P
.Powell.
Guest
On Kanye West’s record ‘Last Call’, the closing track on his groundbreaking debut album ‘The College Dropout’, the "Louis Vuitton Don" spends 9 or so minutes, discussing his uphill struggle to becoming hip hop’s biggest commodity. From being "a local Chi-Town producer making beats for local artists in his apartment to keep the lights on", to meeting Jay-Z at Baseline Studios, NYC, and landing 3 tracks on ‘The Blueprint’, his story must have seemed one a kind and a dream come true. His account parallels that to Shawty Redd, the Atlanta producer, who after putting his foot through the door with credits on big southern rap hits such as Drama’s ‘Left, Right, Left’ and 404 Soldierz ‘Walk Like A Soldier’ when he was only 17, experienced a dry patch, living the "uphill struggle" Kanye West talks about on the mentioned track.
That was until Redd met former drug-dealer, turned rapper Young Jeezy, known then as Lil J. Working together on mixtapes, Jeezy’s buzz and signing to Def Jam, allowed the release of his debut album ‘Thug Motivation 101’. From the anticipated LP and the current album, all the hardest, street orientated, "dope-boy appealing" records, such as ‘Air Forces’, ‘Hypnotize’, J.E.E.Z.Y’, ‘Trap Or Die’, ‘That’s How Ya Feel’ all had one thing in common - they where all orchestrated by Shawty Redd. Yo! Raps sat down with long time collaborator of Jeezy, Shawty Redd, to discuss working with Jeezy, his sounds and Jay-Z,
What you been up to recently?
Man, just working on my album, and working on tracks with T.I, Big Kuntry, Young Dro, Juvenile, 8Ball & MJG, Plies and Trey Songz.
Tell us about your album?
That’s called ‘The Jekyll and Hyde Project‘, and the first album is called ‘Expect The Unexpected’, and every album will be like a "Jekyll and Hyde" concept. I’m talking about the pains I been through and real stuff I have experienced. Everyone expecting all the records to be produced by myself, but I will be having some surprise guests. That will be released on Beat Bangerz Entertainment, which is my record label.
Can you tell us about your upbringing?
Well, I started playing piano in church as a kid, and got caught up in mom and dad separating when young. I moved from California with my mom to my grand-mom in Atlanta, and then I started producing. I was getting into trouble at a young age, and nearly went to boot camp until my grandmother took me in.
As a youngster, was production and rapping also an interest for you?
I started rapping first. I was going around trying to collect beats and they would give me a wack beat, so I start making my own beats over my raps. I started to get my grind to generate money to afford production equipment. I went to this club down in Atlanta called Warehouse, and I was grinding, by helping a production company I met down here called "Twin Productions". So I had to help them carry sound systems and speakers, when artists they had would be set to play at the club. I also started working with an electricity company who started paying me. All the money I got from this, I used to invest in equipment.
Your first taste of success came on the production for two records, Drama ‘Left, Right, Left’ and 404 Soldierz ‘Walk Like A Soldier’. Was it a good thing to see your name credited on your debut tracks?
To tell you the truth, it still hasn’t hit me. It never really hit me and I was 17 years old back then, 25 now, so could you imagine my excitement, especially as these where from major labels.
The sound off those records was real crunk, with the element of bounce to it. The records we hear now on Young Jeezy’s album are much slower. Why did you really slow up the sound for Jeezy?
Well I got caught up in bad business back then after those records came out. I had to get rid of my lawyer, I had to leave my management and wait for publishing. I was definitely going through money issues, as the money I was supposed to get, was going to the wrong people, so I didn’t have my business straight. On Jeezy’s stuff now, I put my heart into it, and everything I play, that’s how I feel. We created a whole new style, and I was playing from my heart, what I felt basically- evilness, hurt.
Your sound has that creepy, foghorn theme especially on the synth’s, on records like ‘Hypnotize’ and ‘Gangsta Music’. Do you take influence from the music on horror movies, because a lot of your keyboard sounds seem like they have come from there?
I watch a lot of horror movies, like ‘The Crow’, ‘Spiderman’ all those. I like the strings and the feel portrayed in that. All the stuff I heard back in the day, I would translate that to the beats, as I saw how the music in horror flicks touched people. Like if you took away the drums on some of my records on Jeezy’s albums, the music could be used in horror movies. That’s basically the influence behind records like ‘Hypnotize’. ‘Trap Or Die’, ‘Air Forces’...
How did you meet Jeezy?
We had been together for 10 years now. A lot don’t know the history, and I met him after the Drama album came out. I met him in the strip club through a mutual friend, and he told me he rapped, so we hooked up. What people don’t know, he was ‘Lil J’ a while back, and we were putting out independent albums out for a long time, and the main mixtape ‘Trap or Die’, was actually the album because we had put in the work before. We have that relationship, where he is the Eminem, and I’m his Dr. Dre, no matter what we will always work together on future album.
Was his flow and swagger different to what it is now?
Back then, he loved the booth. He was always a good writer, but he never had the swag which he wanted. To tell you the truth, he found his swag mid way through, and same with me. If you listen to him now, he had been getting better and better. From ‘Thug Motivation 101’ to ‘The Inspiration’, his flow has developed.
Jeezy’s been known to label himself as a "motivational speaker" rather than a rapper. What do you say to the people that shoot this title down, due to the fact he has specifically rapped about "selling crack on the block" on his last two albums?
Yeah, he is a motivation for the streets. You can tell by the album cover. He is connected to the streets, and that’s all he knows, and they can criticize all they want. We talk to and know the people he represents, everyday. It’s freedom of speech and that’s the lifestyle he lived, of which he wants to tell his story.
What about getting to the stage of wearing the Snowman t shirts?
That was blown out of proportion. I can’t speak on it because I don’t know the whole story.
One of my favourite Jeezy records is ‘That’s How Ya Feel’ and ‘Air Forces’, which has that real bounce feeling to it, mixed in with the screeching sounds on the keyboard. Can you tell readers how you and Jeezy sit down for a typical session?
Me and Jeezy would be chilling, and the equipment would get set up in the studio. We would have some ‘Remi’, and I would start playing some keys, and once he tell me he like that, that’s when the drums come in. The drum patterns are easy dawg! I have the favourite 808 patterns which I lay down, and I’d play that to him. It would be all done in 15 minutes.
What equipment would you be using nowadays?
I can’t tell you that [laughs]. It’s not fruity loops though! I do use the MPC 2000.
A lot credible producers like 9th Wonder are using Fruity Loops. Do you knock this?
I mean, I’m a musician bru. I heard Fruity Loops is a bunch of sounds. I love Keyboards and beat machines. I don’t like the easy way out, and that’s what (Fruity Loops) it is.
Are there any times in the studio, where you play keys, and you feel the sound is hot, but the artist ain’t feeling it?
Nah, we never had that problem. The only issue we had is when I was making the ‘Hypnotize’ record, he wanted the 808 drums in there, and I was like, you got to let it roll. Now, they playing it in the club and it ain’t got any drums over.
You have that signature sound, and many producers are quick to switch their sounds a lot of times to make sure it don’t get played out. Can we expect you to produce any records which more mellow?
I’m a musician, and I do it all. Pop, RnB, Techno, I can do it all, but I’ve only been known as a Southern producer. A lot of producers coming out now are imitating what I done. I’ve stretched my style, and if you listen to the keys on ‘The Inspiration’, I’ve come with more of a melody, over the 808 sounds
Do you feel Mannie Fresh was instrumental for bringing that 808 drum sound into commercial hip hop?
To tell you the truth, I think I was the first. As far as Southern rappers, I got my 808 from my man Half-Pipe, who was a booty-shaking artist, doing production for Uncle Luke. You wouldn’t hear an 808 on regular rap records.
But Mannie Fresh was crafting that sound on early Cash Money records?
I been using that 808 for a long time. Mannie my boy and everything, but that Drama record had that rolling 808 drum pattern all over it and that exploded onto the scene.
What’s it been like working with Juvenile and T.I for their new records respectively?
When I work with other artists, I blend their style with me. The stuff I did with Juve, it’s on a whole new level. It’s taking them back to the old Juvenile.
T.I is still working. I don’t know if he will use my record, but he is a cool cat. He is always joking in the Grand Hustle Studios, and I been in the studio as well with Big Kuntry.
Who impressed you, except Young Jeezy, the most in terms of work ethic in the studio?
To tell you the truth, I work so fast, the artist got to keep up. I mean, 8Ball & MJG are legends and it was an honour to work with them.
What are the highs and lows of being a producer in the hip hop game?
The lows of the game are waiting on the cheque. If you got good business, and you working around people who don’t, they want to slow you down. I prefer to have my money in my hand before I come to the studio, so I prefer to work with dope boys on an independent level. With these major labels, they don’t even give you a deposit sometimes. They need samples like I ain’t even proven myself.
The highs are, right now, if you a producer and you hot, you don’t need to be a rapper to be hot. You could be as a big as the artist and get all this love.
A lot of your work has been well known due to your long term collaborations with Jeezy. We see a lot of rapper producer relationships getting messed up in this music business, with them coming into the game, and then drifting apart. For example, we hardly see DJ Toomp contributing to T.I’s work anymore. What is it about Young Jeezy that will enable you to stay tight and keep working together throughout his career?
To tell you the truth, we created a baby. It’s like, I always going to be a part of that situation. Why would you try to fix something that’s not broke? When it breaks, you have to worry about that.
Have the politics of the music business affected friendship you had with other artist?
The whole thing with Gucci Mane, I produced a few records on his debut album, and he and Jeezy had their thing. I had linked them up and introduced them. They had their issues, but me and Gucci are straight. I’m a grown ass man, and if I need to eat, I need to do business. Young Jeezy told me to go get my money.
Jeezy came into the game, really catering to the street dudes and the real hip hop fans, and has made few records tailored for women. Do you think his success has come from the fact he has been able to appeal to one market and in turn, influenced others?
Yeah, you got to. Without a major record label, the hood are still going to be down with you no matter what. You can always come back to the hood as long as you keep it true. Jeezy has been able to hit fans with the ‘Dreaming’ or the ‘Go Getta’ featuring R Kelly, so we getting other fan’s right now. He been getting real serious about the image he wanted to portray to a wider audience. Like we were talking one time, and he was like "Man, I’m fin to get it together dawg, I want to be a sex symbol. I need to get these pounds off me". Next thing you know, he lost weight, and it makes me want to gain some weight and be a sex symbol [laughs].
You have a record on your MySpace page, ‘Turn it Up’, which samples Katt Williams talking about weed on his ‘Pimp Chronicles‘ DVD. What made you sample this, and is this your own record?
Yeah, that’s my first single. It’s blowing up, and stations like Radio One are playing that in Atlanta, and that’s number 2 in the top 30. I’m a big fan of Katt Williams, and my time in California, I could relate to the things he was saying on ‘Pimp Chronicles’. Like, when he was saying ‘This **** right here nigga, this **** right here’. If I ever ran into Katt, maybe he would want some beats. We need to link up. I got everyone in Atlanta saying that dawg.
What is your stance on ghost production in the game, especially with the whole Scott Storch/ Timbaland situation at the moment?
I ain’t been involved in ghost producing. But for that, you have to make sure the money is right. If the money was good, I’d ghost produce. It’s all egos. People know what they want from they time they get in. Once they fulfil they situation, they want more like extra credit. If you chose to do that, why be mad about it?
Have you got any potential planned business ventures?
I have plans to do movies, and a clothing line. My clothing line is going to be a little different though, aimed at the kids, one for the girls called ‘Goodie Girls’ and one for the boys called ‘Shawties’. I want to set up some restaurants and also launch some Non Profit Organizations, like a business school for kids who want to be in the music business. If they want to jump into music, they can come and learn about the game and the traps, and I don’t want to see anyone getting ****ed in the game like me, because I was young. I want to give back, that’s my biggest goal.
Who would you like to collaborate with in the future?
I want to work everybody. I want to work with Prince, I’m a big Prince fan. I grew up listening to him, and my mom and dad were listening to him.
Lets have some fun with this interview. I’m going to name some people and you’re going to tell me the first thing that comes into your head when I say them,
Young Jeezy...
That’s big bru.
T.I...
That’s the other big bru.
Kanye West...
I like him. I proud he got on; because he suffered the same things I had to go through. He had dry patches like I did, and he struggled like I did. After the Drama and 404 Soldierz, after my business was ****ing up, I didn’t want to work.
50 Cent...
Big Money.
Bun B...
That’s the OG. If you mention him, you gotta have Pimp C.
Ciara...
Ah man! If I run into her one more time, she is going to be on my arm.
Jay-Z...
I used to like him. When I did Drama ‘Left, Right, Left’, he invited me to the ‘Is That Your Chick’ video shoot in 2000, and talked to me for 30 minutes to an hour, talking about the game. And then when I saw him at the video shoot of ‘Soul Survivor’ with Young Jeezy a year or so ago, he didn’t know who I was. I walked up and said "Hey, do you remember me?" and he said no, so I said "Remember the guy who produced Drama ‘Left, Right, Left’ who chopped it up with you at the video shoot?". He acted like he remembered, but he didn’t really, I could tell he was lying, and then he walked off.
Damon Dash...
That’s a real go getta. Holla at me Dame!
Suge Knight...
That’s the big boss, I would be straight if I saw the money he saw. I’m going to get G’d up like him.
Black Mafia Family...
Family.
Polow Da Don
"King of the White Girls" Hook me up dawg!
Any shout outs?
All the fans, all the people that showed me love, and thank you. Shout out to the whole Beat Bangerz Family, they know who they are.
That was until Redd met former drug-dealer, turned rapper Young Jeezy, known then as Lil J. Working together on mixtapes, Jeezy’s buzz and signing to Def Jam, allowed the release of his debut album ‘Thug Motivation 101’. From the anticipated LP and the current album, all the hardest, street orientated, "dope-boy appealing" records, such as ‘Air Forces’, ‘Hypnotize’, J.E.E.Z.Y’, ‘Trap Or Die’, ‘That’s How Ya Feel’ all had one thing in common - they where all orchestrated by Shawty Redd. Yo! Raps sat down with long time collaborator of Jeezy, Shawty Redd, to discuss working with Jeezy, his sounds and Jay-Z,
What you been up to recently?
Man, just working on my album, and working on tracks with T.I, Big Kuntry, Young Dro, Juvenile, 8Ball & MJG, Plies and Trey Songz.
Tell us about your album?
That’s called ‘The Jekyll and Hyde Project‘, and the first album is called ‘Expect The Unexpected’, and every album will be like a "Jekyll and Hyde" concept. I’m talking about the pains I been through and real stuff I have experienced. Everyone expecting all the records to be produced by myself, but I will be having some surprise guests. That will be released on Beat Bangerz Entertainment, which is my record label.
Can you tell us about your upbringing?
Well, I started playing piano in church as a kid, and got caught up in mom and dad separating when young. I moved from California with my mom to my grand-mom in Atlanta, and then I started producing. I was getting into trouble at a young age, and nearly went to boot camp until my grandmother took me in.
As a youngster, was production and rapping also an interest for you?
I started rapping first. I was going around trying to collect beats and they would give me a wack beat, so I start making my own beats over my raps. I started to get my grind to generate money to afford production equipment. I went to this club down in Atlanta called Warehouse, and I was grinding, by helping a production company I met down here called "Twin Productions". So I had to help them carry sound systems and speakers, when artists they had would be set to play at the club. I also started working with an electricity company who started paying me. All the money I got from this, I used to invest in equipment.
Your first taste of success came on the production for two records, Drama ‘Left, Right, Left’ and 404 Soldierz ‘Walk Like A Soldier’. Was it a good thing to see your name credited on your debut tracks?
To tell you the truth, it still hasn’t hit me. It never really hit me and I was 17 years old back then, 25 now, so could you imagine my excitement, especially as these where from major labels.
The sound off those records was real crunk, with the element of bounce to it. The records we hear now on Young Jeezy’s album are much slower. Why did you really slow up the sound for Jeezy?
Well I got caught up in bad business back then after those records came out. I had to get rid of my lawyer, I had to leave my management and wait for publishing. I was definitely going through money issues, as the money I was supposed to get, was going to the wrong people, so I didn’t have my business straight. On Jeezy’s stuff now, I put my heart into it, and everything I play, that’s how I feel. We created a whole new style, and I was playing from my heart, what I felt basically- evilness, hurt.
Your sound has that creepy, foghorn theme especially on the synth’s, on records like ‘Hypnotize’ and ‘Gangsta Music’. Do you take influence from the music on horror movies, because a lot of your keyboard sounds seem like they have come from there?
I watch a lot of horror movies, like ‘The Crow’, ‘Spiderman’ all those. I like the strings and the feel portrayed in that. All the stuff I heard back in the day, I would translate that to the beats, as I saw how the music in horror flicks touched people. Like if you took away the drums on some of my records on Jeezy’s albums, the music could be used in horror movies. That’s basically the influence behind records like ‘Hypnotize’. ‘Trap Or Die’, ‘Air Forces’...
How did you meet Jeezy?
We had been together for 10 years now. A lot don’t know the history, and I met him after the Drama album came out. I met him in the strip club through a mutual friend, and he told me he rapped, so we hooked up. What people don’t know, he was ‘Lil J’ a while back, and we were putting out independent albums out for a long time, and the main mixtape ‘Trap or Die’, was actually the album because we had put in the work before. We have that relationship, where he is the Eminem, and I’m his Dr. Dre, no matter what we will always work together on future album.
Was his flow and swagger different to what it is now?
Back then, he loved the booth. He was always a good writer, but he never had the swag which he wanted. To tell you the truth, he found his swag mid way through, and same with me. If you listen to him now, he had been getting better and better. From ‘Thug Motivation 101’ to ‘The Inspiration’, his flow has developed.
Jeezy’s been known to label himself as a "motivational speaker" rather than a rapper. What do you say to the people that shoot this title down, due to the fact he has specifically rapped about "selling crack on the block" on his last two albums?
Yeah, he is a motivation for the streets. You can tell by the album cover. He is connected to the streets, and that’s all he knows, and they can criticize all they want. We talk to and know the people he represents, everyday. It’s freedom of speech and that’s the lifestyle he lived, of which he wants to tell his story.
What about getting to the stage of wearing the Snowman t shirts?
That was blown out of proportion. I can’t speak on it because I don’t know the whole story.
One of my favourite Jeezy records is ‘That’s How Ya Feel’ and ‘Air Forces’, which has that real bounce feeling to it, mixed in with the screeching sounds on the keyboard. Can you tell readers how you and Jeezy sit down for a typical session?
Me and Jeezy would be chilling, and the equipment would get set up in the studio. We would have some ‘Remi’, and I would start playing some keys, and once he tell me he like that, that’s when the drums come in. The drum patterns are easy dawg! I have the favourite 808 patterns which I lay down, and I’d play that to him. It would be all done in 15 minutes.
What equipment would you be using nowadays?
I can’t tell you that [laughs]. It’s not fruity loops though! I do use the MPC 2000.
A lot credible producers like 9th Wonder are using Fruity Loops. Do you knock this?
I mean, I’m a musician bru. I heard Fruity Loops is a bunch of sounds. I love Keyboards and beat machines. I don’t like the easy way out, and that’s what (Fruity Loops) it is.
Are there any times in the studio, where you play keys, and you feel the sound is hot, but the artist ain’t feeling it?
Nah, we never had that problem. The only issue we had is when I was making the ‘Hypnotize’ record, he wanted the 808 drums in there, and I was like, you got to let it roll. Now, they playing it in the club and it ain’t got any drums over.
You have that signature sound, and many producers are quick to switch their sounds a lot of times to make sure it don’t get played out. Can we expect you to produce any records which more mellow?
I’m a musician, and I do it all. Pop, RnB, Techno, I can do it all, but I’ve only been known as a Southern producer. A lot of producers coming out now are imitating what I done. I’ve stretched my style, and if you listen to the keys on ‘The Inspiration’, I’ve come with more of a melody, over the 808 sounds
Do you feel Mannie Fresh was instrumental for bringing that 808 drum sound into commercial hip hop?
To tell you the truth, I think I was the first. As far as Southern rappers, I got my 808 from my man Half-Pipe, who was a booty-shaking artist, doing production for Uncle Luke. You wouldn’t hear an 808 on regular rap records.
But Mannie Fresh was crafting that sound on early Cash Money records?
I been using that 808 for a long time. Mannie my boy and everything, but that Drama record had that rolling 808 drum pattern all over it and that exploded onto the scene.
What’s it been like working with Juvenile and T.I for their new records respectively?
When I work with other artists, I blend their style with me. The stuff I did with Juve, it’s on a whole new level. It’s taking them back to the old Juvenile.
T.I is still working. I don’t know if he will use my record, but he is a cool cat. He is always joking in the Grand Hustle Studios, and I been in the studio as well with Big Kuntry.
Who impressed you, except Young Jeezy, the most in terms of work ethic in the studio?
To tell you the truth, I work so fast, the artist got to keep up. I mean, 8Ball & MJG are legends and it was an honour to work with them.
What are the highs and lows of being a producer in the hip hop game?
The lows of the game are waiting on the cheque. If you got good business, and you working around people who don’t, they want to slow you down. I prefer to have my money in my hand before I come to the studio, so I prefer to work with dope boys on an independent level. With these major labels, they don’t even give you a deposit sometimes. They need samples like I ain’t even proven myself.
The highs are, right now, if you a producer and you hot, you don’t need to be a rapper to be hot. You could be as a big as the artist and get all this love.
A lot of your work has been well known due to your long term collaborations with Jeezy. We see a lot of rapper producer relationships getting messed up in this music business, with them coming into the game, and then drifting apart. For example, we hardly see DJ Toomp contributing to T.I’s work anymore. What is it about Young Jeezy that will enable you to stay tight and keep working together throughout his career?
To tell you the truth, we created a baby. It’s like, I always going to be a part of that situation. Why would you try to fix something that’s not broke? When it breaks, you have to worry about that.
Have the politics of the music business affected friendship you had with other artist?
The whole thing with Gucci Mane, I produced a few records on his debut album, and he and Jeezy had their thing. I had linked them up and introduced them. They had their issues, but me and Gucci are straight. I’m a grown ass man, and if I need to eat, I need to do business. Young Jeezy told me to go get my money.
Jeezy came into the game, really catering to the street dudes and the real hip hop fans, and has made few records tailored for women. Do you think his success has come from the fact he has been able to appeal to one market and in turn, influenced others?
Yeah, you got to. Without a major record label, the hood are still going to be down with you no matter what. You can always come back to the hood as long as you keep it true. Jeezy has been able to hit fans with the ‘Dreaming’ or the ‘Go Getta’ featuring R Kelly, so we getting other fan’s right now. He been getting real serious about the image he wanted to portray to a wider audience. Like we were talking one time, and he was like "Man, I’m fin to get it together dawg, I want to be a sex symbol. I need to get these pounds off me". Next thing you know, he lost weight, and it makes me want to gain some weight and be a sex symbol [laughs].
You have a record on your MySpace page, ‘Turn it Up’, which samples Katt Williams talking about weed on his ‘Pimp Chronicles‘ DVD. What made you sample this, and is this your own record?
Yeah, that’s my first single. It’s blowing up, and stations like Radio One are playing that in Atlanta, and that’s number 2 in the top 30. I’m a big fan of Katt Williams, and my time in California, I could relate to the things he was saying on ‘Pimp Chronicles’. Like, when he was saying ‘This **** right here nigga, this **** right here’. If I ever ran into Katt, maybe he would want some beats. We need to link up. I got everyone in Atlanta saying that dawg.
What is your stance on ghost production in the game, especially with the whole Scott Storch/ Timbaland situation at the moment?
I ain’t been involved in ghost producing. But for that, you have to make sure the money is right. If the money was good, I’d ghost produce. It’s all egos. People know what they want from they time they get in. Once they fulfil they situation, they want more like extra credit. If you chose to do that, why be mad about it?
Have you got any potential planned business ventures?
I have plans to do movies, and a clothing line. My clothing line is going to be a little different though, aimed at the kids, one for the girls called ‘Goodie Girls’ and one for the boys called ‘Shawties’. I want to set up some restaurants and also launch some Non Profit Organizations, like a business school for kids who want to be in the music business. If they want to jump into music, they can come and learn about the game and the traps, and I don’t want to see anyone getting ****ed in the game like me, because I was young. I want to give back, that’s my biggest goal.
Who would you like to collaborate with in the future?
I want to work everybody. I want to work with Prince, I’m a big Prince fan. I grew up listening to him, and my mom and dad were listening to him.
Lets have some fun with this interview. I’m going to name some people and you’re going to tell me the first thing that comes into your head when I say them,
Young Jeezy...
That’s big bru.
T.I...
That’s the other big bru.
Kanye West...
I like him. I proud he got on; because he suffered the same things I had to go through. He had dry patches like I did, and he struggled like I did. After the Drama and 404 Soldierz, after my business was ****ing up, I didn’t want to work.
50 Cent...
Big Money.
Bun B...
That’s the OG. If you mention him, you gotta have Pimp C.
Ciara...
Ah man! If I run into her one more time, she is going to be on my arm.
Jay-Z...
I used to like him. When I did Drama ‘Left, Right, Left’, he invited me to the ‘Is That Your Chick’ video shoot in 2000, and talked to me for 30 minutes to an hour, talking about the game. And then when I saw him at the video shoot of ‘Soul Survivor’ with Young Jeezy a year or so ago, he didn’t know who I was. I walked up and said "Hey, do you remember me?" and he said no, so I said "Remember the guy who produced Drama ‘Left, Right, Left’ who chopped it up with you at the video shoot?". He acted like he remembered, but he didn’t really, I could tell he was lying, and then he walked off.
Damon Dash...
That’s a real go getta. Holla at me Dame!
Suge Knight...
That’s the big boss, I would be straight if I saw the money he saw. I’m going to get G’d up like him.
Black Mafia Family...
Family.
Polow Da Don
"King of the White Girls" Hook me up dawg!
Any shout outs?
All the fans, all the people that showed me love, and thank you. Shout out to the whole Beat Bangerz Family, they know who they are.
