Dr. Dre and the artists he has introduced the world to have always had a knack for writing about the kind of subjects most people repent for on Sundays. Who knew that all along he was really looking for someone to strike the perfect balance between Saturday night hedonism and Sunday morning holiness? As one of the few emcees to brag about the joy of spreading the gospel and being on the receiving end of fellatio in the same bar, Bishop Lamont is the rare artist who can sometimes even make “the good doctor” uncomfortable.
After years of patiently waiting behind 50 Cent, Eminem, Busta Rhymes and Eve on the Aftermath roster, it seemed like it would take a miracle in order for Bishop's debut to see the light of day. But the last year has seen the Carson, California native use a series of album-quality mixtapes to create renewed anticipation for both his own debut album and Dr. Dre's long-awaited swan song, Detox. While taking a rare break from recording what was presumably material for one of or both of the aforementioned albums, Bishop showcased the kind of humor and blunt honesty which allows him to blur the line between the recording booth and the confessional booth. Do you believe?
HipHopDX: Alright, we won’t start off with a million Detox questions. How about explaining what’s behind you’re crew WARDOGGZ. That stands for We Are Ready to Die in Order to Glorify God to Zion, right?
Bishop Lamont: Yeah, it’s just for the gospel man. It’s a lot of different cats from different walks of life that believe in doing something right for their people and for the most high. It’s like the good Illuminati.
DX: As a listener it’s kind of crazy to hear you say that and then throw in that Pope Mobile mixtape [click to listen] and hear you say “I spit that good book and still get my dick sucked” on “Street Theology.”
BL: [Laughs.] Can’t go wrong that way.
DX: Is it just a shock value thing?
BL: What, that line?
DX: Not just that line but the whole tape. You started it off with that joke from Paul Mooney…
BL: Yeah, man. Bless Paul Mooney for that. I saw that shit and I was like, “That’s perfect for the Pope Mobile.” It’s crazy how synergy works, but it is what it is. I don’t even try for the shock value though. What people seem to be shocked by is what people do everyday behind closed doors. It’s just that it’s said in front of people. You only get one life to live. What else would you want to be besides real?
DX: Is it hard trying to do that and introduce people who have been listening to disposable music to an album that may potentially include Fiona Apple and Dave Matthews?
BL: Uh…no. It’s just about setting it sonically right as far as production. When something’s fresh, it’s fresh. You can’t fight that. As far as the knowledge or whatever message I’m trying to get across, some will get it and some won’t. That’s just the way the world is. It’s not a difficult task at all. It’s just people wanting to listen and the music always moves people. Even deaf motherfuckers will move once they feel the vibrations.
DX: Do you feel the industry makes you have to trick people into getting your message?
BL: I think either approach works. People always talk about being in the right place at the right time. Sometimes it has to be dead serious. Other times, it’s kind of tense, so let’s break the ice with a joke about it. You have to parallel both of those lines. That’s just how I like to do it.
At the end of the day, life is a journey, and you’re gonna have up’s and down’s along with good and bad. Embrace it all because it’s there for a reason. There are things for you to learn and experience. Without those you wouldn’t appreciate the great times like this. I’ve been poor all my life, so to now have these blessings and be able to do these things, you know I appreciate it like a motherfucker. I’ve run my mouth all my life, as you can see right now. The fact that people actually want to hear me run my mouth now is priceless. I want to really say something that matters and inspires so I can put that good energy out. That’s what it’s all about.
God is a comedian. I was doing construction work like, “Fuck school.” Imagine…people are listening to me. [Laughs] I just try to give people what you feel they need. When we were coming up, we had dope emcees and it felt like they were talking to us. And they were, they just didn’t know it. They gave us shit to make us move if we didn’t get that from our parents, friends or just life period. You just have to pay it forward.
DX: It’s interesting to hear you say that, because people always associate Dre with so-called Gangsta Rap. But there have always been songs like “Express Yourself,” “The Day The Niggaz Took Over” and “The Message” in his catalogue.
BL: Yeah, and with me, I can do it across the board. I’m not the N.W.A. nigga, I’m not 50 Cent [click to read] and I’m not Game [click to read]. I’m me. Dre told me, “I always wanted to sign somebody like you. I just never could leverage it in a way where it could work for this label and the rest of the world.” I’m just me, and I give you everything.
DX: One thing that stands out about your projects is the unity. It seems like everyone on the west coast is on there…
BL: That’s how it’s supposed to be.
DX: How important was bringing everyone together in terms of establishing this new west?
BL: It’s already being done, but it’s important period just for the streets and for real people to get together worldwide. Bitch niggas are such a large majority of the world. Then you deal with the music business and bitch niggas are the majority there too. So it’s just about seeing the real and the real linking up, taking that stand and drawing that line in the sand. For me, I’m in such a blessed position, I wanted to spread those blessings to the people who inspire you to push your pen, rap and perform like you do.
It’s important that other like-minded people get together, share that vision and make it bigger. It’s so many armies and so many teams, that if we get together, we can converge on so many things and take it to a stellar level. Especially when the education is there and we’re being calculating about what we do and how we implement things. That’s what’s missing out here, but not anymore. It’s getting everywhere. I’m very content with what’s going on, not only here, but everywhere else.
DX: There’s this pro wrestling mentality, where everyone wants you guys to face off or something.
BL: People always ask me about Game, like he’s my arch nemesis. What the fuck? We’re good. I knew dude before I was signed, and when the Guerilla Black and Game shit was jumping off, I was mediating between that shit. When Game had the peace talks with 50, I was there in his hotel room like, “Yo, don’t block your blessings.” So, when dude did the corny shit he did with that, he was trying to lash out and get attention. All that did was make me famous. I was like, “Damn. I gotta send him a box of wine or some shit.”
I genuinely have love for dude. His brother is my brother; Big Fase 100 is my brother. His sister, B-Fly is my sister. Me and his mom talk all the time. We were at a Father’s Day thing together just this Sunday. It was Dre’s mom, his mom and my mom, so I’ve got love for him. Niggas blow that wrestling shit out of proportion. At the time he did that record I wanted to beat him up, but that ain’t shit. It’s all love.
All of us came up together. All of us know somebody that they know. I get tired of people asking me about Bishop versus Game. There is no versus. I got love for dude. He does his thing and I do my thing. There will be one day where you see us do a record together. It’s so sensitive with what went on with that situation as far as Aftermath, the shit between him and 50 Cent and him being moved to Geffen. People ask me that shit as if I just have pictures of Game on my wall with darts and a bulls-eye on them. It’s like I’m Hulk Hogan and he’s “Macho Man” Randy Savage and shit.
DX: Another misconception is that you’re a new artist. How much of a calculated build up was it to get to this point?
BL: You can calculate all you want, but at the end of the day, that shit took 29…going on 30 years of just living to get to this point. Then there’s the twists and turns of the road, ‘cause you don’t know what you’re supposed to do, going from being a teenager to where I am now. That shit was not overnight.
They think, “Yeah, he got in The Source in ‘Unsigned Hype,’ and then Dr. Dre saw it.” No motherfucker. I was in “Unsigned Hype” and I was still doing construction work, and I kept doing more construction work after a year and a million other issues went by. But, that was big for my spirit, the cats I was down with and all the people who were like, “Okay, who is this monkey ass, skinny nigga in this picture?” It put the energy in the world that I existed, and helped me to perpetuate this dream. So that was a blessing, but it was still so much groundwork. It’s still groundwork now. But, it all comes back to the Most High and how he makes things move.
DX: At any point did coming so close, only to have to go back to your nine-to-five make you want to quit?
BL: The nine-to-five was always there. The construction work was always there. The struggles through poverty were always there. But, when you just know that this is what you’re supposed to do—you don’t know how you’re gonna do it—but you know this is what you’re supposed to do, it just happens. You don’t want to give up. You just feel that next step, or that walk around the corner, or going to this club or show, or the next meeting could be the one. I was always in that mind state that it would happen. Even when it didn’t look like it would happen; in my eyes, it just hadn’t happened yet.
DX: Once it happened, you sparked off quite a bidding war, right?
BL: Well, I was a smart motherfucker. Once Dre said that shit on the radio, I took my ass to New York and went to every label out there. I didn’t know nothing about fucking New York, and I didn’t know anybody out there. I hopped out of the taxi and I ended up staying in Red Spyda’s vocal booth and sleeping in there, because of Beef and Red Spyda—blessings to them. I was out there trying to take meetings and shit, homeless. But, you’ve got to take those risks if you really want it.
People don’t know what it encompasses to go after your dream. They’ll be whining, “I got a MySpace page. I got my songs up, and I’ve got a lot of friends on here.” It’s like, “Shut the fuck up!” It’s a lot more involved in that quest. If you think that all you need is a few pictures and to press up a little cheesy ass CD and you’ll be a rap star...it’s so much sacrifice that comes with it. It was crazy.
I met with everybody. I was with Puffy drinking wine, listening to my records watching Making the Band. I’m like, “You ain’t gonna ‘Making the Band’ me, nigga. You won’t have me running for no cheesecake!” He’s listening to my records like, “Oh yeah, playboy. I like that one.” Looking back, that shit was like a movie. I met so many people. Dame Dash is the big homie—much love to Dame Dash and Clark Kent. We were in a meeting with Clive Davis and this nigga was falling asleep. He’d nod off and then pop back up like, “Oh yeah, that’s hot,” then he’d fall right back to sleep again. But, even that was a blessing. I met a lot of great people like Jermaine Dupri [click to read] and Sylvia Rhone. I made a lot of great relationships with people who I still consider friends to this day.
DX: I heard Dre told you he would make you an offer you couldn’t refuse.
BL: Yeah. They had the homeboy [Aftermath A&R] Angelo [Sanders] out there watching my every move and shit. It’s a small world and they knew what was going on. It was like, “Yo, this nigga’s gonna try and get a meal ticket out of us.” After that they told me to come on home. He made me an offer I couldn’t refuse and it was a done deal.
DX: And that offer is what helped fund so many of these high-quality mixtapes?
BL: Thank you, man. That’s what it’s about. It’s a blessing to be in this position, and for people to feel it and dig what I’m doing. I’ve got to give them my all.
DX: You’ve been signed for a while now, and people like Rakim, Eve and Joell Ortiz are no longer on Aftermath. How much patience does it take to be on this label?
BL: You know what I told Dre when we first had the meeting? He told me I might have to wait awhile because of 50 and Em. I said, “Nigga, I can watch paint dry in the rain.” That’s how patient you have to be. It takes unimaginable patience and faith. You have to have people that are dedicated and believe in you. That only comes from family, people who are like your family and friends.
Thankfully, for me, I’ve always had my mother and my brother in my life. My father was in my life, even if at a distance, when he left. I had that family unit and true friends who believed in this shit. The believed even when they were saying, “I don’t know, but if this what my baby say he wanna do, then this is what we gonna do.” You gotta have those elements, a serious work ethic, and you’ve got to be fearless. You just have to know it in your heart.
DX: Knowing that you had to wait, was it part of your original strategy to drop a mixtape every so often and keep your name buzzing?
BL: Nah, it just happened. That’s from having access to $5 and $10 million studios, a huge-ass budget and working like a motherfucker. Why just stack records for this album and have shit in the archives? Aftermath is known for just having shit in the vaults. To this day, there are shelves of shit in Dre’s vault that are just ridiculous. There’s so much stuff from 2001 and different stuff that didn’t make Em’s album. There’s crazy records for new artists who Dre did beats for that are just sitting there. I was like, “Fuck that. I’m putting shit out.”
DX: It’s been crazy with the mixtapes. Seeing you on the cover of “Nigger Noize” wearing a KKK robe with an iced-out watch, you can’t help but laugh.
BL: That was the goal. We just wanted to take what people have feared for hundreds of years, something with negative feelings and show how bullshit racism and the [Klu Klux] Klan is. These niggas is clowns. I rocked that shit and made it funny and fresh. That shit don’t faze us. That shit is over with. You’re still cutting up bed sheets that you should be fuckin’ on, and using gas that’s $5 a gallon to burn crosses, and you call yourself a Christian? You’re burning churches and running around fucking with people? Nigga please!
That’s what it’s all about. Fuck that shit. Laugh at that shit. Take all that negative shit and make it something positive and fresh. All they’re gonna call our music is nigger noise anyway, so I said, “Fuck y’all. That’s what it is.”
DX: I think there are still a lot of people who will look at that and think because the west isn’t overtly racist, like the south, that there’s no reason for that message.
BL: I know. How do they think that when it’s one of the most racist places? The difference between racism here and racism in the south, or in Boston, is that they hide it. People are conservative with their racism here. A fox is the worst thing to fuck with, because at least a wolf will say, “I’m gonna eat you, motherfucker.” But, a fox will be clever with the way that they do shit. People out here will hate your fucking guts, and act like it’s cool. They’ll gladly take your money, but if you try to date their daughter, they’ll have a fucking heart attack. If they saw you hurt in the street and in need of medical attention, they’d keep walking like, “Fuck you.” The flip side of that is there are a lot of beautiful people out here who just look at others as either good or bad people.
DX: I remember reading something about you spending some time in Buena Park back in the days?
BL: That was early '80s when I lived in Buena Park. You had gangs out there called The Lads, and there were different Aryan Nation gangs too. I remember dealing with that racism everyday going to school. I’d get into fights everyday. There was only like 20 blacks in the whole school. Out of those 20, only 10 actually said they were black. The rest didn’t wanna be black, and said they were everything else.
DX: Like Tiger Woods with the whole “Cablanasian” thing?
BL: Yeah, all that made up bullshit like, “I’m this or that. I’m not black.” Nigga, you’re about the same shade as this speaker! Shut the fuck up. So there were fights everyday at school, and all you heard was, “A fight, a fight, a nigger and a white.”
That’s why it’s so serious to me to attack racism, because I remember being in those fights. Who would have my back? Other white kids. We’d be fighting together, because we were all poor together. We were all living in low-income housing and fucked up apartments, sharing the same experiences—food stamps, sugar water, powdered milk, fried bologna. No matter what, we all deal with the same bullshit. Call it whatever you want, but it’s the same thing. So you’d have those fights everyday.
Then, trying to get home, you’re running from these motherfuckers after school. What does the bus driver do? She kicked us off the bus to let more white kids on. So we’d have to wait another hour for another bus to come, and here we go again. They’d go get some more motherfuckers from their neighborhood to fight us.
DX: I don’t want to sound like an after school special, but obviously something from that stuck with you after all these years for you to make that the theme of one of your mixtapes.
BL: God is good, man. All that gave me the knowledge and the spirit I have now to deal with shit like that now. My team is colorful, and I fuck with everybody. I reach all people because I know that we are all one. There are only good and evil people. People talk about white people being the devil, but I know a lot of black devils. I know a lot of Chinese devils and Mexican devils. The devil can come in any form; it’s just about good and bad people.
That experience gave me that understanding and that fire to fight against shit like that. I’m outspoken about shit like that. We didn’t have anybody say, “That’s fucked up. You shouldn’t be doing that to those kids—kicking them off the bus so they get their asses beat more and have to keep fighting. That’s fucked up.”
I wanted to knock the shit out of that bus driver. God says forgive, but I’d fuck that bitch up right now, or have somebody else do it. That bitch is probably older than dirt now, and she probably looks like Large Marge from Pee Wee’s Big Adventure. [Laughs]
DX: That’s the side of California that a lot of people don’t see.
BL: Yeah, man. That was Buena Park in the 80’s. It was crazy because we lived right across the street from Knott’s Berry Farm. During the summer we’d break into that motherfucker and ride every ride.
DX: Logjammer all day.
BL: Exactly, and churros and shit too. We did that.
DX: Not to beat this “Nigger Noize” thing into the ground, but I heard you had people break-dancing with KKK robes on during your performances.
BL: Yeah to “Planet Rock.” That shit’s gonna be so stupid. We got some shows and it’s gonna be a surprise…well, the cat is out the bag now. Thank you, O. [Laughs] But, nah the scene is gonna be stupid. I just believe in entertaining the people and doing stupid shit. It’s not just the music; it’s the connection to the people and making them have a good time.
When people come in they’re supposed to have a good time. Don’t be ice-grilling niggas in the club. Get bitches, nigga. Be happy that you’re all there together, because you like the same things. You have shit in common—you like dope music and you want to have a good time. Everybody should be able to laugh, zone and take away some good feelings for their mind and spirit. You want to leave rockin’ and drunk, because if you fuck with me, you gonna be drunk. Fuckin’ with Taje, you might get high, but you’re gonna have a great time and you might get some pussy that night too.
DX: Alright, the next mixtape was Caltroit [click to listen]. How did you, Black Milk and Hex Murda hook that up?
BL: Motherfuckin’ Hex Murda, man…I don’t even know how that happened. I was always a fan of the Detroit movement—Slum Village, D12, Kareem Riggins, Royce [Da 5’ 9”] and everybody else. They were really doing it up there, and I had been a fan. I forget who hooked me up with them. I think it might’ve been Dave New York. I went to the video shoot and we just hit it off. Hex is a idiot. I had just started lifting weights and getting buff, and I had some shorts on. You know when buff niggas first start working out we have that prison build, where the legs are all small and the upper body is like Bluto? Hex was like, “Look at you, nigga. You’re an old prison nigga.” He was comedy, and we just hit it off. T3, Elzhi and all of us just really hit it off.
At the time, Black Milk [click to read] was in BR Gunna with the homeboy [Young] RJ, and he gave me Sound of the City Vol. 1. Once I heard that, it was on. It made sense because Detroit is a second home to me. It’s sad that the first time I got to go to Detroit was for Proof’s funeral. But, that’s when we first started working on shit for Caltroit without knowing it. Me and Black got in there and RJ made a crazy track. That was “Go Ape” from way back when.
It was just a celebration of life. It’s ill emcees and stupid beats. It’s that Wu-Tang shit, that Canibus [click to read] shit, where niggas kick a million bars, and there ain’t no A&Rs over your fuckin’ shoulder. There were no corny ass producers trying to give you the same beat like, “Yo, remember that Cool & Dre [click to read] shit? Let me give you that same beat again.” It was just being able to pick whatever beat you wanted, grab which ever emcees you want, and go. It was a blessing man.
DX: Any fan of the Detroit scene has to love how you called out all the “Dilla dickriders” right off the bat.
BL: That’s why I said it. Them niggas wasn’t fuckin’ with dude when he was alive! When niggas used to say Jay Dee, half of y’all thought we were talking about Jermaine Dupri. Straight up, it was sickening to hear, “Dilla this, Dilla that,” because y’all were not fucking with Dilla until he died. Then, all of a sudden, they wanted to hop on. How many Dilla records did you have? How many records can you name from Dilla? How far back can you take his body of work?
I wanted to make sure we honored that. We wanted to give people something that they haven’t heard in a long time, or they could only get if they went to Mack Life or some underground clubs. I got shoeboxes full of cassettes, man. I’ve been pulling them out and making myself happy and shit listening to old, dope shit.
DX: It’s been interesting to see an artist with the Interscope machine behind him embrace the Internet with these free mixtapes. Part of that Internet exposure also seemed like you and Joell Ortiz were being pitted against each other.
BL: Yeah, that bitch Miss Info. But, it’s all good when you’re right. I could see if I was a fucked up person, and I was doing the shit that was being perpetuated…it’s like ahh, Miss Info, you cute. I took up for dude when I did the other interview, but of course, they want to change the words around. Joell [click to read] knows me well enough to know how I get down. He came out here and saw how I embraced him and stayed in the studio to fuck with him. I ain’t gotta do that shit. I’m on. I’m good. Focus called me, so I fucked with dude. And, when I heard people with the shit they were trying to say, I’m like, “Yo, what the fuck? Jimmy [Iovine] tried to drop me [too]. That ain’t shit.”
During the interview I say that it doesn’t matter if he is or isn’t dropped. He’s family and I’m fuckin’ with him. That shit is verbatim, but here comes that bitch Miss Info.
DX: And then once that popped off there was this whole thing with DJ Strong. Is that still going on?
BL: DJ Who? DJ Who? What’s his name?
DX: I’ll take that as a yes. [Laughs].
BL: C’mon you fuckin’ with me, man. [Laughs] What’s his name?
DX: So you still won’t refer to him as anything except for DJ Thong?
BL: Okay. There you go, incredible journalist guy. [Laughs] His name is DJ Thong. That shit ain’t over. Fuck that nigga! This dude…that’s some amazing shit to me when people that you don’t even fuck with, people who you’ve had the smallest amount of conversation with…I can count on three fingers the amount of times we talked before this situation happened. Now, all of a sudden, he wants to jump on and piggyback my shit and fuck my shit up. The nerve of this dude. This dude went to UC Santa Barbara, so he should have some type of mental capacity to go, “Hmm, he’s signed to Dr. Dre. The nigga’s been in these streets for fuckin’ years and he knows everybody. Will I be safe doing this shit? Will I be safe leaking Dr. Dre, Nottz, L.T. Mo and Dready Beats tracks, and putting his head on Mack 10’s body? Will I be safe doing this shit?”
For what? Dude sold my masters to a couple different dudes here and in France for like $300 to $400 a pop. That’s some petty, small-minded shit. But it gave The Confessional [click to listen] and my presence such a phenomenal lift from where it was already going. What the devil does wrong God makes right, so we have to thank DJ Thong for that one. So, I thank you, you bitch ass nigga.
Then he had the audacity, when I came to holler at him…I tried to explain it on the YouTube [clip] that I really did reach out to dude. I was respectful and tasteful about it, because I talked to him the day before he leaked the shit on purpose and did that fucked up shit. I said, “Yo, chill out. I’m only doing this with my man [DJ] Whoo Kid, and that’s what it is.” And he was like, “Alright, okay. But, I can make it so big.” I told him if he wanted to support, just spread the word for me and that would be enough. I get off the phone, and my boy Edgar comes to the studio the next night like, “Listen to this bullshit.”
That’s fucking up my relationships. He had my niggas looking at me like I was letting records get leaked on purpose.
DX: With the rap game the way it is, Jimmy is probably quick to pull papers on anyone in the Interscope building.
BL: You know what? That ain’t even on his radar though. Jimmy is rockstar status, hanging out with Bono and shit. Jimmy wouldn’t even know anything—it’d be Dre. That’s who was calling. I saw the number on the Caller ID thinking, “I ain’t answering this shit until I find out what’s going on.” I had to get things under control to where I could explain shit, because Dre thought possible records for Detox got leaked. I was writing a lot of records for that as well, and one of them might’ve got leaked. Once I explained the situation to Dre, he was like, “Man, you should’ve stuck a gun in that bitch ass nigga’s mouth.” I’m going, “Wow, that’s a really good thing to do Dre. That makes sense, Dre [Laughs].” He was hot about it.
It’s a wrap for DJ Thong. He’s blackballed and he’ll have to move back to Australia. All my Australian niggas know he’s a bitch, so they’ll beat him up out there too. He’ll probably have to move to another planet. Fuck Thong. Until he comes out of the closet, moves to where ever all the life partners hang, takes some pills and throws on some little footsie socks like Martin Lawrence said, it’s never gonna be over. It ain’t over until he comes with some stacks for all those beats he leaked. Shouts out to Sarah, because his wife is a rider. If she wasn’t fat and ugly, we’d have fucked that bitch. But, anyway…
DX: So do you have a date for The Reformation?
BL: Brother, it’s looking like October or November. [Dre] really wanted to keep me for Detox and have me come after that. He told me, “You’re ready and the buzz is ridiculous. But, I really wanted to give you that world stage to step off of. But we’ve really got to rethink this.” So, here we are.
DX: You don’t sound too broken up about it [laughs.].
BL: I was like, “Nigga, I’m good either way. I’m putting out my tapes, I’m seeing it and I’m getting that love back. I’m doing shows and you’ve got my pockets right. I’m writing this shit for Detox, so it’s like having two albums out and I’m on both of them a whole bunch.” God willing, man. It’s a blessing if I’m able to pop off that first shot. Plus I can start working on the second album, since I have like 800 million songs.
DX: I know. Every time I see one of your interviews, you’re talking about five different albums.
BL: I know. I run my mouth a lot because I’m either drunk or happy at the time. But, the second album is The Impossible Possible. I’ve already got a couple records for that.
DX: You seem pretty approachable, but like anything, there’s a proper way to go about trying to get on.
BL: You can’t really go to clubs because motherfuckers will bother you like, “Yo, how does it feel to work with Dr. Dre? Can you introduce me to Dre? Can you take him this demo. You need to do a song with me.” Why the fuck do I need to do anything? I don’t know who the fuck you are. It’s the weirdest shit.
About two years ago, this shit really happened to me in the club. A nigga came up to me, like any boo-boo rapper. I’m in the club trying to talk to bitches, and this nigga taps me saying, “Yo, can you tell the deejay to put this shit on?” I’m just looking at him going, “This nigga is playing songs. Even you are dancing on the floor, nigga! You need to go over there and do that shit yourself.” He keeps going on and on about how his CD is going to make the people in the club dance more, and he says, “But you’re Bishop, he’ll listen to you.” I’m like, “Nah, nigga. I’m just Phillip tonight. You ain’t getting’ shit out of me.”
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