Name another podcast like this Who gon' bring it to the table, boss talk Who your girlfriend fave, boss talk We gon' do it how you want it, boss talk Yeah, everybody on it, boss talk It's a unique hustle Check it, check it, check it, it's a unique hustle It's your boy E.C.E.O. And I'm here with the lovely, amazing official Mr. Jamaica, what's going on? None, none, you know what they'll want, man Man, I gotta get out And y'all don't forget to like and subscribe Follow us on all social media platforms Thank you very much Aw, hell You know we doin' our thing Aw Man That new introduction Thank you very much But make sure you subscribe to Patreon And all that good stuff And y'all, y'all, all that good stuff Shout out to Mr. Jamaica For changing up the strategy When we comin' to dope We gon' do a midstream, too Yes, sir Man, we got a guy here today, y'all He don't need no introduction, man This guy right here Don't work with so many different people, man Well, you know the man Don't work with Pimp C, you know He here And I don't play by Pimp He here Y'all don't understand, man Lil' Wheel Rap a lot All them boys, man This man that did a lot of different things, man This is a hell of a producer, man Biggie Beast is in the building Hey, hey Man, what's goin' on?  No, actually I was born in Pomona, California Pomona! Yeah I've seen Pomona When we driving through I've seen that name Yeah, yeah It's about 30 miles or so East of LA Right, I've seen that Yeah, it's the last city In LA County Before you get to the Inland Empire Okay, okay So how old were you when you left? I was young Six, seven Do you remember anything about it? Yeah, cause we always would go back Back and forth Yeah, cause my mother's My mother's from Pomona Okay She grew up in Pomona She moved to Pomona When she was a baby So grandma and grandpa Still was there So you had to go back and forth Yeah, her whole side of the family Was there Okay, so she moved you out here?  Regardless of whom or what You know, stand on it And the same The same, you know With my father That's what they were about And you know With their lives You know You know, the principle comes first I like that because Some people will say Mom gave me this But dad gave me this But I like the way how you said It was both of them Because it takes unity Because when you married You're not become one So you both have to be On the same accord Especially when you're raising Kids Because so many times In relationships Mom wanted to do it this way And dad wanted to do it this way But I love when I can see a family Who they can agree On how to raise kids the same Yeah, no I asked my dad It was It was sometime after my mom passed I asked my son You know What was it about mama That made her You know Who she was Right And he said Her Unextinguishable Desired to be free And what he was saying Was free from Free from oppression You get what I'm saying Free from all the madness That's been imputed in us Man ever since Ever since Ever since You know what I'm saying We've been over here On these shores Right And so it was Unapologetically black Right You know what I'm saying That was it You know what I'm saying They were aligned in that regard No matter what You know what I'm saying We have to be free And we have And our children have to be free Wow And they have never You know Put the shackles on the minds Of their children You know what I'm saying And they were aligned in that regard Just to put it simple No, I like that And I like the fact That you ask those questions Because I always Speak to a lot of people older Than I am And a lot of people always say That they don't Ask their parents Certain questions Like it's not my place Even though they're older now They feel like You know that's my mom That's my dad It's not my place To ask certain questions But in order for you to grow As an adult Or be able to pass Certain knowledge On to your kids Or not fall in the same traps Of I'm going to be this way Because this is what I saw But not realizing that The reason why Your parents were a certain way Is because They're following their parents And but if you ask Mom What did you like in mom? And I love what he said But then some people would say Well, circumstances is why I ended up with her And I stayed with her But growing up You're not realizing these things You don't know these things Because you're seeing A certain relationship I'm wondering Why is it like that But not asking those questions And I always encourage people If you still have your parent here Ask certain questions Find out why Because you don't want To grow up and be a certain way Especially if it's causing You to not grow As you should Ask these questions Because it can help you Thank God for the time You had to spend with your mother Man, you know I lost my mom When I was 24 Yeah So that was a lot of time That I didn't get to spend With my mom Because I lost her so early Yeah So I tell anybody Just cherish those times That you had Because it could have been You know, it could have been One a lot different So, you know Because you never get your mother's love back Nobody never loved you like mama No, man And that's the whole game for me Like I didn't know it When I didn't I took it for granted When I was really, you know, young But now that I see everybody Is I can't stand to see Somebody misused their mother Or even remotely look As if they're not going to do Right by them I don't even want to be around That type person No doubt about it Man, so I just You know, when I think about Just some of the things that You know, you said Thinking about When you kept talking You said something about Instilling something in a child Or the blackness I thought about that song That song Wake up, jump down my bed I'm in a two-man cell With my homie love half dead You know how they start You know, the sun start off When they If I had a doubt For this little kid I'm a dead You're right You know what I mean Don't start like that Yeah Yeah If I had a What'd he say If I had a doubt For this little African Give up my life For this little kid This is something like I'm a dead mother You're right It didn't come out Just like that I'll never forget that Because it made me know that We was in a different place Then with the music You know what I mean Like We stood for It was a different time Where a man stood For something in that music That was being created During that time Even though it was talking About the chronic Or whatever It might have been talking About There was something in there That made you feel good About being a brother Yeah It wasn't And it wasn't called Conscious rap back then Either It was just the way we felt Public enemy We come off something That was different And I think that's Something that I would love To see come back into A trendy way Into what we deal With today What about you Yeah Most definitely You know In that era You were talking about The early 90s You know The late 80s That's right That's exactly right It was a reflection Of what was going on In the community That's right As it always is I think art reflects life Yeah Right And so back then More so than now And it was a more It was more of a Of a consciousness Or an awareness man That, hey man You were black That's right And that we were In this community Man in there We were in this struggle Man with the Whether it was the police Brutality You know Whatever it was It was a constant You were constantly reminded Of course You know Every day In various ways That man Hey man That we are In a struggle Yeah You know what I mean And I don't think You know That wasn't a bad thing I think I think people Sometimes want to You know Be comfortable But don't really Want to be free There are deals Yeah King spoke on that About the churches When he was in the Birmingham jail He talked about the fact Of how You know How the clergy Was accepting things You know just as they were Just to get You know get along Get along Wasn't trying to change Anything Wasn't helping our Communities And I think that's Still something that Blurs out today In society I don't feel like It's changed I feel like we still Our leadership You look at black leadership It's a joke a lot of times Where is it at They're like mannequins When you look at That you know You go in the store The mannequin has on what you Would like to buy But the mannequin can't walk The mannequin can't talk They look like they're in power Yeah But there is no power When it comes down to The way they are Versus the white constituencies Let's be real Yeah You see what I'm saying So you don't really You don't see that That come together Like that You see George Floyd That happened They went down Everybody in the world Say we're going to change But when you go back Into a lot of these Different places We still have precipitated Racism Sometimes blatant racism Yeah It's still something That I still feel like We have a long way to go When it comes down To standing together For anything I'm just being real That's me You know 100% You know Anybody whose Eyes are halfway open Yeah Is aware of that And I think Like I said Many times We just want to be We turn a blind eye We live in a la la land You know Just to be Comfortable You know what I'm saying I want to deal with that Man That ain't how it is Man I'm over here Doing my thing You know A lot of people say that And just not understand Man Whenever Man It doesn't matter If any Brothers and sisters Are saying Anywhere In the community Just because I may not Be going through That particular struggle At that particular time Man That doesn't extricate me Man from the experiences Of black people You get what I'm saying That's real You know We all in the same Both together Man People would laugh at me And I didn't mean to cut you No People would laugh at me When I You know People would start Dying on drugs Fitting all And all that Whatever the case may be Rise from our people Our young people That says We're on drugs And people look at Like Oh, he's just on drugs You know what I mean Or she's just on drugs But you have Million and billionaires That came up Off of our race That's in position That won't even come together And speak on the subject Yeah I'm being real Yeah And I'm sitting up here Looking at it And I did a whole I did a whole interview I mean a whole Remember that little Thing I did Where I went viral Because I was talking about it Before boss talk I was just standing up Talking saying That What he had, bro? You see these people You see them taking pictures Together Where Rolex is together Hanging out together But when people start To dial around them They can't even come together And speak on it Yeah They should have A podcast Or something Where they come together Strong black men And say something But it seems as if It's something that They're benefiting off Yeah I don't want to hear that I ain't gonna go there But I was telling Telling us some folks The other day Right You know We look at things On an individual level Like I was saying Like you know This is not What's affecting me At the moment so Man See this is the thing About it You go from coast to coast New York To LA And all points in between Wherever you have A black community Right You have the same Problems Right Regardless where you are I'm talking about Young folks That don't live in close proximity To one another Folks that You know Haven't grown up together So these folks The only you know Connection The common strand Is that we're black folks You know what I mean And so that speaks That right there Says that Hey man This is not an individual thing Man this is an institutional Thing It's a systemic thing That's right And so once we You know That's not rocket science Right And so once we Realize that part Then we have to say Well why is it that way When we start to really unpack Those parts of it Right The why of it Right That's when we start to Really identify The root of the problem And the societal forces That constantly Act upon You know what I'm saying Black folks And the black family In order to perpetuate the Problem And so when we deal with That That's the part Black folks don't want To deal with Because at some point Man you don't have to Look around And you don't have to Point your finger at That's real Brothers and sisters Man they're scared to do that They don't want to Want to deal with it So we keep pointing The finger at each other That's right Man We leave y'all out there For a little bit baby You still with us You know we talking That we got the fish up Now Or we got the fish up Over here now You know I got this Brother here You talking that Black talk When he did It just It pulls it out of me You know what I'm saying Because I'm going to be Honest with you I really You know I speak a lot Got to keep the balance Right So let's talk about The music a little bit Man You come into this game How old was you When you first started To produce man Let me see And how did you Even get into it I was in my late 20s Man I was about 20 Right back Yeah that's the late I want to say I was about 27, 28 Really So who inspired you Why you just What happened It's a strange story I'll tell you the story So my brother My little brother Right He was rapping Right And we were looking for beats Right I didn't know anything About music Yeah I didn't know nothing about it You know what I'm saying This was in the late 90s Yeah Very like round In 98 Yeah For show Right And so I knew a brother Brother By the name of Q I don't know Q He had a Company called Mouthpiece Entertainment Okay Real good brother Man You know We were building I can't even remember How I ran into Q But anyway But anyway So I started The clip Okay From old clip You know what I'm saying I know a few Q's I don't know which one That might be I might even know it And so real good brother Solid brother Man We started I started managing Okay Right And him and a couple A couple of his artists Right You know Just he said Hey man Music business Other than things So I you know Got up to speed Started reading And this and that And so You know I was managing My brother He plugged me in I was managing Q them And I was You know In my brother At the same time So he plugged me in With his brother Name Spliff Okay No Spliff I know Spliff D Producer No And You know Spliff was making beats Well I wouldn't Bought some beats from Spliff For my brother first Okay And I ended up managing Spliff Cool And you know The business just didn't Work out You know Sometimes Yeah That's life Man So now I bought You know Some equipment I had all this equipment In the house Man I went back there Started fucking with it One day I said Had a knack for it So when you First started When did you know you had some Well I always was a love of music Okay Me too Me too Had an ear for music I didn't know As far as creating music Of course You know In elementary school In middle school I played instruments But you know Nothing of It wasn't never Yeah I actually played the saxophone In middle school Yeah I played the sax You were the latest man In the middle school I wasn't I wasn't dedicated to it Okay It was just something I had to do Right Yeah And so You know I went back there And I just Started messing with it Learned the equipment You know Learned You know Read all the manuals You know My thing was I've always been a reader Man Yeah Yeah You know So I You know I absorb information All of it So that was My Then Started messing with it Man Just kind of And then things started hitting Okay So Who was the first big person When you say big And they weren't big at the time Probably But who was the first one That you nailed it With a good beat That went somewhere This brother I was I produced for this brother Out of Compton Okay His name was Fudge Okay And he had Had a Let me see Let me make sure I'm nailing it on The right person As far as I remember Man, this was a long time Yeah, yeah, yeah It was Fudge, right? And so he had done a song With rapping forte Okay And I produced that song And that song He did a song rapping forte Rapping forte You know, this was in Early, early, early 2000s Man, it may have been Right around Man, I'm rapping forte It don't make me none Dun, dun, dun, dun, dun, dun, dun Dun, dun, dun, dun, dun You remember rapping forte You see it there with Sheldon, man Yeah, yeah And so that was the first You know Named a known artist You know what I mean I had worked with what was rapping It was Fudge His brother named Fudge And rapping forte Man It was rapping forte The rapping forte That did that song I just was talking about Yeah, yeah, yeah So he was that rapping forte So you knew you had something, didn't you?  Uh, what was his rap name, man Man, don't give me the line Man, I can't remember You didn't know he was a rap To me, my brother I always used to talk to him Yeah, he stopped by his real name Yeah, yeah But you knew he was like Man, I was making so many Good beats for him It's all for your brother Yeah, man, matter of fact Uh, you know When he was still in high school Rapper, I tried to You know, wanted to try to sign him Yeah, this was back in the 90s, man Yeah, when he was in high school Really? Yeah, we was the same in high school That's hard, man That's the difference What year was that? Uh, see, my brother Graduated, I think in 97 So it had to be somewhere around 96 Ooh, that's a That day Boy, that boy was rapping back then His car faced him Yeah What? My brother was cold, man He had to be That roster, boy, that's that That's that real stunt now And rapper right there People don't realize that Yeah Just to leave deep in on that At that time Yeah Deep in it So when you think about like So when you look at the music Right now in Dallas How do you How do you And we don't jump in It doesn't even jump out of it How do you feel about it From producing the songs You did for Tom Tom Lil' Will, whatever Uh, uh, and just Dallas now How do you look at it? Uh, you know, it's always There's always been talent here Yeah You know, and I think, um You just talking about the music itself Yeah, the music itself And the music The music The business of it The music and the business of it We are in an independent Whatever stage And a lot of people sit right there Where you at And I'm afraid to some point A lot of them are still trying To make their way A lot of times A lot of them look the part And are dibbing and dabbing And other things to make the budget To even deal with the music That they're entertaining with You know, so it's just like How do you feel about where it deals Versus the 360 deals You've seen countless stuff happen You know, I think that, uh One of the things that is, uh Handicap Okay Um, you know, the rapper Scene or the rap, you know In Dallas Okay, okay As far as the business is, uh You know, it's the lack of unity In the conflict Okay In the hate, right Because, you know, I think Like I was speaking on like When the Dougie and the bus In that era And the Boogie, right You know, once, uh, you know Little Will, you know Started taking off And, um, you know Folks started hating, man On the breath You know what I mean Like from a standpoint Ah, man, that's that Boogie music And that ain't what we You know, it was just A lot of that going on Right, you're hearing that In the, you know Folks are putting On dance, man We gangsters We G's and all that Yeah, instead of looking at it Like, hey man This is a brother That has a song, right That's catching on Nationally That's bringing attention To the city You know what I'm saying Support the brother When the attention comes To the city Now you can bask In the spotlight Now you can get a look Because now You know what I'm saying Because of the Because of what he's done In the songs That are getting traction That's causing attention To be on the city Support that movement, man And then do your thing Because now you're going To be able to Now you're out of the darkness Right, now you're into the light Somebody can recognize What you're doing too Whereas if no one Ever brought did anything To bring attention to the city To the rap scene in the city You know, you would have Been floundering in obscurity How did How did I did You get what I'm saying But when you think about The dougie time The movement When you did that song And you made that beat Because the beat You know, it's a slammin' beat Don't, don't, don't You, you, you held You held on wheels back then And now probably even worse But you killed that Like, like Did you know that That was going to be a song That they were going to dance to? No, I didn't know it You just basically made a nice song With a nice beat No, well, I'll tell you what happened Little, I remember I remember it like it was yesterday Little Will, Rude Boy Spain, I think it was I think it was just them, right Oh, they came through the studio one night May have been some other folks in the studio But I know they were in the studio, right Say, man, we got this song You know, dougie man, this thing is Because they had it It was, it was They already had a version of it That was starting to gain traction in the clubs Right Before you, before you Yeah, yeah, they so And so they said, man, we need you to You know, do your thing, right And so Spain I remember Spain in the studio I said, man, what is the dougie? You get what I'm saying? And they, Spain started hitting it He started hitting the thing You know, hitting the thing I can't do it, but you know My daughter didn't do it But Spain was hitting it He was hitting it, right And I said, you know So I'm looking at it And you know, I'm getting the vibe of it Okay, let's do it, right And so we did it But I didn't really understand Because I hadn't seen it in the club Yeah Right, I hadn't seen what they had seen In the club, right And you know, I wasn't You know, they were, you know They were in the clubs You know, kicking it And doing that thing, right And so one night We all went out to the club I'm talking about a whole bunch of us, man Went out to the club It was a, it was a good club It was a club off of 635 Closed to the Galleria But there was a mall Like across the highway Rockerfella was at the club I don't know Rockerfella I never went to that one I can tell you that It was right off there Off of 635 Out of 635 By Preston and all that Yeah, right over there, right And so, you know We go to the club Man, the club is packed Man, they run the Dougie Man, the club went up My God, damn Is this your beat at this time? Yeah, yeah And then right after that They ran Busted Wide Open Oh, tell them Man, the club even went up further You know what I'm saying? Busted Wide Open was Man, eat, man You did that one too? Yeah Yeah, we did those back to back Right, and so And so then I got it And they were running those songs Like they played them And then they played them Played a couple other songs And they were looping right back Man, they, man These folks were Man, these folks were going Crazy in the club Then I understood it I understood it So you have to see it to get it Yeah, because you know Like when you, you know In the process of making the music You know, really Like if you don't really You know, you don't really get it You know, you just like Yeah, okay Did that motivate you To be like, hey We need to get back in the studio Like right now I mean, you know It was a whole lot of things Because just to be honest That wasn't really The type of music I was making You get what I'm saying? That's what you gotta do Like we were, like so So when we had, you came through Like we were together It was, you know My record company Addiction Records We were together Yeah You get what I'm saying?  Yeah No, I didn't start dealing With Rap a lot Until after that Until after that So before that As a matter of fact You know, there's a project That we put out With Addiction Records Called The Other Side of the Game We put that out in 05 You know what I'm saying? It's me and the homie Mr. Mac T on the cover Those are the homies Yeah, yeah You know what I'm saying? It was gangsta Yeah, you know What that's all about So, you know Those are the homies So that's the kind of music We were doing We were in the studio All day, every day You know what I'm saying? Making that So, you know And then also You know, I worked with Tom Tom of course That was before or after Yeah, all this stuff was before You worked with Tom Tom Before my Dougie? Yeah, before I worked with I did Cotton Mouth Like Cotton Mouth That album called King Kong Cotton You remember that album? Yeah Man, I produced that whole album Except for one song Wow What song did you do For Tom Tom pre Pre My Dougie stage You know, I did a lot of Mixtape stuff for him But I did the song on You know, on the Either Get Eight album Called Hustle Okay, okay So you was all the way in Yeah, and then I did Some stuff for For Luchy You did some Luchy So you could You could switch it up You're switching it up Matter of fact I met Little Will Through Cotton Mouth Okay It was on I did a song for Cotton I produced a song For Cotton Mouth And remember His little nephew A young pig, right? Okay It was called Elbows Out the Window Wow With Charlie Boy on it Okay I produced that And they shot a video And I met all them I met Rube And I met Rube Boy I can't remember Little Will Was at the Video shoot But I know I met Rube Boy At the At the Video shoot For Elbows Out the Window That's how I met them I met them Through Cotton Mouth So after Little Will You started Switching up your style Or being more versatile Because you said you were I'll go ahead No, because you said you were Only mainly doing Gangsta beats Yeah And then once you met him You started Switching it up to the dance Yeah, you know, yeah That's hard That's hard Yeah, and then After So the Dougie Then I did Right in that time I did another song For Little O That blew up Called Bet you can't do it Bet you can't do it Bet you can't do it On the thing Yeah, yeah, yeah I did that For Little O Right And then And then right after that Is where Matter of fact I connected What became My manager International Red At Rappelot Yeah And I connected Through I connected up with him Through ESG You know what I'm saying Me and ESG Had gotten cool And was solid And so I asked ESG I said man I'm looking for management You know what I'm saying I said man Turn me on to somebody So somebody is solid Right And he said well you know Buns manager man Because ESG and Bun Are real tight That's right And so he called up You know Red boy You know And so this was Around the time They had the What was that The O's on awards In Houston Right So Red boy and them Said hey man Come on down Me and the homies Went on down there Plugged in With the whole Rappelot thing And Dead went Dead went Man You said those on I thought about Beverly Julia Beverly She was on here I had her on here A few months back It's just Something how the south Move man So give me that I got to get the pimp store Right quick Like how was it When you met pimp Yeah Like how was it Working with pimp And he being a producer And you being a producer How was the How did y'all jive KLC told the store On here on How it was working with it For him Being a producer How was it for you Being a producer Working with pimp Man it was a beautiful Thing man So I only worked with pimp One time Like actually worked with him In the studio one time And that was like Three months before he passed Wow And so what happened was Now this is before This was Let me see Pimp passed December 2007 This was in October September or October 2007 Right Gator man The homie My nigga right there So you know Shout out Gator man You did what you do on Gator man Man you know the ball Play is out Man stop Don't do it Don't do it I produced like four or five songs Don't you know that Mark Man that's I'm serious Man look here man Okay let me go on Just run I'm a ball player baby Going hard to the hole Man yeah That one No I produced I produced the one with Zero The one with flip call Phone call I produced the one G's around my neck Yeah yeah I produced that Bad That was the homie Gator, Quint Fox Anyone man That was the homie Killing it man that's hard So okay So let me go on I just know that the boy had Somebody deep behind me That produced it Cause that nigga I used to love to see that Boy bring that Man Gator man listen So check this out right So the Pimp C song Was actually Gator's song Okay That he did with Pimp C Okay Cause this is before I was It was the action one That they did together The one that came out Yeah But the only thing happened Was they added E-40 to it Okay So let me So here's the story Right We get in the studio This is an 07 Right I didn't hook up With Rabelot to 08 Okay Right So Gator was like Man you know I'm doing a song With Pimp man You know come through the studio Pimp came through the studio Pimp laid his verse down You know Pimp was a fool man What he do What he do Pimp was being pissed You know what I'm saying So we worked And man to make it so bad That we had footage That's footage of the whole thing Somewhere man I don't know where it is Some character man Somebody got it Somebody I don't know what happened Lost it I got it But that's footage Somewhere the whole thing Right And so Pimp came through We kicked it You know we kicked it What did he say to you Give me something that he said He said Biggie man You know man You a cold mother fucker on the boys Man You know what I'm saying You know what I'm saying I didn't make you feel that I feel I'm saying that man Come on man That was a salute man That was me man To tell you the truth So me and Pimp That connect I say Man I got some more Because he had a show that night You know what I'm saying Somewhere out here And so I said Hey man I got some more stuff man That you need to put your Ears on man I think you're going to You're going to feel I said I said man So we exchanged numbers Okay And I said Well hey man I'm going to be down in Houston In a couple of You know In a month or so Whatever Handle some business We were Getting some distribution Together for the For the project We had put out Me and Dixon Reckards Never put out Okay And so anyway We go down to Houston Start raining man You know how it be raining Yeah it do be raining It rains a lot We were supposed to hook up With Pimp I had called Pimp Pimp was out in Port Arthur Yeah He said man Just come on out here right But then it started raining I said man you know Catch you on the rebound man It's rain man This and that But your shit man It wasn't no rebound man Pimp was gone man Wow About a month A month and a half So late after that Man So that's crazy But I know Everybody got these stories man And you know That was a thing Moving forward You know I ended up You know having managed You know Red Doing my management Plugging in with Rappelot Yeah Right when I plug in with Rappelot The first So at the time Red was managing Mike Jones And Bunn Shout out Mike Jones And me Shout out Bunn B So I was the You know he was managing He was Mike Jones So you were the producer In the midst of that Yeah and so the first The first piece of work I did When I got to Houston Was on Mike Jones Album The Voice Okay I did a song called Swagger Right Really And so then They're working on this Pimp C The Naked Solar Sweet Jones Yeah Yeah We gotta You know we gotta Get you involved in this Right And I said And I called Gator I said Hey man look They're working on a Pimp C album I said They're not clearing Anything They got to do with Pimp C Man If you want to I put it on the table With Jay now And let Jay Them know That we got a song Right Cool Right So you know I ran it down To Jay and Red And then I said Hey look I got a song I let them hear it Gator hadn't laid a verse On it yet Gator hadn't even laid It was just Pimp's verse on it Right You know He's still trying To get it That's the night That's the night That's the night That's the night Yeah We need that And he said And so Man let me tell the whole story Man I got I told me a point So when I first met Jay Right The first Jay Asked me Jay said Say Biggie Who is the coldest rapper Out of Dallas I said Gator man Hey You should have called That's the body I said Gator man I said Gator man Right He said Let me hear something And so we, Jay had just bought the studio over there. They called the takeover studio. He had just bought that, right? We sitting up in there and I played Gator. Jay vibing. He vibing to it, man. I can't even remember what songs it was, right? It was jamming though, because I know how Gator gonna do it. This is what Jay said. Jay, look at me. He said, Gator, man. Gator, man, right? And he said, man, so I get a call, man, about two in the morning, a few days. So, you know, Jay, Jay operate late at night, right? Get a call and say, man, he said, man, he said, man, Biggie, I need you to get Gator man down here immediately. Jay gon' do it, boy, Jay gon' do it, he gon' hold it down, man. So, you know, I called Gator, I said, hey, man, Jay wanted me with you, right? What Gator say?  You know, he vibed to it. No, I told Gator, like when I at first, you know, hooked in with management over there. I said, man, as soon as I, you know, get some room, man, get something for you, man. I said, man, I'm pulling you. Yeah, yeah. I'ma pull you in. That's a real friend too. I said, I'ma grab you, homie. I said, as soon as I, you know, get in, whatever, man, I got you. You know what I'm saying? So the first opportunity that came to the table, man, I, shh. Gator, man. Hey, man, the first time I met Jay, he was the first, well, actually the second time, the first time I met him was out on the street. Yeah. But the first time we had to sit down in the studio. You put that Gator man on. The first, man, I love Gator, man. But I had this CD, I had Gator's music on me. At all time. Man, yeah. Cause I said, man, they ain't got to hear this, right? And so, you can't remember what song. I can't remember. It was so late. I remember that Facts of Life, man. I remember a lot of stuff. I think I want to say it was the Texas album though. Yeah, yeah. It was either the Texas album or Children of the Corner both up. Yeah. It was one of those, you know, the ball player. Yeah, yeah, yeah. So Gator, you know, Gator came on down to, you know, went on to the compound, met with Jay. Man. Man, hey, man, Jay, man, Jay was a fan of Gator man's music, man. Loved his music. He loved his music, man. Everybody over there did. That's hard, man. Everybody. And so, that's when you, so Gator, so Jay said that now Gator hadn't had a verse. His verse wasn't on the Pimp C song, right? Jay told you, he said, hey, look at Gator. He said, man, look, man, look, put that heat on this motherfucker. And we going to pull gasoline on that fire, man.  That's what, that's what. That's the way he told. Man, Jay, so Gator went, did his verse. You know that song, Sister Nighting. Yeah, come on, man. So Gator came, did that verse, man. I brought it back to Jay. I said, yeah, Gator got the verse. We let Jay hear that motherfucker, man. Jay said, man, you know what I'm saying? And they, he said, man, who you think? We said, we need somebody else on the song.  I said, let's put 40 on it before they, and they put it out. And then, you know, they, you know, they started communicating with Gator. And Gator, Gator, Gator was on. Gator was a couple of rap a lot. I remember that. I remember that's when I was, I was really proud of him when I seen him make that move with him. I remember that time. I wanna say them other boys was doing a thing during that time to them. It was some old, that nigga, she just loved me. Damn D. It was during that time. I produced Damn Ds. It was during that time. Yeah, I produced like six songs on Damn D's album. Yeah. Damn D shot out. Yeah. Yeah, that's when that was that time when I felt like Gator was dealing with that rap a lot thing. Yeah, I was right around that same time. Right around that same time. I was proud of him, man. Real proud of him. No, Gator did his thing.  J-Nem had a lot of respect. Gotta have a lot of respect for Gator. No, Gator's staying true, though. You know what I'm saying?  He's the same solid dude. Yeah, no matter what. That's what stuck out to me. Me and him running the same circles a lot of time just to run into each other like we did. It was always mutual respect and just seeing him out. You know, I liked the way he moved. And even, you know, even like Quinn Fox, man. Like Quinn Fox is on, he's actually on the Swagger Right song. Yeah. That's Quinn Fox on the hook. You got, I got my Swagger Right. I got my Swagger Right. They thought that I was broke now. I'm looking down on the right. You know, have it go. But that's Quinn Fox. Man, cause those are the homies. Like we actually managed Quinn Fox now. Me and my business partner, Ken. That's what I'm saying. And Ken is, you know, Jay. You like to manage. Yeah. He likes the business part. He let a business part. So, yeah, we manage Quinn Fox. We manage a couple of producers. Well, we'll get into that. What did you do for Bunn?  Yeah. Did you do, what did you do for Bunn? So the first song I did for Bunn, every album since, well, from Trillo G, I produced on Trillo G. I produced on Return of the Trill and Bunn B Day. Wow. And we, me and Bunn have a lot of stuff in the vault. Really? Y'all still to this day? Yeah, we got, man. Come on now. Yeah. Yeah, it's hard, man. So we've, we've, the first song I did for Bunn was Speak Easy. Okay. That's with Bunn Twister and Cedric the Entertainer on the hook. How was, how was it? How was Bunn when it come down to going to this? Cause I've heard stories. DJ Byrne one told me that he, he, when you go in it's not a game. He don't do what he got to do with it. It's gonna be over. Bunn keep bankers, I was in the studio, man. It's not in that long. It's business, man. It's, you know what I'm saying? Bunn are coming in, Bunn. Okay. Do his thing. You know what I'm saying? Yeah, Bunn is all business, man. That's hard. You've always heard that. Yeah, I like that. Bunn is all business, no, no, no playing, you know, but Bunn is a, Bunn is a solid dude, man. Yeah. Bunn is one of those brothers, man. You know, the rare brothers that you find in the industry that are, you know what I'm saying? Grounded and, you know, just all around, just a good brother, man. You know what I'm saying? So. Yeah, when I met him, I never forget it. I always tell the story. He, we was in Vegas. I've met him a couple of times in Vegas actually, but he stuck, I had all my kids with me the same photo that I got now. And they grow on two of them. And one of them about to get out. And then the other one, he's still, he's 15, but he's getting out in a few years too. And Bunn seen us all in Vegas. And my kids, my daughter wanted, she was a big Bunn B fan. Shout out to Chastity and she was like, Dad, can I take a picture with Bunn B? And she was running around, he's like, hold on just a minute, you know. And we was talking and then he took pictures with all my kids actually. And once he took pictures with him, I told him, man, you'll stand up guy. And when I told him that, I said, you're a real one, man. He said, no, you're real brother.  He picked it out quick. He's seen it. He's a family man himself. And he's seen that.  I was in what, by 2010, 2010, 2010, 2010. It was around that 2011 period. Bunn is a man stand up dude, man. Every man, listen, everybody over at Rappelot is a stand up.  Red stand up. Everybody over there, my business partner, you know what I'm saying? Ken, that's one of the Jays right here. Stand up. Man, come on, man, to the bone gristle, man. Wow. That's hard, man. You can set your watch on them reliably, man. These folks are, man, I'm talking about it, man. Straight lace. All the way. That's hard. I like it, man. I love to hear that, bro, because we, and Jay would have to be with the way that he held it down for the culture all these years. You know what I mean? He held it down, bro. Like, a lot of time people be talking, man, but those errors, man, those errors we were just talking about, about the black unity and about the way that he was a person that stood in the midst of that too. You remember Willie D, the way he was rapping on them songs back in the 90s. And you know Scarface, man. He never seen a man cry until you seen a man die. And Bushwick, but at the end of the day, you could tell the strategy was real. And then you hear Jay speak on those, yeah. Oh, yeah, you know. And he would speak on those, it meant something to him. And I'm gonna tell you how, you know, look here, man. Jay, I remember when Rappelot was making a transition from, I wanna say, they were making a transition in a distribution or whatever the case was from Asylum to Universal.  And Jay didn't have to do this. You know what I'm saying? I remember we in the studio one day, I'm in the studio doing my thing. I can't remember what album we were working on. Jay came to me, man. Jay said, hey, Biggie, let me rap to you. It was going on. Jay, he said, hey, man, you know, everything is in transition right now. You know what I'm saying? He said, this is what we're doing. This is what's going on.  We're gonna get everything, you know what I'm saying? Everything straightened. We're gonna, you know, keep on pushing. But you know, just in the fact that, you know, that's a small, there's a small thing, but Jay didn't have to come tell me that. No, no, he didn't have to. You get what I'm saying? No. And you know what I'm saying? But that's just a testament to the type of brother he is, man. Yeah, yeah. I remember, man, you know, Jay had bought some property out there in Louisiana. Somewhere, it was a little South of Shreveport, somewhere, you know what I'm saying? It was, you know, a family retreat, man. I don't know, 50, 100 acres of something he had bought out there and he was building a family retreat out there, right? We go out there, man, and I'll tell you out there, man, Jay, you know, as well as Jay is, right? You know, I'll be, come on, we ain't got to even, you know. He got it. Jay did it, right? He got it.  Jay said, man, he had built him a nice house out there, right? He said, man, I don't even sleep in the house, man. I said, man, when you sleep at Jay, he said, man, I sleep in the dead stand. Didn't he act just like me? That's real. I'm a country dude, though. He just, he just doing it because he like, he probably like being outside. He like being outside in nature, man. That's real. You know, just real, man. I've always, every time, man, I would, you know, be in the studio with him or whatever, with him, man. You know, just sit there and rap to him, man. Jay, what was it like when you began, man? What was it? You know, what was it? You know, just soaking up games. He always pouring out, man. He always, Jay loves to see black folks winning, man. Wow. That's all. You get what I'm saying? No, and you can tell, man. Like I said, I love it because I know already he represented Southman, and he's serious about it. He was serious about it. Always hear the stories you tell. The book respect, and you know, all the stuff that he's done, you know, I always followed behind and just love the movement, being an older cat, just watching it from the beginning all the way to now to see what he developed and how he developed it. Just extraordinary, even from Master P and all of the different people that say they've seen him and they had something to look up to. It's the same way with all of us, if you're down here looking at what he had to go through and how he accomplished, what he accomplished. You know what I'm saying? And the same thing, go with Bunn, the same thing. They went through their ups and downs, whatever, would jive or whoever, but still stood true to the end, to, you know, till PMC passed away, to the music, to the culture. And I think that's real big, you know what I mean? And then, like, how was it working with Tum Tum? Have you worked with him anymore since that, though? I've been in Tum, man, listen. Me and Tum, you know, but- I was in the, let her know, I was in the video with Tum Tum. It's coming out, too. I met Tum Tum through the Roe Music at my boy, man. I worked with The Roe, you know, I did something on The Roe's second album. Did you? Did the single, M.I.A. Man, you done touched a little bit of everything. Man, come on, man. I've been around these parts, man. Who haven't you worked with in Dallas that you want to work with? Did you work with Chief? No, I haven't worked with Chief. You didn't work with Big Chief? No, I haven't worked with Big Chief. I think Big Chief kind of stayed with Misty. Yes, not with Misty. I mean, we kind of, like, we kind of just, I would say that we kind of missed each other. You know what I'm saying?  Yeah, yeah, yeah, yeah, yeah. But he wasn't into that boogie movement anyway, though. But no, I wasn't, you know, that's a deal.  He's a very much a legend. I'm about to get him back on the show, too. I got to call him up. I'll, you don't know I'm gonna keep him always. I got to miss with him. No, Chief is, man, I, you know, Chief is definitely, you can't really talk about, you can't, no, I can't really, you can't talk about Dallas Hip Hop, man. A Dallas rap without talking about Chief. You can't do it. You can't do it without talking about Tom Tuck and Puggy Lucci. All of them. Pimpster, remember Pimpster?  A lot of times, Pooka Leroy, Pooka Leroy get left out a lot of time.  He was, I seen him on one on six in park as far as the movement go. So he had a, he had a situation where he was in the midst of everything as well. So you've had some dope people from this city to do some dope thing. Don't forget about Quinn Black. Quinn Black. Yeah, don't forget about all these people, man. You don't have a Nemesis, which started it out for me. Snake, Snake, Snake, Neil. Joe Mack, Joe Mack is the homie. Listen, when that, when that beat, Snake did that beat. Yeah. With that, with that. Last night. Woo! Yeah. Woo! That last night. I worked with Snake. Snake has mixed a lot of stuff that we've done. Yeah. You know what I'm saying? Yeah.  Snake always, you know, always. I got it. Bobo Luchiano. Bobo. That's so tight. That's my dude, we talk about daily. But top three producers of all time did our live. Number one. Dr. Dre. Boy, little Dre. I said, this is the first Dre we done got. It should have been, it shouldn't be. Cause I tell them niggas all the time about this song. I gotta say this, Waller.  It was that, you can find me in the club, bought a fuller book. 50 cent in the club. That was the hardest beat without even 50 cents saying one word on that beat. And I tell people, when it first, when you first heard it, can you remember when you first heard that song? Yeah. Come on. You what you say when you heard that beat? Hard, man. It's the whole song. The beat.  Okay. You know what I'm saying? I've done a couple of songs from Nocturnal. You know, that was Dre's protege. Yeah, yeah, yeah. And so, I don't think, put it like this. And I'm not, you know, judging anybody. Go ahead. But I think that, you know, how people recognize and view Dre's production tells you how, how- The respect level? No, not even the respect level, but people's, what do you call it? People's aptitude. Okay, okay. For music production. Because they don't, you see, the thing about Dre is this. Dre has mastered, you know what I'm saying? The sonics of production, not only that, but putting the right thing with the right thing, making a hit. Dre is a master at that. The thing about Dre is, like Dre is sitting in the studio, Nocturnal was telling me, I was talking to Nocturnal when we were working together, right? He was saying, man, Dre is sitting in the studio for five, six hours, just EQ and a snare. Wow. You know what I'm saying? The sonics of it. And when you really listen to Dre's production, right? You can hear it, man. Dre, like when you listen to Dre's mixes, right? I want to just get super technical on it, right? Dre carves out a hole in the middle of the mix and sets the vocals right in the middle. And everything, every instrument is breathing on its own. Wow. And when you hear it all together, it creates just a certain effect. Just an effect that affects you a certain kind of way, but it's the symphony of it. And Dre is a master at that. And nobody, I don't know of anybody as master at that. Number two. Like Dre. I would say, I'll say, man, for me, Battlecat. Okay, Battlecat. We never heard that one. Battlecat is cold. What has he done? Everything. You know what I'm saying? He's a maker, man. I don't know. Callie is active. Battlecat has done all the east side of stuff, most of it anyway. I remember Snoop in the past. Nipsey? No, no, the youngest of the died. Or he's not a youngster. He used to be with Snoop. I don't want anybody to get the wrong idea about me. Not Nate, though. No, no. I'm a gangster. That whole go home. I can't remember. What's that dude's name? What is that dude's name, man? The little dude. You know what I'm talking about, man. I don't want anybody. I know the song. I know that song. But Battlecat produced that song, right? Let me ask you this. I'll say Battlecat. Who do you think number three is? I got to get this out of you before I get you out of here. I would say that three is the hardest. It's always the hardest one. He's got to call it. There's so many. There's so many. Who do you think? Narrow it down. To be honest, man, I would have to, and man, you know, I, man, I got to throw Mike Dean in there, man. Okay, okay. And I don't even know if that's the right order, but I got to throw Mike Dean, man. Mike Dean. Mike Dean, go hard. Man, Mike Dean. Man, out of the young people, who do you see that you like younger than yourself? Producers. Producers, wise. Metro Boomi. Metro Boomin. Boy, what's the boy? He's down there with, like the honorable C-note. Okay. What's the dude, man? Producers, produces a lot of stuff. Tag is on a, something on the beat. Mustard on the beat? Mustard on the beat. That's what I'm saying. Mustard is cold too. I like mustard. But I'm not thinking about mustard. I'm thinking about mustard. Man, I said mustard. Mike Real made it. It's so many different producers, but them young niggas are serious. Man, I salute all those youngsters, man. To tell you the truth, because they're doing that thing. Yeah, yeah, yeah. That's what I'm saying. Double A, man. Double A is a hard producer. Double A, what did he produce? Double A did a lot of NBA young boys stuff. And then I had Tago on here just here recently. And Ziggy made it. Ziggy made it. Ziggy made it is producers for Yellow Beesie. Then right now, Lodeezy's son. Oh, okay. Ziggy made it go hard. He produced for Gunna Meazie. He just did one for, Did he do for Kodak Black? Yeah, he just did one for Kodak. What did he do for Yellow? What did he do for Yellow? Man, it's a bunch of them. I'd have to pull it up, but I know we go over them every time when I interview them. I have them in there. I was just trying to, yeah. You be listen to a lot of Yellow. You hear his tag. It always says Ziggy made it. Ziggy made it. Yellow, Yellow, that's my homie, man. Matter of fact, I'll tell you a story about Yellow, man. Well, I don't know. I think it was the first time he met Bun. He and him and Bun got together in the studio. You know, me and Yellow went down to Houston together. Really? Bun had called me and said, hey, man, it's time to go back into the studio, man, we work it, right? And Yellow was coming through the studio real tough.   Before the. Because the way I met Yellow, he was over there at the time working with DJ Deuce. Okay. This is when he put the country rap tunes out. Yeah. You know what I'm saying?  Me and Yellow, you know what I'm saying? You know, mobbed down to Houston, got in the studio, Bun and Bun connected. They connected. And then, you know, but Yellow was already making moves because Yellow was real cool. You know, Yellow was real cool because we had got in the studio with Sauce Walker in there. Yeah. Down there. And you know, Yellow was in with those boys. And I ain't know those cats, you know what I'm saying? Wow. But they was, you know, Yellow's the homie. Yeah. I always loved his music. I say it all the time. Yellow is another. As far as when I first heard him Trap and Design and all that, that was one of them thing. I'm in the stove, man. Stop playing. Yeah. Yellow is another dude, man. Yellow has always been 100, man. That's hard. Always, man. Yellow is a solid dude, man. Wow. You know what I'm saying? I had never seen anything flawed in that brother, man. You know what I'm saying? Yellow is always kept going on. You hanging out in the studio with DJ Deuce. So you know if they flaw. And just in real life, man, you know, but just a testament to the character of Yellow, Beazey, right? I remember, hell, man, he did a show at the House of Blues. And this is after, you know, he had blown up, right? Man, this brother had all these acts from Dallas. And reached in to all of them, reached out to all of them, brought them on that stage, let them get out with money bag, yo, or whoever else he had out there. You remember that? No, I don't remember. But I know, I know. That's a hard thing to do in the midst of your success, to be honest with you. I got to ask you this before you get out here. How can people get a hold of you if they're trying to get a hold of you? You can get at me, you know. Hit me on Instagram, man. Okay. It's a biggie beat. Man, it's a biggie beat. Y'all know what it is, man. Stop playing. Y'all heard the tags, man. Check it, man. Hey, man. Man, thank you for coming on the show. We love you, bro. Now, this ain't the last time, is it? No, no, no. You're gonna come back whenever you hang out with me. You're gonna do some co-hosting with me. Hey, man, as long as we breathing. Check it, man. Hey, man, it's been another great segment, man. A boss talk 101 when a boss is taught. And we out.


We just made this new wall hanging to go over our console table using some buffalo plaid and we'll show you how we did it right now What is up welcome back? Do you like to do it build it or make it then that's awesome because that's what we do here So go ahead and subscribe and take that bell because we have a new video each week Yep, this week. We're making a home decor sign really what I want to show you is how to do a buffalo plaid buffalo so He's been saying that since I told him buffalo plaid This is just a sheet of plywood and we've painted it white 20 by 20 And we're going to frame it and these are 1 by 2's that are already to the size of the 20 by 20 board And I've stained them so I already prepped these two pieces So step one We're gonna start with the buffalo plaid and I'm gonna have Garrett do it Oh All right, so you want to put a strip one piece of tape right down the center All right Eyeball it. Yeah eyeballing this fine. I mean as long as it's straight No, I can't have my stripes wonky. Yeah, nobody wants wonky strips. That's it Now you're gonna put another piece of tape here as a spacer because you want to keep adding Stripes Got it. I got it. Yeah Make sure they're even I think my stripes won't be That's just a guy right? Yeah, it's just a guy. What do you think? Yeah Looks great Now that we have our first of the stripes down now, you're gonna paint it a light gray So we're gonna give this just a few minutes to dry. It needs to be dry completely Because we're gonna peel up the tape and put tape down in the other direction.  It's six inches. It's one of the What is it tiny? Tiny wreath collection like a grape Bryant grape behind wreath It says two of them, but I'm not gonna untie them Leave them like that Anyway six inches and I couldn't find a six inch wreath already made so I bought this little greenery and We're gonna make our own. Oh, what are we making? We're just going to wrap it around. You know what? I need something to cut that Do I have something maybe right in there? So just yeah, wrap it on there so it's attached at this other little piece here The whole thing is right there. That's pretty good, right? Yeah, that's beautiful I get a couple of these flyaways thin That's definitely a flyaway Garrett loves the wreath making This is like his worst part. He hates this part, but I couldn't find one I would have just bought a little one, but I couldn't find it. So All right, so put that aside pull off this tape and we're gonna put them on stripes horizontally And we weren't gonna meet in the middle like Lady in the Tramp So now Will it be easier if you turn it or you can just do it this way? Yep Starting in the middle Starting in the middle do the same thing now this step. We need a little bit darker gray So we have light gray now. We're gonna go darker gray And I think we need to add a little black And I have oh here's the other black over here. We're just gonna paint all the way across the whole thing stripes. Yep Okay Now I need to just let this layer dry Make five more minutes. Yep, and then we'll add the next layer Now that this is dry step two is dry Step three, we're gonna add tape back over the original white sections. Can you see those? Yeah for the white section While we were waiting for the last section to dry I went ahead and added just a little more dark gray To the lighter gray that we have or the medium gray I guess at this point and now we've made it a really dark gray So now we'll fill in all of the unpainted or untapped sections squares with the dark gray So let me get the close-up camera. I'll show you wait for this to dry and we'll peel it up Just a little bit doesn't have to be completely dry. Okay Thanks to the magic of heat-gunness We sped up the drying time a little bit. It's still wet, but it's not shiny We think yeah, yeah, it looks great I'm not sure the silver is doing exactly what I wanted to do, but it's it definitely gives it that buffalo plaid Look, it looks good It's like gotta get that in the right light. All right. What do you guys think? Can you see it? Is that is that first gray silver to light? Let us know what you think down below. Tell us what you think So we're gonna add our Let's just do it little stencil here at the bottom All right. Yep. Let's do it Do you think it's dry enough for the stencil? Yeah, I think I can paint over it. It'll have to dry over time We're gonna fill in our stencil With a really dry brush so hopefully it prevents bleeding Bless you. Bless you. So the paint isn't exactly dry Still damp, and that's the best time to pull up your Pulling up all the other paint. Not too bad. We didn't lose too much silver All right, and so we got so far our nest now what we can put the frame on and Then actually I'm gonna put the wreath on and then you can put the frame on to hold the ribbon for the wreath Okay Okay, I have two choices. So let me show you this. I'm going to put the wreath right up top here Think this way Like this so two choices are ribbon And I hope you can see it from here This one is a black-and-white leopard print with some silver on it. Very cougar-ish And this is a burlap in black zigzag. Yep. What do you guys think? I say cougar No, I think I'm gonna go with the burlap Okay You guys leave a comment down below if you think I was right. I'm just touching up the original Silver-gray the light Stencil seem to pull some of that Do you want me to put the frame on it? Uh-huh Let's hear give me a piece of this tape for now I'm just tacking the frame around the outside with one and a quarter inch brads. It's my favorite nail All right, I think that's it right? Yes, but it looks so good There we go. There's the iron-ness sign here. Let's get closer so you can see. What do you guys think? Right, I think we're all done. You like to do it yourself. Build it yourself. Make it yourself So do we so if you want to see more projects and you're not yet subscribed Go ahead and hit that subscribe button down below and remember to hit that bell to be notified of our new videos each week Before you go check out one of these other videos over here over on this side There's a subscribe button other videos to watch subscribe button


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It's funny how it happened. Take a good look at me. Am I the type you'd say could harm and fly? Ask around my neighborhood to ask any of my old customers. Sam, they tell you... Sam Brown, why he wouldn't say boo? Sam Brown a murderer? Besides, there must be some mistake somewhere. Sam's dead, my whole year now. So that's what I want to explain how it all happened. It all began that Sunday morning at home with my wife, Katie. Poor Katie. And April Fool. Today is April Fool, isn't it, Sam? Yeah, I guess it is, Katie. Why? Why? Because we'll have to expect a lot of silly tricks today. That's why, from your so-called friends. Yeah, that's right.  You're talking after the way you fell for that April Fool's joke last year. Yeah, something led down all right. When I learned it was all a practical joke and I hadn't won 50,000 in the Irish Sweepstay. You sure took it a heart, too. Why not? Will I ever in my life even see money like that? Katie, please. Will you ever make it from your miserable milk route, will ya? Oh, I'm sorry, I even mentioned it. You were gonna give me so much. You were gonna get places. Throw a million at my feet. A million watt, empty milk bottles. Well, so I didn't get the brakes. Now what do you want me to do, Katie? Rob a bank, murder someone? Please let me alone, will ya? I wanna hear... Turn that off and listen to me. Murder somebody, he says. Being poor is murdering me. I'm fed up. I tell you, look up to here. Oh, Katie, please. No, Katie, me. What's the matter, so early in the morning? Hello? Mrs. Catherine Brown? Yes. You're the wife of Samuel E. Brown of 22 Maple Street? Yes. I'm sorry to have to inform you that your husband has been killed, Mrs. Brown. What's that? His body was found just a few hours ago in a ditch on the Clinton Turnpike. Killed by a hit-and-run driver, Mrs. Brown. Ha, ha, ha, what is this? Somebody's idea of an April Fool gag. Now cut it out. I'm really sorry, Mrs. Brown, but this is not an April Fool gag. I wish it was for your sake. Please call at the county morgue, will ya? What? Well, you'll have to identify the remains. It's almost beyond recognition. But there's a wallet, Mrs. Brown. That's all we show on. Listen, you.   Who is this? Police Sergeant Ryan, ma'am. Third Precinct.  That is, if you want to claim your husband's body. Hey, what was it? Some gag? Of course it was a gag. Well, you're right here. It's probably that Joe Brody again with his April Fool jokes.  Must you listen to that radio? Okay, my one day off a week. Let me live, please. The body of a man tentatively identified as Samuel E. Brown, a local milk driver employed by Dessal Berry's company. What? What did you say?   The body was found in the ditch on the Clinton Turnpike, mutilated almost beyond recognition. A wallet is the sole clue as to his identity. And that winds up the 930 edition of the... Well, what do you know about... did you hear that, Katie? Yeah, I did. Well, that was me, wasn't it? Me that we're talking about. That's a hot one, isn't it? Huh? Sam, that phone call just now... Yeah? I thought it was an April Fool joke. Must have been the police. Wonder how in the world... Huh? Now what? Let me... Hello? Katie? This is Harry, Katie. Gird and me, we just heard. We were listening to the radio, and you... You all right, Katie? You know about it? Sure I know about it, but... Oh, we feel awful about it, Katie. We're coming right over. We'll take care of everything. Harry, listen, it's all... Gird will go downtown with you when you're ready. I'll take care of all the paperwork. Now, excuse me for mentioning it at a time like this. I don't have to go any... What paperwork? The insurance policy I sold Sam, remember? I told you both how someday it might be... Little did I dream. I'm so glad I talked you both into it. 10,000 with double indemnity for accidental death? That's 20,000, you know. A final thought for your welfare from Sam. Harry, I can't... I know, I know. I know you don't want to talk about it now. Listen, Katie, we'll be right over. 10, 15 minutes. Harry! What was that all about? What do you want? Katie, I'm talking to you. Wait, Sam... I'm trying to think. Oh, it's impossible. You're right here. Yes, Sam, what do they mean? They identified you by your wallet. You have it, don't you? My wallet? Your wallet! Naturally, right here in my pocket, where I all... Not the devil. I'm wearing the same pants. It's not here. Wait a minute. I remember something now. Well, that maybe clears up this whole mystery. Yes, Sam. Last night after the poker game, coming home on the bus, there was some character jostling against me. We almost had a fight on the bus. Sure, now I think of it. He must have picked my pocket. Like Katie, it's him they must have found on the turn bike. Sure. Say, let me at that phone. I'll call the police and straighten out this phone. No, wait! Wait, Sam. What for? Sam, maybe we ought to consider this thing a little... Consider what? Your $10,000 life insurance policy, Sam, with that double indemnity clause. What are you talking about? One big chance that we've been waiting for. What are you driving at? Did anybody see you coming home last night? No, I don't think so. Why?  There's a body lying in the morgue. The only thing they got to go by was that wallet. Say you never came home last night, Sam. Or ever again. Say I went right now and identified that wallet. The insurance company would pay me $20,000, wouldn't they? Yes, I... Don't guess they would. You out of your mind. You could disappear right now. Go to Chicago, say, without being seen. I could write you gender delivery. After a while, after I collect, I could join you there. No one will be the wiser. We can begin life all over. Rich. This could be it, Sam. No, no, no. Money got in this way. It never do us any good, Katie. By that amount of money, I'll take my chance. And so will you. You'll do it, Sam. Oh, yes, you will. Because if you let me down this time, it's the end. Katie, I... $20,000. $20,000. For suspense. Autolight is bringing you Edward G. Robinson in Radio's Outstanding Theatre of Thrills, Suspense. Hey, Hap, will you help me out here? Sure. All right. Pretend you're on a quiz program and I asked you this question. What is it that needs water only three times a year? Let's see. Is it a kangaroo? No. It's not a camel nor a cactus. Can you give me a hint? All right. It goes in your car. The initials are ALSFB. Oh, I've heard that somewhere before. It's dandy. It's dynamic. It delivers power, pep performance. It's an autolight-stay-full battery that needs water only three times a year in normal car use. Don't tell me. Let me think. I can't give you any more hints. Except to say it's an autolight-stay-full battery with that extra liquid reserve. That's it. It's an autolight-stay-full battery. Right. With autolight. The gentleman wins a hand-embroidered autolight-stay-full battery carrying case and the right to drive into the nearest autolight service station and buy an autolight-stay-full battery. Remember, be battery right. Switch to autolight. And now, autolight brings back to a Hollywood soundstage Edward G. Robinson as Sam in You Can't Die Twice. A tale well-calculated to keep you in suspense. Katie always couldn't make me jump through a hoop. Besides, I might as well admit I'm human. Show me the human can spit at that kind of money. Anyway, I snuck out of town that very day. Got to Chicago. Got me a crummy room under the name of Lionel Hendrix. Weeks went by and nothing happened. No news at all from Katie. Heck, I got really frightened. Something gone wrong. I wrote her. Got an answer. General delivery. I'm advised that the delay on the transaction is because of its unusual nature. No more letters, please. Thank you for your interest sincerely. More weeks passed. Another month, two, three, without a word from her. Now the police found out. They were on my trail. And then I began to get suspicious of Katie. What was she up to? I had a phone. Hello? This is me.  Well, I had to talk to you. Why haven't you written? What are you up to? Haven't you got it yet? Not yet. For when? Oh, cut out that Clara stuff. I'll be there. Katie, it's awful lonesome for me. Do you love me, Katie? No. Well, I get to wondering at six months now. This is crazy. I'm a wreck. I'm scared. I can't stand this life. I've never been away from home. I'm a family man, Katie. Who's that? What? That voice. You're imagining me. I heard a man's voice. He's right there in the room with you. Now don't deny it. I see. So you're two-timing me, huh? Well, that explains everything. I'll fix you. I'm coming home right now. If you do, you'll go to jail for a bout. There you see. What could I do? Anyway, that's when I started the drink. What else was there? There I was all mixed up and alone. I used to get good and drunk and wish someone would at least say... Hello. I said hello. You all alone? What's that? You really tied one on, haven't you? Stranger in town? Oh, stranger everywhere. How do you know?  Well, don't cry about it. I'm not crying. You want company? Sure. You're kind of cute. Luther. Yeah, Cleo? Rye high on the gentleman here. Coming up. Your name is Cleo, huh? Yeah, I know. Cleo Carter, what's your name? Sam. Sam? Oh, Sam. Sam what? Oh, I mean Lionel. My name is Lionel Hendricks. That's my name. Lionel Hendricks. What happened to Sam? Oh, he's dead. Yeah, and dead. Poor, lonesome ghost. Nobody cared. Are you married? Where you from, Lionel? You're not on the lamb or something, are you? Cops shy? Look, nobody cared. Not even Mrs. Widow. Sam's widow. My name is Katie. Catherine, you know. Katie don't even care. Too timing him. Well, never mind. Change of subject. What do you do, Cleo? Ah, this and that. What do you do, Lionel? Well, that and this. Where you from, Cleo? Here and there. And you? Oh, there and here. We make a great team, don't we, Sam? Sure do. Hi, Cleo. Hi, hi. Thanks, Luthor. How I'm part of trip up denial, Cleo? Character. Luthor's a comic, Sam. No, no, no. My name isn't Sam. Now Lionel is my name. Lionel Hendricks. Excuse me, Lionel Luthor, not Sam. I remember. Hi, yeah, Cleo. Hey, when did you get back? I gotta pay a visit. Nice to have met you. Oh, no, no, no. Where you going? I'll give you a pair. Oh, no, no. Don't leave me alone, will you? You like my company? Oh, very much. Oh, very, very, very much. Much as that. Yeah, I said we do. Well, it's this way with me, Lionel. I'll be very frank. First of all, you're a married man. No, no, no. Not me. No, not Sam's married. Not Lionel. Not Sam Brown. Well, good fellow. All of a sudden, dead. Killed dead. You know, always left with me? No. A wallet. There's a few cents to it. Now he has $20,000. Success story. $20,000. Mm-hmm. He was worth more dead in a lot. Lionel, let go of my hand. Look, I'm gonna see a friend over there. Yeah, but why? Percentage, Lionel. He always shows me a good time. Spends money like it was water. He's rich, so... Oh, he's rich. Well, I'm richer. Don't leave me alone, clearly. I got $20,000, I tell you. Not you, Sam. Well, what's his is mine. I can lay my hands on it any time I want. You wouldn't kid me. Would you understand? Why? Oh, I don't say a word. Not a word. Oh, I think I'm gonna be sick. I think you better come rest at my apartment, Lionel. I really do. We can talk there. I like your talk. Get jingles. You awake, Angel? Huh? What? Little Cleo's, don't you remember? Just running the vacuum. All those butts you tumbled on the floor. Cleo? Cleo Carter. Took pity on you. Let you sleep all the hangover on the couch here. Cleo. Are you forgotten? I remember.  Yeah. Well, it's all right. Oh. Oh. You know why I'm laughing? I'm surprised at myself. Why?  I don't know when I ever felt this way before so fast. Mm-hmm. You said you felt the same way about me. Do you mean it? I was at that bottle talking. And I must have meant it, Cleo. All right, then. How does it feel to be dead, Sam Brown? What? How do you suppose Katie's taking it? No, no. I didn't tell you. Well, it's all right. It's all right. You told me everything, but it's safe with me. To me, Sam Brown is dead. Oh. Could I please have that drink? Oh, sure. Okay. The insurance money really comes to $20,000, doesn't it? Or will you exaggerate?  It's $20,000. Why are they taking so long to pay off? Oh, I don't know. I don't know. 10 months is a very long time. Maybe they've already paid and Katie's holding out on you. Oh, no, no, no. Katie wouldn't do a thing like that. Why not? Look what she's already done for the money. Well, not Katie. She wouldn't. She may have had another man. She likes more than you. But Katie isn't like that. Look. You. Did you mean what you told me about you and Mia, didn't you? Will you repeat it, sober? Right now? What? Repeat what? That you never felt about her in all your married life or what you feel about me. That you're going to leave her for me after you get the money? Say it again, Sam.  Oh, clear. I mean it. Well, I can't say that about Katie. I just can't. Get out. That's the way you feel. Go ahead. And when you leave, you might think about whether or not you can trust me now that I know all about it. What? I could call the police, you know. Oh, clear. I never did know how to handle women. That was always my big trouble. She could have called the cops, couldn't she? So I made up with her. Anyway, I had someone to talk to now. Maybe something would happen. I did. Oh, she was smart, that clear. You know what, Sam? It'll be good to have $10,000 all at once. Yeah, sure will. Now, what would be twice as good? $20,000. Wish for the moon, why don't you? My share's only $10,000. Your share's as much as you can get. You can get it all. Oh, no. Katie would never give it to me. Not all of it. The way I figure it's Sam's this. She'll come here to Chicago when she finally collects. Well, she can't afford to have you suddenly turn up alive back there, so she'll come here. When she does, we'll take it all. You and me. Oh, no. Now, she'll never give me all of it. I know, Katie. I said we'd take it.   There's ways. Huh? Oh. Oh, no, Cleo. No. Well, perhaps not. But, uh, get used to the idea, just the same. Like breaking in a pair of shoes. Know what I mean? That's the way she worked on me, over and over again. Then she began to get impatient until one day, your less a day from the time I left home. What is all of this? A practical joke? Tomorrow's April 1st. You waiting to tell me April Fool? I'm calling your bluff, Sam. Come on down to a phone booth right now and call that wife of yours. Let me hear with my own ears. What do I say? Answer her. Oh. Hello, Mrs. Brown. This is, uh, me. You'll meet her at the station information booth. Tell her. What? I'll meet you at the station information booth, Katie. What country? You're taking her on a second honey. Cleo. Tell her. Hello. Hello. Katie, I'm renting a cabin out in the country for us. We're going on a second honeymoon. Oh, Cleo, I can't go through with it. Please change your mind. I'll give you just 15 minutes. I'll be hiding in the back of the car. And if you're not out there with her and the money in 15 minutes, I'll have every cop in Chicago looking for you. I mean it, Sam. Lionel, darling. Oh, thank you, Mr. Gaten. Oh, darling. Darling. Oh, Sam. My darling, Sam. I'm so happy. Hello, Katie. Don't, don't, don't cry. You're crying, too. Oh, no. We're together again. And we're rich. We're rich. Yeah. Oh, aren't you excited? Wasn't it worth waiting? Yeah. We're rich. We're rich. We're rich. We're rich. Yeah. Oh, aren't you excited? Wasn't it worth waiting? Yeah. We're rich. We're rich. We're rich. Wasn't it worth waiting for? And no one suspects. I can't believe it. We have money and we're together. Yeah. Here, here. Let me take your bag. Yeah. Hasn't been out of my hand the whole trip. It's all in here in $100 bills. No wonder it's so heavy. Come on, let's, let's go quick. We're really going on the second honeymoon. Oh, Sam. I could die for joy. Out in the country, Sam. Say that for it. So quiet. Yeah, I know. You're acting funny, Sam. I couldn't help it that it took so long. You said they had to investigate and everything. There was no picnic. Let me tell you. What the devil is that like? Oh. What is, is this the cabin you rented for our second honeymoon? This shack? Sam. What is it? You couldn't have brought me here for a honeymoon. Why did you bring me here? Answer me, Sam.  What? I'm leaving you. This is the end of our life together. But why? Why?  Now you take a half and I take a half and we each go our way. Now please, quick, quick, quick. How can you do that? No, I want my half now. You mean you want it all, Sam? Now you said you'd let me handle it alone, Cleo. You promise not interfere, you promise. So that's it. Another woman. Take the money out of the bag. Sam, let's go. Oh, Sam. Oh, Katie. Oh, get your duelist. I loved you. I wanted only your good. Believe me. Oh, Katie. Katie, don't cry. I can't stand seeing you cry. It hurts me. Sam. Sam. Get the money, Sam, all of it. Katie, I have to do this. Not one cent. Now, give it to me, Katie. Cleo, can't you keep half? Half? I'm keeping it all. And you know what else I'll do? I'll send the police a letter. Oh, no. And tell them everything. No, no, you wouldn't. Wouldn't I? Oh, wouldn't I, though? No, no. KKK, you don't mean that. Just try me. Go ahead. You might as well put down that wrench because I'm not scared of you. Not that much. I'll send them a letter with a whole story and your description and hers and everything. You won't. You won't. You won't. All your fault. All your fault. All your fault. Katie was dead. I don't remember much of a ride back to Cleo's place with the police with the money on my lap. It was numb. Exhausted. I collapsed on the floor at the apartment and fell asleep, cradling that of a lease. It was past noon. I woke up. The police were still in my arms, but it was open and when he was gone. So was Cleo. She wasn't there. She was gone. I was alone. Cleo. Look there.  So she left you, huh? Yeah. You better have a drink. Yeah. Look as though you could stand it. That's right. Well, you can't blame Cleo. Not after what you've done last night. Huh? Last night? I know all about it. What do you mean?  How can you live with yourself? I didn't do anything. Don't give me that. I know everything because I was there. No, no.  But, Sam, I saw the whole thing from start to finish. You couldn't have. You couldn't have, will you? If I'd done that, I couldn't live with myself for the rest of my life. It'll torture you, see? Now stop it.  No, stop it, stop it.  No, no, no. Confess. All right, stop. I did it. I killed my wife. That's about all, Lieutenant. You were strange how it all happened. Strange how it started. Stranger still how Luther here knew. Yeah. How did you know Luther? Well, I didn't, Lieutenant. What's that? Oh, not a thing. Oh, what did I say to him? How can you live with yourself after last night? So what? Everyone done something last night they was ashamed of? Oh, every night in a week. How was I to think this here guy committed a murder? You see, cutting all I was up to was a... Well, what's the date today? You get it now? I was just making what an April fool joke. April fool joke?   Thank you, Edward G. Robinson, for our great suspense show. Your name, Wilcox? Yes, Mr. Robinson. You're the fellow that keeps talking about auto-light stay-full batteries? Yes, Mr. Robinson. Well, I want one of those batteries in my car, see? Yes, Mr. Robinson. Can't you say anything but yes, Mr. Robinson? Yes, Mr. Robinson, I can say this. Stay-full batteries are made by auto-light men who make over 400 products for cars, trucks, airplanes, and boats in 28 auto-light plants from coast to coast. SRE and auto-light also makes complete electrical systems for many makes of America's finest cars. Batteries, spark plugs, generators, starting motors, coils, distributors. All ignition engineered to fit together perfectly, work together perfectly because they're a perfect team. So, folks, don't accept electrical parts that are supposed to be as good. Ask for and insist on auto-light, original factory parts at your neighborhood service station, car dealer, garage, or repair shop. Remember, you're always right with auto-light. And now here again is Mr. Edward G. Robinson. Once again, it has been a real pleasure to join Tony Leader and his suspense cast and crew. I hope they'll invite me back many more times. And that's no April fooling. I know, too, that all of you are going to be as anxious as I am to hear next week's show when Radio's Outstanding Theater of Thrills will present Ronald Coleman in the Noose of Coincidence. Another gripping study in... Suspense! Edward G. Robinson will soon be seen, starring in the 20th Century Fox production The House of Strangers. Tonight's suspense play was written by Joseph Ruskall and prepared for suspense by Walter Newman. Music was composed by Lucian Moraweck and conducted by Lud Bluskin. The entire production was under the direction of Anton M. Leader. In the coming weeks, suspense will present such stars as Edmund Gwen, Bob Hope, Mickey Rooney, and many others. Next Thursday, same time, here, Ronald Coleman in The Noose of Coincidence. You can buy auto-light staple batteries, auto-light resistor spark plugs, auto-light electrical parts at your neighborhood auto-light dealers. Switch to auto-light. Good night. This is CBS, the Columbia Broadcasting System.


We questioned yesterday why those guys weren't in the lineup. When you're a lineup that's been struggling as much as the Yankees had been Stanton came back off the aisle played one game had yesterday off there both back in there today. So I think we're starting to see the lineup is going to be a little bit different. Aaron Boone is making some changes but also the load management days maybe have to be put off for a little bit until the Yankees can get going. Guys like LeMay you Stanton or Shell has been good Aaron judge has been good. Gabor Torres needs to get better. There are a lot of names that need to get better. All right so what is going on with Gabor right now because if you look at the numbers compared to that breakout season he had in 2018 and 2019 I mean the home runs per bat that jumps out at you. It was about a home run every 16 to bats back then. Now it's every 59 to bats on average. The slug is certainly down and then what's with the exit feeling. What do you make of that. Yeah exit velocity tells us a lot right. The ball is just not jumping off of the bat of Gabor Torres right now. I mean under 85 miles an hour and you looked at the lowest exit velocity is Fletcher from Anaheim who is a slap punch and Judy hitter. So to have Gabor even in the same area code as that is definitely concerning but how do you fix it. If you're a hitter you can't just go up to the plate and say well I'm going to swing harder. I'm going to hit the ball harder. It doesn't work that way. It actually works the other way where you're dragging the bat through the zone. I'm sure the lack of power is frustrating. Gabor Torres right now but it's probably a reboot in the cage mechanically to make sure that his lower half and his upper half and more specifically his hands are working with his legs. Once he gets everything together it's going to be easy bat speed and then the ball is going to start jumping again. I've always said this to people who don't care about exit below. It doesn't mean anything. It might mean the difference for Gabor of a ground ball to second or a ground ball getting by the second baseman. And that's huge for a guy. It tells a story. Bob I mean I'm not big on the analytics and the numbers but when you're talking about exit velocity off the bat you know you can watch from the dugout or watch from an analyst chair and say oh he's hitting the ball hard. But when the numbers are drastic as drastically low as they are exit below for Gabor it's puzzling because now he's thinking he's got to create power which means you're trying to pull the ball a little bit more and we don't know when Gabor's at his best he's driving the ball the other way and he's able to find the seats and right field at Yankee Stadium. Right now the ball is not jumping off his bat. So they're looking for different options maybe a little lineup shake-up today with Wade in center and Doohar at first to keep his bat in there but down at AAA a lot of people have been talking about Chris Gittins that he's been getting some traction he's hitting 268 but the power numbers are there four homers 10 runs batted in he's not on the 40 man so again that would be a roster shake-up as well to get him on. Well that's a big deal not on the 40 man roster but the biggest thing is he plays first base and if you look at the Yankees as a club offensively and where they have struggled it's been left field it's been center field and it's been at first base. So if I was a Yankee first baseman and my whole career being behind the plate I knew exactly what the catchers were doing in the minor leagues at AAA and if they were swinging the bat it would have gotten my attention that I need to get going here because there's a move that can be made if somebody is lighting it up at AAA and you have a need for some power for some RBI's you know the the organization at some point has to say we got to do something whether it's a trade or promoting somebody from the minor leagues. Today and do hard gets a shot at first base I love that move I love Tyler Wade being in the lineup for the fact that he gives the Yankees some speed and I know I mentioned this that today's game isn't about hit and run and all of the things that it used to be back in the day but Tyler Wade just by getting on base is going to create some energy create some excitement and we heard Aaron Boone talk about it yesterday when you don't score runs you look like a flat ball club Tyler Wade playing center field is interesting as well we had talked about Clint Frazier might get some reps in center field you have a backup utility player playing center field for the Yankees today.