares about. But it's during a phone call, which is when it's annoying. It's the whole thing when I'm talking to someone.

And she's going to love a hang-up too. So let her get the hang up. What is that, Ebro? I don't know. Kensa loves a hang-up. Still? Yes. She's sick.

She still wants a hang-up on grandma? Yes. So what you do is you set up the hang-up. Oh, no. They already know. Everyone knows you're getting hung up on. Well, no, no, set it up. Maya, you want to do the hang up?

Make it a moment because now she's getting her moments. And then one day she's old. She doesn't care. Maybe it's a good idea, too, because then if I hype her up to hang up, I can also be more clear about not hanging out. That's right. We're not doing that now.

Wait. You got to wait. You get to hang up. And so right now we're in Salasi mode where it's like, you want to hit the button? She's like, I'm going to hit the button. So she doesn't even, like, she just sees the red and wants to hit it every time.

time. And then it's like, but then she still wants to have the phone call. I'm like, well, you hung up on them. That's right. Your grandma was just sitting there being very, she was singing wheels on the bus. And you were like, bang. 79 years old. Your sweet grandma going wheels on the bus go. And you were just like, yeah. And then go, ma, ma, she only calls my mother, by the way. She can't learn me ma so far. She calls her ma all the time. Not mom. Ma. Ma. That's good. And my dad has a song where he goes, I like coffee, I like tea, I like the baby, and the baby likes me. Coffee and tea, coffee and tea, a cup, a cup, a cup, a cup, a cup.

Hey, and he'll sing it again. And when I recently showed Maya a picture of my dad and said, well, who's he? She went, cup. So he's now cup. Ma and cup and cup. I like cup. I like cup for MJ. No, cup works for MJ.

Cup absolutely why. I didn't send this video over. I should have. what are you doing now? You're going to create all kinds of problems. I am, because it'll take too long. But I wanted to establish with the audience and all of us here that I actively, for both children, make them start working at a young age.

Oh, like giving them a little jobs to do. That's right. Well, Natalie ordered a broom this week. Love it. So I knew you'd be excited about that. You got to get them working early because then you get to sell to them early. You can sell to them early. A, you help me.

Right? Like help daddy. Daddy's going to do this. You do that. And then B, like as they get older and they start to realize like, oh, this is like, I'm doing a little bit of work. It's like, no, this is how you contribute to your community. to your community. You got to contribute to you community. But that starts in the home. No, that's true. Yeah, yeah, yeah. So I've been having this thing with Kenza, because, you know, she never sees me pay

with actual money. It's always like tap, tap, tap. That's a very interesting point. So she thinks it's an unlimited tap. So I've been telling her like, hey, I don't have enough money for that. So my daughter goes to Kuman. And in Kuman, they give her, you know,

when she completes a certain amount of like worksheets or whatever, they give her like Kuman dollars. So no, she goes, Mommy, I have money. So she whips up her fake dollar. And I was like, yes. that doesn't work here. Kuman. Wow, she's in Kuman.

When did you guys start doing that? I started this year. Wow, very cool. And it's every, all subjects? No, right now we're just focused on like reading and writing. Reading and writing. And did you feel like she needed it or you just wanted it for her? A little bit of both.

Okay. A little bit of both. And it's been helping her a lot. Because I, yo, Kuman, yo for a lot of kids. Rocking. Yeah, so soft is good. And you know me, I just wanted to be. put Issa and Koumahn just to give her something extra

to do. Oh my God. I was like you know what, let's put Isa and Kuhmine. Everybody was like, why? I don't know. More stuff to do. Keep that schedule full. Speaking of more work, by the way, so for people who are watching right now on YouTube, today's going to be a day where

we're going to do some show as we are right now and then it's going to switch mid-conversation of Patreon. And I know some people won't like that, but the beauty of it is, you don't have to. You just choose Patreon or not. People act like it's an insult. Like they're angry at me if we do something on Patreon. Like I put a gun to their head or I'm judging them for not coming.

I know. I'm not judging. Yes, you are? Just come on over. It's a beautiful place. Yeah, but it's like, you mad at the actors from HBO being like, being like, hey, why is you on a pay channel? Why are you on that place?

It is what it is. But. Are you ready now? Well, not, no, are we ready now? Are we starting the conversation and then going over? Oh, yeah, that's what I'm waiting for. Yes. Well, let's bring a chair in here.

Let's do some things. That's what I'm waiting for. You got to set your chair. I'm going through my phone. looking for family picks. Oh, well, maybe we can hit that at some point during as well. Why not? Well, because the, hey, Dawn.

Hey. Hey. New member of the family. New member of the family. Special guests. Well, because her project, her project that we're going to be discussing today is all about family and culture and community, so I figured she could join the family conversation. You know what I'm saying?

Baskin, where do you want Dawn to be? Do you need her to move over that way slightly? You're good where you are. Good. Okay, just song it to them like, my love. Hey, y'all, hey, what's up, what's that, what's that? Now, Dawn, I want to establish something first. Yes.

I said to Rosembourg earlier today, so Don Richards come by the show. He said, no. Don Rashar. Dawn Rashar. It's been that way forever. It's just, if you're not from New Orleans or Paris. Right.

They don't say it like that. And I got tired of correcting me. You gave up. So you just went with it. Because after a while, I remember, I told the story. It was crazy. I was so excited. We were with dirty money and Sierra.

loved loving you no more. And I had never met her. And I was like, I love her so much. And she went on Twitter and was like, I love that loving you know more song by Dawn Richardson. And that's when I knew. Oh, Richard Sin is a step too far. That's a bridge too far.

Yeah, that's when I knew. Man, I don't know. So I just got tired because I was like, I was happy that she even just knew. Right, you'll take it. I love it. Yeah, yeah, yeah. Now forever, though, you have been a flag carrier

for your culture and your city that you love so much. I love my city. Yeah, New Orleans. So I don't think anybody is thinking like this is a new, a new thing for you to put forward. So everybody knew that, but I never, yeah, it makes perfect sense. Yeah, my middle name is Anjolique too. So like, yeah. So once you see the whole scheme, you're like, oh, yeah, my dad's Haitian and my mom's, like, Cajun-Creeal.

Yeah. I don't think that's also talked enough about how many Haitian people are in New Orleans, right? It's a large Haitian community for, by the way, generations. Yeah, especially because the Mississippi was a port. Right. So a lot of times when people were leaning for business, musicians, and then also just like escape opportunity, they took the Mississippi and a lot of, a lot of Haitians came through. When I went to Jacques Mel in Haiti, I was like, this looked like the French Quarter. It's a lot of a lot of duality between both those places.

Also, I feel like a lot of people don't really understand. Also, Creole culture. Yeah, and there's so many stigmatisms in that, right? So, like, people think Creole people just are light-skinned fair. It's a color thing and a lot of times that's not the truth my mom is Creole but I am a dark skin Creole girl. Also Haitians don't necessarily identify

with the Creole that New Orleans does because they actually believe in Haitian Creole like that's a thing they speak the language whereas in New Orleans Creole came from the Spanish, French, indigenous African, all the mix that was coming in and they developed a language

called Curi Vini which is on the album The Interludes but that culture became something very present in New Orleans where black people and the indigenous people were trying to find community and they found it within that Creole community. And that became like a staple for the city. They had their own language for the actually the state, but they had their own language and everything and it became something that has evolved into YAT. The Yat speak in New Orleans, the little twang that y'all hear in the accents.

All that kind of, yeah, maybe. Yeah, baby, you remember me? All that comes from really that, you know, and where it came from. And now there's less than 5,000 people that. even speak, Goudi Vini, so I thought it was important to put it on wax. So I was always taught, obviously not from New Orleans, but I spent a lot of time in New Orleans. They love you, by the way. No, I spent a lot of time. They love you. No, it's dope. Well, and I have tons of deep relationships in New Orleans. And so I was always taught prior to going to New Orleans from my family, who was

originally from Oklahoma, that Creole manifests itself in many different ways, right? And it's kind of a, I don't mean this in a disrespectful way, but in a catch-all term, meaning like it was a a mixture of things. It's a mixture. You know, there's Portuguese Creole. There's Spanish Creole. There's French Creole. There's Haitian Creole. But these are the interactions of two or more cultures coming together to create something new. Yeah, even in our food, right?

Like Creole Et tufe, like we, Yakima, which is like the Vietnamese Creole mix of like two cultures together to create Yakima. Yeah, it is a thing. And what I was trying to do in this album is kind of tell that story because I think people just don't understand. what New Orleans really is. It's really a mixture of so many colonizations that have happened. And then really people don't understand

indigenous culture was there before. We had African and native conversation long before colonization. And that language has never been forgotten, meaning like that ancestral story, we don't forget those things. So that's within families. And that was a part of it too.

So what I was trying to convey here is to take archive and make it progressive, take some of the history and then modernize it. Well, and I think, our history in the United States, especially when it comes to indigenous and black folks, is so, um,

water down ain't even the term. I was going to, well, because the way we learned it in school is not the way. Is not the way we learn it at home. No. And so, well,

and then on top of that, you had so much that was already in existence in the United States that was oversimplified by just dumping all black people and or indigenous people. into slave trade or reservation trail of tears conversations right not wealth and not equity and or just not even the the the story before the slave trade right like what that was and they don't even that's like it doesn't even exist right but and you're starting to see more of that conversation now which is complicated also by you know the stigmatism of being african where you have black people who

want to disassociate themselves completely with the slave trade or completely with Africa completely, which is a whole other complex historical journey. It's real too. And I think we have an even greater conversation because New Orleans celebrates black Indians. Right. And ooh, boy, is that a taboo for most people? Right. So much so that society doesn't recognize our tribes is real tribes. And it causes a lot of Native Americans to look at us with distaste when really there is homage and respect and love for the culture. Well, and a lot of those, but a lot of those native populations weren't even educated on the existence of those other tribes. So they don't know the familiarity of it in our homes.

It was normal for us to have those stories. My uncle sew those costumes with such respect, those suits with such respect that these suits are passed down. It takes a year for me to sew a suit. I've only been masking for four years. And the education that I had to learn, shout out to Shaka Zulu, Chief Shaka and my chief, Chief Chief David Montana. These are like, I mean, generational conversations that people don't even know.

And until this day in books, they will not acknowledge our tribes in New Orleans. But we take the, it's writ in New Orleans. It's writ. You said masking. What does that mean? Masking means we put on the garb. We sew for a year to wear it for maybe three times. And each year it's a different suit.

And your chief and your tribe, the education of how to sew is imperative. you have learning sessions with your chief about history. And when you mask, there are themes that you mask. And then you go on the pavement and you meet other tribes and you meet them traditionally like you would back in the day. So your chief and your flag boy goes out alerts to the tribe that another tribe is coming. You've got your spy boy. You've got this beautiful like full out exercise of what we do as a tribe that still happens to this day on pavement. And you got your chief with his goals and his beer.

You know what I mean? So you got that beautiful New Orleans. This is something you don't get anywhere else in the world. I'm fascinated. It's so cool. And it's something that's real to us. It's written for us. And it's like a normal thing.

But the rest of society will refuse to teach it. Well, so in some of this, obviously, you know, on this program just heads up. We talk about a lot of geopolitics and the world in general and how civilizations and indigenous people get marginalized their stories get erased all the time. Similar thing happens even like in Israel, right, where you have, I've had conversations with Jewish people in my family who didn't know that there are black Jewish people. Like, it's just not a commonly known thing that there are Ethiopian Jews and black Jews that have existed for centuries, right? And it's just because that story's not the story that's shared and told a lot. And if you've never been Israel or

You've never been to Ethiopia, which most people have it. You wouldn't even know. So your only interaction with Jewish people would be running into Ashkenazi, white presenting Jews in New York City or on television. I've had in this most recent heated dialogue around what's going on with politics, you know, I've had conversations with people who didn't know that my mom was Jewish. Don't know nothing about me, right? And then when I tell them, they're like, no, you're not. And I'm like, but why would you even, how could you even fix your lips to say that? It's intentional.

Because it's my appearance. It's intentional. They do that intentionally. That the first thing of colonization and the first thing of making the mind ignorant is to take away the language, to take away the history, to take away the foundation and the story behind your people. That's the first thing they do is try to tell you, let's take the color out of it. Let's take, let's marginalize the concept and rip the mind. Another piece is the L piece tool So New Orleans has a Zulu parade

We do Shout out to Zulu parade It's on Mardi Gras Day It's on Mardi Gras Day It's a Mardi Gras Day Shout out to them because my papa You're all talking about My mom

My mom My Papa used to paint the coconuts He was very well The Zulu runs deep in my family And my father My grandfather painted the Grandfather painted the coconuts And I used to watch him

They used to come Like it was The coconuts was more currency than the beads, you know what I mean? If you got a coconut, then you was that thing. And he used to paint it. I felt like we were royalty as a family. Because you had access to them.

The Rechard name was known for not only paint the Mardi Grite Indians suits, but we painted the coconut, the Zulu Club. My Papa lived in that Zulu Club, baby. When he passed, they second line for him. Wow. Yeah, they're second line for him. Well, so I recently in the last 10 years been in South Africa and met Zulu people from South Africa who didn't know that black Americans,

indigenous people had a Zulu parade, even though a Zulu chief from South Africa came to the Zulu parade in New Orleans. I believe it was like 20 years ago to something to acknowledge the existence of that. And, you know, talk a little bit about maybe if you can share the history of the Zulu parade, if you know, and just that whole movement in New Orleans.

So it's been around for, maybe two, three, four decades, right? And traditionally, They purposely had it in the mornings because that was the only time. You said decades. You mean centuries. Centuries. I'm sorry. My bad.

Because they put it early in the morning because workers could only make the parade at that time. So the Zulu parade would come, yo, like five, six in the morning, you had to get your spot early so that they could do the Zulu parade and then go back to the plantations, the cotton, all the things. Today, now it has become a staple. They have not changed that system. but to have a black king and queen representing the Zulu culture was it was blasphemous because you most of the kings and queens of the parades were white so to have a parade we couldn't even have our own parade black people couldn't have our own parade so the Zulu parade was really the only black that and then the Indians were masked behind it that would be your parade you couldn't have black

people on the float so Zulu created really the first opportunity for us to see black people celebrating African culture on pavement in New Orleans. I don't know all of the history behind it to give you like all the aspects. What I do know is for my papa, like to be a part of that social club was like being wealthy. Right. It was the first black male social like social club that celebrated black men being prestigious in culture. And his time, it was painters, magicians, black men who had. some type of business because that was unheard of during that time. So the Zulu really was a community

of people that helped spend money on the neighborhood. They bought into the foundation and a part of that was to learn about what the Zulu people did in the African culture. I have never seen a club evolve the way this one has and it is really the only parade that is fully black, fully African, fully exposing the Zulu culture. It's the only one. And is it generally like Is it properly recognized by the other Mardi Gras-related activities? Yeah. Does everybody know what time it is or not really? Yeah, but it doesn't matter if everyone knows the black people of New Orleans.

You know. Right, right, right, right. That history is rich in the sense that you come for Zulu. Mardi Gras day starts with Zulu. So much that the most incredible marching band, St. Aug, whoever the highest level, they're doing Zulu. That is a known fact. And for us, culturally, we haven't had a parade that represents us all like that since, like, Zulu is the first.

It helped with all of the others, like Muses Now's All Woman's Crew and all social clubs are a thing in New Orleans. And they kind of help start the precedence of that. So why get to, why was this the right time for this album for you to explore all of these things that are clearly so near and dear to you? Well, truthfully, like, like, I've been, New Orleans was, I had making the band. come to New Orleans, where Katrina happened. Like, I... You've been carrying the flag. It's been New Orleans ten toes, like,

since I was young. But I think right now, I recognized New Breed was my first installation. That was my father's of tribute to my father. He's been a band called Chocolal Milk 70s band Funk, Banning to Tour at the Meeters was signed to RCA. So that album really showed light to him.

Second line was a house dance album that showed light to the Creole culture of my mom. She was in interludes. I had everything from the representation of Larry Hurd to to Crystal Waters, I had, and then bounce music, what we have, right? Shout out to Katie Rid and Big Frida. And then this one was an opportunity to tell it through my lens. And one of the things I wanted to talk about was Cudivini, was the dying language that had

started really the way we move in the city. And I thought it was time to talk about the musicality of New Orleans and Creole music, because I don't think people recognize what that is, right? The banjo, the zytical music and what that was. people think that's music that came from white people. That's not a thing. Like in African culture, when we had slave, they created sounds and music from gospel,

from the washboard, from the triangle. Like they were creating language and music to escape, to talk, to commune. And I wanted to do that in a modern way. I had no idea if people would receive it, but I wanted to add elements of jazz, Spanish, French, Caribbean, soul gospel music and pop and try to show people that all of these things represent what we are.

And the reception has been phenomenal. And I think there's a lane for people understanding how important archive is, but also bringing it to the forefront. I mean, you guys are doing it with your show. You're bringing out the things that people talk about, that don't want to talk about, and you're making it present and real. Now, that was what I was hoping for this album. And I'm really proud of the reception and how people have really received New Orleans in this way. Well, off the top, in Creole Culture, the intro is Big Frida, which I was so happy to see. Because, you know, I was on threads and I saw somebody discussing, it was a clip of Big Frida

on stage, and people are like, oh, it's house music. I'm like, no, no, no, it's bounce. And a lot of people, younger folk, they don't really know. So I think it's a good way to educate them, especially your younger fans. You know, I think it's super cool. You nailed it. And I think, look, growing up, a trans person being a star in New Orleans was a Tuesday. Right.

Yeah. You know what I'm serious. Cater Red, Cater Red, and I was running up, Katie Red was it. Like, and we loved, like, it was normal. That was bounce culture. Bounce culture was royalty. You couldn't go to Q93. Shout out to Wayne.

Wow, way. What up, brother? You couldn't, at least 37 songs would run back to back on bounce music. Like, that was normal. So they don't know. And I fight with that daily, because I believe bounce music is a part of dance, dance music culture, but they still, to this day, don't recognize it. Frida is known as a pop artist rather than a dance artist.

And I disagree. I think Frida is a dance artist. Yeah, I think some of the way things get categorized by companies, corporations, isn't often representative of the way the culture would categorize things. And then you have your, you know, your consumers, your tertiary fan, people who aren't actually in the culture, they're just receiving whatever the corporation put on the page. You know what I'm saying?

And using terminology that, you know, they were taught. So I think a lot of that just gets lost. And like you're saying, it takes artists like yourself to continue to remind people of the origin story and bring people back closer to the culture in new ways. You know, my first experience with bounce music is cheeky black. Oh, shout out to cheeky black. Yeah. And just, you know, and shout to my brother Davy D.

Yeah. Who was on Q93 with Wild Wayne back in the day. and Roe and Uptown Ange and Ady Barry. Eddie Barry loves my father. You found. They love you. I mean, they love you.

But that's why I got to go down there often and really experienced culture. And I think that my interpretation of bounce music was very much as you articulated, rooted in the celebratory joy of the four on the floor kind of church stump. You know, of being able to find. It's a certain BPM, if you will. It's a syncopation too. It's a cadence. It's cadence. New Orleans plays on that.

That's from, that time signature is different. The way we move is different. The way we even hear. The reason people loved Wayne so much was the way he approached the rap on the beat. Very percusses. Yeah. And I think that's what we were known for.

And it's because of that syncopation that I, that rhythm that makes our sound, even with a second line and a second line band. even the choice of the brass and how the brass attacks against the snare is just crazy. And it's unlike anything and it only comes from something that's African. Afro-Cuban, too. Like a lot of Caribbean sounds, all of that comes from indigenous and African sounds. It's awesome music. Whenever I was there last weekend.

Yeah. Did we treat you good? Yeah. Well, except for one moment. Believe me, that wasn't you. Believe me, that wasn't you. It was a colonizer. It was a white guy out of it.

Are you familiar? Have you ever been to Jewel of the South? Yeah. Fun restaurant, right? Real quick. Are you supposed to speak in a soft voice in Jules? What is it, Jule of the South? Are you supposed to be quieter in Jules.

South? I think people just naturally start to bring the tone down in there. I don't think it's a necessity, though. What about patio, though, outside? Again, I think that there is a natural progression of understanding that in the space you, the tone changes. Oh. So maybe that maybe that it wasn't that one about it.

You were too loud, bro. You were too loud. A white person came and yelled at me and told me to be quiet. I'm sorry. You have to be sorry for this colonizing son of a bitch. It's not your fault. Because here's the bottom. I just want you to have a good time. Oh, I had a good time. By the way, and I've been there before. It's an amazing restaurant. It was great.

And the staff was laugh. We were all laughing about it being crazy. The main thing that took me was just like, even if I was dead wrong and I was being too loud, I don't think I was. But even if I was, what a human does that though? Like, baby I'm a, you know, I'm a handle your shit right now. He might have been having a bad day because here's the thing about New Orleans if you are loud we don't care we might even join in. That's the thing I've never heard somebody tell you to be quiet.

We were cursing we weren't cursing talking about dirty. We genuinely just want to be in your life like we want you to have the best time. I just don't know of a New Orleans to say he wasn't a New Orleans. I'm telling you. No vibe. I had been in the vibe all day. You met that one said that you could. I went to Euclid records that day.

I love Euclid. I know I went to Eucl records. I was digging all day. I was hanging with the people. I went and got coffee and a lovely pastry in the morning. I went through the French corner kicked. No, I couldn't. No, the only reason he didn't go back at the dude

was because he was with like an executive. I was sitting with an ex-I was like, you're real upset about this. And he wasn't scary. But one thing if it was like, you know, listen, if Master P came up and judged me he had security with him, I don't think P would do that.

But if he did, I'd like, you know, respect. But this is just some gibronian. Not Jimonian. Yeah. What are you doing? No, but it's a group, whenever I'm there, though, I'm just always like,

man, I can't believe this place is in America because it feels so cultured. And a lot, obviously in our cities, generally where you find the black people in our cities, you will find culture. But New Orleans hits different. Well, we got black people everywhere. That's why we all over.

And it's a mix of so many interesting different things. The food, the music, like, it's just phenomenal. The jazz, the hip-hop, everything. Like, they were playing records. In Euclid, they started playing, like, random New Orleans records, at least random to me. And it's just, like, culturally, it's so foreign if you're not from there. It's like a whole, and listen, I'm from D.C.

We have a thing, too, that's interesting. That's interesting. Go-Go is interesting. But in New Orleans, it goes to this next level because of the language and the foods and the... It's a special place, man. Super cool. Don't follow the pod.