All right, welcome everyone. I'd like to call the December 20th, 2021 meeting of the town of Arlington redevelopment board to order. This meeting of the redevelopment board is being conducted remotely consistent with Governor Baker's executive order of March 12 2020. Due to the current state of emergency and the Commonwealth through the outbreak of the COVID-19 virus. For this meeting the ARB is convening via zoom as posted on the town's website identifying how the public may join. Please note that this meeting is being recorded and that some attendees are participating via video conference. Accordingly please please be aware that other people may be able to see you and take care not to screen share your computer. Anything that you broadcast may be captured by the recording. So allow me to confirm that all members are present and can hear me starting with Kim Lau. President. In Benson. Present. Los Angeles. Present. The Revola. Present. We have two members of the staff from the Department of Planning and Community Development joining us Jennifer rate. Present. And Kelly Landon. Present. Thank you both for joining us. All right. So we'll go ahead and move right into the first item on our agenda, which is the continued public hearing of docket number 3348 for 833 Massachusetts Avenue. And I believe we have attorney Robert Nesty here to provide us with an update on this. This particular properties last visit to the historic commission. Yes, can you hear me, Rachel. We can Bob thanks. Good. My clients and I, my client and I did appear before the historical commission. After the last ARB hearing. And I reported to the commission what occurred with respect to the informal vote of the ARB with respect to the their desire that the building in fact come down. I reported that to the historical commission. And in dealing with them as I have been dealing with them for some time. We got back into what has to be done to restore the exterior of the building. I suggested to the chair, Joanne Robinson, that it might make sense for them to speak with the ARB. In any event, I'm at a point now where the building itself the exterior of the building has basically been resided. Okay. All sides the backside perhaps that leads a bit needs a bit more. We're waiting for windows. We have filed today the demo application with respect to the building coming down that was filed with Mike Champa, my chamber may be on the zoom this evening if he is he can corroborate that. So we are prepared to go forward with the demo app before the historical commission. We are in a situation where they have said to us, they want the exterior of the building put back the weight was previously, we are doing that. So if we have to continue to do that, we will. But I think we're now at a point where we are probably going to pursue the demo application and, you know, through the fruition. So there may be someone on this evening from the historical commission who may want to address that I don't know.  The only way for that to stop happening is for me to say to everyone at the both boards at this point that we will pursue the demo app. Because otherwise, I go back before historical, and they keep telling me I have to continue with restoring the exterior of the building. I go before the ARB, and you folks tell me, you want the building to come down. Well, quite frankly, my clients preference would be that the building come down, and we construct a new building out fronting on Massachusetts Avenue. So that is pretty much where we find ourselves right now. So, again, if someone from the historical commission is here and wants to be heard and that's that's fine. I have to go back before them again, and I'm prepared to do that. But again, that's where my client is coming from now. I have Monty the architect on board this evening. I have Jeff noise as well. And I have his contract to fill Randall. If you have any questions for Monty, he's here to respond to them. Quite frankly, I was hoping that there could be some sort of an accommodation between historical and the ARB. So that I would not be faced with going back before the historical commission and be be faced with the two, the two year prohibition. I was hoping that something could be worked out. That's one of the reasons I suggested that the folks on the historical commission talk with the ARB. I'm going to find myself this evening with my client. We hear to address any questions the board may have. And I turn it back to you. Thank you. I quite frankly don't have much sympathy for the fact that you needed to go back and forth between the board after years of neglect at this property. The ARB has been consistent in that you need to work together with the historic commission comply with any requirements they have with regard to the repair of the facade that was taken down without permission by any board in this town. And that you work towards should the demo permit be what you ultimately decide to pursue filing that and going through the appropriate channels with the historic commission to review what any delay that they might require of you. We've been very consistent in that review. At this point, I'd like to turn it over to my colleagues on the board for any additional comments. I'd like to suggest that now that the demolition permit has been filed. The next step is for the historic commission to review any contingency they might put in terms of a demolition delay on that property. And any requirements they might have for the continued restoration of the facade during that time, and that we close out the special permit. The open special permit on this until it is refiled with us with the actual application for what is intended to be constructed on that property. That's what I'd like to propose and I'd love to hear others thoughts starting with Kim. I would agree with what Richard just said. And I would add one more thing. While you guys are either in a delay by the historic commission or whatever. I would love you guys to start designing a new project and submitting it in during that delay so we would not extend this project any longer. I'm sure you understand Robert that if there is delay, take the delay work of your architect and get a design in front of us so we can start working on the on the new building if that's the way you want to go I'm okay with that. But let's let's let's try to streamline this a little longer so we don't have an empty building for no two years. I agree with what both of my colleagues just said. I guess the only thing is we kept saying file a demolition permit and part of this much of the delay, I think is attributable to not having had the demolition permit other than adding that I agree with the chair and the vice chair. Thank you Jean Melissa. No comment at this time. Steve. I concur with Mr law. Okay. So that is going to be going to be our recommendation. Thank you. Do you have any questions? Attorney and I see about the sentiment of this board at this time. No, I do not. And if I need, if I need to continue with the historical commission siding and the exterior of the building we will do that. But we still will continue with the demo application. Thank you. Thank you very much. Thank you. Thank you. I would like to ask for a motion to close the special permit docket after we open this up for public comment at this time. So any member of the public who is joining us this evening who would like to speak on this matter, please use the raise hand function. And I'll call on you in order that the hands are raised. I would like to close public comment on this docket. And I would like to see if there is a motion to close. Docket number 3348 and special permit at 833 Massachusetts Avenue at this time. So motion. Second. We'll take a roll call vote. Starting with. Yes. Yes. Melissa. Yes. Yes. Thank you very much. Thank you. All right. The next item on our agenda are the meeting minutes from the December 6, 2021 meeting. Jenny, do you have those that we can pull up? And I'll take go through the roll call and we will see if there are any positions of corrections starting with Jean. I don't have any additions are correct. Great. Thanks. Next weekend. I'm all set. Thank you. Thank you. Melissa. What's good. Steve. I have two small corrections. So the first would be the on page four. That's sorry, page five paragraph one. So at the end of the paragraph, it says planting space. I propose changing that to planting street trees. And the second one is this involves some of the open forum comments and this is just a grammatical thing. So I think that's not to it's not done with agreement or disagreement to what was actually said, but one, two, three, four paragraphs from the bottom, Mr. Loretty's statements. The second line reads about this being a great way to gentrifying the town. I believe that would be should be gentrify. Those are those are my proposed changes. Great. Thank you, Steve. And I have no additions or corrections at this time. Thank you. I have a motion to approve the meeting minutes from December 6, 2021, as amended. Second. The roll call vote starting with Kim. Yes. Yes. Melissa. Yes. Yes. And I am a yes as well. It closes agenda item number two. So we'll now move to agenda item number three, which is open forum. So any member of the public joining us this evening who would like to speak on any matter at all. Please go ahead and use the raise hand function and we'd be happy to have you speak with us this evening. Give another minute. I can't talk. Can you hear me. Oh yes, is this showing Robinson I'm sorry I can't see who's speaking right now. Is that speaking. It is Joanne. Joanne, can you hear us. I'm not sure if you're having audio issues will give you another little bit to see if you can correct. No, I'm frozen. I, my, my zoom is frozen. It just comes and goes and so I can't. You know, I can't quite hear and I'm, I'm sorry I missed the comment section. When you were taking the vote, but I couldn't hear you. Okay, and it just went bang bang. And that was it. So I will write you a letter. You know, if you'd like to, to speak now would be more than happy to have you, you know, speak, speak on behalf of the historical commission to the, to the board. And, you know, if you're, if you're having difficulties I often find that if you turn the video off sometimes that helps to stabilize zoom might have another unstable connection issues frozen Rachel. Yeah, she goes. Hi Joanne. I was just saying I don't know if you can hear me that if you wanted to turn your video off sometimes that helps to stabilize the zoom connection. I can't hear you. Okay. Well if you did want to submit. I don't know, because we don't have a chat but if you did want to submit any. No, I, yeah, I, you don't have a chat. I was looking for that. Okay, well if you did want to submit comments written following this meeting would be more than happy to receive them. Thank you. Sorry to see that you're experiencing technical difficulties. Let's see. So, without seeing any other members of the public with their hands raised, I'd like to close agenda item number three which is open forum. The historical commission had made a an offer that we would be willing to approve moving the house forward and putting the addition on the back. I think it has not been reconsidered. And now you've taken a vote that I was unable to speak about. And I feel like, once again, you know, there's some. Rachel, do you think she can just call in on a phone. Sure. And I don't know what else to do we haven't had this issue with a bad connection that one of our meetings. I mean the only thing that has happened the only action that has occurred is that you close the hearing. And you're not you were never entertaining last week, but it didn't go very far. So, we're getting like bits and pieces right now. I'm sorry I can't do anything about it right now. You can call in Joanne if you want, you can call the number on the phone. Okay, I have to pull that back up then. Hold on. Okay. Well, you know, we'll, we'll wait for a minute or two while, while you close your zoom and dial in through the, through the phone. Okay, I'll try. Rachel, I just had a quick question for staff on related to this. I just had an email I know from the last meeting Kelly and Jenny you guys were looking for comments. And you wanted them in by the weekend. I can get them. I just it's a few things I wanted to get to you this evening. But since I'm seeing you, I thought I'd ask you on the housing plan. Yeah. Okay yeah if you just send them to Kelly. That was tonight too late or it's okay still. Okay, thank you. Tomorrow begins today. Kelly you got my comments this morning right. Thank you. I did but I think you had the wrong attachment. I wore you back. I will look again. Okay, thanks. So I'll just give Joanne another minute or two. And then I can't do it. I can see me this time. You haven't seen her trying to call in on your. Oh, there's nobody calling in, but also I'm just checking email. I don't see her reaching out. I mean the number is in the right on the agenda. Okay. So I actually don't have her cell phone here with me at home. So I'm not, I don't know how to reach her right now. I have her cell phone if you want me to try and call her. No, actually thanks Mike. She's joining right now. Can you hear me now. Hello. Joanne, can you hear us. Just a little yes I can hear you barely. I'm sorry. But so my, my opinion is is that we since we have had almost no. Kind of conversation about this. I think it's premature. To get rid of the special permit, which you just voted to do because that is what is protecting, you know, is motivating our, our, you know, our moves to preserve the house in part. In addition to that, I have had a lot of number, a number of support for the fact that that is what the historical commission is doing. And that has not been presented. I gave all of that information to the historical commission, but it's not been presented before this board either. And I was going to ask for that opportunity to do that. So I don't know what to say at this point. The only thing I can say is that a demolition permit that is filed is, is not appropriate at this point because of the fact that we're in a process of working with the owner to do this restoration of the exterior of the house. And so we would not in the chain, a demolition permit at this point. And I think Mike Champa has, we've, I've talked with Mike about this and that's the way that our procedure will pro, you know, will move forward. So, can you hear me. So, I will just state that they in closing the special permit all of the original conditions of the special permit still are maintained. It is just not open currently in front of this board in that we are not requiring the applicant to come in front of us on a, on a regular basis, as we would if the permit was was open. So if any development be proposed on this site, they will be required to file a special permit application and come in front of this board for review. You know, again, our understanding is that the historical commission is required to review and act on a demolition permit when it's when it's file.  But all of the original conditions, none of them are modified. They, they remain. And I see that the director of inspectional services Mike chamber has his hand raised so I'll call on him next. Mike, go ahead. Thank you. I just wanted to clear something up in that the bylaw states that when a demolition is commenced without permission. The moratorium starts upon that action. And in my case when the demolition was started is actually when the clock starts ticking. Is that what I understand that that is how the bylaw read. So, I hope that is a helpful clarification, Joanne as to what we close today, and from Mike as to the steps on the demolition. I understood that but you know we postponed a hearing for the demolition at in July. Or it was August maybe in order to not consider. I mean we didn't have a demolition permit at that point. And we considered and the, the owner agreed to do this instead of, instead of applying for a demolition permit. Okay. Again, we, we don't. I know you don't have any I'm just explaining where the where the historical commission is in this. Sure. Well, they'll be coming back in front of you so we'll certainly wait to see what the next steps are is determined by historical commission. Right. But you know, I feel, I still feel that there might be some common ground that we could work on. If there are representatives from your organization that wants to continue to work with us. Absolutely and I saw the book can and Jean have their hands, hands raised, you know, as the project moves forward in terms of what is actually proposed on that site. That is what we had indicated to the the applicant was was important to us is to ensure that without being specific as to what the elements of the historical character of the existing building are that are maintained that that be reviewed together with the HRB and the historical commission, but I'll, I believe Jean had, you had your hand raised first and then I'll go to Kim for any thoughts you'd like to offer to Joanne. Joanne, thanks for bringing this up. I didn't quite understand one statement that you made, which is that the historical commission, you didn't say exactly this but something like is relying on the fact that there is this historical permit. Can you clarify what you meant by that. Well, it is. We have over the years tried to work with the redevelopment board to preserve this house because of the fact that the property at the first level to try to move the house off of the property, then that didn't happen. And the special permit, which I believe, specifically, specifically indicates that the property that the house will not be demolished apparently agreed to that in the special permit. And so that's why I felt that we should be working together on a solution. Joanne, I have a slightly different reading of the special permit. As I read the special permit, it doesn't prohibit the demolition. It just requires the property owner to come back to the ARB to get approval if they're going to do a demolition. So it's not a prohibition in the special permit. It just requires a return to the redevelopment board at that point. I, you know, the, the interpretation I guess is probably a little bit different from what the historical commission believed was in the special permit. I guess maybe we on the redevelopment board might want to send a letter to the historical commission, since it's our permit, explaining what our permit means on that basis. I understand what you're saying, but I also feel that that the design of the special permit, from my perspective, they had a deadline to apply for, didn't they have like a 24 month deadline? There was a condition for what would need to happen should they act within that time. It was silent on what happens after that time. All right, all right. And I, and I think, I think repeatedly the redevelopment board had been asked to re evaluate that. And that never happened, of course. But we have been, you know, operating under the idea that the house itself has historic value. And, and we had hoped to work closer with the redevelopment board on this. Thank you. I just want to clarify, I'm not aware of any request that have come before the redevelopment board until the redevelopment board actually chose to reopen this about a year and a half ago. Ken, I'll take it over to you. You have one comment. And then I think we need to wrap up and move on to our next agenda item. Yeah, I've been on a sport about maybe six years now. Is that close Jenny? And in the six years times, I have never heard anybody try to reach out to us from the historic board about this house. We, we went. Well, let me finish. I will let you, I'm sorry, I can't, I can't see you, I apologize. And no one has reached out to us. The best I know of, okay, I'm not saying you did or did not. As far as I'm concerned, the time I've been on the board. There has never been anyone reaching out to us about this project. That's what that brought us up and push the owner to get something done. And that was about two years ago. So that's my interpretation of what's happening there. We also had a meeting last week with you. Yeah, one members and Mike, and we, we made ourselves fairly clear. Okay, it's up to you to grant him the delay or not. That's not within our jurisdiction. But we said that we would consult with you guys and we said that. And we said, and we meant that. Okay, so I don't see why you need to ask us again. You know, that we include you, we said we would. And, and so we will once they present something. But until they do, we have nothing to talk about. That's all I want to say. Now, I understand that we worked through the building inspector's office and wrote letters to the building inspector for. And I have letters that were written during the time that the house was not being taken care of. And so that was, you know, the way that we expressed our, our willingness to, to try to see if there was a solution. But I don't think it was ever translated to tell you the truth. Anyway, I think, I think we can all agree that overall it's an unfortunate circumstance that we find ourselves in today with, with this house and the condition it's in and that I want to show you that the ARB wants to do the right thing for the town, which is to ensure that this property is developed, and that it's not continued to be in disrepair as, as, as it has been for the, for the past number of years. And to Ken's point, you know, I think what we've made clear to the owner is that we, we do look forward to working together with the historical commission. Once a plan for redevelop for the development of the, of the property comes in front of us that we absolutely intend to work together with the historical commission for, for review of that, that proposal. Okay. Okay. Thanks. All right. Are there any other members of the public who wish to speak with the board this evening. Seeing no hands raised, I will close agenda item number three, which is open forum. And at this time, what I would like to do is. To propose to propose a to see if there is a motion to adjourn the public portion of the redevelopment board meeting and preparation for moving into executive session. We will separately take a vote to move into executive session for the purpose of approving meeting minutes from the executive session on October 4 2021. So first again, we need a motion to adjourn the public portion of this evening's ARB meeting. The most and there's a second thank you. We'll take a roll call vote starting with Ken. Yes. Yes. Awesome. Yes. Steve. Yes. And I guess as well. So the public portion of the ARB meeting has been adjourned. And I would like to see if there is a motion to move the ARB into executive session for the purpose of approving the meeting minutes from the executive session on October 4 2021. So motion. Second. Thank you. We'll take a vote starting with Ken. Yes. Melissa. Yes. Steve. Yes. And I'm against as well. So we thank everyone who has joined us this evening. And if you could drop off the zoom, the ARB will now be moving into executive session.


What's up everybody Jason here for jazby's case breaks calm 2020 panini one football 10 box Pikachu number four random number block for the Bucks Packers Eagles Cowboys It's sort of a little bit earlier today guys, but it's my last break of the night just to quickly run the randomizer So we have one more R&B we need to do for other teams, which was for the Dolphins Patriots Think Ali Rams. I want to say we're actually Las Vegas should have said Las Vegas Baltimore Seattle Pittsburgh, but this is for TB GB Philly and Dallas and it works like any other round of number block work on our website But only for these teams in the specific break and again, you guys know how this works with the number block right there So here you go. Here's the dice. Well, there's a list customer names and the numbers. Let's roll It's a three to one four times one two three and four four times Travis down to Jeff three to one four times one two three and four four times Three down to seven Alrighty So actually me just try this so Travis of three Eugene would zero in our redemptions for these teams Travis of six Ryan with eight Tim with five Joseph with nine next over before Jay Anyone who wants to be yours gale with two and Jeff with seven So then this R&B was just for these teams in the specific breaks the Tampa Bay Green Bay Philly and Dallas I'm gonna one more R&B. We need to do that's on the website. That should be breaking tomorrow guys with Joe Appreciate it. Jaspy's case breaks.com


I think it's important because you have an important number of small holders and communities that somehow they depend on forest resources and if you look at forest resources probably the main source of income is timber and this is even more important because the process of granting new rights to small holders and communities that makes that sector much more visible and they also have gained more capacities and resources to use this timber that they have access to. So they are becoming an important player in the timber markets. That doesn't mean that you don't have an important group of large-scale industrial and well-established industrial sector. So and these two sectors are coexisting and they use the resources but small holders over time and because most land is being granted to these people so they are getting more access to resources and they are getting a larger portion in the markets. And it is important because the contribution that timber has on the livelihoods of these communities and these small holders. I think over time we tend to get more knowledge about the fact that there are much more actors involved in the forest production and in the timber markets. It's not just about small holders and communities using the resources or intermediaries buying the timber but also there are well developed sectors providing services. There are foresters working on the forest management plans, providing technical assistance to communities, enterprises, you have the chains of millers that also they have a role to play into the production and in the market and so there is an important number of actors that depend on the sector and that makes this production and markets a bit more complex that we used to think in the past. And with regard to your second question I think there is a false assumption that you can split the realities between what is formal or what is illegal and what is informal or illegal and what is formal and legal because in practice well this is a more arbitrary conceptual distinction because in practice I think these two realities they tend to coexist are very much the two sides of the same coin and I may say that probably every actor in the Amazon is a bit legal and a bit illegal. Also very much depends what are the degrees of legality or illegality not because those realities coexist so it's impossible to distinguish them in practice. I think it's important to have more flexibility in the regulations or at least the regulations. Well the problem is that the regulations in the past they have been inspired in just one model on how forest management would be possible and that model has been trying to impose in different actors either indigenous communities, colonists, caboclos, whatever and I think the laws they have to recognize that the different actors, different groups they may have a different idea about how to use the forest and why do they use the forest for? For example in Ecuador and that's interesting from the data that we collected in the field that the small holders that they don't follow the law they tend to extract less from the forest, less timber from the forest and the small holders that follow the law they need to extract more because they have to pay for the permits so I think would be much better to have a more flexible system that could adapt to the different ways in which people is using the forest so to have a more plural and flexible way of thinking about how regulations can be implemented in practice. I think that's very important.


We gon' talk, we gon' have fun. We be on fire, we be Lidly. Check it, check it, check it. This is your boy, E.C.O. And I'm here with the lovely, amazing official, Mr. Maker. What's going on? Nothing, nothing, you know my dad walk on. Man, we, hey man, we down here in New Orleans, man. Hey, man, we got a real special guest for y'all today, man. This guy right here don't need no introduction. Hey, man, this guy done showed us so much love, man. He brought, hey, he shows love. Anytime we come to the city, man, we checking in. You know what I'm saying? You know the checking thing, people take offense to it, but at the end of the day, when you got real ones, people who you rock with, we checking in for the right reason. Who gon' give us the keys to the city, man. Cause he's been giving the keys. He gon' let us borrow his keys while we here, man. Anytime, anytime, man. Shout out to you. Your wife is in Jamaica. GDP is in the building. Shout out to E.C.O. and Mr. Maker, man. Man, y'all, the blessing, man. Y'all, like I said, I was a fan of y'all. Like I told y'all, it feel good to be back second time around. Second time, man. Steen a hand and all that stuff. Cause y'all do the same thing. And I think it's gonna be a third, eight, nine, 10th time, man. Cause you're just a real one, man. You know what I'm saying? And shout out Big D, too. Not to cut y'all, cause we put that together. Big D to Mogul, man. Mogul media, man. That's the reason. That's the reason for the season, man. That's how I just talked to him. You see how I caught him a while ago. Yeah, I really know, yeah. There's just a lot of love going on, man. People don't realize that, man, when you really link in with real ones. Real, you know, real, recognized, real, but birds of a feather do flock together. So I believe that. Well, I like J.I. and I'm gonna shout out to Sheldon Cosh, say cheese. And you're looking for me. I put my hand on my whole cause my nigga, I feel you. Man, but I gotta ask you this, man, going back. I gotta go into this field, man. This definitely is the month, PymC's birthday, man. So when they come down to PymC, man, and being that, you know, you know, hey, man, boy, it's kicking back. I think it's December 27th. If I'm not mistaken. I think I'm right. I think it's December 27th. Look it up for me. See if I'm ever. You close. You close. It's either December 27th or December 29th. I think that's it. I know it. I know it's after Christmas. It definitely is. Chalemond butler, yeah, cause he died on the fourth, which is JZ birthday. But Chalemond butler from Port Arthur, Texas. And 29th. Yeah. So the reason, like I said, I feel like PymC's so important cause that's why I love the South. Cause PymC stood on that South shit so much and his pride for the South, meant a lot to me.   No, I love the South. And I know how big the South fan base is. And I know what it meant to PymC. And I seen how he helped master P with that down South hustle. Cause P had the West Coast bad boys and he had the Wests on lock. But to get that South, he needed a down South hustle song and stuff like that. You know, same way they kind of helped cash money to a bumby doing stuff on my old big time album. So I love UGK, I love PymC and everything he stood for. Wow. Yeah man, from Crowley. Crowley, Louisiana. That's three, three, seven baby kids in country. Man, all the way to Port Arthur, man. All the way to PA. Man, so you know, just loving man. And man, I still, I rock with bumby, man. He got Trio Burgers. He getting ready to open this new spot up. And I think he an H town, but can't wait to get over there and get me a burger.  He got a restaurant. Yeah, I seen that. I think I don't know if he's still a professor at Rice University. Cause I don't know. I know he did that for a minute. But like I said, I always think about PymC say, I got a, we said back to Louisiana and the Fleetwood.  I'm a pound of them folk.  Cause we got money. Man, come on, man. On that hurdle?  Then bumby just like, it's just, man, them dudes hard, man. Like I said, I miss him and I appreciate what he did for the South and for us. So for all the artists that's doing what they doing now, you got to always remember that people paved the way for you to be where you at right now. You know, so we still standing on these shoes and all the work that they put in for us to be in a position. We could talk about it because a lot of those media places of North, they was talking and telling this story to where they wanted to tell them. They was leaving us out of the conversation. They didn't want, they didn't want to talk about us in the magazines and all that. So now we could do it on our own. We could talk about PymC and it's cool. But they're not, I don't want to talk about them country. But I guess we could talk about that and love it them country rap tunes. Man, country rap tunes, man.  Super tight, man. Shout out to that boy Bobo Lucia, I know, man. But at the end of the day, man, you know, we got to celebrate. It's a celebration, man. Hogan the game, man. Hogan the game, you know what I'm saying? Yes, sir. So let's talk about, let me put you on spot for a minute. Who the hardest rapper to come out of New Orleans? The hardest, to me ever. Yeah, but it's your opinion. I mean, I got to see, I got to go Wayne, because when Wayne took it, my favorite is Soldier Slim and then Wayne or whatever. For a while, I was just like, when he took it at the flows, like Wayne is on a whole other level.   He mastered his style. So for him being from New Orleans, and I feel like one day on there in the airport or something after I'm big or whatever, but I got to say Wayne. And I know the city loves Soldier Slim. So the King of New Orleans, forever Soldier Slim, because he's so 504. But if I had to say the greatest to ever do it, not just in New Orleans, Louisiana, and just all the time in hip hop, man, I'm gonna say Wayne, because the way he evolved and took the mixed tapes and the flows and the influence he had and everything, I'm gonna give it to Weasley F. Baby. The Wayne called him. That's hard, man. You know, man, when you think about that whole era, I always say Wayne, he hard when it come to the music, but Baby and Slim hard when it come to the business. Definitely. Then I just feel like people be just, you know, kind of, we would say Lil Wayne, but that would have never been no Lil Wayne without the right infrastructure. You know what I mean? Of course. The right foundation. And I think Birdman, I think a lot of time don't get the credit he deserves for it's because of the business behind the whole brand. I'm talking about from early on where people saying he missing this nigga, out of money doing this, but it take a hard, it take a different type of dude to be able to even stand in that gap when it come down to leadership. But this the thing about that too, everybody was talking about the shady business of the music executives.   Nobody in teaching.  They just was learning from the streets, trial and error.  And of course, great coaching is just like Phil Jackson, a costumato with Tyson. Wayne them had the talent, but you still needed those great executives to be able to give them that direction and understanding. So I feel like that's why they're so important.  Like, who did it better than us? Like name somebody. He say, yeah, I studied sugar, Knight J Prince and on Puffy and people like easy, but I learned what they did and I did it better. And nobody had a long run. And that's true. Like from even before, Cash Money had to deal seven years before that, when he was doing it with Pimp Dad and UNLV and slew other artists to the High Boys ever to when Jew and them left and Wayne and the big time they had to hold it down to Nikki and Drake to right now. So of course you gotta give it to them. And I heard Joe Button them saying, no, we're gonna give it to Rockefeller. We're gonna give it to Dev Jam. First of all, Dev Jam was more of a, they operated more like a major because they had murder income to them. They had Rough Riders, Rockefeller and a whole lot of the labels. They was Cash Money was more like a subsidiary label under a major. So they used to, for them to do what they did, Rockefeller and I love Rockefeller. They didn't have a long run in them. Cash Money is a whole different monster and they don't want to give them that credit because they're from the South. So they can always be like, I don't country niggas. We can't get in the way it's small. Y'all don't want to give us deals. Y'all don't want to give us labels. We made our own. I just, I thank God for you breaking that down like that. We need to know, like we know what y'all trying to do. And we ain't going for it. And to hear you say it, it just compliments the way I talk. You saying exactly, don't it? It's the same as that conversation. I'm gonna say this too. To even Tyler Perry, cause he from here, whatever.  Anyway, when you think about Spike Lee, Spike Lee kind of looked down on Tyler Perry.  This dude, Tyler Perry telling his story from the south, from the way he see it. You telling your stories with Crooklyn and everything from your story, going from being from Brooklyn. Now you went to more house, Tyler didn't graduate, but he still learned all this stuff and did it better. You just got a hundred million dollar house built in Douglasville, Georgia. He came along, we got his own studio. So all this stuff that they thought these dudes was dumb and we don't know nothing, but look what Tyler Perry did.  But maybe they're gonna catch on to Tyler Perry and understand that most of the black people live in the south and most of their ancestors came from there went up there or whatever. That's right. We still had to deal with it. That's right.  Man, that's hard. Diamonds and dirt. No, I love it, man, you know, and I agree. So yeah, Spike Lee had his run and that was cool, but he's supposed to commend that younger brother that's coming behind him and doing what he doing anyway, because that's what we do a lot of times. We forget about the fact that God pays away with that new generation. He did it with Joshua and Moses, I'm a believer. So at the end of the day, I see how Moses had his time. Then Joshua came and you know, and so on and so on. But the next generation was always stronger. The younger generation carries the new vision. And we got to respect it. And I think about, I don't know, I might be saying the name wrong, Zola Hurston or something like that. She was a poet back in the day and he was a poet, but he was more like in Harlem and stuff. But they seen the world different. They used to kind of get into it a lot, but she was telling her story from a Southern woman and he was telling the story of living more in New York, saying we're with W.B. Du Bois. He doing the NAACP in Harlem and Bucket T. Washington down here in Alabama. So the way we deal with the white people and the way we had to deal with it at that time, it was different. So he was like, you bound down to the white man, but he like, we looking at it different to win two different parts of the world. So that's how it be with us in the South, even with the music. The way they see it and the way we see it is different. It don't mean as long as just we from two different parts of the world and we just do it different. Explain to me, Shirani, this billboard that we learned about last time.  You talking about Peaches Records? Yeah. Hell yeah.  So tell me what was that about? Well, back in the day, I remember Peaches Records. This was in Gentile. That's where it was at. Now, you know, she got it. Correct. You know, magazine, but back then it was in Gentile, in the 7th wall around Dilly University. And I guess that was the advertisement. So you could pay for the wall. So you might see a No Limit Soldier Rag album on that was juvenile of 400 degrees. You might have the whole No Limit Tank painting on the side of the wall. That was just good advertisement. All the labels wanted to promote the album or the record label logo. So you'll buy the Peaches Wall and that person to paint the wall and everybody that get to see your album, your record label logo on the side of that wall. Like Big Boy Records, Cash Money, No Limit, a slew of other labels releases albums or whatever. Wild Birdman, she said he had the longest run on that where he had it on there for a long time. Like because he just wanted to, she said he baby, you know? Like he gonna do it big, you know? Yeah, that's how he is. He gonna lay a stunt down. Like he really lets you know like, and I'm gonna say this too, because a lot of people over here talk about the stunt uptown. I know from what I, my daddy from uptown, a lot of my people are my dad. Some of my mom are people too, but most of my daddy people from uptown. And at one time, stuntin' was a bad thing.  That was frowned upon.  So Slim was kind of taking a shot at them with that saying like, I ain't no stunner.  So Birdman made stuntin' cool, but everybody uptown wasn't just actin' like it was cool to stunt.   So you're telling me from uptown, he, they know him for being stunner? Well, now I would say, I'm not saying, cause everybody in the city, I mean people in Detroit were stuntin' but I'm just sayin' it, but people would look at them and say, Well, now I would say that's like a way of life, that's like what everybody wanna be known for to do, but act back in the day, that wasn't something that people want to do. Now I did it, but when Birdman did it, he changed the culture, yeah. But was he, that was some, that part of the, That was a part of the marketing thing. See, Puffy said, baby said he looked up to Diddy, because Diddy was always stuntin' with the Versace and the drive in the cars, backers with him and Biggie. So Puffy, baby looked up to Puffy, that's why he said, I looked up to J. Prince, Puff and Shug Knight, but he found his own way, so he like with the champagne and all that, he really put that out there, that flashiness, that's why Detroit people love New Orleans, because New Orleans dudes be street, but they stunt, but that's the cash money lifestyle.  Cash money was like, we gon' do helicopters on the stage, we gon' do donuts, we gon' leave the tags on the car, we gon' wear two watches, like that was what baby did.   Man, so when you look at the, the diamonds in his mouth, the diamonds in his mouth, all that, that nigga came with it, didn't he? Yeah, took the goods out. The big old buses and all that, man.  Gunna got out of jail. People sayin' he snitched. I don't know how much of a gangster he was to begin with. What do you think when you see the snitched culture or the people sayin' this and that, just the back and forth from being locked up, to comin' back out, to you seein' it, we just, we just bloggers or interviewers, what do you think about that kinda? And I'ma say this too, cause people be feelin' like just cause you blog, you not directin' the streets, you don't have no business to talk about it. But people could talk about sports all day, news reporters could talk about entertainers, that's their life in journalism. But people that don't really understand, they don't get it why people talk about this. So anyway, to piggyback on what you're sayin', they sayin' that it can't be used against them, but we did see it, that he said that he was in a car and that it is a gang, cause I know Doug and him kept sayin' and his lawyers kept sayin' that YSL is not a gang. It's a label, a record label, you know, Young Stone in life, but they sayin' Young Slime life or whatever and stuff like that. So they sayin' it is a gang. And he did say that he, one of the people asked him on record, he said, yes it is. So I don't know if they could use it, but I know it don't look good for people. And we still don't know what the deal got and we still don't know what's gonna happen. They said the case might take about a year, but that didn't look good or whatever. That didn't look good at all. Lookin' at the other videos with Gunner talkin' to crime stoppers and this and that and then, you know, people talkin' about TI told on this deal. It's like a lot of stuff that everybody actin' like it's cool. I don't know. People move the goalposts for their own liking or they just change the rules of the game when they wanna change them. I don't know. It just seemed bad right now. It just seemed like it's a bad time for people in the streets.  No, man. So Juvie Tuesday's still goin' down or what? Hell yeah. When Bibi did the new video with him in Juvenile that all Ali, I'm the greatest since Muhammad Ali, they did that at Juvie Tuesday. So yeah, that's still a big thing and Juvie like the crawfish ball and stuff like that.  I mean, he gonna cook his crawfish and all that like ball and everything. So yeah, Juvie Tuesday's still a thing or whatever and he's still gonna put on. Man, did you see the documentary? So just a minute? Yeah, I see, you know, I had posted on my page on the hip hop timeline with 50 Cent, the guy that do the interviews from Baton Rouge and stuff, yeah. Wow. How did you feel like they portrayed the whole situation? I mean, I think it, I think they did what, a lot of us kind of already knew all the stuff that they was talking about, certain people that was involved in certain stories and allegations. Like we always had been hearing certain stuff about this person could have been involved or this person with the jailer. Soldier Slim was investigated with a murder in the city park week. I remember reading that in the newspaper back then. So a lot of stuff I knew, cause I'm here and I heard it or whatever and stuff like that but I guess it was good to see, you know, all this stuff or whatever cause they did everybody else stuff and all that. But I know a lot of people in New Orleans wasn't gonna be saying too much because that's just what it is. Like this the murder capital of the world of America. And it's been like that, you know, on and off a lot of times and nothing to glorify that but it's just that kind of city.  So it's easy for somebody to bump it to you.  So it's easy to run into people or whatever. So people just watch what they say, you know? Yeah, I see a few of them not talking on there. Yeah, yeah. Like when Boobie Black, they asked him, he was like, I don't know about that. I don't know about that. I don't know what you're talking about. That's the way they do it in New Orleans. Yeah, yeah. It's cold as hell. They be doing that. Right, right, right. So what's up with, so when, did you like when Yellow Beesie did the- The Yellow Boys song?  No, I think that's flattering. For them to do that, they're inspired by that. Them dudes looked up the cashmoney in New Orleans. So it's a good thing if somebody was inspired by Michael Jackson, you know, Whitney Houston, they might want to try to do their record over because they was inspired by him. So there's nothing wrong with that.  So I think, I like when he did that. I like when Fredo Bang just did the UNLV album. So I think that's a good thing. I just feel like that mean people love what we do and people still pulling from it. So, you know, just like they love our food. Yeah, yeah, yeah. And music, everything. So man, I like it, man. Who the new hot artist down here outside of your artist? All right. Well, like I said, who popping underground right now and I work with her before super bad for the women. She like killing it. She was just on the stage with Lil Wayne. I need a hero. Yeah, you got to, she was all, we're going to get on boss talk next time or something or whatever. I don't know if she probably busy right now, but super bad. She was on stage with Lil Wayne at the Louisiana Fest. That's when he's saying, gold medal, gold medal. Cause she was dancing on our head and Lil Wayne went to ad livin' her and just went to jumping up and he was like, I think I love you. I think, so she really popping. She got the song, Meetin' In My Bedroom, produced by Mikel, which is a producer out of Reserve, Louisiana, St. John Paris. And then you got, like I said, who else I might see? Everybody already know Rife For 9 doin'. Man, there's so many, you know, there's a lot of artists and stuff like that, like that's popping and this always be the hardest thing because it's always like, it feel like it's a hundred thousand rappers and everybody feel like you forgot me, why you didn't say my name? So I guess that's why people always don't really say too much, especially when they don't got in the gang. Cause then it's been a lot of times I didn't say all his name and they wouldn't even repost it. And they wouldn't even say thank you cause I don't have to do that, you know, but they'll get mad at you. But there's a lot of times I do say people names and stuff like that. That's hard, man. But there's a lot of them I like. Like I said, I like Cudder, Gang J, Black. I like Junior Montana. I like C-finance, Reedy. It's a lot of them, bro. J.R. Osson, Iceberg, man, I can't. You can go to Blankin' Out of New Orleans. I gotta ask you though. I gotta ask you who the hardest producer ever came out of New Orleans? The hardest producer that ever come out of New Orleans to me, I'ma say Manifresh. And then I'ma say Kel. Manifresh? And then I'ma say Precise. Precise? Precise gonna be third. Precise was the producer at Big Boy. Okay. With Big Chuck. With the recipes Big Chuck. He was the man behind Big Boy Records. That was the label partners and Crimes on PNC. But I'll say Manifresh, then Kel C. And then Precise. Wow. That's a hard top three right there. That's hard, man. So how can you tell a Kel beats?   It's like the way he run his drums. I can tell Kel C. stuff. And I can just tell first stuff too. I like first like just bouncing is like when he make like I need a hot girl.  It's just like, they got different sounds. And that's what I be telling to people. It's still a distinctive sound to New Orleans that we could tell. I was still able to tell like a Big Boy record, a No Limit record, a Cash Money record back in the deal when I was younger. And all of it sound New Orleans, but it sound different. It's like different variations of Gumball. It's all our Gumball, but it's the way these different restaurants make the Gumball, but it's still a Gumball. And that's what people understand. So who is, when you look at the artist from down here, who's known for lyrically, like one of the most lyricist artists? I mean, I'ma say- You see what I'm saying?  Like she, man, she on a whole another level. But my favorite lyrical spitter, besides I already said Wayne or whatever, I'ma say Mac, no, Mac. Camouflage assassin. Mac was that nigga. Mac, Mac. Mac, McKinley, yeah. Yeah, McKinley, yeah. I interviewed him last time. Mac is, he loved, he used to love the East Coast feel because of his lyricalness. Coogey rapping, all of them. That's who inspired him. And that's the same person that inspired Mr. Marcello. He was a spitter too, but and I want to say it too. Me and Mac, mama got the same name.   I think his daddy named George, my daddy named Gregor.  I remember when I first, like a song I used to play all the time was with him and BG on Choppa City and stuff like that. And man, he went off on that. So that song on Choppa City with Mac and BG, that was the shit, bro. So. Well, BG, it's supposed to be getting hot soon, but that was a, that was a clone or something. That was somebody that they say was BG on the internet. Man, that was click B, man. That man, it didn't even look like it. It didn't even have no, I don't know if he had a grill or something, whatever it was. I knew it was, it wasn't BG from his mouth.  And nah, man, he's still coming home soon, but that definitely wasn't nothing, but that definitely had the internet going crazy and all that stuff like that. You know, everybody, then that stuff with Gucci, man, gonna give BG a million dollars. I don't even think that was true.  Cause I know damn well Gucci, no BG work way more than a million and BG could get his own thing going. So I think that was, I don't think that was from really Gucci, man, official Twitter.  So is, I see where Birdman went down to see him and say, he's time, you know, go sign him when he come up. I think they is gonna definitely do business and stuff like that. Cause I feel like they got everything straight, just like him and jewelry back in a good place. You know, Wayne and baby back in a good place. I feel like, you know, a lot of that stuff, they kind of getting the right and stuff like that because they know what they mean to the culture. And I feel like seeing them all on the same stage again, years later, all the fans gonna appreciate it because BG and the hot boys influence so much in the world. And BG and all these dudes saying step and step on because BG, BG said that I'm all on you. In my city is a struggle. We hustle to live larger. You step or get stepped on times as hard. Shit, get real. His give us blood spill about having things. That's why I want a meal. Shout out BG.  I love it, bro. My daddy, like I told you, my daddy made music, sung songs.  So I was always listed as Al Cool J, like, you know, I was listed. This is about your brother, man, for a minute. You know, I know he locked up. Yeah. Just what, will he, is he gonna come home? Well, right now we talking about my brother, Boss B. Brandon, well right now we just, I mean the Supreme Court denied this stuff again, so they, like I told you, they got the Jim Crow law that was around after the Civil War, where you needed 10 jurors, instead of 12 to convict somebody. And the Supreme Court said it was unconstitutional, but they sent it back to Louisiana to let them decide. And then when they did try to decide, they still, you know, denied it again. So they still couldn't change, their predecessors messed up years ago. So they, they not messing with it. And I guess it's just like these people sitting in jail, 1500 of them throughout the state of Louisiana, women and men that didn't get a fair conviction. They never got a fair day in court.  I mean, the proof is in the pudding. Oh, it's been corrupt. It's been dirty. And then we're in the South.  Like four times probably more than Iran and China and all these places in Louisiana. And we got the highest murder rate. So we lock in all these people up, but we still ain't stopping the murders. We got the highest murder rate and the highest incarceration rate. So that's not changing then.  And me and my brother and my family, we still working on other stuff, trying to get people to get to the DA office to try to reach out or whatever. The Prime Minister just did a great job trying to help all the other people. But it's just like, it's kind of just getting a little harder because they just keep closing all the doors. How do you, how do you try to keep a smile on his face and keep him encouraged? One of his favorite things that make a smile and leave it or not is that when we made that song we're gonna be poppin' for Pimp. Go on poppin' for Pimp is the song that we made for Pimp C and that's what they always say, be like, keep it trail, man.  I'm fuckin' with Emmett. These diamonds, man, you see these diamonds?  So that DVD was something that he always liked to watch.  Now he loved Pimp C like you love him. More than, he like that. He love him like you love him.  Like I'm telling you, I'm gonna bump it all away. I just had to keep myself off of this time cause I was trying to bump some new stuff to just hear the audience I've been interviewing, right? But usually it's Pimp all the time. No, when Pimp C died, I cried.   Like my dad was like, man, he really, I'm like, man, I felt like I really knew him.  So I just try to keep that going.  Like he said, I think that's all of us. I think that's all we can do. Right.  What you do? Cause they know, like when I started this podcast, it was, it was Pimp for me. And that's what we doing in Texas. And not only Texas, Louisiana, that's me. I'm five miles from Louisiana. And I'ma say this too. I know he liked the rails one of his favorite colors. So. That's why I put this red on the day. Oh yeah. And you know, he always wore dicky fits. Yeah, you did. You love dicky. That's why you did it. He's not a mistake. You rock with it. I did that for Pimp's seat. That's hard man. That's hard man. I didn't even think about it. I saw, I saw your fit, but I was wondering. Cause some people might think, oh man, he got blood. But he a blood. No, I'm not. I did that for Pimp's seat. You did it for Pimp man. I know he like dicky fits and all that. That's hard. Oh, I see it a hog in the game though. Hog in the game man. Trying to solve the town. Man, I can't, man, I can't just express enough how his music was so different, but he made a nigga feel him no matter where he was at. Then he would fly with it. And your K.O. was talking about that. You seen the one?  That went crazy on the internet. Yeah, it was a kick, it was a kick door and he made another break-em-all song. Make-em-all song. Yeah, break-em-all song. Cause he was gonna call him, he was saying the drums and all that.  And even when man in first seat, he made it back to that stuff. He was inspired by the song, all super tight and all that. That's hard, man. But the strings and shit, yeah. Man, how can people get a whole day if they trying to link up with you? Well, they can find me on Twitter at GEDY, underscore P. And if they want to find me on Instagram, cause this is my full one, cause they keep deleting me. But I'm on my full one now, is GEDY, Pee Speaks, all together. So that's GEDY. Why they keep deleting you? I don't know, man, that's, I don't know. What you be putting on there? I don't really know, cause sometimes they might tell you, sometimes they might don't.  But I'm thinking if people were just hating her, I don't know, but I just keep getting up. But they knock me down and I just get up and just keep going, they got people that love what I'm doing. So I ain't gonna stop with them. So I'm gonna just come back 10 times stronger. Man, well, anything we can do for you, man. You know, we here, man, it's for real, for real, man. Thank you, I appreciate you. And did we miss anything, GEDY? Cause you know you're the governor. Nah, y'all, y'all. The mayor. Nah, y'all. President, baby. I'm just trying to, I'm just trying to just, just do my thing for my people and just, and make them proud. And I hope I do, and make them proud. And thank y'all for coming, driving out here, you and your wife. I always come through and see you all. I'm gonna be this, this is like second home, right? We country cousins and all that. But I just wanted people to know before I go that it's cool to be Southern, you know, cause a lot of times I felt like I said, New Orleans, we got away from that Southerness and I remember Master P having a whole Louisiana boot on his ring.  So I'm the other down south hustler down here, besides Master P and baby. So I just want people to know it's cool to have Southern pride. And that's what I like about Memphis and a lot of other places in the South. I got my Southern pride because like I said, people like Baby, Jay Prince, Tony Draper, Ball and G, Outkast, all them dudes and Master P. So I just want you to know, man, thank you. And thanks for representing for the South. Man, I love, man, I love. Appreciate that. Check it, man. Hey, man, it's been another great segment of Boss Talk 101 where the bosses talk. And we out.