Shyne host by Jim Jones (ep. 22)

Shyne sits down on Artist to Artist with Jim Jones for a powerful conversation about his journey from Brooklyn to Belize, navigating fame, prison, politics, and returning to music. From hip-hop legacy to becoming a political leader, Shyne opens up about growth, redemption, and stepping back into the spotlight.

Transcript

SPEAKER_01 0:24

Welcome back, ladies and gentlemen. Minister, um, what we like to say. This is the conversation that needs to be had, and we all know that all my guests are very special, and today we have another very special guest, none other than the Prime Minister of Rap himself. Sean.

SPEAKER_04 0:46

Shampoo, Sean. I like I like that introduction. It reminds me of a yeah, yeah. Thank you, thank you, thank you.

SPEAKER_01 0:52

Walk to you by playmaker, of course, because if the plays don't get made, then we don't get paid. You heard? Let's make sure they know that.

SPEAKER_04 0:58

You know, you know, being a Brooklyn kid, Big Daddy Kane was like one of my favorite rappers. I don't know whose favorite rapper that wasn't at a certain Big Daddy was big. Uh there was nobody like Kane. And in um I think it ain't no half-stepping. He says rap prime minister. Sinister.

SPEAKER_00 1:23

Yes, yes, yes, yes, yes, yes, yes, yes.

SPEAKER_04 1:26

Um, so who would have thought that that one day um, you know, I was in line to be the next prime minister of Belize when I was the opposition leader of the House of Representatives. I lost my seat uh last year, but after I'm finished with these albums and celebrating this 25th anniversary of the Shine legacy, I'm going to return uh to the House of Representatives and still continue to pursue becoming the first Prime Minister, right?

SPEAKER_01 1:58

That's incredible. That's incredible.

SPEAKER_04 2:00

I like that introduction. It's manifesting a destiny soon to be.

SPEAKER_01 2:04

Definitely manifesting a destiny is definitely soon to be. So I want to take it back to the getting. I heard you say Brooklyn. So Brooklyn, are you from? Are you broke born and raised in Brooklyn? Is that where you're from? I was born in partially raised in Belize. Partially raised in Belize.

SPEAKER_04 2:19

Yes. Uh Belize as Central America and the Caribbean. We're a very unique country. We're on the border of Mexico, um, but we're still a part of the Caribbean. So yeah, that's where I was born, and then I came to the United States. My mom left Belize to find a better place. Uh, you know, we were living in poverty, and she wanted to do better for herself. She was a teacher. So she came here, and then I would visit, she came here maybe in the early 80s, maybe like 83. 83 or 84, and I would come to visit her every summer, and then 88, she decided not to send me back.

unknown 3:05

Right?

SPEAKER_01 3:06

And that was from Brooklyn. You was coming to see her in Brooklyn? Brooklyn. Flatbush. Flatbush?

SPEAKER_04 3:10

Yeah, so as you know, I went to see my aunt this week. I went, I still cut my hair in Brooklyn at the barbershop that I got discovered.

SPEAKER_01 3:21

Yeah, we don't we don't switch barbers.

SPEAKER_04 3:22

Right on Church Avenue, respect to Topper. Uh so the family apartment where in the early, early 80s, maybe like 80, 81, that all of us would go to stay until we could afford to get your own apartment is still there.

SPEAKER_01 3:46

I I I know how that I know that how that one apartment goes.

SPEAKER_04 3:49

I think my aunt still lived there, and I literally, every time, you know, I'm I I'm I think that's like a Caribbean thing and a West Indian thing because my family did the same thing.

SPEAKER_01 3:59

We from the Caribbean, so it was like they everybody grew up in one house and they pool together, just starve up.

SPEAKER_04 4:05

But but Aunt Nadine, who is my grandmother, God rest the soul, she's the oldest child. So she's the one that first came to the States, and everybody would come there patron of the family and stay until they could branch out. Um but yeah, so born in uh Belize and we grew up in Brooklyn, Flatbush Church Avenue. The department is still there.

SPEAKER_01 4:30

That's where you claim from Brooklyn is Flatbush.

SPEAKER_04 4:32

Flatbush Ave, Church Ave. And then I was over at uh Little Haiti, which is Newkirk slash Newcraft in Flatbush.

SPEAKER_01 4:41

You went to high school in Brooklyn?

SPEAKER_04 4:43

I got kicked out of every high school in Brooklyn. Brady, Lafayette, Lincoln, Midwood, BCA.

SPEAKER_00 4:50

Did you go to the school?

SPEAKER_04 4:51

The only high school I didn't go to was Erasmus. Erasmus wasn't even a high school when I when I was when I was a younger.

SPEAKER_01 4:59

Did you get your degree from high school?

SPEAKER_04 5:01

Yeah, I graduated from City As.

SPEAKER_01 5:03

Very dope. Very dope. I asked everybody that to come here because it's a very important question to me. I was able to get my diploma in the midst of us doing what we did as teenagers. It was a lot.

SPEAKER_04 5:14

You know, I got shot a year before I graduated. Uh, and that was the promise that I made to my mom because it really, it really got in her mind, and she was on the verge of a depression. And I said, you know what? I promise I won't die. I'll go to school, finish up, and that's what I did. And you know, like I said, I got thrown out of every high school in Brooklyn pretty much. But Erasmus was not really a high school, Erasmus was like penitentiary. Yeah, uh, Erasmus was Chaconville. But um, so uh when I went to the superintendent's office, they were gonna put me in special ed. They were gonna put me on a yellow bus. And I had a conversation with the superintendent, and I I always I always had a strong intelligence, strong intellect, and I had the gift of oration. I don't know how the gift of gab is something that you're born with. I was uh and I did a lot of reading. I love reading. And after I finished talking to the superintendent, he said, um, you're a genius. I'm gonna send you to a gifted school because you need you you need to be challenged. You just need to be around a bunch of other geniuses and you'll perform. And that's how I ended up in the city. Because every school in Brooklyn was cooked. You died.

SPEAKER_01 6:38

You went to school, you ended up in the city.

SPEAKER_04 6:40

I ended up in Manhattan because I went to this gifted school uh entitled Urban Academy.

SPEAKER_01 6:46

I know my guys went to Urban Academy.

SPEAKER_04 6:49

Urban Academy, right? That was all the geniuses, and then Urban Academy was in humanities. It was the same school. Tracy Morgan was going to humanities. Um, but we were housed in humanities. And um, and then you know.

SPEAKER_01 7:06

So when did you start doing music? Rapping.

SPEAKER_04 7:09

Around that time, uh, you know, that that 13 to 15. But I always loved music. You know, they used to call me Shaba. I uh your Caribbean roots, you gotta know who Shaba is. And so I always had this baritone. Uh and I always loved music. My mom's loved music. I just I just went, I think, to my first Yankee game a week ago, and I'll never forget when we first came from Belize. We used to go to the field next to Yankee Stadium, and that's the only time I'd get to see the game. But every Sunday, play football, listen to music, and eat food right next to Yankee Stadium. You know, um, so music was always a part of my life, but back then it was a mixture of hip-hop and heavy dance hall reggae. So you listen in the Shaba, Super Cat, Shaba, yeah, Trilla Loop. Yeah, right. Um, and so when I would go to Belize during the summertime, I'd hang out with the older guys. We had a spot called the record shop and a place called Bird's Isle. So we had a crew of us, Vince Young, Dean Samuels, my guy pre-show. And so as a younger guy, I was an entertainer, right? I was there entertainment. So it's like to get to hang out with the older guys here, bus of rap. Yeah, yeah, do something. Yeah, and then we let you get the older girls. Yeah. So then that's how I got the Shaba because I, you know, I had every Shaba lyrics, and then I had the voice, and it was like Shaba. And then, you know, in Brooklyn, you know, my uncle Newton had two sets of role models growing up. Uh, I had my cousin Ron Du, I rap about him on the hit on the Shine album. Ron Dew is a Stone Cold gangster, dope boy, flies Brooklyn, catches everything. Uh, and unfortunately, that's the only father figure that I had, you know, because my father, uh, Dead B wasn't there for me and my mom, even though he was a big political leader, went on to be the prime minister, Belize. Uh, you know, he had no morals or ethics when it came to being a father. Uh so it was Ron Dew, and then it was my Uncle Newt, who I don't give him enough credit. But Uncle Newton was my grandmother's youngest stepchild. And Uncle New was the same age as Ron Dew and Kenny Black, who were the dope boys uh in the family, literally cooking up crack cocaine and come downstairs, got all the crack on the top of the building, and the boy, you know, that's how I grew up, playing dominoes across the street, laundromat. But Uncle Newton would put on a three-piece suit and hand out flyers from the ride at the Church Avenue train station, which is where we grew up. So I'm on Church Avenue East 18th. And he would literally stand out there handing out the flyers and his three-piece suit with his hard bottoms. And Ron Dewe and Kenny Black and all of them would slap him in the head and laugh at him, be like, get out of here. And he the uncle, but they're the same age, and then they're the tough guy, dope boys. But Uncle Newton was a great example to me as to how you can sacrifice, how you can swallow humility and get everything that the dope boys got legitimately, because all the dope boys ended up doing football numbers, and uh life didn't really turn out that well for some of them that I knew. Either dead and Uncle Newton went on to be president of Dubras from handing out flyers at the train station.

SPEAKER_01 11:00

Incredible. Yeah.

SPEAKER_04 11:01

So when did you so so so I I really got the the bug for rat to to really think that I could do it same Uncle Newton? The reason I brought him up is because he was he had the tape deck, he was Ralph McDaniels, video music box, mom's cursing them on the drop, drop kick him because he's playing the music 11 o'clock, as remembered, video music box come on 11 at night, and then during the day.

SPEAKER_00 11:32

During the daytime, yeah.

SPEAKER_04 11:34

Right? Um Uncle Newton, LL Cool J, like I said, Big Daddy Kane, Rock Cam, we had every single tape, KRS1, my fellow Caribbean brother. So it's like the the bridges over is like the Caribbean rapper Hall of Fame song because when he comes on with the all you sucker emps, won't you please come out the yeah, right? Um, but yeah, so so Uncle Newton really uh really got me excited about thinking that I could be a rapper, and I'd say like between the ages of 13 uh is is when it really hit me. And but I was still caught in the street warfare, Brooklyn, Vietnam. And so rapping wasn't really something that I even wanted to think about because I was just busy surviving. Every day it was to get up and to make it through the day. Brains flatted on my own shoulders.

SPEAKER_01 12:38

When did you figure out you could make some money from it?

SPEAKER_04 12:41

It was never about money for me. I just loved making music, and after I got shot, at the age of about 15, 60, maybe 16, and my mom was on the verge of depression. My promise to her was that I'd stay alive and I'd turn my life around, and I just stayed inside because you know, once I get shot, then other people get shot, and the cycle's just gonna keep going. Um so staying inside was the solution and just focus on school, and then I was in Manhattan, and I would just music, music, music, music. So this at this point now is illmatic, reasonable doubt, only built for Cuban links, ready to die, all eyes on me, snoop, chronic. Yeah, uh, that's what I'm listening to heavy, and that's when I'm really feeling that I could do this.

SPEAKER_01 13:41

So, let me ask you a question, because you know I've I've I've been there with Cam for every step of the way from his very beginning, like for the first time. I remember you, you always had the long hair. First three years, hip factory, yeah, so living in the hip factory. Yeah, remember that? So now that's what I was gonna ask you. So, because uh this was our first introduction to the game, so it was a lot of things that we were just learning on the spot. Like, yeah, I didn't know about ghost writers and niggas was writing for people. So it was like I used to see you in the studio all the time. Yeah, see you in the studio, but I didn't know that you was actually writing for Charlie. You remember this?

SPEAKER_04 14:18

I was writing for everybody.

SPEAKER_01 14:19

I didn't know none of this. I just seen you in the studio. I didn't even know who you were. I didn't know you was you you were shine until you got signed to Diddy. But I recall one day in the studio, yeah. And then now, and this was this one, I was like, oh, this nigga's tough. He got he got he tough. So I guess Undinum must have, I don't know if you remember the Undanim owed you some money for some records you wrote for Charlie and them, and they ain't pay you yet.

SPEAKER_04 14:44

You remember this night in your factory? You know, the statue, the statute of limitations is still a serious thing. It's not no, it's not.

SPEAKER_01 14:51

This ain't this ain't this nothing happened, nothing, this nothing happened. I'm telling you, this is not this is not bro. I I got my own shit to worry about, but I'm not bringing other people's shit to worry about. Everything we do on this show is about upliftment and just about good times that I've been and I've witnessed. So, and this is the time that I knew that you was a stand-up nigga. So, you know, it'd be un, Buck, Troy Tapo, it'd be all the time in the studio. Yeah. You came in there, you was by yourself. And you came in there and was going crazy on them. Like, nah, I don't care about none of that. Y'all gonna have to do something to me. Y'all, I need my money. I wrote them records. I'm just sitting there and I'm watching Troy and them and shit like that. Niggas is not, and then you hear, yo, Duke, yo, Duke, yo, Duke, what you do, yo, what you mean, dude? Like, yo, this shit was the funniest night to me in that studio. But these is like me just observing everything in the studio. I just was there for Cam. But that night when you came in there and you said, nah, I need my fucking money for these records, bro. Yeah, there's no way your niggas is taking is taking advantage of me and I've been wrote these records. I think this was after she dropped some shit and shit like that. I don't know if you ever got your money, but the what I've seen, I think you probably got that money. I don't know if you remember that.

SPEAKER_04 15:58

I'm sure the matter was resolved. But respect to un, I think what happened was uh everybody wanted to sign me.

SPEAKER_01 16:06

This is '98. That's that's keep this in mind. Like this, I'm talking about real history. This is 1998, so I don't want the people I'm trying to stir up the pot nine. I'm just talking about real hip-hop history. Yes. Hip hop 54th Street, second floor. Yeah. We owned both the rooms for like two years straight. You heard?

SPEAKER_04 16:22

Yeah. But um, yeah, so what happened is everyone wanted to sign me. And so the people that didn't get to sign me, they did um writers' deals with me. So I probably had a writer's deal with Underez. I had a writer's deal uh with Sylvia Roan. I had I had a few writers' deals.

SPEAKER_01 16:44

Yeah, see, I'm I'm you know, I'm this I'm fresh into the game. I'm just with Cam. Like I'm just trying to make sure Cam is is alright. I wasn't even thinking about nothing, but I'm just observing.

SPEAKER_04 16:54

My pen game, yeah, my pen game was vicious, you know. Speaking of which, uh I always wrote for other people. Um Puff, a lot of other people. And I've never collaborated on a song for myself until I went in the studio with Dr. Dre a few weeks ago. And I learned the art of writing a record. I don't write, but just did. Did Dr.

SPEAKER_01 17:26

Dre give you how long did it take you to do on records? I I I had that pleasure of recording with Dr. Dre four records. It was the worst time of my life. And like I felt like I was a kid in school. He made me do the same line like 70 times.

SPEAKER_04 17:41

Yeah, I mean, for me, I feel like I'm 18 years old again. And so I'm excited and I'm inspired. And uh it was a great experience for me. I never did it, but Dr. Dre is Dr. Dre. So it's just like you. You the only one that could keep me waiting for 40 minutes. I'd have been out of here after the first time. Tell me 7 30. I apologize. I'd have been out of here after the first 20, but you my guy. So I gave you that. So put me all out there on the people go and be like, you be you late. I'm I'm I'm early. I I switched the time, and yeah, so but we we met in the middle. But so Dr. Dre is Dr. Dre.

SPEAKER_01 18:19

100%.

SPEAKER_04 18:20

So it's like that's the doc. That's he he he he in the in the planets, he with the gods. So my experience was great. He gave me some of the greatest um songs that I ever recorded. He gave me some of the greatest music that I've ever listened to. Bar, I think.

SPEAKER_01 18:38

So now when you say that, when it comes to music, because you haven't done music in a very long time, is there a fear of putting music out and the people not receiving it the way you would like them to?

SPEAKER_04 18:51

Nah, so you asked me a question about when that I think I could make money from music, and my my response to you was that that was never what I was thinking about. I was thinking about just making music. Yeah. I was thinking about just making music because I love making music and I wanted to be recognized for my music. I just wanted to be dope. I wanted to be a creator, a master creator. Never really about I could make a couple million dollars. I just wanted to be dope. I wanted the music that I made to make me feel the way Only Built for Cuban Lynx made me feel when I listened to the album.

SPEAKER_01 19:38

But you like money.

SPEAKER_04 19:39

Yeah, but it wasn't, it never I sent you outside, bro.

SPEAKER_01 19:42

I was outside the whole 90s. I watched, I seen the whole, I watched the whole place. Since you in the tunnel, since you in the Benzes pulling up 145th Street, hopping up, going to the liquor store, since you dipping through harms, creeping through blocks, you heard champion hoodies on big chains. You heard like I'm I've I've I've I've I've I remember this is this I've you never talking about I wasn't I wasn't honestly honestly I was driven by being the nicest.

SPEAKER_04 20:08

I was driven by being the greatest. Because you could be the best.

SPEAKER_01 20:13

You could be rich and trash. I respect 100%. Right? 100%. We never would call any names. You made a one of the illest impacts in such a short time when you were on fire. Yeah. Um yeah.

SPEAKER_04 20:27

So so so fast forward to now. Yes, uh, I would not make music if I was not gifted with the bandwidth to make some of the greatest music that you're ever gonna hear. That's just how I feel. I'm not concerned with anything else. That's how I feel. And you talked about how difficult it is to get out of the studio with Dre. I got out the studio with my verses and my records. And he's not letting you leave if he doesn't feel that what you've done is incredible. He's canceled sessions on people, the session just doesn't work out. They might feel the way you feel, you feel how you feel, everybody go their separate ways, and you'll never hear about it. I left with my verses. I left with my records. That's incredible. And that's and that's my guy. We still talk. I if I hit him right now, he'll hit me in 30 seconds.

SPEAKER_00 21:24

That's incredible.

SPEAKER_04 21:24

And and Dre, you know, it's not easy to get that out of Dre. You you just said it. It's tough, right? But um, yeah, so I feel good. Uh that's Dre. Swiss beats.

SPEAKER_01 21:38

Game me. The monster.

SPEAKER_04 21:40

Oh Swiss beat. So so crazy that uh I was so excited by the music, I played it for Dre. He was like, Well, yeah, let's let's work on this Swiss record. I want I want to see what you're gonna do for the Swiss record.

SPEAKER_01 21:57

That's how crazy the Swiss. But that's when you know you got a great producer. Like Dr. Dre wasn't even worried about his own music per se. You played him something, he helped you dive into that for you. That's that's even more honorable. You know what I mean?

SPEAKER_04 22:12

Yeah, um, Rizza.

SPEAKER_01 22:14

You got some you got you got you, you go, you going classical. Timberland, Hip Boy, Boy Wonder. You got some heavy, heavy producers, yeah.

SPEAKER_04 22:26

Because that that was my vision. You know, I I just had a conversation with someone, and they were like, oh, what uh, you know, who you gonna have as far as guest appearances? And I said, I that's not even on my mind. The producers are gods. Yeah, it's like without the producers and the DJs in the in the clubs and on the radio, the rappers, nothing. Nothing, right?

SPEAKER_01 22:49

Producers, I mean the DJ and the producers who all the promises are.

SPEAKER_04 22:52

Eric B and Rockem. Yes, yes, uh, Jazzy Jeff and the First Prince. Yes, yes, DJ Premier and Guru.

SPEAKER_01 23:00

Yes. Right?

SPEAKER_04 23:01

You're nothing without the DJ slash producers.

SPEAKER_01 23:05

Let me ask you this. Now that you're back doing music and about to release a project, but you're also a prime political figure in your country, do you think that you diving into rap again will have any effect on your political career?

SPEAKER_04 23:22

Well, I got elected with people knowing that I was an award-winning rap legend. And while sincerely I was focused on the legislator and becoming the prime minister of Belize, I have a gift. And my gift is making music. And my conversation is an adult contemporary hip-hop conversation. I'm not trying to be 19-year-old Shine. I can't rap about those things. Obviously, on May 2nd at the King's Theater, it is a celebration of the 25th anniversary of the Shine album, so we're gonna perform that album. But that's a work of art. That that belongs in a museum, and I'm celebrating that 19 years.

SPEAKER_01 24:10

So do you put the full do you put the full shine kit on? Big jewelry? Do you bring do you bring the kid out? Do they get the seat? You know, you get the come on, man.

SPEAKER_03 24:19

Nah, man.

SPEAKER_01 24:19

You gotta give them a little bit of the kit. It's hip-hop, bro.

SPEAKER_04 24:23

It's gonna be great. No, it's gonna be great. You know what I mean? It's gonna be great. Well, what I'm saying is the conversation on the new music is Mandela, Barack, Huey P. Newton, Bobby Seal, Tupac, Malcolm X, Sean Poe. It's a great conversation that not too many people are having, and not too many people can have over the best beats, the best music production that you will ever hear in life. So I'm excited about, and that's what hip hop is. Hip-hop is not about you being anybody other than yourself.

SPEAKER_00 25:04

That's a fact.

SPEAKER_04 25:04

And so being the best version of me, there's no one that can stand next to me. I stand in a place, I'm I walk in rarefied air. Like you can't even breathe where I walk. And that's a bar right there.

SPEAKER_01 25:16

So yeah, I think that's that definitely is a bar. It's gonna be great. It definitely is a bar. Right. Oh, you are gonna be great. Uh, you have any butterflies again on stage again? Like in that capacity?

SPEAKER_04 25:29

Nah, man. Like, I I listen, you know, when when Hove say on the Paris record, we ain't even supposed to be here. Uh unfortunately, some of my childhood friends are pushing up flowers or serving life sentences. That's still where I came from. And I've actually been in New York for a couple weeks now preparing. And I walk through the streets of Brooklyn, I take the train, I'm gonna go back on the um on the five train, you know, when I leave here. I'm still Sean Po. And for me to go from a young kid who saw his friends die in front of his eyes, almost died, to having his dreams come true, coming all the way from Brooklyn where I didn't even have a toilet system, dirt, poor, impoverished, to making millions of dollars, having my dreams come true, to being held in captivity for 10 years in the good old Vegation Club with Clinton Denimore, with Mumia Boo Jamal and Tupac and Old Dirty Bastard, um, putting out a number one album while I was incarcerated, Godfather Buried Alive, winning a Grammy for uh Confessions album, being deported to Belize, uh going to Jerusalem, surviving terrorism and right-wing Israelis and all types of things, then returning to Belize, going to the House of Representatives and being a step away from being a prime minister. I don't get butterflies. Ice runs through my veins. Ice runs through my veins. And ice running through your veins. And it's just because of the history, right? It's like what I've been through.

SPEAKER_01 27:21

I wasn't Are you appreciative? Do you like appreciative of the journey that you've been through, so that's that's what I just described.

SPEAKER_04 27:30

So so when I say it, it's a celebration of that journey. That's what returning to the stage is. Remember, I was deported. I wasn't even allowed to come back to the States. And the last time I saw you was at Joey Crack's birthday. I was there as a diplomat. So I was very careful about I was there as a diplomat too. Ah. Right? Respect the dipset. Um, you know, people always asking me who's gonna come out at the show. It'll be crazy if they don't hear the dipset anthem in Brooklyn on Saturday. Uh uh. Because I do remember, I never forget when I never forget I was I was on Rikers Allen, and you know, I control the TV in my house, and that song would come on and be one shot for Sean Locked inside.

SPEAKER_01 28:28

Yeah, I don't see how I do believe Juels is gonna come out and smash set anthem. I do believe's gotta set a lock.

SPEAKER_04 28:39

But we'll see. We'll see.

SPEAKER_01 28:41

Whatever is your world, it's your world, champ, at this point. Listen, so I know I I I would I could talk to you all day. I know you gotta, I know you have a you gotta get out of here. Um but before we get out of here, right? I just want to ask one question. And it's nothing about nothing. Yeah, you don't even have to answer it. Yeah, you heard? But I try to avoid all the politics, but I think this is a straightforward question that maybe you want to answer, maybe you don't want to answer. But before we get out of here, I just want to ask you. Yeah, do you ever see you and Diddy having a a conversation again? Uh sit down. You ain't gotta answer it? You can say yes or no, but you ain't gotta answer it. Yeah.

SPEAKER_04 29:30

And I pray for the victims and I pray for Puff. I pray that he's able to find what I found, which was redemption. But that's a long journey. That's a long walk. So if there's ever a time where I feel accountability has been satisfied and contrition is sincere, um, I'm always open to forgiveness as I've demonstrated. And I welcome people's redemption, I welcome people's rehabilitation, and I pray for that for him, not for me. I'm good, I've accomplished what I need to accomplish, and I have so much more to do, but I would never say, no, I want nothing to do with that gentleman, and uh have that type of mindset. But I'm not thinking about him, that's not something that matters to me, however, uh, given the history, I leave it there. If there's satisfactory accountability, satisfactory contrition, and sincere redemption, I'm always open to black love.

SPEAKER_01 30:59

Answer it like a gentleman, and I try not to get into between politics, and I have many of friends that have done things that a lot of people may not find favorable, but these are be my friends and shit like that. Yeah. You know what I mean? So that was just a general question. I really expect how you how you answered it. Free big bro. You know, I still love him to death. That's my that's my big bro, but I just want to put that out there. But ladies and gentlemen, I have the Prime Minister rap here. He answered every question like a scholar and a gentleman. Uh May 2nd, Case Theater. Pull up, we're gonna try to get Joel's in there. Big Brooklyn. Two more for sure.

SPEAKER_04 31:38

Big New York City.

SPEAKER_01 31:40

That's gonna be a hell of a show.

SPEAKER_04 31:42

Yeah.

SPEAKER_01 31:42

It's gonna be a hell of a show, both old and new.

SPEAKER_04 31:45

I can't wait. I can't wait to celebrate.

SPEAKER_01 31:47

I think a lot of people from yeah, I you you're gonna have a lot going on. Yeah, you're gonna be very overwhelmed. I can't say that. Can't wait to do that. You know, the culture is gonna show up, the industry gonna show up, the people gonna show up. Yeah, they're gonna be looking for Sean Poe. I can't tell you that. I don't know what version you're gonna come out with with him, but on that 25th anniversary, just remember that's Sean Poe's anniversary.

SPEAKER_02 32:09

That's right.

SPEAKER_01 32:09

You know what I mean? You see, you said a lot. And you said there's a difference between who you was, and that's a part in history. So just remember that's Sean's Poe. So whoever is hearing this, you gotta, on that day alone, yeah, we gotta give him grace because he's Sean Poe.

SPEAKER_03 32:25

Yeah.

SPEAKER_01 32:25

You heard?

SPEAKER_03 32:26

Yeah.

SPEAKER_01 32:26

My brother. With that being said, it's been another episode of Artist to Artist, brought to you by playmaker, my man Sean in the building. I got a gift for him. Hold on.

SPEAKER_04 32:36

All right, all right, all right. All right. So I'm uh I'm I'm gonna have to come out with this. I'm gonna make sense.

SPEAKER_01 32:43

Let's let's pull it in that kit, man. But thank you, man. It's been it's been amazing, man. I appreciate this, man.