The Questlove Show - QLS Classic: DJ Drama Part 2

Episode Date: July 26, 2026

In Part 2 of DJ Drama's classic Questlove Supreme interview from late 2022, the Grammy Award-winning DJ, producer, and music executive reflects on the 2007 FBI raid that sought to shut down his groundbreaking mixtape empire. History tells a different story: rather than fold, Drama adapted, launching Generation Now and helping usher artists like Lil Uzi Vert and Jack Harlow to stardom. Drama also shares with Questlove how The Roots influenced his journey, reflecting on the relationships, resilience, and vision that transformed one of hip-hop's most defining setbacks into an enduring legacy.See omnystudio.com/listener for privacy information.

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Apple Podcasts or wherever you get your podcast. Quest Love Supreme is a production of IHeart Radio. Good people, what's up? Of course, in part one, we talked to our good friend, DJ Drama, live from TI Studio. actually formerly DARP studio DARP as in Dallas Austin record productions I don't know what the RP stands for

that's what I assume it was for you Roots fans out there this is the same studio that we recorded the song Panic for our Ilydalf Half-Life record but yeah you know in part one we talked about his early days in Philly

him coming to college and you know really like trying to find himself as a DJ. And now this is part two of DJ Drama. All right. QLS. Thank you. As a mixtape DJ, you're locking it down. But as far as now when you're DJing

in clubs, if I'm hiring you to DJ a party in 2006, 2007, how long, like how long is your set? And are you doing just exclusive stuff that is exclusive to you? Or,

Or are you still just like doing regularly DJ stuff? And so really what wound up happening was around that time, I actually wasn't doing a lot of gigs because I then became DJ drama. And I went literally from getting paid $300 from doing parties in Atlanta to them not being able to afford me. And then I was also tips DJ. So I was on the road. so I didn't really, I wasn't doing a lot of my own gigs.

I would, here and there, I would get higher, but I would probably do like a two-hour set and I would, you know, but this is still a time when like, so I guess Serrato was already out. Right. So I would do like big gigs. Like I remember when Vibe had like the vibe something down here and Outcast perform. Like they will book me for that or like BT will book me. And, you know, I was just, I was playing like, I would mix it up.

I mean, I would do what was hot, but I would also, you know, kind of play some gangster grow shit. So are you a business in terms of like, now you have a manager and an agent and a staff? Yeah, a office space like. Definitely. We had a Walker Street was our, was our office. Shout to Janice. Shout to Janice. Janice worked for us.

I had Jason Brown was was handling all the distribution Orlando McGee was my first manager and yeah because then I got the opportunity to get an album deal I mean I literally met with every label at one point as far as like their interest in signing me as a DJ to do a gangster girls album you know and based upon my loyalty and I had known the building

I signed to Grand Hustle Atlantic but but yeah I definitely had staff and a manager and you know we the whole nine so with dedication like how did that come to i was on the i was on the bus with tip we were on the urban legend tour he was on the phone with wayne um i heard him talking to wayne and i was like yo let me holler at him so i remember being on my bunk and i just got on the phone with him and i was like what's up and i was like you know and at that time Wayne was doing his squad up. Yeah, the squad. So I was using a lot of those songs on Gangsta Grill.

So I knew he was kind of in his mixtape bag. And I was like, yo, you know, we got to get one. And he was like, yeah, you know, I mean, he was already familiar with me. And I remember coming off tour for a time. And I went to Stankonia and met with Wayne and Tess. And we just kind of like went over. I brought on a bunch of instrumentals, just options of things to rap on and things of that nature.

And I literally just came up with the name Dedication. Just like, let's call it dedication. And he was like, all right, cool. And Rob Petrozo, who used to do all my artwork, came up with the cover, which was, you know, legendary. Right. And, you know, because by that point, Gangster Grills was a brand, like, you know, when I was moving them throughout the Southeast or up north or what have you, people were already like, okay, if it's a gangster grills, like, we would.

We need it. We want it. And the Wayne tape, you know, I remember when he sent me to music and listening, and I was like, yo, this shit is different. This is not the wobbly, wobbly dropping like his hot kid. Like, he's on some shit, like some real bars on here. And, you know, when I did the tape and I kind of, I had known, like, yeah, this is, this is a moment. You know what I'm saying?

And then it really turned into a moment. And so it was like, it was like back to back from me because I had just. did Trapper die and then dedication happened and it was like Wayne was on fire from you know Carter to dedication to you know coming into his own and so here I am again this kid from Philly went to school in Atlanta who's now the king of the mixtapes with tip GZ and Wayne or like who were the hottest guys not only in the south but now in hip hop and it was like I'm in the mix like I'm the platform for you know what was was getting the same. these niggas hot. In your mind, and this is before, you know, the feds and the Rico stuff,

but like in your mind, what was the end game? Are you like, great question. Let me start, like, when do you, you're like, hey, I need to be puffy or I need to start my label or I need like, because in your mind, you're like, whoa, I was just in college, you know, seven years ago. So now, like, I determined what the future is. You know what it really was? When I first got hot or got popular or became that guy, the only thing that I told myself is, yo, okay, you got here. Like, from 92 to 05, like, there was a lot of legwork to get here.

Right. You got to stay here, Dram. Like, I didn't know how or what it was going to be, but I just told myself, like, yo, Like, you've got to stay relevant, like somehow, some way. And it happened in a lot of forms. I mean, my brother over here, like, when at the time, when Gangsta Grills was known for trap music and southern hip-hop to an extent, you know, at the same time, like, they're performing. It was at Apache Cafe or Yin Yang Cafe. It was Apache.

It was Apache. And their little brother had a show. and the bus was outside of the venue and I came on the bus and we sat down and I told them like, yo, I'm a huge fan. I have been for some time. And then, you know, they told me the same in return. And they were like, what do you think about doing the gangster grills?

And I was like, what? What are we waiting on? But around the same time, I was getting pushback from various people like, wait, you're going to do a tape with who, Little Brother and Farrell? Like, that's not gangster grills. Like, how does that make sense?

And, you know, I've always looked at myself like John Singleton and Martin Scorsesey. Like, I make, I can make boys in the hood. But then I can go and make poetic justice and I can make higher learning and I can make baby boys. So that was how I approached this. So the fact that people were like

pushing against, this is not a platform for Little Brother was like so like put a battery in my back like not only like what are y'all saying my shit's not and I say on the tape he's like yeah

you thought my shit wasn't gonna sound good on this yeah like and that was our mentality going into it too like because hence the name separate but equal it's so iconic in so many ways like how are you talking Wayne into because you know

to be on it was kind of perplexing that he chose that beat really he chose that beat you didn't even know I was going to ask you first. He chose that beat.

All right. Wayne chose, and that just shows. Wayne rhymed over loving it. Well, no, no, no. I'm talking about a star. He rhymed over loving it, yeah. Well, yeah.

He rhymed over, yeah. He rhymed over a star, and I'm like, God damn. Like, he's killing our shit more than our shit. I was so anti-wayne back then. I ain't here, none of it. That's crazy. You missed dedication?

I was on the radio. I was very anti all these things, and that's what I was known for. But I heard that little brother Joe's though. That was dope. I got it. But you listen to the little brother tape. You know, I did.

Don't do that. So you wasn't in a gangster group. Oh, yeah, she's one of the ones. Like, when are you going to do another automatic relaxation? No, no, no. So what? Like, because I said you too. Yeah, exactly.

Exactly. Yeah, exactly. But I'm saying like, like, the Farrell. In my mind, I was like, did you, I was like, man, maybe he held Wayne to gunpoint. Like, you better rhyme over this Philly track. Like, no, he was. He was from the flaw. It's just a big giant,

Wayne is a head, fucking hip hop bit. Yeah. You know, and for me, it was my, like, again, also coming from making automatic relaxations or coming from wanting to do this because of y'all, like when little brother approached me and when Farrell approached me, it was so exciting for me because it was one,

it was an opportunity to branch out. And then two, it was an opportunity to, like, feel like I was giving back to my roots, no pun intended. Right. But like, like, what? Like, I can make a little brother gangster grills or for real gangster grills. Like, oh, man, once I open this door, that just opens the floodgates for, you know, for it to go in so many directions.

And for us doing that, when we did separate with equal, like, because my whole thing was, like, I, I hated mixed. Well, I love listening to mixtakes, but I didn't want to make a mixtape. You know what I'm saying? Like, my thing was, if I'm going to take time to write these original rhymes, I'm not putting them shits over somebody else's tracks. You know what I'm saying? Like, I can take them. new rhymes, I can put over a new beat. You know what I'm saying?

That's a new jam. I love that. I love that our tape was like that. Yeah, we only rhymed over like maybe one instrument. The rest of that shit was all original joints. Can we discuss the no drama version, though? Like, you know, I've had a... Yeah, well, for the talk.

Yeah, but yeah. So, now that I have you here. What's going on? What's going on? What I miss? So we did a, we did the tape. And that was in like, we did Sepedea, but that was like 06. It was 06.

Yeah. So maybe like, what? Like, shit. two years later, like we did a, we called a drama-free version because at the time when we were, out. I just caught that. Yeah, it was a drama-free version. Because we had the mix tape, but like all your drops on this stuff.

But then if I'm not, if I remember this correctly, I think who we were putting it out, we were putting a project out with, they just didn't want. Yeah, I mean, it was a time. You know what I mean? Because retail wouldn't, they wouldn't put it in. Like, you couldn't get in certain stuff. Because they felt like it was a mix tape. Exactly.

So we was just like, all right, well, here's the records. And they was original records, and they was our fucking records. So, you know what I mean? No, I mean, I get it. I mean, the fact that it was called drama-free was definitely kind of made me sad. Oh, man. And it wasn't no, like, that wasn't a shot at you. It was just like, it was just like, okay.

Drama-free. Like, there's no DJ drummer on here. It's kind of catchy, I ain't mad at it. It's catchy as a motherfucker. It's shady. No, I'm just playing. Before the word shady was out. Listen, I got it.

I mean, they're not the, you know, they're not the first person to do a version of the table I mean, Crenshaw exists on streaming platforms without me on that one hurts too. Like, you know, like, that was a part of, that was a part of, I was a part of crunch on. Aren't you the spice in the, the, the bells and the whistles, yeah, like, yeah, like, that, that was the thing about G, that was one, I mean, hence why, because when I did the tape with Gizi, like, the music didn't exist without me on it. So all the DJs had to play the versions with me on it, and he didn't give it out without me on it.

So you would go to the club and hear gangster girls all over because the music didn't exist without me on it. Sounds like a do-over. Sounds like a do-over. I don't know. It's like almost hearing a Dillah-Dill-Jorn without the siren and the Dillah Dilla-Dilla beats. Yeah. Like he thought he was fucking his shit.

I'm like, nobody would rhyme over this shit. To me, that made it better. I mean, yeah, I mean, you know, I, like, to me it would hurt, like, I've never listened to the separate but equal drama-free version. Like, I don't even, it would hurt my soul to even hear it. We, I think the separate would equal drummer fee version. So, and it's crazy, I thought it's me and you have never talked about none of this shit. So, man, when we did that, we did that record.

And I always just want to thank you, man, because I sent you those records. Like when I manager at the time, Doe, me and Poot finished everything, and I just put the records in a sequence. I put all the songs in the sequence, skits, like everything. And I was like, I think this work, but whatever, I'm sure drama, do his thing. He'll change it up, whatever. I trust him. And so when they sent it back, we were on tour and Doe was like, yo,

Drum just sent the joint. And I was like, all right, cool. And I opened it up because this is, you know, MP3s. So you were open it and see the track listening first before you load the shit up. And you kept the track listening the exact same way I did it. And I was like, holy shit, you know what I mean? Like that was just a big honor.

Well, when I listened to it, and I heard it and then I heard it in the way that the skits were and everything. Like, I'm not like, you know, I know part of my job is, you know, there's people that want me to put it in an order or however to do my thing, but I'm not going to mess with something that's already dope, you know what I'm saying? So for me, it was already like, okay, here's my bells and my whistles, but if this shit flows the way it flows, like, why change perfection? Thank you. So, I always appreciated that, man. Bro, I mean, like, the little brother in the Farrell tape, like, came out at a time.

And it came out literally like back to back. And those tapes are so important to me because again, like, you know, from where I come from, from the cloth that I come from, and for what I was being known for at the time, and not that I was fighting against it, but it was like, yo, I want to show the world, like, I am hip hop, like, to its full,

like, I am from the cloth, you know what I mean? And to be able to do those two projects where, like, it made me like, it made me like, we both had a point to prove. Because you had a, we both had a point to fucking prove, Because for you, you know, you say it was proven like we were from that cloth. For us at that time, you know, we were coming off the menstrual show and it was just like, ah, them niggas, they just some backpack hate niggas.

And it was like, no, we fucking rap. You know what I mean? And it was just like, look, it don't matter if it's trap shit, whatever. Like, just be dope, you know what I mean? So it was like even that, in that sense of what people were looking at was southern hip hop. And then, you know, us doing that tape and separate but equal, like, as a title. And y'all being from the South, like, it all. It all just made, it was, it was great.

It was a great moment. No, it really was, man. And that was just, I'm so thankful that, you know, our paths, like, crossing the way it did. Me too. That shit was amazing. Amazing. I know that you rehashed the story over and over and over,

and over, over again. So I'm trying not to beat an already dead horse that you've moved past. I mean, the question is basically, like, in 2007, I'm trying to figure out how an industry, that utilizes you to break open their artists. Like, and again, I'm a Storrent's East Coast head, you know, Tareke himself, listening to nothing but your mixtap. So this is how I'm learning about Wayne,

like this is how I'm getting my education on what I need to learn about the rest of America and step my niche. And I'm trying to, like, and I understand that there was a period between 2000. 2003 and 2008, especially like with record labels, not knowing like if they're going to survive now the streaming culture,

like, you know, we already had the C-Lymoir, a Napster. Yeah, like, O'NNapster. Yeah, like around 2003, whatever, like, that shit starts. But I'm trying to figure out how like, like, you were definitely utilized and used.

Right, by the labels. To break open people. Like, so just in general, And not like from a one to ten. How shocked were you when you came home and like, wait, what the fuck is this? Like, did you, did you have an inkling of a clue like? None. Or even when the shit was selling like hotcakes.

A 12. Even when shit was selling like hotcakes. Was there any person that was sort of like, have you ever received pushback from anyone that like you rhymed an instrumental over and like, Jay's like, hey, why did you use fron or why? Never. It wasn't on the artist. Like that was a badge of honor to have someone like wrap over your going. It wasn't that.

So I mean we there's a there's a there's a lot to unpack here. Right. Again, I know I've told the story. One part about it is first off, it shows the disconnect within the labels, right? So as much as the marketing departments loved me or the mix show departments or, you know, the promotion department, how much I meant to them, the legal department of a label. didn't understand. They have a clue. They don't get it.

Like what, wait, what? Like, that's not cleared. Like, we're not, you know, wait, hold on. So there, you know, I was friends with the promotions and the marketing side, but, yeah, the legal department didn't, it didn't make sense to them. Why are we giving this free music out? And then this is also a time where outside of my mixtapes, there were hundreds of other mixtapes that weren't sanctioned that people were, you know, however getting MP3s, hacking,

for whatever way they were getting them, music was coming out that people didn't give permission for. And then on top of that, around this time, these mixtapes, minds, and others started to show up in Best Buy's and in Targets and in Walmarts with barcodes on them. And that, yes. So in that, you know, and that made it confusing. And I just spoke about this on Math Haifa because they brought up, you know, after I got rated, one of the people they asked about what do you think about what happened to DROM was Wayne. And Wayne said, play the game fair.

Drom needs to play the game fair, smarter, like Clue or Callid or something of that. But is it the same? I mean, the reason why I never took offense to it is because, you know, when these, when these, because there's all, there was a street code that went along with mixtapes for promotional use only, right? Everybody knew that we were making money and, you know, that's how I was supporting myself. But when they started, when the mixtape started to show up in the stores with barcodes, as an artist, I could understand how one could fill the type of way. It ain't promotional use for more. Yeah, because they're like, wait, hold on. Why is my shit in Target with a barcode, and I'm not seeing a dollar from it?

Because they're okay not seeing a dollar if you're just selling it the way you're selling it, like from... To an extent. I mean, again, now looking back on it, at the wise age of 44 that I am now, in my 20s, the type of money that I was making, I would, you know, I would have easily thrown someone at 25 or a 50 if I'm making X amount of dollars. Like just as a quick thank you, it would have been a nice gesture. Like, but, you know, on the other end, these guys are going and doing shows for $150,000 off of what we've built together. So, you know, I don't count anyone's pockets nor did I feel like anyone should count mine.

And to be fair, I mean, again, we've just talked about it now, but, you know, I never felt, you know, me and I can speak, you know, from my brother Poole as well. For us, it was never that. Like, did ours show up with a barcode? No, it didn't. I was in the show up on a barco. I remember, like, watching it on the news and seeing, like, when they was taking, like, the shit out.

Oh, they, and they separate. Separ equals was there. Bro, I was like, what the fuck? You saw you're joining on the news? Oh, yeah, you see the goddamn police carrying your shit outside? I don't remember. Yeah, y'all's was there. Brah, that shit was nuts.

So, but, yeah, but for us, like you said, it was just a code of honor. It was just understood. It's like, okay, we do the take, you know, drama, he's going to move it on our end. Yeah. We'll do whatever on our end. We'll do press it shows, whatever. Like, it was just, you know what I mean?

It was a mutually beneficial thing. And it was like that for most people. But, yeah, I think all those things came into play. I think the fact that, you know, 2007 was a very pivotal year for the music business where, you know, it was a transition. And, you know, the bottom line wasn't adding up for them. And there's many theories or conspiracy theories or, you know, let's take the big guy out to shut this down. down, however, you know, hence, I don't, you know, I do know that for a fact that people were told artists were told, like, yo, if when, when drama situation comes up, don't speak on it. Like,

leave that alone. You know what I'm saying? Or, you know, nobody necessarily, people used to ask me in interviews, like, did you feel the type of way when nobody spoke up for you? And I was like, honestly, not really. Like, you know, like, there were a couple people behind the scenes I talked to, you know, just that, that reached out or what. What have you? Yeah, well, us when you got, when it happened for us specifically. So, yeah, that was like 06. 07, we did the And Justice for All.

Was it 07? Wait, we did the Injustice for All. It was January, it was January, 07 when my shit happened. Okay, it was January of 7. So I think maybe it's the next year, maybe it was 08 or later that year. Anyway, we did Mick Boogie tape and Justice for All. I remember that. Yeah, and I was telling me.

So you, you did that before the raid or after the raid? That was after the raid. Got you. That was after the rate. Okay. Because I was telling Mick, I was like, bro, like, we got to get drama speaking on this. Because the first record on that tape was Can't Stop.

It was a record called Can't Stop Is Word. We was talking about that shit. And it was just like, I said, nah, bro. Like, we got to get drum talking because they're not going to, we're not letting them shut this shit down. Like, fuck y'all. Amir, I felt the type of way. Like, I felt a lot of guilt at the time because I'm like, damn, like,

this is a culture. Like, I grew up loving. You know what I'm saying? Like, and I can't let this shit die on my shoulders. Like, like, damn. You felt like you killed the mixtape again? For a moment. For a moment I did.

Metaphorically and literally. Yeah. Like I felt like, damn, the downfall of the fucking mixtape game is going to happen when I become the top of the food chain. And, like, you know, I spent a lot of time. Like, you know, I still went and put tapes out right after that. How long was it until you look both ways where you cross the street and like, oh, I put a tape by like a month too after? Like I did like Gangster Grill's 16 and was just talking crazy on there. You know, and I remember the first big, the first big mixtape that I probably did was

Dedication 3. And then I remember, you know, that was after, you know, Wayne had went and said like, fuck mixtape DJs or fuck DJs or something. And then he called in my radio show and we cleared that up. And then, you know, we went on to do Dedication 3. But yeah, I mean, again, I was like, you know, I had a point to prove like, yo, I'm not first, you know, and then Atlantic Records called literally the. next day like, oh my God, how fast can we get your album done?

Like, we can't pay for this type of publicity. What? Was it Riggs? Yeah, because the record, was it Riggs? Riggs actually did all the skits on my first album. Okay. So Riggs did the, I mean, it was literally Julie and Craig, and I think Kevin was still there at the time and Kise and they all called like, yo, we can't play for this type of publicity.

How soon can you turn your album in? So, you know, my first single actually was titled Feds Taking Pictures. Taking Pictures. Yeah. So, you know, I went a long record you hadn't had it, beneath the diamond's joy. Oh, I love that. I loved that.

I loved that was my joint. I was the shit. For some reason, when that happened to you, I feel like a lot of people who knew you, we felt like it couldn't have happened to some better person who had resources or what prepared for it in a way. I don't know how to explain it to you. But we felt like we knew you were going to be okay because you were smart as fuck.

Right. And because it, but is that another reason as to why it felt like it kind of came in went in a way, resource one? Well, for me, I mean, you know, again, I mean, it literally made me more famous than I ever was. I mean, next thing I know. So you never had a crying moment. You was like...

The only crying moment I had is the next day I got out, and I wasn't familiar with what the RICO was. And then I called Tip, and Tip was like, bro, they hit you with the RICO. Like, check your bank account. My bank account said 0.00 after having six figures in it. So I definitely shed a tear. But after that...

Did they return your stuff? Like where is? No, they kept, so I had, we had two accounts. Just for a museum's sake. Like, where is that stuff? Well, they gave back, what did? They gave back the equipment. They gave back one of our accounts.

They gave back the account that ironically was like the label budget account. But the, the, the, the, the, or the DJ drama account that I had with, where what most of the money was, they kept that because they, they said they couldn't differentiate what was what was what so we're keeping all of this but how long did it take the take the replays though it wasn't that long I started making money I mean you know I got it back I got back up you know so take me too long obviously it was a performative yeah actually like what was the in result the lesson learned like yeah I mean what's the moral of the story the R I double A you know and around that time me and Canon had kind of had a fallen out

and you know we went our separate ways for a moment but the R I double A made us do this like PSA where it was like, hey kids, like, don't sell music. Yeah, like that- chilling and shit, they treat us good. Yeah, like, it never came, they never put it out, but they made it, we shot it at, um, tree sounds. And they literally like, you know, gave us a script, like, if you make music, do you have a copy of it?

I wish I did. Yo, man, you got to put, you got to find that joy and put it on your Instagram. I know it exists. It has to. And this, this was literally the first time me in Canada had seen each other in a while and we had to do it. You know, part of the agreement was us doing that PSA that they never put out.

But it's like, you know, like for me, like Layaa said, like when I was doing interviews, I remember saying like, yo, this is not the end of my story. Like this is one chapter. Like, you know, for me it was like, yeah, this is just, you know, anybody who's anybody gets hit with some type of adversity. And this is just my first, you know,

my first real challenge. And you know, I'm a, I'm a, I'm a, I'm a, I'm a, I'm going to be here. Like, I've been here. And at the time, I had, you know, been here to up to that extent, not knowing what life had in mind for me up to this point. But it was like, yeah, like, this is just one chapter in my story. This is not the last chapter.

Like, watch what I do. There's no shortcut for saving time. But saving money is simple. Just combine your car and home insurance with Bel Air Direct and save. Get a quote at bellair direct.com. What's up, family? I'm sports journalist Ari Chambers. Hey, what's up, y'all?

It's your girl, Sam J. And we're the host of everyone watches women's sports, a new podcast from Together and I Heart Women's Sports. Because let's be real. Women's sports is giving us way too much to talk about these days. So Kelsey Finler, she became the first female solo rower to go from California to Hawaii. My first thought is, like, what's up with the snacks?

Like, what are we eating? The highlights, the rivalries, the breakout stars, the moments to take over your entire timeline. in the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports. Naomi Osaka showing out, she beat.

Sabalinka. Shout out to you, Naomi. You get the palm, Naomi. You get the palm for that. Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone watches women's sports. Listen to everyone watches women's sports.

On the IHeart Radio app, Apple Podcast, or wherever you get your podcast. We've all been there. We've had seasons that have shaken everything. The question is, what remains when the shaking stops? Hi, I'm Gary Valenzano. And on my podcast, Unshaken with Gary Vee, I sit down with amazing personalities,

and we talk about the seasons that nearly broke them, the lows that carried them to their highs. Listen to Unshaken with Gary V on the IHeart Radio app, Apple Podcasts, or wherever you get. your podcasts. Hey guys, Paul Verzi here, and I want to talk to you about Paul's best podcast. Will Ferrell's Big Money Players Network and I Heart Radio. I sit down each week with a special guest and we discuss the absolute best of things.

It's that and then there's everything else. He would just shout one line and it would murder. Marie, lunch! No, Burr. Let's talk about the best moments that we had on the road. I would love a cocktail. Do Joe could get last row, middle scene on a Southwest Airlines flight? Joe, I was your flight.

It was great. The guy on Penn State, who were on the field. And the player thought Joe is his former coach. And he hugged him. He hugged him, and Joe just went with it. And the guy goes, what are you doing here, coach? And Joe just goes, man. And you walk in, and it is bananas.

I mean, it's a feast for the eyes. And I was like, it's not my thing either, but we're here. Went in Rome. Top athletes, chefs, musicians, everybody. Listen to Paul's best podcast on the Iheart radio app, Apple Podcasts, wherever you get your podcasts. There's no shortcut for saving time, but saving money is simple.

Just combine your car and home insurance with Bel Air Direct and save. Get a quote at bellairdirect.com. What's up, fam? I'm sports journalist Ari Chambers. Hey, what's up, y'all? It's your girl, Sam J. And we're the host of everyone watches women's sports,

a new podcast from Together and I heart women's sports. Because let's be real. Women's sports is giving us way too much to talk about these days. So Kelsey Finler, she became the first. first female solo rower to go from California to Hawaii. My first thought is, like, what's up with the snacks? Like, what are we eating? The highlights, the rivalries, the breakout stars,

the moments that take over your entire timeline. And the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports. Naomi Osaka showing out, she beat Sabalinka. Shout out to you, Naomi. You get the palm, Naomi.

You get the palm for that. Because we're not just interested in what happened, We're interested in why everyone's talking about it. Because everyone watches women's sports. Listen to everyone watches women's sports on the IHeart Radio app, Apple Podcast, or wherever you get your podcast. We've all been there. We've had seasons that have shaken everything. The question is, what remains when the shaking stops?

Hi, I'm Gary Valenzheno. And on my podcast, Unshaken with Gary V, I sit down with amazing personalities and we talk about the seasons that nearly broke them, the lows that carried them to their highs. Listen to Unshaken with Gary Vee on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Hey guys, Paul Verze here, and I want to talk to you about Paul's best podcast. Will Ferrell's Big Money Players Network and IHeart Radio. I sit down each week with a special guest and we discuss the absolute best of things. It's that and then there's everything up.

He would just shout one line and it would make. Murder. Marie. Lunch. Bill Burr. Let's talk about the best moments that we had on the road. I would love a cocktail. Dude, Joe could get last row, middle seat on a Southwest Airlines flight.

Joe, how was your flight? It was great. The guy on Penn State moving on the field. And the player thought Joe is his former coach. And he hugged him. And he hugged him. And Joe just went with it. And the guy goes, what are you doing here, coach?

And Joe just goes, man. And you walk in, and it is bananas. I mean, it's a. feast for the eyes. And I was like, it's like, it's not my thing either, but we're here. When in Rome. Top athletes, chefs, musicians, everybody. Listen to Paul's best podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. Man, I always wanted to ask you about the auto storytelling three.

I was just about to bring that up. Come on, man. How did that come together? Three or four? Four. Oh, four. I'm sorry. Oh, I was like, wait.

There's a three? Yeah. There is a three. That's why it's four. Big boy has to tell you where the three exists. as he told me because that's why we are the storytelling

for it but I was supposed to do an Ida Wild gangster grills oh wow okay really yeah I was supposed to do

a tape around that time they were going to go we were going to do a tape pre Idaho um going into the project

uh me uh stacks big and their manager blue got on the phone and they came to me like yo we want to do a gangster grills and I was like hell motherfucking yeah

and then a few months later, they called and was like, listen, bro, we're just buckled down with the movie and the soundtrack and we, you know, we apologize, but we don't have time to do the tape. And they were like, but how about we offer you a song for your album? And I was like, hell yeah. Like, of course. So I started the process of literally sending 3,000 beats from every big known name producer out at the time, you know, because this is the time when I was doing the first gangster girl album, Gangster Girls was the biggest thing going. So everybody was pretty much giving me beats, and I would send him the 3,000, and he would be like, nah, nah, he would pretty much

turn everything down. One of the last tapes I made before the raid was Jim Jones' seven-day theory tape. From we set the trends? No. Well, no, no, I mean, yeah, that Jim Jones. Yeah. With the tape, our first tape was called the seven-day theory, which was a fire tape. Max B is all over there. Rest of Peace, Stack was on there. You know, that was when he created Bird Gang.

And there was a beat on that tape, and I asked Cannon, like, make me a beat similar to that beat. So Cannon made the beat. And then we had gotten, the raid had happened. And Lake was actually managing Marsha at the time. Oh, okay. So I sent the beat to Marsha and I told Marcia, I was like, yo, like, look, like, man, they just locked this up. Like, people saying this is the end for me. Like, I need something like, nothing's going to stop us.

Like, I'm going to be here. Like, you can't stop us. And she literally, like, took what I said and turned it into the hook. And I sent the record to 3,000. And he said, I'm going to call you tomorrow. 24 hours later he sends me back his verse of Art of Storytelling Part 4

and I just was like I couldn't believe it that I had an Andre 3,000 verse and on top of a a Don Cannon beat like so then I went to Stankonia and I played it for Big I think at the time I was like I was still trying to figure out what record Big had wanted to be on

I played him a couple records and then when I played him now he was like oh what are we talking about like I'm doing this So he did his verse And then Big was like, Yo, we should call it Art of Storytelling Part 4 And then hence, you know, I literally have a fucking outcast record on my album

And then, you know, I wish I would have knew then I wish I would have knew now what I knew then Because 3,000 offered to do the video And he was just like, yeah, I just need 100,000 from the label And Me not Me, not as knowledgeable as I was Then I kind of let the opportunity, like, pass.

And looking back on it, I would have told a label, give me fucking $100 grand to give this man for this record. Like, we probably could have got a Grammy nomination out of that, you know what I'm saying? If it would have literally happened. But, I mean, it's still an amazing record. You know, how many DJs can say they have an outcast record? Like, it's one of my proudest moments in my career. And you still got a Grammy.

Yeah, I still wound up getting a Grammy. Well, how did you approach making the transition from DJs? to executive. Naturally, honestly. I mean, it was just like, you know, again, relevancy has always been very key for me in my career and like staying on a cusp. And I think a lot of that comes from being a mixtape DJ

and like just like my addiction to new shit. Like my fascination of like what's next. You know what I'm saying? And not kind of letting myself get boxed into one thing. You know, like there was a tweet. somebody they put out was like, yo, DJ drama literally went from the roots in Bahamadiyah to Tip, GZ and Wayne to Little Uzi and Jack Harlow, like, give this man his flowers. That's hip-hop.

Yeah, and that's exactly what it is. So, you know, just around, I had, when I was making my albums, I had left Atlantic and went to E1, and, you know, I was still using a lot of the staff over at Atlantic, just kind of independently to work my records and things of that nature. and I started to make like records that were having success like oh my like my moment and so when I was doing that one of the people you know I used to have Sam Crespo work my records man Sam Crespo.

My brother Sam and Sam was like yeah I should you should like think about being an A&R like you know I should bring the idea to to Julie and Craig like you know you're putting together some real good records like maybe it could be an opportunity for you to come in a building and be an A&R and be an A&R. and I was like, I'm down. So he mentioned it to Julian Craig and, you know, clearly, you know, they were like, DROM, that's our guy. Like, we love DROM.

So I flew to New York. I had a meeting with Craig, Julian Kaiser, and they were like, you know, are you interested in, you know, coming over here as an ANR? And I was like, yeah. And then I was like, oh, yeah, by the way, I'm building the studio in Atlanta that, you know, you guys might want to partner with me on. And at the time, Kwan Prather, KP, was vice president in Atlantic. He was working out of another studio.

They sent him over to my spot, Mean Streets, to check it out to see, you know, what he thought. And he was like, oh, yeah, this is dope. Like, this could be a thing for us. So part of my deal when I came over as an A&R was also for Atlantic to be partners with me on Mean Streets. So I literally, you know, took their money and bill. built the rest of Mean Streets up to, you know, from what I had already built from it. And when I got there, I really was kind of trying to find my way.

They had put me with like artists that were already, on the label to try to work with. And it just wasn't, it wasn't meshing. Like, it wasn't, you know, I would go to A&R meetings and things. And, you know, they would give me artists to try to work with and it just kind of, it wasn't. Do you remember who they were trying to put you with at the time? Did anybody you can name?

So Spenzo Busy Capg was KP's guy and he was there He was around But you know He was Those were

Those were some of their The artist that You know Early on they kind of wanted me to Quote unquote I guess A&R be a part of And then also Thug was

You know I happened to be the closest thing To Thug In those days That they felt like Could be of an assistance to help with Thug and, you know, getting music or, you know. It's a young, not slim.

I'm sorry. It's a few of them. Young Thug. Okay. All that is okay. Yeah. Young Thug, not Slim Thug. Yeah.

Shout to Slim Thug. He's got a gangster girls too, though. But so, yeah, Thug was working a lot of mean streets. So, you know, I was kind of in the mix with Thug and Atlantic and, you know, just trying to make that whole thing kind of work out. And it went how it went. But we also, you know, my. myself, Lake, and Cannon, you know, when Cannon was vice president of Def Jam around the time,

I got my gig. And then we had missed out on a couple opportunities of artists. I took Migos to New York for the first time and presented them to Allen Grum Black, and he offered them pennies. And, you know, they went and did the right thing and went to QC, shout to Coach and P. You know, those are my guys. You know, we kind of started our labels around the same time. But me, Cannon, and Lake, we're like, yo, we can't miss nothing else. Like, we're not missing nothing else. I was going to say, besides Migos, who...

So, Torrey Lane, I wanted to sign Tori, OT Genesis, T-Fly. I actually wanted to sign T-Fly. So those are a few that, you know, were in the midst of us and, you know, when we were trying to figure out the label thing or signing artists of around the time.

Cannon came back one day and just was like, yo, I heard this kid little Uzi Verk. And I was like, let's do it. Get him. Sight unseen? Unseen. That is crazy.

Yeah, if you believe, if you're man believing, and I'm like, all, fuck it, let's go. Never heard nothing, didn't know nothing. Where's he at? What are we doing? Like, and it was... This is around what year?

This was 2014. Oh. Yeah, 2014. Wait, that's when? Yeah, we signed Uzi, 20 2015. I was about to say I know that we had Uzi on the Roots Pick like way before he had a kill. No, you did him.

That was like 20s. When he was opening. 17. Yeah. That he did Ruth's Pickney. Oh, okay. It was money long. It was money long. It was before Exaltorlite. Okay. It was money longer days

when he did Roots Picardt. Right. Because I did it in 2017. Because when I brought little baby. Yeah, y'all had that stage going. They were looking like, who is this guy? Like, I remember that. I brought baby to Bruce Picnic. And I think that was right before the Drake record, like, or maybe the Drake record.

It just came out. But literally, I remember the crowd, like, not understanding, like, I just brought you a little baby, like, here. But so, yeah, so we signed. So we signed. Scheme actually was our first artist that we signed. Shout to Scheme. He's kind of mad at me because I haven't brought his name up when I talk about the label so we signed scheme we signed um uzi and we were signing we were trying to sign this group called

the wedding crashers which quentin miller was a part of um so we named a generation now generation now was actually a mixtape title that i had used early on before the little brother and the feral tapes i had gotten drops from Kanye west he was opening up for talib quali wound up getting drops from Kanye West. I also got some drops from Joe Button. And it wasn't, it was like, damn, this is not gangster grill. This doesn't feel gangster grills. So I needed another title for another brand.

So I came up with Generation Now. Years later, we wound up double back in when we were looking for a title for the label. And I was like, what about Generation Now? So the guys were like, yeah, that's fire. So Atlantic was on the verge of firing me. Like, I was two years into my deal. and they were looking at it like look we just paid DJ Drama all this money

he ain't brought us yet we done we put all this money into this studio like what are we doing what's going on like where's our where's our return Craig Calman came to Atlanta we sat in the radio room of the the

of Mean Streets and he said look drum I believe in you you know I don't want to let you go like let's just do a one-year deal. We're going to, we'll stay partners on the studio, and we'll just, you guys just focus on Uzi. Like, we'll just, just, you guys just focus on Little Uzi.

And I was like, cool, like, I'm with that. Like, okay, cool. And next thing you know, you know, love is rage comes out. Mean Streets becomes the go-to studio in Atlanta, and the tables turned within six months and 180, and, you know, it was like, Told you. Not going away.

Your ancestors are watching you and guiding you. How did Jack get on y'all's radar? Because for me, Jack, he was the record, and I don't think, this was before generation now. My record was sundown. Like, that was the one that I heard. He was on your generation now. That was generation now? Yeah.

Okay. He had put out a record called Dark Night. That was the one that really forced our hand. But we had heard of them before them. A friend of mine brought him to me late 2017. and put him on my radar. And then, you know, KY Engineering, who is based in Atlanta,

who had engineered for Wayne, Tyga. He mixed Dreams and Nightmares. He mixed that whole first album. He was Waka Flaka's engineer. He's two chains as engineer. He mixed my records. He did my quality street music album. His name is K.Y because he's from Kentucky.

So around the same time, he was telling, right? Okay, just making sure. He was telling Lake like, yo, I'm going to bring you something when it's ready. So Jack wound up on my radar. I went and followed him. He had like 7,000 followers. He saw that I followed him.

He followed me right back. He then went on to tell me later on that he told a friend of his like, damn, DJ Drama just signed to me. I think I'm assigned to drama. So we, so he winds up, he winds up being in Atlanta and coming, to Mean Streets and, you know, that was our first time meeting and we like, you know, we sat down, we chopped it up and we were talking. He was like, you know, what are you into? And I'm like, I'm in a movie.

Like, I'm a movie buff. Like, I just love movies. And he was like, tell me a movie that you think that I would be shocked that you would know. And I told him this movie called Itu Ma Tamien. Oh, yeah, yeah, yeah. And he was like, wait, what? He was like, DJ Drama, the Etubama Tommyen has watched E2 Matthamien. They think they know.

They don't have no. been to the writ. So I think that really blew his mind. And then, you know, we, we had a meeting, you know, with Jack and, you know, our staff. And he was on, you know, we, the opportunity was about signing him was there. And then we weren't 100%. We were like 75%. And then he put out Dark Night.

And we was like, okay, we got to do it. Like, we got to, we got to sign this kid before we miss out. So we went on to sign Jack. And, you know, again, this is, you know, when I signed Jack, he looked like Napoleon Dynamite. Right. You know, he's coming along. The sex symbol heartthrob that he is of today was, you know,

he's come a long way. But I saw it in him. Like, you know, the same way I saw it in Uzi early on. Like, you know, I saw, like, these are two guys that, for me, like, regardless of us being evolved, they would have made their way into hip hop. Same way, regardless of however I would have been, I was going to get here somehow some way.

But again, we allowed them to stand on our shoulders to, you know, go a little faster, you know, me walking him in his sway and, you know, him being able to, you know, just move around. Especially somebody like Jack, who, you know, is a white rapper from Kentucky, to be able to say he signed to Generation Now and DJ Drama who created Gangster Grills and the label that, you know, You know, Little Uzi Vurt was a part of.

I mean, I think that brought a lot of, you know. You think? Yeah, to the table, you know. There's no shortcut for saving time. But saving money is simple. Just combine your car and home insurance with Bel Air Direct and save. Get a quote at bellairdirect.com. What's up, fam?

I'm sports journalist Ari Chambers. Hey, what's up, y'all? It's your girl, Sam Jay. And we're the host of Everyone Watches Women's Sports, a new podcast from Together and I Heart Women's Sports. Because let's be real. Women's sports is giving us way too much to talk about these days. So Kelsey Finler, she became the first female solo rower to go from California to Hawaii. My first thought is like, what's up with the snacks? Like, what are we eating?

The highlights, the rivalries, the breakout stars, the moments that take over your entire timeline. And the conversations that start during the game and somehow keep going all week. Every week, we're breaking down the biggest stories across women's sports. Naomi Osaka showing out, she's. Beat. Sabalinka. Shout out to you, Naomi. You get the palm, Naomi. You get the palm for that.

Because we're not just interested in what happened. We're interested in why everyone's talking about it. Because everyone watches women's sports. Listen to everyone watches women's sports. On the IHeart Radio app. Apple Podcasts or wherever you get your podcast. We've all been there. We've had seasons that have shaken everything.

The question is, what remains when the shaking stops? Hi, I'm Gary Valenzheno. And on my podcast, Unshaken with Gary Vee, I sit down with amazing personalities and we talk about the seasons that nearly broke them, the lows that carried them to their highs. Listen to Unshaken with Gary V on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Hey guys, Paul Verzi here, and I want to talk to you about Paul's best podcast. Will Ferrell's Big Money Players Network and IHeart Radio. I sit down each week with a special guest and we discuss the absolute best of things. It's that and then there's everything else.

He would just shout one line and it would murder. Marie lunch! No, burn. Let's talk about the best moments that we had on the road. I would love a cocktail. Dude, Joe could get last row, middle seat on a Southwest Airlines flight. Joe, I was your flight. It was great.

The guy on Penn State, who were on the field. And the player thought Joe is his former coach. And he hugged him. And hugged him and Joe just went with it. And the guy goes, what are you doing here? Coach and Joe just goes, And you walk in and it is bananas. I mean, it's a feast for the eyes.

And I was like, it's not my thing either, but we're here. When in Rome? Top athletes, chefs, musicians, everybody. Listen to Paul's best podcast on the Iheart radio app, Apple Podcasts, or wherever you get your podcasts. All right, before we got to wrap up the episode. This is, damn, we have to. You don't even know how long we've been sitting here, do you?

No, I thought we just started. That's the hilarious. We got to, we got to go home. That means you got to invite us back and we'll come to your spot. But, okay, but before we wrap, like, I don't know if, like, I don't know if you're aware of this because I say it all the time. But being, sitting at this table, like, I have to say, even though I say it all the time, like, you got to understand, Amir, like, if it wasn't for y'all, Like, I don't know that I don't know if I would be here Like watching like running in-

Ladies and gentlemen, that's Questlove Supreme And you think you was going to start taking your flowers What you're doing? You said you're going to start taking your flowers. This is the ongoing joke of the show Where they watch me squirm Like, bro, listen But I know he means it because like that shit is real

Like I used to run into a mirror playing video games on South Street And he would like let he would like Put his headphones on me and let me hear fucking Tarique rapping like G rap or like you know like I used to go to the I was at the Trocadero at their

signing celebration party like like for me like I remember when distortion of static first came on rap city like yes uh so like you got to understand for me bro like the roots are

the reason why I knew that you could really do this shit. Like, oh, this shit can really happen. Like, I just watched this group in Philly. Watch her face. I'm just making him take it because it's hard. It's painful. Go ahead. Keep going on. Like, I watched this group that I loved make this album called Organics while I'm in high school, and that's all I'm listening to. And then, like, get a record deal, like, get signed to Geffen. Like, these guys that were freestyling on my little mixtapes that probably only 100 copies exist. then go on to become the fucking roots.

Like, oh, my God, this, you can, like, this rap shit is real. Like, everything before that for me was just seeing it on, like, watching the box and seeing Kane and KRS and Public Enemy and NWA is just, like, me watching it on television. Like, I knew y'all. Like, I, like, I was there. So that for me was literally the reason, like, I, and I said, it all the time. Like, you are the reason why I knew this shit could really happen, bro. Like, and I have to give you your flowers by sitting here next to you.

Thank you. It's for the documentary. It's for the documentary. It's right. It's going to be great. No, I appreciate every word. Yes. Years ago, I would have definitely ended the episode because I hate compliments. No, but I really appreciate that. And this conversation was long overdue. Yeah. No, no, for real.

Long overdue on every song. Even for me and I'm very proud. Like, again, like, you know, the fact that you validated us as well, because it meant a lot to me that, like, wow, someone believes in us enough to put us on a mixtape. Like, to me, that was important. Black Thought Gangster Girls is definitely on my bucket list because it's full circle for me.

Like, it has, that's one that I have to. Wow, that'd be amazing. Yeah, it has to happen. I was going to say that eventually one day you're going to have to make a gangster Grizzleda tape. It's fire. You got to make that happen. It's fire.

This intro will make that happen. That's a great idea. Wait, I have one last question. I've been watching how things have been developing in the last few weeks. Speaking of Griselda. And initially, what started out as something that could have gone ugly is actually turned into kind of like a cool moment. Tell me all with flex? Yeah.

Yeah. Where initially, you know, there were complaints that you're not supporting, da-da-da-da. And, you know, maybe once every five years, I'll hear another generation coming that will tell whoever the gatekeeper is, like, let somebody else in and let somebody. But as a DJ, and I usually go through this kind of quasi-depression period, maybe in November and December. Okay, so 2023 is coming up. So instantly, I'm like, all right. So someone born in 2002 is now legally going to be louder than nightclub.

Right. And that means when they're like 14 years old in, you know, 2016 or whatever. I mean, like, I'm always doing the math of reference points. To me, I don't know. Like, for you, is there ever time where you're just like, I don't know, I might be too old for this shit? I don't want to just reduce it to ask too old for this shit. But like... Too old for this shit.

I mean, right now... It's exhausting to keep up. With drill, like, I legit was on Wikipedia, like, taking a crash course in drill. Because I just, like, all right, I got to educate myself. Like, I whole bunch of gigs coming up for a bunch of kids. Oh, yeah. And... Ice spice.

I don't want to be that person, but it's like... I feel like if you have to be paint by numbers, like, okay, what are the kids... Whatever. But for you, like, is there ever a point where you just get exhausted where it's just like, dog, just throw away Royer's album one and I'm calling the day. Like, I'm going to. Never. I'm going to take a nap or whatever. So there's never a point where you saw an act like, okay, this is what the future is?

Or like? No. So for you, like, the more dangerous is, the more you, people my age are. It's talent in every generation. Yeah. And I think, again, like I said, like I said, like, Like I'm from a mixtape culture where it's like, new shit, new shit, new shit. So it's like my fascination is is with like what's next.

Like my label is called Generation Now, you know? So for me it's like the fact that I've been able to navigate through fucking being in a Bahamadilla video to Jack Harlow, you know, or to Tyler, creator, call me if you get lost and winning a Grammy, like my career has. literally been an example of being able to surf through the eras. So like, you know, I, it's a young, like, I love where hip hop is today. Last night I went to the Wu-Tang and Nas concert and I was like a kid in a candy store, you know, I mean, that's, that's my era. Like, that's when, you know, when you're, I think when you're a teen, those are your pivotal moments, you know what I'm saying?

So yeah, for me, I'm like, as a 44-year-old man, I'm, I'm in heaven. You know, but at the same time, I'm also a DJ who more likely plays for audiences in their 20s than I do for audiences in their 40s. So it keeps me current. And again, I just, I just love the culture so much. So I love every diaspora of it. You know what I'm saying? So I don't, you know, this shit keeps me 21 forever. Like even now having this resurgence of gangster grills, whether it's with,

or whether it's ice where a vezzo or seti hendricks or you know it's like being able to still be in this space and you know i i got to give tyler his flowers for you know in a sense kind of you know bringing this resurgence of gangster grills back for what he did yeah so no i don't i don't i don't get in that space like i'm you know i again i'm to be a dj and to to have the accolades that i have it's like my goal was to get my name on a flyer. So the success that I've had, I don't take none of it for granted. And as much as I've accomplished,

the way my brain works is always like, damn, what the fuck am I going to do next? You know what I'm saying? So I think that's what keeps me in this space of still being excited about, you know, tomorrow or not, you know, again, being on a whiz and Logic Tour, when I'm out there, I'm asking, you know, all my 2000s babies make some noise.

and they make a lot of fucking noise. Like, still a lot of 90s babies in there, too, and the 80s babies are a little more quiet. My parents. I don't even ask about the 70s. Right. I leave that alone. But, you know, even when I walk out on stage,

you know, having these kids, like, say my name and chant my name and be familiar with me because of Tyler or because of the Dreamville mixtape, like, it's such a blessing, you know what I'm saying? You know, I'm saying that, you know, I'm still here. And you're still finding a new audience. And I'm still finding a new audience and I'm excited about it, you know. As much as I'm excited about being able to go to the fucking Nas and Wu-Tang show and, you know, seeing that sell out.

And shout out to you got who thought I was a stalker in the hotel lobby this morning. I'm really like, you got. What, man? I was like, it's me. Is that you? Oh, man, I'm sorry. I thought you was, like, he thought I was. But you got to understand, too, like even I hate to, I don't want to do this, make you squirm again.

But like, bro, like, bro, I saw you in the fucking, like, I used, I was there past the popcorn. You're on television every night. Like, you have a fucking, you have a fucking Oscar, bro. Like, you have an Oscar, like, like, those things to me are like, yo, the sky is not the limit. There's no limit. I'm going to tell you this much. This is, this is, I'm not even blowing smoke. Today was a teachable lesson.

because every time you say something, I'm like, wait a minute, how are you just yes and jumping into some shit without like seeing who's going to be there first? Yeah, I'm like that. And I need to be more, so this is actually taught me more. You're a little more bougie than I am.

I'm very much. I'm guarded. I'm protected. I'm guarded. I want, we know that. I want the formula of work. I want the breakdown of scientific. He has crystals in his crocs.

So if you run into somebody in the street right now and they're like, yo, I'm inspiring artists over. It's a street. Can I get, can I get your number? What are you doing, walking? Five people. Five people. Five people.

Blau Slum Village. That's in 2003. Jill Scott. Blau Slum Village, Jill Scott, little brother. I'm five and O. But I'm probably five in 42,000. Oh, those five like came to you? Yeah, I was in a position where I was like, I felt in my heart like, right.

Oh, this is, oh, Cody Chestnut. That was my five. Oh, I remember. Oh, he was on automatic relaxation. Yes. Definitely was definitely on automatic relaxation. All right, we got to wrap up, but please give Laya another automatic relaxation. Not just me, there's a whole bunch of people, you know.

Yeah. This is a few of y'all. Yeah. Like, can I just give you copies of the old ones? I'll take that too. I take that too. Like, there's not, I mean, we, we, when it was what it was, like now that exists, there's a lot of that out now.

There's Spotify playlist. Yeah, but it ain't nothing like automatic. But I think coming from you, I think now at this one of your career. I don't think it would be that for you now. Like, if you did that now, it's going to be new to the audience. Yes. Yeah, you know, it's going to be a new thing. And they'll be listening now.

Now you don't have to go well. Exactly. It's where they went. They're going to check for DJ drummer regardless. So if you went in that lane, that would be, it would be something new to that audience. No, I'm respected when you said. Carvac, relaxations, and gangster Grizzeld. There you go.

All right. On behalf of Quest Left Supreme, yo, Fonte and Sugar Steve and Laetie. Should Steve didn't say anything. He was... I'm learning. Except about the skateboarder in Philly. You know, he's... Steve's here, trust me.

Anyway, no, thank you for doing this, man. I really appreciate this. Oh, my God. Shout out to FAMU. Oh, my God. That school in the nation. Shout to FAMU. Thank you to the staff, everyone.

FAMU, thank you. Thank you, I, thank you. Thank you, y'all. And I am going to break that Miss Pac-Man record one more time. Yeah, shout out to my man. You know, listen, just X. One day, if somebody comes, just give him you a number, bro. You never know. He's not. You don't have to answer. Like, they text me all the time. Like, if I don't want to answer, I don't have to answer. You know, random people have just, when I was on tour, this guy just called me out of nowhere. I was like, hey, this is DJ Drama. I'm like, yeah, where did you get my number? He's like, oh, my manager gave it to me. And he was like, yo, I'm a new artist. And I say, listen, bro, I'm a jewel you real quick. Like, when I was coming up, I couldn't just call Jay Z or. Funkmaster Flex.

Like, I'm like, and most people aren't going to be as nice as me, but I'm telling you before you try to get on my radar, look to your left and look to your right and try to create a movement with the people around you. And then before you know it, you'll be on my radar. Like, don't just call the bigwigs and think you can get on. Like, it's not that easy. They have the etiquette. Yeah, I couldn't call Jay-Z or Flex and say, hey, I'm DJ Drama.

Like, I'm dope. Like, and I was, but I didn't. I didn't have the right to do. I didn't have the right to do that, yeah. You know what I'm saying? Teachable moments. That's the jewel right there. All right.

We'll see you on the next group around. Thank you very much. Thank you. Questlove Supreme is a production of Iheart Radio. For more podcasts from Iheart Radio, visit the Iheart radio app, Apple Podcasts, or wherever you listen to your favorite shows. Hey, Portlandia fans.

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