My name is Harold Rizvi. I was a Southern Toshoni teacher for the Yukon government. I taught anywhere from kindergarten all the way to grade 12. Over, I think I've got five, four or five years of total experience. It was a little bit different between kindergarten to grade 12. Obviously it's going to be, it's going to transition between the levels. But overall the goal is language proficiency and cultural reconnection. People getting back involved with something that they lost or their ancestors lost or maybe even somebody like myself that didn't grow up learning the culture. Something new that is just brought into your life and it just, you can embrace it. When I started out, I started teaching grade 8 to 12. And then I did that for a few years, took a year off and then I started teaching kindergarten to grade 3. And yeah, no, I've got a wide range of experience teaching at all the different levels. It's, you know, just like any language program. It's like the schools offer French, they offer Spanish, German, you know, it's the same thing. For the high school here, we call it ath-pask. Ath-pask is the language group that Southern Toshoni presides in. And of course we taught Southern Toshoni the language specifically. But a lot of the culture, a lot of the values, the languages, they all tie together. That's how strong the ath-pasking culture is. And then at the lower level, it's just native language. Just kind of dry, very simple. It's just, you know, it's a course that kids get to take that they get to learn a little bit of language. They get to learn culture.  Yeah, no, it's open for everyone. Of course the predominance of the people signing up were Indigenous. But I mean, it's open to everybody. I mean, even for myself, like, when I started, I started when I was seven. And, you know, like the, a lot of the people that I was going to school with, not very many of them were Indigenous, but a lot of us were taking this class. When I started taking it myself, it came available at my school in grade two. And it was either that or French. So there was the option. So I'm like, I've got, I've got the First Nations background. So of course I wanted to take, take the language because I've never, never heard it, never spoke it, never dealt with it before. So it was a huge opportunity for me. And then there were other students that were taking it as well. But it was definitely a little bit smaller than the French class was. Definitely, I would say it probably fell off even, you know, it was a lot more popular when I was younger, especially when I was coming through high school. Like, I think my grade 12 or sorry, my grade 11 class was seven or eight people. And then, you know, I started teaching the year after I graduated. And my grade 12 class was one student. And my grade, I didn't even have grade 11 class that year. My grade 10s, I think I had four or five home. So, you know, the, the want for, for students is, you know, it's dwindling because, you know, it's, it's, it's easier for them to just not take a language at all or to find a way around it. But it's just, I don't know, it's just weird that the students, they don't want to connect with, with their heritage, with their culture. And it's just, yeah, we did a lot of land-based learning. Thankfully, like when I taught high school, I taught at Puerto Creek.  So we did, we actually did a lot of lessons outside of the classroom.  I think it's huge. Yeah. I mean, teaching in a classroom is all right. But I mean, you know, that's all you're going to learn is like, no, reading, writing. And, you know, you'll pick up a couple of nouns.  And that's something that you get with, with a Southern Toshoni class is because we're not just, we're not just language teachers, we're, you know, we teach the culture, we teach the heritage, the history, and, you know, we put it all in and we get to do stuff like that.  You know, like if we're on a unit that's animals, go through and look for animals, you know, just anything like that. And it's not something that you get to do with math class. A lot of people for them, like, it's their way of connecting to their culture.  You know, like I grew up in a very colonized house, like very, we grew up here in Whitehorse. I never went on the land, you know, didn't get to hunt, didn't get to do stuff like that. And then, you know, as soon as I'm in my classroom, I get to, you know, I get to teach these things that, you know, I didn't get to learn when I was very young that I didn't grow up with. And these kids, they might not have that opportunity either. So for them, this class might be their only way of getting that kind of culture that, you know, that they just, people just don't grow up on anymore.   We're going to learn a little bit of language, a couple of nouns, a little bit of sentence structure, but I mean, Southern to show me is more than that. Southern to show me is a culture. It's, it's a way of life.   Seeing as it's a school program, I mean, there were grades. But I mean, overall, you see it in the kids, their demeanor walking in the door, like it's so many of the students, especially at the younger grades, like they're just, they're excited to be walking into the class. When you get a kid that's excited to walk into the classroom, that means they're going to be able to learn.  And then you see kids using it outside of the classroom. That's huge. And you don't really get that up here. So like that was just wonderful to see. So that was definitely one way of, you know, measuring the success is, you know, kids are using it outside of the classroom. Indigenous education to me is just connecting with culture. Culture is a very broad subject. A lot of people and they think culture, they think it's like, oh, it's just ways of life. Well, it's, you know, it's ways of life. It's, you know, elders. It's how you're raised. It's language. You know, all of this stuff together builds culture. And without culture, we don't have anything. And we need culture in order to teach Indigenous education because culture is Indigenous education. There's, there's a lot of ways that we used to be taught. Like I know for myself, growing up, I learned all of a sudden to show anyways. And it's just, it's just not taught anymore.    And it's, you'd learn values there. And it was, you know, just something traditional that it's just not there anymore. That's a pretty loaded question. I mean, Indigenous, it's, you know, there's tons of ways of looking at it. A lot of people would see, you know, what the government sees. Like, you know, someone that comes from a specific First Nations background, they've got two First Nations families, they've got a status card. But it's like, you know, Indigenous is just, you know, embracing culture and just having a love for who we are and, you know, what we're about and just living the lifestyle that we were meant to live. The stigma around, like in a classroom about being Indigenous and, you know, what Indigenous is, you know, it doesn't really portray in a classroom because in the class, like, when you teach language and you teach the culture, it's, you're not necessarily teaching to make somebody Indigenous or two Indigenous people. So it's, it's there, but it doesn't, you know, it doesn't need to be mentioned that it's there. Education is just, you know, going from one point to the other. Everybody learns. People learn their own way. That's something that, you know, the education system today struggles with is, you know, kids learn in their own way. But education is building life, you know, getting the steps and the tools that you need in order to succeed. And just getting point A to point B, being Indigenous, it built my education. It made my education who I am. I mean, my career started when I was seven, when I started to actually learn something to show me, you know, it's created who I am today. It opened up the opportunities that I still have today.  You know, I'm, I'm looked at first when there's a job out there for Southern to show me, you know, like I've got the, the skills that I've built up from my, from my past, from my history that give me the tools that I can succeed today. Fluency. I mean, that's, we're working on it, but I mean, we're, we're losing elders, you know, our fluent speakers are, they're not like they're anymore, you know, and our resources and our tools, they're just starting to fade. And the want to keep our language alive and keep our culture alive is, you know, it's doing the link.  And, you know, it's up to us to do something to keep it alive. Canada is currently working on their language revitalization. But I mean, it's, it's tough to look at Canada when you're so close to it here. I mean, I can see, you know, what I can do in a school. And then, you know, I can see what I can do in a community. And then, you know, I can branch out, I can see, what can I do in the Southern to show me area? And, you know, that's just, that's just cracking the surface. There's so much to it. And like getting to Canada, like there's just, there's so much to it. And I don't think I've seen enough of Canada to see what other First Nations are like. But I know, like for us, as Southern to showing people, like we're, we're on our way. You know, we're getting there. We're, we're putting the tools out there so that, you know, people can learn and we're taking the proper steps. I guess if I had the knowledge I had now, when I started teaching, I mean, there's so much and like there's still so much that I have to learn. When I started teaching, I didn't have access to a full-time elder. So I didn't really have the resources I wanted to start from. But now, like even like my language has gotten better.  Funding is huge. I mean, funding is a lot of it. Like, I know when I was teaching high school, I was very blessed. I had a pretty good account that I could, or a budget to work with.  You know, if there's something that I made for my classroom, I had access to it. So I was funded pretty well. But like, I know other programs that I've worked with, like I've worked with the Native Language Center to college. I've worked with First Nations privately. You know, the funding is just not there. And for us to do everything that we want to do, it's then it's got to be, you know, it's got to be changing where the funds are allocated. Like, we're doing what we can with what we've got. But, you know, starting to seem like it's just not quite good enough.


Mae Llywodraeth yma o deithasio yn Blomain i Gweithwyr i Llywodraeth, ac mae'n meddwl i'r dda i uswght hypniadau coffacksig rydyn ni. Diolch.  Ariwch. I'm electronic engineer based in Cambridge. I've got a Twitter that I occasionally rant on. The robot's got a Twitter that it occasionally rants on, less occasionally. And then we've got a Facebook page that we try and post updates on where we are with stuff on. You can ask questions, we're pretty reactive on it, so you've got any problems? Questions, whatever. So at the beginning, I watched Overwatch right when it started. The very first series with Jeremy Clarkson, which is a bit weird. And these terrible robots trying to kill each other awfully, but normally just breaking down. It took a bit of time before I got round to actually participating. I kind of started building robots, taking part, fighting robots around 2014. So this is once I've got a job and I could fully fund this terrible, terrible hobby that eats all your money. However, one thing can be said, everyone at robot events is lovely. They will help you fix your robot right after trying to kill it. They will suggest things to fix for the next time. It's great community, it's full of really lovely people, some of whom might be here today. And yeah, no, I'm really pleased that I got into it. So, as a result of getting into it a lot and making some good friends that are moderately local to me, we eventually thought to ourselves, you know what, it'd be kind of fun if we made a heavy weight. Because, you know, we competed with the smaller weight classes, so one and a half kilos, 13.6 kilos. So I thought it might be fun to try 100 kilos. I mean, how hard can it be? So, the reboot hadn't yet been re-announced at this point. So you have live events that happen around the country, so we're like, right, we want to do live events. So, but we were kind of concerned that RoboWars might come back because we'd heard some inklings of it. So we thought to ourselves, right, if you want to go on robot wars, you need to meet the looks unique. You can't just build a cheese wedge flipper, which is the predominant style in the UK at the moment, or was then. We didn't want to make a spinner because you can't run spinners in live events because they're too dangerous. Because, you know, they're spinning a big bit of metal round really, really fast and they drive into other guys who made a metal and then bits of metal fly off at like a couple of hundred miles an hour. That's not fun. So we didn't want to make a spinner, we didn't want to make a flipper, so the one we kind of came up with was a control robot. And after a lot of random sessions where we each egged each other on into worse ideas, we kind of came up with this. There were other ones, which were different. So we went with control because it's pretty rare in this country. Most combat robots in this country, as I said, were flippers. So we thought control robots were quite interesting because they'd be moderately unique. So that's what we started designing on. And this is a midway cad. It's not the very original cad that we started with. And it's not the cad we ended up with. But it's somewhere in the middle. So you can start to see some of the shape of it. So we've got folded side pods. None of us were too keen on welding at that point. So we were like, we'll fold everything. It'll be easy. And then we've got the claws on the top. The idea would be those would come down and clamp you and then the centre body would lift you up. And we had this weird idea that it wouldn't be fun if the whole centre body could do a full 360. But that took a bit of engineering to kind of try and do. So that was a bit of a painful choice. So we decided to call it Deadlock because the software engineer in our group of three was a lot more forceful with naming things. We tried a couple of names and then he was like Deadlock. And we're like, I guess. And he's like, no, it's Deadlock now. And it's stuck. So a Deadlock is a software term for when you've got distributed processes. And they all end up waiting for someone else to finish, but that someone else doesn't ever finish. So it's a Deadlock. And we thought that's quite nice because we're going to try and lock around someone and then make them dead. The robot, not the person. Just to make that clear. So I was going to say, yep, we clamped with the top jaws. They only exert a tonne or two, which sounds like a lot of pressure, but now everyone's made out of these really, really tough steels like something called hard ox. And that tonne's not enough to get through it. You need lots of tons. But we don't need to get through it. We just need to hold them so they can't run away. And then the whole, as I said, the centre body lifts them up, lifts them off the ground, and then we can do fun things with them. The goal there is to make it very fast. So we had a lot of fun getting the gearing for that right. And by that, I mean, we got it wrong a lot. And then we got it right. And then we broke everything else. So we did actually manage to sort the engineering out to get the centre fork to rotate all the way round. The reason, the way we did this was, going back a side, we've got all the motors in that grey body in the centre. And then the driveshafts come out really funnily into the red drive pods. So OK, so once we get the CAD, we were like, right, CAD is what, so computer aided design is one thing.  But it's all on a screen, you can't physically touch it, you can't look at it, you can't figure out whether it'll actually go together how you imagine. I mean, the stereotypical one is a bolt that you can't physically put in because there's like a bulkhead in the way. So we thought it'd be a really good idea to make use of the local facilities at the local hackspace and laser cut the robot out of cardboard. So that way we've got an actual physical model that we can see, that we can touch, we can manipulate, and a glue gun is about the same size as a welding torch. So the joy of that is you can actually, anyway you can get the glue gun in, you can get welding torching, so that kind of confirms that it can be built because it would suck if you couldn't build it. So I made the cardboard model and from that we made a few changes. The notable one is we made it shorter by five centimetres because we felt that it was a little excessively long, and yet it's big for a robot, but you have to pick up other robots, right? So at this point it was about, season two had been announced and they were looking for people to enter. And we tried entering but we hadn't quite finished some of the finer points of the CAD so it probably wasn't a good idea that we got accepted. We didn't, so that was fine, bullet dodged. The second time around for series three we entered and we got accepted. And you get accepted and then you get told, by the way you need to be in Glasgow in six weeks. So it's like, oh, okay, we can do this. So we ordered the metal, which was not cheap, and a week later it all turned up and it all looked kind of, it all kind of lookedish right. But then as we started trying to put it together, because as I said it was all folded, so it should have all just kind of dropped in place, maybe neatening up some of the holes, but then it should have bolted together quite nicely. No, not even slightly. The supplier that we used had cut everything wrong and it bent everything wronger. So they missed some of the key important holes for bolts and stuff off, which is annoying because it's wear plate, it's really tough. We don't want the opponent to drill through it, which means it's very hard for us to drill through it. So that was very painful. And the other big problem we had was every single bit that had a bend in it, the bend was wrong. Every single bend was wrong. Some things had bent backwards, some things had bent in the wrong place, nearly everything was bent to a completely different angle to the angle we needed. So none of it fit together. So the only way we could get it to fit together was to literally cut it, grind it all a bit and then weld it back together again. And as I said, wear plate, this wasn't fun and it was very difficult. So, yeah. We managed to kind of get it somewhere there after a lot of pain and a lot of evenings of hard work, long days, long evenings. So as you can see, yeah, that's the metal robot. It looks very similar to the cardboard one. Because the hope was that we'd buy it, we'd get all the metal done, that would take a week to come back. Then it would take us maybe a week, week and a half to fit it all together, get it welded up and then we'd have the remaining two and a bit weeks to realise that we'd made a mistake and fix it to get the drive working so it could drive around, to get lift and clamp working. So we had all these great kind of plans that immediately flew out the window the second the metal came back wrong. But we did eventually get it looking like the robot in the CAD and we did kind of get bits kind of working like the motors would turn, the wheels would turn for a while and the lift would lift up a bit, the clamp would clamp a bit. So, and we drew close to the deadline where we had to be in Glasgow. So we tracked it on a pallet in the middle of one of my friend's lawns.  That got tied down, the pallet got tied down in the back of the lorry, filled the lorry full of all the tools that we could think of, we could need and basically just the entire garage worth of tools. And we drove to Glasgow while the primer dried in the back of the van. So we got there on the Wednesday which is when you're meant to get there. We had a couple of days for our scheduled Friday on the Friday. So we spent literally every second, every waking second we could, working on it or thinking about what we needed to do the next day. So they opened up the big warehouse where the Robot Wars Arena was at 8 a.m. and we were there. We took quick lunches and ate the free muffins. Food was good actually, totally worth it. And then they kicked us out at 8 p.m. and that's when we left and we were down with the heads-in robot trying to get it to work, trying to get the drive to work for more than about five seconds to get the lift to actually move as fast as it should have been moving. And we were down as one of the first... Well, we were down to be in the first fight of one of the later episodes, hence the starting on Friday. And we were constantly like, yeah, we think we might be able to make it but every time we fixed one problem another problem would crop up. Sometimes they were masked by the previous problem sometimes it was just something that we didn't think was a big issue. Turned out to be a bigger issue. Finally, we had to go to the production team. Sorry guys, doesn't look like we can fix this within before Friday. And they're like, cool, right? So we got put back into reserves and we got replaced by a robot called Coyote.  So we kept trying to work in the reserves section but unfortunately that was, still couldn't fix it in time. Production staff throughout the whole thing were very lovely. They were all very understanding, very supportive. Our main point of contact was like, it's such an awesome robot. It looks completely different to everyone else's robot. It does the thing that no one else really can do. We're really keen to see you guys come back for series four if and when that gets announced. And we were like, yeah, we can do that. So we were all kind of like big set back but we can move on. So that's a little picture of deadlock as we were leaving the Robert Wars arena and you can see the pits and you can see the big grey primer. So we left sad, tired but kind of a little hopeful for the future because we figured yeah, we'll come back for series four because this is, Robert Wars is doing pretty good, right? And it'll be fine and we'll show our stuff. We'll look really cool and then carbide or killers later on. That's okay. We'll all have fun by that point. And then the BBC don't renew it. So that was pretty heartbreaking. There are still live events. I think the next one we're scheduled for is Steven Edge in mid-October, I think. So that's that to look forward to. We've still been working on it. We've still been trying to fix up the drive which has proven difficult. Trying to fix up the lift. We're quite keen. We think we've got the lift sorted now. The chain, the very complex chain path is all constrained, it doesn't slip. And we can lift about a ton in about a couple of seconds from ground up all the way up. So that's quite fun. We've done a few live events with it and it's kind of worked but the drive's been a bit spotty. We think that fixed that like a week or two ago, right? Yeah. Totally fixed. Totally fixed. Haven't heard that one before. But we'll see. We'll see. So we're going to try and get it running at Steven Edge. Try and have a good fight. Hopefully not get the stuffing kicked out of us. And once that's done, get it painted under. See if we can't go to, say, America. Because while the BBC's cancelled robot wars series four, America has just restarted their version of it called Battlebots. So they're currently showing series three. And hopefully maybe we'll get on their series four. Crossing the fingers. Also China's got a couple of TV robot wars shows starting up as well. So we might be taking it to that. Yeah. So any questions? I'll be outside. Or just try and flag down the white Sinclair that's zipping by at 100 miles an hour. Sorry, that was too fast. OK, we might have time for just a couple of questions. If you put your hands up, I'm going to throw this microphone over to you. My name's Lucy Rogers. I'm really pleased to see that there is life after robot wars for the robot ears and that there's plenty of things that you can be doing and potential. Any advice for an ex-judge? Well, I guess the first one would be there was Hebercon yesterday, which I'm sure could have dealt with a firm judging hand. I'm not sure on the status of that one. There are other live events going on around the country, robot combat related. But no, I'm sure there are plenty of opportunities for someone with as distinguished CV as a robot wars judge. Oh, of course. Yes, I forget. So one of the joys of being in Cambridge is there's a rather rabid Raspberry Pi community. And two mad selfless gentlemen called Tim and Mike run a competition called Pi Wars every year. And Lucy is one of the judges for this. And basically, there's just these, you build a robot with a Raspberry Pi as a base and then you have to complete a number of tasks. I can't quite remember what the tasks set for this year are, but when did the deadline for entries close? Next year, then. But it'll be awesome. Or there's one over this side from one of my teammates who's going to mock me mercilessly now. Hi, can you tell us a bit about the motor controllers? Specifically, you're ever going to actually finish it. So when we started designing the robot, one of the things we noted was in order to get everything packed into a small space to make it compact, we were going to use these big brushless motors, which are a little bit more efficient than the standard DC motor that you might be more familiar with. Because we're using big brushless motors, you need big speed controllers for them. And you either buy these 300, 400, no, 700-pound ones, which are 700 pounds, which is a lot of money, or you could try and get away with buying these 100-pound ones. Yeah, there's a reason one. There's a price difference. The 100-pound ones are not very good. And I foolishly volunteered to try and make better ones because I'm an electronic engineer, so I know what I'm doing. Yeah. How hard could it be? I'm starting to learn to hate that phrase. I still say it by accident, though. So, yeah, I'm still working on big speed controllers. Thanks, guys. Yeah, yeah, I know. Still haven't committed to a deadline, though. Do you have any videos here or online? Because I'm really anxious. So we should have some videos on our Facebook page. That's probably the easiest way of me trying to hunt through my collection of very poorly organised videos. Occasionally, we tweet videos as well, but the Facebook page is the main kind of thing we try and keep updated. The other one is the live events. Sometimes they'll put out videos of fights. So you'll see a great robot briefly fight and then break down in an arena with a poor lighting, but we'll get better. Thank you. No worries. Hi, Rob. Hi, Rory. So what lessons were learned from this particular build, Rob? Ouch. I guess the big one is... The big problem with robot wars is it's a massive investment for how much money you've got to spend on a robot. I'm not going to tell you how much that one cost. I don't think that's a good idea to say that. So it's quite hard to justify buying all the bits to build a robot before you've got on the TV show, but at the same time, six weeks to build an overly complicated, well, very, very complicated first-of-a-kind robot probably was a bit much, maybe? So, yeah, definitely... I mean, we started small. That's the usual advice for robot wars stuff. You start with smaller weight classes and work your way up, but yeah. What's your opinion on precision-folded hardhawks instructing a robot? OK, can we hear it again for our speaker, Rob?


Start BenchCut, Jamar Chase, Stefan Diggs and Justin Jefferson. I'm starting Diggs. You're starting Diggs? I'm starting Diggs over Jefferson, sorry, he's a pure route runner. I'm gonna Bench Jefferson, I'm gonna cut Jamar Chase. Start Justin Jefferson. Cut Stefan Diggs, because you gotta respect, you gotta respect. Jamar Chase ain't there yet. Jamar Chase is there. Bench, Bench Jamar Chase. I'm starting Diggs, I'm Benching J. Jeff and I'm cutting Jamar. Start JJ, Bench, Diggs, cut Jamar. Everybody's cutting Jamar. You have time to go.


Hey man, well first of all, welcome back to the 85 Shot Show. I feel like we TV1 today. Because we so behind the music. Oh man, behind the music. You see how I said behind the music. Behind the boards. Behind all of that. We got a real one here today, Clayman. I'm talking about this man got a hit record for every letter in the alphabet. Literally, yeah. And it's not just one, no, no, no. It's hits. Hits. Like they hit hard. You need one though. You ain't got nothing with disease. I'm working on that. Okay, okay. You're right. I wrote one called Zanzibar the other day just because I like I ain't got no Z. Alright, let me finish this answer. You're right about that. That's crazy. Hold on, I gotta finish this answer. I gotta Google Zanzibar. Come on. Over 100 million records. So one of the coldest niggas in the music game ever. Produced with Michael Jackson. TLC. All your favorite. All the music with the black people in it. Black people in it. He had something to do with it.    Your mama love. The people after love. He got a hip for everybody in the house for the kids. They got a hip for everybody bump on your face. Come on. Watch your face nigga. None other than Mr. Dallas Austin. We can say a lot more and that still wouldn't be enough. They still wouldn't get it. The impact. Everybody who has come on this show and sat on this couch has brought your name up. I was seeing that man. That's when I was like, damn. That's like, of course, Gip and then Buster. I was like, I want to go on that show. I was like, hi, get on there. I saw you on Instagram.  You could have showed up. Niggas would have rallied up. I would have came to get you. I love this show. It's one of my favorite shows.   Like when it comes to Atlanta and the influence and making the landscape what it is, man. You have definitely was one of the people who had the foresight to look at the city and say, this is that. This is what it's gonna be. This is what it could be. Man, it's just an honor to have you in here with us. It's an honor to be here, bro. It's been crazy. It's been a long time. Coming from College Park and then looking around now to even like, you know, passing. The things you can do in Georgia is why I stay in Georgia.  If I go to California, I'm another producer, right? Yeah. But, you know, we, we started this thing. We started out running the Greenbrier on skating the jelly beans, dressing the kids from another bad creation at the mall while we were just doing records. Like just trying to then organize noise had they had their studio inside jelly beans. Right. So I'll go there and go skating and be playing the records I'm working on. And then they had the actual studio that they gave them inside the skating ring. So that's what organized noise because they were dancing. Like most of them was dancing and guests dancing. Some of the dance crews, Pat Rico. And then yeah, they ended up having a when I first saw Rico wait, it's crazy. Because he's the first one I've ever seen with a dope wet phone. Like one of the prongs that was in the bag. In the bag. Like the big bag. Yeah. He's standing up in this game ring on the phone. I'm like, what is that? I wonder who he was talking to. It had to be somebody on the house phone. He wasn't talking to nobody. That's the crazy part. Then nobody else had a boy.  Yeah, man. It's crazy how everybody, you know Atlanta, we seated it, you know. So to see us all grow and all of us do what we've been doing. It's just been amazing. So what was in the skating ring? Organized noise. Yeah, their first studio was in jelly beans. I want to ask you this. Like what was it like? What did you see in Atlanta that early to make it the same? You know, to what it is today. They're like all the talent that's in this city. It was crazy because everybody was just like, when I met JD, we were like 17, I think. I met him at a car wash. I knew him because of the silk times leather, some of the other stuff he had going. But he was like in a little white, herby love bug.  I was going in the mental BBD phase and it's crazy how we lived around the street from each other then. Now we live around these three from each other in St. and Springs, but it started off in this college park and me going to his house, making beats at his crib. Before we even did TLC. Before we even really did another bad creation and all that. Let me tell you my another bad creation story. My teacher took my ABC tape and kept it the whole school year.  I'm talking about I had it early enough to stunt. And then I used to just play the instrumental and the instrumental was on the other side. Because I had it in school when she was hating. She wanted to listen to that. I'm telling you, that's what that was. She was big hating because I had the cassette single. The ABC was huge. They didn't realize that they blew up before boys demand. And so when they were going to Linux and people start freaking out, they would just start crying. They were like five years old, five to nine and 12. They would start crying. Yeah, because they were freaking out at people running at them. Damn. Imagine you're five-year-old being Lil Dave and ABC. Imagine you're seven and you're eight, nine-year-old being Rick. Mark. And GA being about eleven.  Full grown titties. Come at me. No. I see two Nintendo things. That was cool. They'll never get the credit they deserve. Bruh, jealous girl? Yeah. Like I said, they were big before boys demand. Boys and the men was opening for another bad creation. They were like a phenomenon. Hold up, what? Boys and the men was opening for another bad creation. Yeah, but the kids took off fast because of the men Aisha and I made them a little poison. So it made them just be cool. It made them from God be rolled. But then, you know, when I first saw the kids, they were like, they had them in like the drop crouch, like the hammer pants, like the, because they were trying to be like no addition, doing any hard work. I was like, no man, we got to make them a little BVD. And we just started flipping them, you know, and so it was so exciting when kids saw it, it was caught on like wildfire.   Yo, I had this thing and these little niggas were just fighting deep in go-karts in every way.  Yeah, man. And I wanted to be in public enemy so bad when I was little. Like Hank Shockley, I used to listen to the Bomb Squad. And like, Atlanta, we was trying to find ourselves, we had Kilo, we had like Raheba Dream, you know what I'm saying? And stuff like that, maybe SOS Man, Peebo Bryson. But we were like the first tipping point of like cool, young music being able to be made. You know what I'm saying? We just made it where that tipping point, like even from another way of creation up, I knew everybody that's ever made it out of here. That's what's insane, you know? Ludacris when they had the show, him and Chris. I funded the first video show for them when they were DJs.  Like Arnell Starship? It was like Arnell Starship, but it was supposed to be like Dre from MTV, yeah, Love and Dre. And so that was even before Chris started rapping. He started breaking me his records first before we even got to Def Jam. So all of it's like, Sierra, Monica's little brother's girlfriend. What? Yeah, this was like, everybody that's not a person that's from Atlanta that hadn't been through dark, because I opened that studio so long ago and then I made it so that it was about having people come in and congregate, come in and work in each room. You can hear what somebody's working on in the lounge so you can make yourself better.  You always busted down and like opened the whole platform up, man. How would you say that that impacted all the business? Because when you could have just been a star by yourself, did you later put on two, three hundred people? Yeah, it's crazy, because we didn't even know what we was doing then. When I first got Rowdy, I didn't really want to label. I was just hanging out in Masquerade, I was slam dancing, I was K-L-F, I was hanging out with, I was just alternative as hell. But I was doing I just did ABC and Boys Them Men and all that, and so when LA and Clive came to me, they were like, oh, you should have a label. Nah, man, I don't want no label, bro.  I was like, I'll just make it a division of the face. So I was like, alright, that could be cool.  Alright, cool, so that's how I started Rowdy. It was one office inside the face. But it was supposed to be the hip-hop label, so to speak, you know, and rock label, and then next thing you know, I got full-on staff in New York. 23 staff members. And I'm like, because all they was like, we gotta move it, we gotta, if it's a label like that, it needs to be in New York. And I was so Atlanta at that point, I was just like, man, alright. So I would go up to my office in New York, full-on staff, everybody, marketing department, publicity department, everybody. I'd just go back to my office, open the window, and smoke a joint.  I'm like, I'm in New York. We don't mess with these New York diggers. That's how we thought about it when we was around.  There's no music, open my window, smoke some weed. And one day, one of the A&R ladies came and she said, I'll talk to you for a second. I said, yeah, she said, do you like anybody out here? So what you mean? Why is there needles? Because they think you don't like the staff, because you don't ever go talk to nobody. I said, oh, she said you might want to have a staff meeting. What's that? She said, where everybody get together you meet everybody? That's how green I was. I was still like... And you got the lab. I'm full-on the president, but I still ain't had a staff meeting yet. But you got everybody shook. Everybody worry about this. He won't look at me. But you just going in there, your own label. I'm 21. Like, 20, 21 years old. And from Atlanta. You could have been putting your joint out on somebody for him. What? And you wouldn't. And they would have took his stroke. I left opening the window at my label. Thank you.  I was like, what are the windows? Yeah. You got to go upstairs and go outside to find that. That's crazy.  I was in New York. I was like, I'm too cool. Like, calm. I'm in Atlanta. You know, I'm like, yeah, I'm easy. Walk around.  I'm getting New York.  And so I had to settle in at that for a minute. Yeah.  Buster's helped me settle in a lot. Okay.  My staff was a staff. So that was cool. We don't trust New York. We couldn't. If you're good with Buster Ryan to New York, you don't got to hang with nobody.    Produce a little baseball. Don't ever try this. What's crazy is that he would come to me. We first started, he would come to me in the studio and he'll be like, he didn't want to go solo. It was Charlie Brown that wanted to go solo. He understand he wanted to be in the leaders, but he was getting out of the tension. So when he first started, I was like, he played me song after song after song and everything was just, it was so much. You just couldn't catch it for a record. And so he would do that all the time, all the time, all the time. And I'm just like, man, that's good, but it's just like jazz, man.  That's too strong for me. And then at the end, he will always do this. He will wait until I'm telling you 20, 30 records and he'll play me Wu Ha. And I'll wake up and be, ah, y'all, y'all, y'all, y'all.  He played the album from the back to the front. Then again, now I'm in New York. Every time he put out a record from that point, he had to come play records for me and get my penises. So we'll do it again. I'm in New York. He's playing me song for song. Now I did a little better. You know, they ain't as complicated, but it's still song for song for song. I'm smoking a frontal leaf. I'm falling asleep again. I'm out. Do, do, do, do, do, do, do.  I'm like, well, you make me sit through all the records to get to the one.   But as we after, like, 20, 30 songs, we do this all night long, man. And then he'll pull that one out. He'll pull that one out all the time. And so that's how we really, you know, work with him in flip mode. He was like, he was my dog. That's what I was running with. And at the same time, that's when we was hanging with Gunny Marvin, everybody in Atlanta. Man, hey. Because we got pieces of the story from different people from them being on the spot and just to see how, like, it ended up being... Like that's what I'm saying. Every piece connects back to you. You literally did everything. You the template, you the movement.    And Dallas Austin, the first nigger that wore biker shorts.  I remember that nigger came up to Green Blouse. The nigger had on some biker shorts. And he had his motherfucking tank top tucked in. So Dallas, that's what we doing. He was like, yeah, and everybody did it. That's after that. Bro, I said, everybody did it.  And we'll just start dancing.   It's another side of the game. Niggas' credit you for everything. And they're like, look, Dallas Austin invented lemon pepper wings. It was Usher's ninth birthday. But niggas showed up with lemon juice and pepper and said, put it on the way. But Austin, you literally deserve at least an exit in Atlanta, bro.  I'm trying to get a street of the statue while I'm living. Come on, what? This is not an interview. We just came to, we wanted you to come. Niggas, this is really the statue plan reveal. This is all this is about. We appreciate everything you're telling us.   Austin came in here. He sat on this couch. You're my nigga J.O. in here in the music business.  Come on, man. Man, the nigga code.  I know you be playing. One of the code is making music.   We was going to make this a hit record. What would you do to this? We got a board for you to actually do it. They got to pay for this portion.  We can't necessarily pay you to do it, but if you was going to do it, what would you do to it? Really, really on that, it's about who you put on it and what they do on top of it at this point. I got it. I'm about to show Anthony Hamilton. Oh, yeah. I'm putting him on there first of all. You can hit it right in the head though. For some reason I want Lizzo on here. I just want her to be. I want her perspective on this. After the end, Lizzo on the same track. Let me see. They ain't never heard that. They can sing both of them now. They got the track rocking anyway, so that'll be like something nobody ever heard before. Hey man, you was working with one of the probably the best musician in the history of the world. When I say that, I'm talking about Michael Jackson. How hard was it to produce music for Michael Jackson?  When I first went out to work with him, then he would show you stuff like he would beatbox it.  I still got beatboxes of him because he would go in the room and be like, that's something like this. He goes straight to Michael Jackson. Like a nigga in jail? It sounded like all the other kind of Michael Jackson records you heard. Can you just like drop some of that on Instagram or something? Man, Michael Jackson.  We got Michael Jackson beatboxing tapes. Can I get 100,000? 100,000? We got 100,000. Can we get 140,000? They going to sell that shit? At least let me see it. What was crazy though is I got swimming crazy stories with him. When we started working on the project, I saw Jimmy Jam and Taylor Lewis.  I wanted to be in the time, you know what I'm saying? I know when I played get it up. He had to be like, oh yeah, that's Michael. Michael, how you doing? Yo, Jimmy Jam. So, Michael was over here. Michael didn't think I was hyped enough on him, right?  He just started putting in video tapes. He was the first one wearing a mask. And he started putting on tapes. And he was like, this is me and Charlie Chaplin. So it's him and Charlie Chaplin dancing together. Charlie Chaplin. He did video integration. Wait a minute. I think it's on the smile thing he put out, right? But that's how I'm feeling. I'm like, God damn. And then he'll be like, oh yeah, this is me when I was in Africa and everybody, 300,000 people trying to get in and 300,000 people inside. Michael, Michael. And every time he put another tape, I'd start being like, shit, that's him. That was the nicest way of saying don't ever try me like that. It was working because this is what killed me right here.  This is what took me over the top. I'm him. He put a video in, right? And he's sitting at this piano and he's singing I'll Be There. It's kind of like the round, after a minute of time stuff, right? Got Tink Top on, Ponytail, Curtains are gone and he's singing I'll Be There at this piano, right? And then he keeps hitting another I'll Be There in the background. He keeps looking over his shoulder. He starts singing again.   And he said that's a Pepsi commercial. I just shot that as a demo. That's something we might use, might not. By this time I'm like okay, I'm through the roof now. He got me. I'm like that is Michael Jackson I'm sitting next to in here. I'm like this is crazy. So then I think once he got my attention and then we start working on stuff he said that's when he said to me, I did this song this time around and he goes you know what's crazy is he sent us to the Museum of Tolerance. I don't know if anybody ever went there before in LA. That was his stimulation around being around him?   And you're in the same room with everybody.    Like everybody's crying, they throwing babies out in the windows or holocaust is going on in there and they're showing you all the stuff.   Yeah bro. So when we started working on the record he said I want somebody to rap on the song Dallas I need somebody really good to rap on the song so I'm thinking let's get treachery. Hip hop raise, commercial they ain't too hard. I need somebody harder. Somebody a little bit harder than that. That's when I said what about Biggie? Yeah, like him. So I called Puff Michael Jackson on Biggie to come rap on the song.  He out the now Nigger he left. He ain't even here right now. I'm not here either. This is actually reported. So me and Biggie sitting in the car smoking outside the studio listening to the song over and over I mean over why he's rapping and he's saying damn this is crazy. He's like this crazy I can't believe I'm sitting in the car with you writing a song for Michael Jackson this is crazy right? I'm like yeah this is he start rapping the rap. Listening I got taps on the phone motherfuckers making a cop seeder.  He gave you a Biggie verse. I'm like Oh what he saying what about because I know you know it. That's how it's called and we ain't never go here.   I'm telling all them slaves in here cause they can't play my record they listen to the masters of the radio station the program directors are mastering their slaves right Dallas?   You started getting applications. They said you can get me into the band program. Hey, bro what's happening then, bro? Him and all girls, you know what? It's just good. Damn.  Oh man. I wish I had got like 2% of every movie that come here because I had to go to pass the film bill, right? So I went before the state of Georgia and tried to pitch, hey I need y'all to like make a film bill for us so I could film ATL here. They wanted to send me to New Orleans to shoot ATL and I'm like how am I going to shoot a skate rink movie with all my friends in it that I skate it with in New Orleans?   I was like, yeah, tell the governor if you want, because they said, well Sonny Perdue want to talk to you about this. So yeah, right. Tell him you want to talk to me, come to my house, right?  It was so far away from that happening I thought that would never happen in my life.  They introducing a car? Yes! They brought it to your house to introduce it.  They said we cannot show the people where we made this motherfucker, we have not cleaned up.  Not a Mercedes event, not the 350.  Who was in Atlanta too, because this is like I just got out of my house, it took me like six years to build my house or whatever, right? I just finished it.  Ain't that crazy?  The nerve of these things. Can you believe that I bought a used house.   They can stow the fruit out of my yard.  I don't know where to pitch it. You got fruit things. Man, that's a different part of it. No, no, no, this isn't something to do with my house. And my sister said, yo, the governor's coming, he's coming here.  What am I saying to do when he came here? I don't know, but he on the way. So my thing was I would put the kids in white polos, give me my white polo shirt and we going to do this thing, right? So he comes in, I white polo it out. There's people, there's some party going on in there. So he's like Dallas, I don't know what to do. Can you go speak at the G8 summit and help us get it? I'm just not familiar with what this takes. So I'm like, yeah, I'll go to G8 summit. I got this shit, I'll speak on it. I got it. We're going to do this here. Yeah. Now, keep in mind, and I'm lobbying for this.  So I'm thinking, here it is the night before the G8 summit. Now, the G8 summit is in Sea Island, Savannah, right? I'm up.   Smoking, right? I'm working the night before. I'm making beats.     You know that channel G4? They got the games and shit, right? I'm thinking I'm going to the G4 summit, right? So I'm on the plane. I'm on the way to the plane like this.  What are you doing? I'm like, man, we're going to be ready. I get on the plane. I'm drinking Bloody Mary's. All right? So now, Savannah ain't that far, right? So we started flying to Savannah. I started looking down. I see tanks, like military tanks everywhere. I'm like, what's going on? He's like, you going to speak at the G8 summit? I'm like, yeah, but why do they got tanks? He's like, where do you think you're going?   You talking about entertainment? You know stuff? He's like, no, my man, you're going to speak with George Bush and Tony Blair. All the world leaders are there. All the world leaders are there. And I'm landing. I'm seeing hummers and tanks.  So I got a speech this lady wrote for me. I ain't even look at this yet. Because I thought I was going to this place. I was just going to wing it, you know? Yeah, I like games, nigga. I'm going to take the PlayStation.  Drop the new Xbox Expeditions. I'm sitting here, man. Man, I get up there.  I walk up in the room.   Oh, man.  Relative Marys or something. Because I've been drinking the whole time when I got them playing. And I had to leave there.   And then I get there. And I haven't looked at this speech. And I opened the speech up at the podium.   And I'm just looking. I'm just like... It says on behalf of the congressional state of Georgia is how I start off. And then everything else I'm just like, too big. I'm just looking around the room, sitting there in all suits.  I'm like, man, okay, check this out. I'm from College Park, right? And I'm trying to make this movie here. And it's from Atlanta, by Atlanta. We should be making it here. Why are y'all trying to send me to New Orleans? This place could be the Swiss Alps. It could be any place. Georgia could be anywhere. It could be this, that, and the other. There's just so much money you're missing. So much stuff here. We got to keep our economy here. These kids are going to school in Georgia State and all these art schools. And they can't go out here to work. No, they got to go to Hollywood. You're missing the whole industry. By the time I finished, well, they had a standing ovation. And everybody behind me was going. And like Dallas said... And we appreciate that. Like Dallas said... What? Yeah, that one right there. I still have one with the stunt. Whatever you said opened up the floodgate because it came through.  Yep. So yeah, they opened the floodgate, bro. That was safe. So I'm trying to get a big statue. We're going to like a statue, a Liberty Statue. Get that big statue, a statue. What's wrong? You want to be keyboard?   Oh, I got one. Go ahead. We're going to have to redo Storm Mountain. You got to put him up there. Oh, yeah. We're bidding for outcasts to go up there. They're going to never let us go up there. Man, come on. Crazy part about Storm Mountain.  They used to burn, I used to see in our textbooks, they used to have pictures of Storm Mountain with crosses burning on top of them. So I was always, I always get to go to Storm Mountain. Yeah. I've probably been there one time.   Oh, yeah.   Who did it? Oh, that's all. Well, we got to figure out this time. John Wayne. We got to figure out Buckhead. Like somebody, you got to figure, somebody, you got to, I don't understand. Like, can't be niggas from Atlanta because nobody's getting shot in the South DeKalb or in the regular Greenbrier. It's all at Linux. So I feel like that is just getting crazy out here. And at some point on the police, the mayor, somebody had to do something about it. It was really getting out of control. And I feel like Atlanta, for the dudes that said, like some things we just like two chains were saying, we don't really stab people in the club. You know what I'm saying? We don't do, it's just, it's just weird that it's taking this toll.  Don't go to Far Roll, by the way. If you can't go to Far Roll, if you don't watch it, what is the ATL school? Well, you can sit there and watch it. That should not be scared to go everywhere. So don't look at that. Because I don't find myself, this nigga got shot at the corner of this. It'll bust out everybody's windows. Like even coming down here, I got my gun in the car. I don't love cars on the road. Why are you saying that? Because, man, I'm just taking, I ain't know where I'm going. He said the West End mall. He didn't even tell me I was coming to the creative spot. He said, hold here by the West End. By the West End. You even looking at ATL school? I got my slingshot on me, too.  No, man. I don't let anything happen to you, man.  I'm protected by the Lord, man. And Michael Jackson, man. And Michael Jackson. Bro, he can go from...  All right.  You got to give the Lord his credit. Give the Lord his credit to give the Michael Jackson the sacred. Another big thing, one more big announcement to make that I think everybody should be proud of from Atlanta is that we are getting out on Walk of Fame, like the start walk in Hollywood. So you will like... And they're going to put it... I thought they would try to make us stick it on Martin Luther King, which has been fine, too. But it was like, no, no, no. We got to be over there at the stadium. You know, we need to be right where everybody walking out of soccer games and, you know, they coming out of the Phillips Arena. Oh, yeah. You know. We got to keep pushing, y'all. How many spots they got? I think, well, it's... They're expensive. So you do start with the first 10 and then do... How much do the spots go for? About 30, 40,000. 30, 40,000? I mean, I can do it with a payment point. Let me get on yours. Let me get on yours. Let's do what? Together. Have you? Have you? Lowering the service. Lowering the service. But I ain't lowering it. So you can get both of them in there. We'll be definitely just up on that bench. Towards the end. Towards the end. Towards the end. The one toward the end. We'll be the last one. We'll be down a little by with the uptown. Last step. All right. We'll be way down. You know you're at the end when you see Carlos and Clayton. You're almost out of there. So you see Carlos and Clayton make a right. He's going to take that on straight to the inner circle. That's what's cool about it though. It's the entertainment walk. So it will include y'all. It will include actors. It will include sports. It won't just be music. You got to be a... You got a statue. You got a square. I got to ask one more thing. What was the wildest night in Atlanta? In Atlanta in general? The deadest Austin's wildest night in Atlanta. Oh boy. Damn. Really? I was a popcorn. So it's me, Whitney Houston, Jackie Chan, and Steven Seagal. We're an old nation. Why you keep taking that front of the old man? They're a frozen family.  The Y2Ks came in and they met some bee sheeps. That's when it first hit Atlanta, like the real fun epidemics. Everybody was wild.  So me and Sleepy Brown and Joy and Gip and... all of us just all hanging in our own little pack, in our own little squad. So I think it was like Christmas or something like that, but all of us have been like... they're named the MGQs and we just thought it was a good idea to like, you know what? We got to go to a Christmas shop in the mall, you know what I'm saying? Why don't we just stay up and go to the mall? You know? So... That makes sense. That makes sense, right? I've been there especially if you took a miss a bee sheep. Oh man. Oh yeah, it makes sense, right? We haven't been going to the malls though, but all of us then decided we should all about matching sweatsuits. Right? Me, Sleepy, all of us starting to cap our sweatsuits with the chicks on the sleeves. So now all of us are switching to those in the mall. Now we're in a whole another world because we just sit down and join. But by the time we all look around the shop, and he's sleeping on the counters and riches, like sleeping in between, sitting here and then and all that. But Karma, Karma the nightclub used to be our wildest days because we used to go underground and we didn't go out until 2 in the morning. Like nobody went out at 9, 10, 11 o'clock. That wasn't that thing to do. Like 1, 2 o'clock. You just stay out. Come out, come back home. The daylight's out. You know what I'm saying? And then Karma, that was just like a whole another like, I don't know, it might have been, it might have been this, I don't know how sinister, it was just sinister. It was, it was, it was fun. But it was dark because it was downstairs and I think across from where they had the federal, the federal building that. So he's got slaves across the street basically. Yeah. So he got this real eerie feeling going on with everybody in the whole place. Yeah. And that was the, to me, that was the, to me though, that was the funnest time until the, until the ecstasy started going in the after hours. Oh yeah, the after hours. Yeah. So when ecstasy started turning into after hours, like where, like, cause that wouldn't really for that. It was more like, hey, we're gonna hang out with the white kids, we're gonna hang out and get mixed and go to the mjq's and go there. But when it started really moving to the after hours and to the the black kids and that era was like, to me, the funnest era. Because it was, I think it was new. It wasn't, it didn't feel dangerous. It felt like fun. People listen to music and you go around and it was just something new to everybody. And you could tell when a new person would try it.  Oh yeah, god damn. Why ain't nobody called me all these dancing? Let me know if we ain't here.  You know what, we didn't know they were with the glow sticks and the little baby bottles and stuff. You be like, we're not letting niggas know this shit's going on out here. Everybody's feeling good. You know what I'm saying? You don't let niggas go, one, two, or this way our motherfuckers be at. Niggas way out there. But yeah, it was an era, man. I feel like that it's, I don't know really now like when I look at when I look at that and I look at people even in the scenes and being out, it's a whole different city. You know, it's a lot, it's gone a lot more metropolitan. You got your belt line and then you got like, it's a lot more culturally significant than we were before. We're the most culturally significant place on the down planet right now. You got a lot of spots. Well, just in everything, like in music and culture and that and everybody, if you look at it loud, it's a lot of people from everywhere else. But like the culture that really resides from being from here, white out on his glasses. Right. You know, it's always something new and it's always some other trend and culture. And I always say to kids here, you don't understand that they've been that long that you guys couldn't go to the same bathroom. Like they would have put the dogs on you and sprayed you down right here on the edge with 60 years ago. That ain't no long time ago.  You know what I'm saying? Oh, run it back. I want to hit Quavo. This was all about the economy. They didn't want you to get rich.  But you look at little, you know, look at little baby, look at these dudes. He said, he's gonna get so much loot. They got money stacked on their ears. They got cars and stuff for days. And this was about the economy. They wouldn't let you have green. That's what this was about. It wasn't about black and white. It was about, we don't want you niggas to make no money.  So as business owners, they didn't want you to have the green. And when we kind of kicked through, like, I remember when we first started making money, like me and JD around Atlanta, the countess was weird. Everybody was weird. Like, what y'all doing? Like, how do you get money like that? Because it was no legal way that they knew to make money without going to school or counting, lowering or whatever. So we doing music and they don't understand if a check comes in, it's like $500,000 or something like that. They're like, what are y'all doing? How does this end up?  You can't get no loan for no house. Like, I got money in the bank. Well, how do you get money in the bank? How does royalties work? What is that? How does that? So we educated the city. You had to teach these niggas how to account. You had to teach the accountants. Yeah. You didn't count. I would be so. Niggas, you don't get to count.   You see, you had to teach the accountants. How to account. Yeah. Because nobody knew about royalties and then you young black kids got checks coming in with money. And like, no, every six months.  And then it's another period where royalties coming in again. So they just didn't understand how that worked. And when they figured it out, they was like, we got to get, we got to, we got a goldmine going here because it was, it's reoccurring, you know, it's a reoccurring cycle. The artist is out now and the artist is going to be out and the artist from now is still out here right now coming up. You know, so it's always going to be the cycle around Atlanta that just keeps going that. Philosophical. Geographical. You understand what I'm saying? Historical. Man, I don't know. I'm missing something. Spirit. Spiritual. Thank you. I'm still missing some more. But bro. Bro, this dude got his own. You're the reason I'm missing something. Spiritual. Thank you. I'm still missing some more. But bro. Bro, this dude got his own. You're the reason every letter in the alphabet. Literally. Yeah, that took me out. I didn't know, I didn't really know. I was just doing a, I had to do something one day and it was like, go to your Wikipedia and look at the songs and list them out for us. And I'm like, damn, you got to click them to A. But we were doing album projects too. So it was like, I was doing so many songs, man. So yeah, you got to click on the A and go to the A songs and B, go to B songs and C, go to C songs. And it was like that for so many years. Like even with D nice was playing another night. That's why I was tripping.  Where did he get this from?  Oh, all the time, bro. I'll be listening sometime on the radio and I'm like, did I do this song? And then I examine or something. I'm like, I did do this song. Hold up. Hey, hey. Hey, hey. Big foot A. Yeah, man. But all this songs come on the radio now. I have to say, did I do that? You have to examine it or something deeper? You have to hit shazam? And be like, oh yeah, it is.  So yeah, like plenty of times I'm going to sit there and do this song or did I not do this song? Oh yeah, that's makes it great. I did do that song. Hey, you did so many songs. You don't even know the songs that you did.  And then you looked and you was like, damn, this was me. Yeah, I did a whole I did a whole Mason Gray album, but I didn't know it was me until I was like, because some of them sound the same, you know, like when you work with artists and like, I know I worked with Mason Gray and then you had to be like, and then I was just like, oh yeah. Those are my symbols. They got to. I know my goddamn symbols. Yeah, man. So, I've been blessed. So, you know, now it's about me helping out everybody else and you just got to you supposed to have your own stuff as a man. You supposed to be like, that's my house. That's my desk. That's my desk. Take care of my mom. But like when you do that for other people and you got a whole bunch of people with that going on, then that's when you like that's when you did something like when you responsible for everybody else's houses and everybody else's cars and everybody else's kids going to school. Hell yeah. That's what I said. Man, you brought at least 300 motherfuckers with at least. Oh yeah. So about this little when do they come out? Cause they don't send me no email. They just use it for like the show. After this, I just hope by the summertime maybe everybody got things back under control. I think it'll be next summer. But at least we're on the right track to like going back. I don't think, I don't know what happened in Atlanta though. I don't get it. Cause I don't think Atlanta was shut down. You look at compounds a thousand niggas on top of each other. It's like, so I don't know if it's herd immunity. I don't go up around I heard. I ain't got it. I heard. They ain't going to either. What you heard but listen to yourself.  I tried to say separated. You're going to be a vaccine? What's your thing about the vaccine? I've been taking it this whole time. That's what this is. This something that good old vaccine. I don't know.  I don't want to say yes or no. I'll just stay safe. Stay in the crib. I need to know what's in what's the ingredients. Real.   So I'll be drinking that every day. Patron.  The corona can't hang with the liquor, the weed. Like rockstar lifestyle. Yeah. That's tough. That's going to be done. That's going to leave on the next knee. Yeah. We can hope. We can do it too much. Each apple this week. Chop. Yeah. This chopper weed is your weed. This is my weed.  Yeah, chopper. This is smoking like tree. Exactly. I'm just smoking switchers. I smoke a joint. I get high as hell. I get sitting at the green light high. Well, I just be sitting there. Yeah, this some of that. Oh, you man.  What more can you say, man? That is Austin in the trap. 85 chopper show. What are you? The door. Do you look them in? Door. Follow you. Anything. Anything coming up in a primord. Yeah.  Roddy records in the building. Johnny Apollo. Each apple. Duce Meenow. We got a whole squad. Tripped the hit major. Oh, yeah. You see this? Oh, yeah. That's popular demand. That's our new record is out right now. Go check the record. That whole chop record. All the way around town. You know, you might want to get one of these trades. It's just nice. That's trades coming that bag. That's all some nice trades.  We got the whole set up. You got the whole set of routing. Right now, but yeah, we dropping records. Everybody check out. Go to go to Spotify. Look at the rowdy records playlist. We've been dropping records all year. We're gonna drop a lot more this year. You just, you know, we're trying to get moving, man in the time it's a pandemic. It's a little harder, but yeah, we need a VX and Z. So you can have a song forever. Let it now. A VX and a Z. A VX and Z. I got work to do. I'm going through the crib. Yeah. Listen to three of those. Yeah. I gotta go back now. I got something. I got to go like focus on this bro. But celebrate. Yeah. It's me. Pink. C.L. From C.L. Smooth. Exactly. Exactly. What we got? What they done set up? Mike. What is this? Oh, okay. Hey, Dallas. Anytime you want to come through here and kick it and bless the game.  Anytime you need to come through and put us back up here. Oh, man. I was thinking about this. I was thinking about this. I was thinking about this. I was thinking about this. I was thinking about this. I was thinking about this. I wanted this. Look. Look at this. I thought I had a gift of this. And then come up what I have done. So now I got to go ask some more songs to the alphabet, you know. I can't be slackin' over here, like three or eight. I'm like Tiger Woods, y'all watch the Tiger Woods documentary? The end of it? That made you really, really feel like- I would've never came out and said nothin' about my hoes. I would've never came out and said nothin' about that, but the victory story in that guy, I think he gonna get to the 19, I think he gonna get to that, that Jack Nicholas now that- This motherfucker broke his foot and kept playin'. He broke his back three times. He done had back surgery three times, he ain't done been like, he went through the craziness, all that, and now he done bounced back out again in one of 2019, so.     Tap, tap, tap. With a silk shirt on, one button, button, just that little bottom button. Dallas tell us, get that guy. Sprink some glitter on him, it's just how we live. I got my outfits at the crib too, if I'm gonna try that on one day, I got the sex machine outfit, with the hole in it right here and the hole in it. What? James Brown?    Wait a minute, don't tell nobody where you live.  I brought it.   I'm coming downstairs.   Living in America. Who on Ruffus? Man, it's 2 and a half minutes. I didn't ask you what that was.  With a James Brown jumpsuit and some Ruffin boots.  You got this boy, hey man, New Face, he got you, bro, probably. He probably got you down. New Face, what you green, man? Look, you know New Face, of course.   He got another one. Oh, yep. He probably got your demo tape. Damn. Damn. This thing, autographed by yourself, a monitor as well. Already got all your records. And over 5 million sold. Damn. He sure did. Damn. Shit. Looking at cassettes, like you ain't seen a cassette. I know, man. Damn.  Old Exorcist will fall out there. Mr.  New Face, what is that, man, don't look. Hey, give it back. Hey. Close it up. Damn, this is crazy. This is a trip.  I quit the music business out there for a while.  They made you quit the music business? These little niggas won. They were like 12, 11, 13. And like, they left out trick me.  When she bought them niggas around, I was like, little red man. I mean, little treks, right? And they were like finishing each other's sentences. And they were like, you know, yeah, yeah. So I'm like, these little dudes are cool. So left, I was like, I got to go on tour. I'll be back. I mean, she brought them to me and they literally left the next day, right? I did not know these little niggas were like little tyrants like that, bro. First thing they did is start stealing the engineers' cars. They would put pillows on the, because there was two little, so they would put a pillow in the seat. Steal the engineers' car, right?  Anyway, they got the police to bring them, escort them back to the dark. Well, then they made it back to the studio. But on the studio, you have to go down the side like this to park in the back.  All right. So then one day I get a call. Do you have a son named Lamar Edwards? I'm like, no. I'm like, well, this is the Clayton County police. We got your son down here. I'm like, I don't have a son. Like, what about Malik? Tell them it's Malik. Tell them it's Malik. I hear him in the background. What did he do? Well, we found him in a stolen chair key, and he crashed into a house on Riverdale Road through somebody's living room. He had a pistol in the car and weed. I'm like, okay.  I sent them on a promo tour, right? The kids were great.   They write their own raps. They like just the ultimate little two kids, right? I take them, they're supposed to go on a promo tour, and we start this $500 promo tour. A half million dollar promo tour. They go to LA, the first stop, and never left. They got to the first stop, and got with Snoop, and Ray, and sugar, right?  They got with sugar, and then Snoop and Ray. And of course, Ray and Snoop was out as hell. So they wanted to be up under Ray and Snoop, and then so they stayed there and stayed there. And the BMG was like, this supposed to be in Seattle tomorrow. They're telling the people, we're gonna hit you in the head with a hammer. You try to make us leave, y'all. And so the ladies like, they threaten to hit me in the head with a hammer. I can't be on this tour no more with them.  Well, now they're really staying out there. Now it's been like two, three weeks. Now Clive Davis is like, Dallas, you got to go get them. I got to go get them? From Death Row? I'm not going to get them. Dallas, they're stars. You have to go get them. So I'm like, all right. So yeah, I am going to Death Row, and I get off the elevator, right? Plus, I get off the elevator there. It's just Death Row. Big niggas everywhere. Ain't no furniture nowhere. Ain't no furniture in there.    Ain't no furniture.  Just like, there's a foldout table, foldout chair, and a red Death Row big rug.  Shug like, man, we should do these gifts together, man. You know what I'm saying? All right, the same loyal. You know how that is, Dallas. They got out here. They got around Dre and Snoop. Now they want to be on Death Row. So why don't we just do Death Row rowdy?   And you just have them because this thing will get it. You know? And then he said, all right, man, well, you know, we'll work somehow. You know, that's what you know. They have good hands.  And so then I see the kids. They come in. They are like, oh, man, it ain't me. It's him. It's him. It ain't me. It's him, man. So I'm like, all right, I'm going back to Atlanta. I'll catch you all later on, right? By the time I get back to Atlanta, right? Malik show up a few days later.   I want to be solo. I'm like, you want to be solo?  I'm like, you can't just finish the group first, whatever. But he got convinced that, that somebody put something on him, like roots or something. Malik, he's like 13. Like, man, I think somebody put some roots on me, man. I just want to be back in Atlanta. I think he just went getting his way out and went in LA. He saw a chance for him to come back out here.  And the rhymes are like 12 years old and just cutting niggas legs off with the rhymes. Like you don't want to, big niggas didn't want to battle wrap them because they literally outwrap you. And but they got stuck out. This was the crazy part. So they didn't work they're supposed to do. This all makes sense. But they missed the whole promo tour. Right? So now the billboard awards come up for that year. Right? So now these are the categories. These are the, this is who's up for it. Rap record of the year. Diggable plan is cool like that. Yeah. Hip hop parade. Naughty by nature. Yeah. You know, he's going, yeah, song after song. Illegal. We gets busy. Everybody say, who's that? Because, you know, in the way Clive had planned out the politics, I mean, Whitney Houston got like 13 billboard awards that year. So it was an Arista thing, you know, it was like an Arista thing. And it just, that they didn't fill the glass up. So it just looked, it didn't, it kind of like, well, how do we, you know, I see them for it.  But after that, I needed a, I took a rap break. I took a rap break. I took a rap break. I took a rap break. I took a rap break. I took a rap break. I took a rap break. I had to take a little rap break.  They sound like it, man. They young. So you can't do nothing with them in here. Because they too young. So what they were, it was like 13, 14. Yeah.  They would sign the routing. I ain't mad. I can't believe you left some kids with Shug.  They went. They were supposed to be on tour. You take my time. I'm gonna get you Shug in the corrupt. I'm gonna get you Shug in the corrupt. You said they were barbecuing with corrupt. They got barbecuing with corrupt and dashing. They didn't want to come back out here. And I'm like, how you going to sit me into the nines, Dan, to go get them? Shit. Damn. Man. Full of history. Wow. Full of history. I'm sure that tape brought back memories. It did. I was just like, damn, man. You got your other artists over here too? Jamal. That's crazy. That's crazy. He's like, he was always like the, that's, he's the rowdy one in the first place. So he always wanted to fight in boxing.  He went with Death Squad for a long time. Both of them, man. Like, I would, it's, I would like to see kids as talented as they are, as talented as they were.  And what they're hearing is what they, what they got to live up to is so low. Where they was trying to live up to, you know, rappers and MCs. They was like trying to battle rap people and learn how to rap better and have more skills and all that kind of stuff. So I feel like just now, you know, the bar is low. It's not hard to do it. You know what I'm saying? What everybody doing is just like, oh, I can do that too. Right.  I can't believe these cassettes, bro. They look so little. Was it a little like this, like that? Yeah. Man, they so, bro. Because A-Tracks was the fat ones.  Yeah, man. That's deal. TLC fan mail.  When we first did, we first finished fan mail, you know, left out and quit the group doing the whole record. She was like, I ain't, y'all ain't doing my ideas and I'm quitting. And so I had to create the virtual Vicky to rap in all the songs.  And I had to take it and put it in keyboard to make it rap on beat.  One, two, three, four. You can't get with this. One, two, three, four. Yeah. Yeah. And so I was like, I'm like, you can't get with this. One, two, three, four. You can't get with this. One, two, three, four. You can't get with this. One, two, three. You can't get with this. Yeah. You can't get with this. Find out who to give it up.  So that we got to make a virtual version of her. And so most of the records is like me making the computer rap in the songs.  I quit. I ain't going back, I'm really not going back now. That is ma'am, he cool.  I need to be impressed now.  Let me hit the jug. Damn. What if Sugar was boozing them? Tell them you don't want to be over there no more. But I do. But I'm going to go back home. Can we call Dallas?  Don't make me get them big niggas outside who can stand outside all day. That's why they were so ready to fight because they had been standing up for a hundred years. Hey man, let's just lean back to back like Boris got me. Why you think Sugar's gonna buy no chairs man? You think we're just going to come back here every day and be gone? He's like to keep us angry. If your feet work, make your hands hurt.  Them niggas are so crazy they will out do everything.  It's still your keys. Take your car and drive to North Carolina. Why you in a session? Niggas out of control. These niggas in a little pit, boy that's crazy. They stole somebody's car from North Carolina. You confirmed. They was wild. They were wild. They were wild. That's who taught me how to roll a blunt. They taught me how to roll a blunt. When I first, after Lisa left the next day, little Malie looked at me and said, Yo, where do we eat at?     He said, little blunt, nigga, what are you doing? I'm rolling it. You take the stuff out. You see, you take this out, you're good. All right. There it is. Hey, there's so much black history. And that was the first one.  Just play this the whole model group.  Just finding out that Michael Jackson was an emotion.  He's able to transcend time and space. Just being from over there to over there. Now I'm wondering, will he come back or did he ever lose? Where is he going now? Don't you think it's just insane that no matter who comes into this world, they're going to sing and love Michael Jackson? I don't care. It's never been a child who came into the world, a baby, a kid, whatever. How do you still know this? Don't tell me he's taking prints like that or Elvis and nobody else, but every kid going to have a little time with it. So I feel like his spirit. If they see it, little kids would be watching. People are still dancing like Michael. I feel like all artists, when everybody passes, the stuff just gets more valuable because they can't get to you no more. But I feel like that, him as an artist, just resonates in a way and seeing nobody really do like that. It's crazy. I've seen Mickey Mouse with people like characters do it, but you haven't really seen a person that resonates their whole life. They just stayed one person that whole life.  You saw it. You saw it. You saw it. No, I'd rather say this nigga can go. That was the word, right? Damn.   Michael Jordan? Yeah. He gonna charge us $250,000. To come over, he ain't gotta come. Who might it be? I gotta put something in now. I'm not putting nothing in here for that. I tell you that. MJ. I watch you all in the game. They talk about MJ on the Tiger Woods. He started hanging with MJ and Charles Barkley. He said he ain't know what to say. He said, what do I tell the women? And Michael Jordan was like, tell them you Tiger Woods. Stupid. That's the part he do that about. Big dummy. He talk to that nigga like friends. Big dummy?  What are you doing over there? Hey, watch your pro. Hey, Michael Jordan. Dallas Austin. You named after two places in Texas. Oh, man. The name's gonna be, you gotta take over two Texas cities. What's that what I'm saying? That's the weed. You know you named after two places in Texas, man. The name's after this doctor named Dr. Dallas Moore. A word? Like a spiritual who-do doctor. What? It's like Donaldson Bill Georgia. Like it's like a, look him up. He'll scratch you with a chicken foot. He'll turn into a serpent. Not a snake, a serpent.  Trust me on that. What baby? That one? Okay. Okay. Look, look here. Put the TLC up. You got the TLC on that.  TLC up. Look here, man. We ain't gonna hold you hostage in here. We damn sure appreciate you starting the 30th Trail. This has been too real. Thank you. I hope you saved the last time. I'm a fuckin' legend. Hey, man. Dallas Austin. Dallas Austin. 85 count show. We out of here. Let's go. Appreciate you, bro. Man. We appreciate that. It is, man. Appreciate you.  Appreciate you. Let's give a picture right quick. To him. Let's get a photo. Somebody. Washington. Is this Washington? Call the Zoo, man. Miller.