Chapter 1: What topics are introduced at the beginning of the podcast?
That's classic shit.
Yeah, okay, he brought the OG shit. That's from back in the day, or that's like a new present? That's the Bible. That's the gang bang Bible right there.
The genesis of it, yeah.
I can't even roll with a motherfucker. I got some more of those, too. I got some more. That's going in the game room. What up, dog?
There's a photo.
Oh, okay.
I'm sitting talking to a picture. Bop, bop, bop, bop.
Yup. Yup, let's get it.
Ready? Adam and Wacky. Yeah, you lucky, man. You're lucky. I was going to come in and get some practice, you know what I'm saying, on you today.
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Chapter 2: How does the conversation shift to discussing San Diego's music scene?
I got to deal with his bullshit. And then he then said, I'm breaking up. My Instagram going crazy. Dago was on me. I said, what the did I do to Dago? And I'm like combing through it. I'm like, what did I tell my exposure? I said, yo, why? They said, yo, Adam went on there and said this. So they sent me the clip. So I addressed it because I understand that pocket. I understand Dago.
I've been rocking with him for a long time. The problem, the gift and curse with Dago is- They don't follow nobody's trends. You know how Chicago kicked off the drill, right? Then Dago was like, we doing us. Okay, we'll come up there if you agree to come down here. If not, we doing what we doing. And there's a lot goes on down there. It's a lot of talent, but they don't come up. Right?
And I didn't, it's really out of it being, you know, the Navy, you've got the beaches, the border, TJ, right? People don't know about that inner workings of it. So I had to bring one of the voices, prominent voices, I feel, of Dago. Living legend. Mitchie Slick. Come on, living legend. Sitting right across. Right across. And this is why we sit like this. Because I ain't guy. Wasn't me.
It was the white guy.
It was the white guy. I'm gonna whack on this one. He's calling me the most professional glazer ever. Every time I say something about Wacky, he be like, you're glazing, you're glazing. I'm just like, what?
It must be hard for you to choose who you want to glaze between me and him, though.
No.
What? If Nick was here, you'd be real fucked up. No. If Nick was here, you'd be really like.
But you know what's crazy? Nick is here.
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Chapter 3: What challenges do San Diego artists face in the music industry?
Okay, so what did I say wrong about San Diego? Let's hear it. Let's hop into it. I want to hear the Nixie Slick version of what. He started it.
You know he started it.
He just told me.
I know, I see the post on his page.
Hey, first off, Adam and everybody else, Not being tough or stupid. I'm not one of these, like, homie. Right. But niggas really got San Diego, like, fucked up, though. Like, for real, though.
Okay.
Like, I know what y'all see and what's promoted and pushed to y'all and all that type of shit. And I really don't give a fuck. Y'all call me to this motherfucker. Stop right there, though. I didn't call nobody and say nothing.
I called you to stop right there. That's one of the problems. What is being promoted and pushed?
That's the big thing. Okay, so when I say y'all got Dago fucked up, this ain't the first time that we've heard people say, you know, a little slick shit about San Diego on here. And then y'all tripping off the pushback. Y'all like, damn, they tripped. See, because y'all don't really understand. San Diego niggas, delusional as they may be, they think they the hardest niggas in the whole world.
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Chapter 4: How does Mitchie Slick view the future of San Diego's music culture?
We don't see that shit. We don't go to the zoo. I mean, when we little kids, we do. But to act like San Diego is fucking SeaWorld and in the zoo. I mean, it's other cities around us that got more tourist shit than us. Niggas got Magic Mountain and motherfuckin' and the Wax Museum and the stars and shit.
You feel what I'm saying? Come on, Herman.
Okay, so do you feel like... Do you feel like San Diego... I know that San Diego's not going to follow anything. They're going to do Dago. Unless you go to San Diego and say, hey, let's do this, and you got to go to the right people, or you ain't going to be able to stay over there long anyway, right?
Will San Diego be able to adjust the new noob of today to say it didn't work back in the days staying isolated? Because what Adam said, he wasn't wrong. He like, yo, because the only mainstream dude was JL Felony. For a long time. The biggest musical guy, right, as far as I'm concerned, because I know his work. It's Mitchie Slick. He didn't been on songs with everybody.
I remember one day when he like, yo, y'all going on tour? I'm like, yeah. I'm like, Mitchie, you're welcome to come wherever. Let me get you a spot on the bus. He said, oh, no, homie, don't worry about the bus. Mitchie was in some SUVs, and I swear, we got to the East Coast. Every city we went to, I'm like, damn, who was these people waiting in the front? They was waiting on Mitchie.
Right, so that's when I'm like, damn, but why isn't it, it ain't translating.
Because, homie, listen, San Diego's not really, like, you know how all the other cities, you got this whole trilogy of videos about everybody's hood and who they big homies was and where they started. We don't really do that shit in Dago. But why not? That's what I'm saying. I'm just saying, this is, like you said, a blessing and a curse. You need your Swamp Stories.
That's a fact.
We need that.
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Chapter 5: What strategies are suggested for San Diego artists to succeed?
You know what I'm saying? Nigga, if you listen, I will be passing out some chains. Just listen. I'm gonna call Wack. I'm gonna tell Wack what's happening, my nigga. Wack, you gotta set the play, man.
You feel me?
Bro, listen.
Like, I would have been pulled this place. I know. I just know. And you still, it's gangs down there, so you still got your little division, even though somebody may wanna with this dude, you gonna have the people on this side of this neighborhood saying something. So, you know, you gotta be a certain type of dude to really do this business. Everybody's not gonna agree with your decisions.
True, these are facts.
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Chapter 6: How is the importance of collaboration emphasized in the music industry?
You get what I'm saying? It's funny today, because they be like, yo, Wack, Man, why you go to that no jumper shit, bro? You know you supposed to be whoop-de-whoop-de-whoop. But then now today, they say you're whack. Can you open us a podcast a week? A door, yeah.
You know what I'm saying? I just thought of something, homie. Listen, the way San Diego is... I ain't saying everybody, you gotta bend the rules and make it right for San Diego. But I'm gonna tell you what it would take in Daigle. You can't just put one nigga on. You gotta bring everybody? You gotta put like four niggas on at one time.
Chapter 7: What challenges do artists face in the current music landscape?
See, that's crazy. So do you feel like that might've been a hindrance, that mindset might've been a hindrance to why we have- No, I'm saying just like, Pick a nigga from here, there, there, and there. So can't know everybody, can't be mad or nothing. Everybody got their guy. Now everybody got to do their part. And if your guy don't do his part, then y'all ain't in the shit no more.
You know what I'm saying? But it ain't no reason to look at it as a bad thing. That's full of money. That's full of bread.
So you're talking about like a rap group?
No, no, I'm saying like, let's take four artists and just crack it.
You know what I'm saying?
That way, the main thing, the problem that we got, that'll eliminate that.
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Chapter 8: How does the discussion shift towards personal experiences and relationships?
Maybe what he just said- We gotta eliminate cannibalism in that go, homie. That's- What about a group?
A super group. In the Bay and shit, they got a, what's it, one umbrella right now. It's like a movement with 22nd Gym and all- But is it working? I feel like they got motion. Like I feel like they probably got motion as a group then.
It can't be a group. No, no, no.
You got to keep everybody apart. Okay. Just give them something, give them something, give them something. And then whoever is involved in this shit, believe me, they're going to see why I make shit.
So what about giving them an opportunity? Yeah. Right. Okay. Cause so listen, we, we, you know, this Sunday we launched nothing but content, right? I have a reality show that I'm supposed to shoot.
Come on.
It's called on the fingers, which, you know, that's a little John's thing, but, but on the fingers, it could be crib bluff. You love power. It could be whatever. Right. So what we was, what we're doing, And I've already contacted about 20 neighborhoods and they won't end.
So what I'm doing is I'm going to different neighborhoods and we jumping out with the camera and it may be two, three, four cats. And we may be like, look, them two is hard. We ain't with them and only one of y'all come back to the compound. Whatever they got to do to figure out whatever they want is, they squabble up, they toss a coin roll, I don't know.
But we bringing back a representative from 10 different neighborhoods, Crips, Bloods, Paroos, we even threw the Hoovers in there, right? back to the compound but when we get back to the compound all the challenges is going to be like a all this development course. It ain't going to be no gang bang shit when we get back.
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