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or Darnell Carlton, March 5, 2006 was supposed to be the payoff for over 15 years of loyalty and dedication. But, as Three-6-Mafia took home the Academy Award for Best Original Song, their performance marked one of the final times the man more commonly known as Crunchy Black would perform with the group. When remaining members Juicy J and DJ Paul resurfaced weeks later on HOT 97’s Summer Jam stage stating that their Oscar statue had replaced Crunchy Black, it merely confirmed the rumors that Memphis’ favorite rap collective was now a two-man operation.

Breakups are usually ugly, and the rap game hardly an exception. Despite claims from both sides that there is no bad blood, accusations of underhanded business practices have left a cloud of controversy surrounding Crunchy’s rationale for leaving the group at the zenith of their popularity.

While lines such as, “N***a I don’t rap anyway, N***a I rob,” have never caused anyone to label Crunchy Black a lyrical assassin, very few people would question his brutal honesty. After years of quietly playing the background and hitting fans with the occasional verse and his trademark “Gangsta’ Walk,” Crunchy Black sounds off on his newfound solo status.

AllHipHop.com: Most of us know how you got the nickname Crunchy Black, but who gave it to you?

Crunchy Black: Where I’m from, Scudderfield, which is in North Memphis, me and another dude used to run together. Both of us were dark as hell, and back then, in the projects, you didn’t really call people on the phone. We’d just stand outside each other’s houses and holler for the person we wanted. Me and the other dude’s nicknames were both “Black,” so when someone was standing outside yelling, “Black,” we never knew which one of us it was for and we’d both be standing at our door. One day he said, “G####### it, we gonna’ stop all this right here. We’re both black as hell, but your ass is crunchy, so I’mma call you Crunchy Black.” After that, people in the hood would holler out, “Crunchy Black,” and it just kind of stuck.

AllHipHop.com: What were you listening to back then?

Crunchy Black: We mostly jammed off of DJ Paul and Juicy J. Back then, they were just DJs and weren’t really rappers. They were actually the two crunkest DJs in Memphis. Whenever they used to get a job to do a party or something, we would just listen to whatever Paul and J had, then there this other DJ named Squeaky. He was jammin’ too.

AllHipHop.com: When we think of the Memphis rap scene today songs like “Triggerman,” “Armed Robbery” and, of course, “Tear Da’ Club Up” come to mind. What was it like to be around when those classics were being made?

Crunchy Black: Ahh yeah, “Triggerman.” [8Ball] and [MJG], them some good boys. All that was a fun time.

AllHipHop.com: You’ve become famous for “Gangsta Walking,” can you explain how that happened?

Crunchy Black: Basically, back in them days that we were talking about, we used to all go to this club called Studio G, the G stood for gangster, so that pretty much tells you what kind of spot it was. Later it changed to The Plush Club, I heard that it might be getting shut down. But anyway, everybody would come up there at midnight to hear Paul, J and Squeaky, and the club wouldn’t shut down until after three in the morning. Paul and J would let their beats run for a whole hour, I’m talkin’ about s**t that’s loud with a whole bunch of bass and noise in it. Even when the song started to go off, they’d either bring it back or mix it in with another cut.

So during that time, everybody is getting buck, getting crunk. We used to have this thing called, “Last Man Standing.” That’s where you’d try to invent a new dance, even if the s**t was bad. This one dude was doing it, but he was f**kin’ it up. We all knew that he was doing it wrong, but he just kept on dancing. So, I really didn’t invent the “Gangsta’ Walk,” but I was so tough that I became the champ at that s**t.

AllHipHop.com: Would you say that winning the Oscar last year was your highest point?

Crunchy Black: Yeah, but there was a lot that led up to that point. People were always buying our s**t, but when you get that award it exposes you to a whole different set of people so you can sell more records. Paul and Juicy are smart like a motherf**ker, so throughout this whole time dealing with Sony they were doing the right deals.

I think they outsmarted Sony, because it got to a point where they didn’t really need the label and they threatened to leave. That was the whole thing behind Most Known Unknown, ‘cause they was going Gold or still getting good paper no matter how many records we sold based off how the deal was. Now with this record, you see three videos and n***as on 106 & Park, ‘cause [Sony] wanna’ put them out there and see how much they can get.

AllHipHop.com: That’s some pretty high praise for your former group members, so it doesn’t seem like a beef thing. What led to you leaving the group?

Crunchy Black: Part of it was that, besides Project Pat, I felt like I was the only real n***a. If you look at Most Known Unknown, that really was most of my s**t. I had made an album called From Me To You: 1 The Hard Way, and they used some of that material for this new album. It’s my ideas, but I’m one whose verses are getting cut on “Stay Fly” and “Poppin’ My Collar.” For me to be down with them n***as for 15, 16 years and be a real n***a, I felt that I deserved better than that. And when I say that, I don’t want people to think that it’s beef or no s**t like that.

A lot of other people had left the group because they didn’t feel like they were getting taken care of as far as the money was concerned. I was tired of my [solo] album getting ignored, so really I was gonna leave before this album even came out, but I stayed for one more year. When it came time to get the record ready, Paul and J come telling me that I need to pay $50,000 for an entertainment lawyer, so I gave them the $50,000. When we get there to have the meeting with the lawyer, everybody’s telling me I have to wait outside.

AllHipHop.com: So all that time your money wasn’t being handled correctly?

Crunchy Black: Yeah, but I’m a real n***a so I just have to charge that one to the game. You can take my songs and each get $150,000 off of it, but I can’t see no royalties? When I got home, I hired my own lawyer and he told me that for $50,000 he’d represent me for life! To look over a contract is only about $75 and for an entertainment lawyer, [$2,000] is really too much to be paying, let alone [$50,000] -you feel what I’m saying?

AllHipHop.com: Was that when you decided to leave?

Crunchy Black: Nah, the last straw was that whole time that we touring, I’m having to come out of my pocket and get my own hotel rooms and rent cars and s**t. We had got pulled over ‘cause the n***a that was driving was doing some crazy s**t. Since we were by the border of Mexico the police searched the car, they had the dogs and everything. Now I was sleep this whole time before they searched the car, and I had some weed on me but they never found anything. All of a sudden, when we get to the venue Paul is talking about I almost got us locked up. How? The cop ain’t pull us over because he smelled weed, he pulled us over because the n***a who y’all had driving was f**kin’ up. So after that they come sending one of my boys to tell me that I have to find my own way to the next show; they didn’t even come tell me themselves and we’re supposed to have been tight for 15 years. They’re the ones with the tour bus, and I’m coming out of pocket to get myself to the venue and getting there before them! Sony’s sending them money, but I’m checking myself into the hotel every time and paying for my own room.

People had left the group ‘cause of their money not being done right and other stuff too, but if it’s only three n***as in the group there’s no excuse not to pay a n***a. So while we were in New York, I called Sony and told them that I was leaving the group. That next day I got on a plane and left. And it ain’t no beef, I’m not about to make a record talking about I want to kill Paul and J or no s**t like that. I don’t appreciate that s**t they did as far as my money and taking my songs, but I learned a lot about the business from them. If you’re a fan of them, stay a fan, don’t jump over on my bandwagon ‘cause of what happened between me and them.

AllHipHop.com: There were originally quite a few members of Three-6-Mafia. Now that you’re a soloist, do you talk with them?

Crunchy Black: I’ve got my crew called The Real Hard Hitters. LaChat tried to do some f**k s**t and come out with a crew called The Hard Hitters, but that’s just some copycat s**t. If you look on my website which is www.myspace.com/crunchyblackandtherealhardhitters then you can tell the difference. On our CDs, it looks just like the Tennessee [license plate] and the logo is in the corner.

I had Gangsta Boo down in the studio at my house one time, but she was rapping some old Three-6 stuff. It ain’t nothing personal, but this is something new so we got to leave all of that old stuff behind. If we’re going to do something you’ve got to come with some new raps and s**t, don’t nobody want to hear that old s**t. And Lord Infamous was just lost, lost in the sauce on them drugs, so I can’t do anything with him.

All this time I had my real n***as from back home telling me, “Come on Crunchy, open up a studio or something so we don’t have to be out here selling this s**t!” I’m down to help anyone who’s down to help themselves. I told them that once they got their act together we could do something. These are my same three boys who’ve been down with me this whole time, Pharaoh “The Prince of The City,” Explosive and Buck 4 Luck.

AllHipHop.com: Are you still affiliated with Sony or are you independent?

Crunchy Black: I’ve been talking with Ruthless Records and Ruff Ryders. I’m leaning toward Ruff Ryders because when I sat down and talked with them, they just kept it real with me. Plus, it makes more sense to go with someone who can get me out to that area where they might not be that familiar with me.

AllHipHop.com: Any last words?

Crunchy Black: We’re coming to every city. If you need studio time and you’re trying to do something positive and get some money in your pocket we’re going to see you. When I came home I didn’t know what to do. I just prayed that if God would help me then I’d put this good word out. We’ll help you get that paper, but if you’re on that bulls**t, we can’t do anything for you.

S

ome things seem like they were just made for each other. Like chicken and waffles, Will and Jada, and in the case if Outkast and Mr. DJ, it’s more than just chance or even luck that they met. Undoubtedly, each of them would have been successful as individuals, but together they will forever hold a permanent place in not only Hip-Hop, but music history. If you’re not familiar with his name your not alone. Having referred to himself as a man that is often heard but rarely seen, Mr. DJ has made it a point to stay out of the limelight and under the Outkast umbrella. But even though his image has been low-key, don’t think for a second that his music has been as well. Winner of two Grammy’s, one for Producer of the Year for “Ms. Jackson,” the other for Album of the Year, Mr. DJ could arguably put up a stiff competition with Three-6-Mafia for the title of the most known unknown.

AllHipHop.com: Most people are familiar with your music but don‘t even know who you are, can you introduce yourself to those that don’t already know you and your affiliation with Outkast?

Mr. DJ: I met Outkast through Rico Wade, my cousin, he is one of the members of Organized Noize. Well, we had beat machines and we were trying to get in the music business and my cousin met Outkast and they started working on Outkast’s album. I was a DJ, I been DJin’ since my high school days and even before that. I had asked my cousin if I could be the DJ for Outkast and that was kinda how I met them. We started to work on the Southernplayalisticadillacmuzic album and that was back in ’94 and at that time we [Outkast and I] weren’t quite producers, we just watched Organized Noize make beats. We kinda picked up on what they were doing everyday, [they were] beatin’ on beat machines so we got beat machines and kinda mimicked those guys. By the second album we had actually gotten pretty good at makin’ beats, Dre, Big, and I, ‘cause we used to practice while we were on the road. Dre decided to rap on one [of our beats], which was “Elevators” and that was kinda one of the first tracks that we, Earthtone III, produced. That was the start of the whole production thing for me.

AllHipHop.com: You, Big Boi, and Andre decided to form Earthtone III because you were all producing tracks together but did one person end up taking on more of the work than the others?

Mr. DJ: Well, actually, it was a three-way split between us. Most of the time, Dre and I tended to do most of the production, Big wasn’t much into doing the tracks, he’s more into that now, but back then they were on the road a lot. After we formed the Earthtone III company I wasn’t DJing anymore so, they would be on the road and I would be back at the studio tending to the new artists we had, Slimm Calhoun, who was an artist I discovered and brought to them. So, I was more like the producer/A&R. I would get everybody’s album together and make sure they were tight while they were on the road, that was really my thing.

AllHipHop.com: Is the Earthtone III label the reason why you don’t receive your first production credits until Aquemini? All the previous albums you’re only credited with scratches…

Mr. DJ: Yeah, at the time we were in between forming Earthtone III and I think if you look at the credits it will say “Produced by Outkast for Earthtone Musi”c and that was all of us, we just weren’t getting individual credits at that time. But, there was a time before I got with ET3 that I was an associate producer for Organized Noize and that was when I produced the 8Ball & MJG album, Goodie Mob’s “They Don’t Dance No More,” “Black Ice,” you will see my credits as produced by Mr. DJ on those. Once we went under the ET3 name, it kinda put a shadow over everything ’cause people always thought that everything was produced by Outkast, so I never got my just due for it. Now, I’m in the process of making my own name because I’ve been under the Outkast umbrella for so long.

AllHipHop.com: You’ve stated that your often heard but rarely seen and you seem to have made it a point to stay out of the spotlight, why is that?

Mr. DJ: When we started doing this thing, Dre and Big were just regular people and as things progressed, I started to notice a change in their lives. Like, they weren’t able to go to the store or just be normal people and lead normal lives due to their success. I’m a private person, and I realized that wasn’t what I wanted. I wanted everything that comes along with being a producer or being famous, as far as being able to take care of my family and the respect of it all but I never really been a fan of being in the limelight. I’ve always been in the back and I kinda like it that way.

AllHipHop.com: Songs like “Da Art of Storytellin” or “B.O.B.” make the listener feel like they’re actually in the song or at a live show, it seems like the music comes to life. What is your creative process when making your music?

Mr. DJ: My process is just, uh, smoke a few. It takes me a minute to get in the mode, first of all, I need to feel like making music. There are times when months go by and I’m just not feelin’ creative and I get no work done, then there are times I can go in and make a beat in ten minutes. I guess my…my, what’s the word? What do you call it when you do something on the regular?

AllHipHop.com: Your ritual?

Mr. DJ: My ritual, riiight. I got my normal ritual where I smoke a few, put on some old records, have a few drinks and just get in the zone. Then it’s all about the energy. Some people go into the studio and say “Okay, I’ma make this kinda beat and I’ma do this kinda song,” I go in and whatever comes out of me beatin’ on the beat machine, whatever vibe I get from it, that’s what I use. It’s the energy at the time, I don’t plan anything. I don’t listen to a lot of radio here in Atlanta, so when I’m in other cities I listen to what goes on there. I listen to a lot of old records, I’m an old record head.

AllHipHop.com: So, what was that one record as a kid once you heard it, you knew that music was what you wanted to pursue?

Mr. DJ: I had to be around 10-years-old and that song “Can’t Nobody Hold Me Down,” [by Rooftop Report] the original was playing. I lived in a apartment, so in the summertime when a jam would come on the radio there would be stereos in the windows. I would be outside jammin’ to those songs and when that particular song used to come on, it seemed like you would hear music all over the neighborhood. That’s what made me really love music, to see the way it moved people.

AllHipHop.com: Stankonia was the album that you received the most recognition as a producer and also an album that incorporates so many different musical influences, were there ever times you wanted to do something that others thought were too outrageous or extreme?

Mr. DJ: That was the good thing about working with Outkast, there were no boundaries and we were all kinda on the same page. What other people thought was weird, we thought was kinda cool, so that’s what made us make sweet music.

AllHipHop.com: Is it true that you don’t know how to read music?

Mr. DJ: I do not know how to read music. That’s not something I’m proud to say but I’ve been blessed in being able to create music pretty well. I can’t read music and I’m working on that, to me, I feel like it limits me, well, not exactly limits me but..

AllHipHop.com: Seems like you’ve been doing just fine so far.

Mr. DJ: Yeah, I’ve definitely been blessed I don’t like not knowing things. Even though you didn’t ask me this, I’ll tell you. When I was DJing for Outkast they used to have meetings in the studio and they would be talkin’, ya know, using music language and I really didn’t understand what they were talkin’ about. That made me feel handicapped, it made me feel like I was missing something, even though it didn’t pertain to me because I was only the DJ. I still wanted to know what they were talkin’ about. That’s what made me take it upon myself to learn more about the business and stay on top of the game. With that said, yes, I’ma learn how to read music.

AllHipHop.com: Talking about business, you started your own label in 2001, tell us more about Camp David Records.

Mr. DJ: Camp David is more than a label, it’s more of a lifestyle. Camp David is the place where the President goes to chill and vacates. Big Boi has the “Boom Boom Room” and my house is Camp David because all of us would go to my house and people’s wives and girlfriend’s would be looking for them and nobody would go home at night, we would just be partying all the time, so we called it Camp David, it was like our little compound. So, I decided to take that name and run with it. Camp David, as a label, consists of three artists that I’m concentrating on right now. Those artists are Jason Weaver, you know, from the ATL movie, Jeff B., and I just signed a new group, The Holograms.

AllHipHop.com: I was going to ask you about The Holograms because they’re style is more Rock/Pop than it is Hip-Hop, what was it about them that made you decide to sign them?

Mr. DJ: Well, my music doesn’t always scream Hip-Hop. My music, to me, is more than just Hip-Hop, music is music and to work with something other than Hip-Hop is kind of a relief. Sometimes I feel like I’m trapped in this rap world and rap and Hip-Hop is not all there is…oh wait, this is AllHipHop.com, I guess I shouldn’t say that [Laughs].

AllHipHop.com: It’s all good. Good music can’t be categorized.

Mr. DJ: Yeah. And if I did just Hip-Hop, I feel like that would limit my music and other people that can appreciate good music wouldn’t get to hear that variety. But, yeah, I’m on my way to L.A. to work on the Holograms album and also finish up Jeff B’s album. Jeff B. is currently in the process of working out a deal with Geffen, he wrote Jessica Simpson’s first single and he writes for a lot of other people, so be on the lookout for Jeff B. Jason Weaver is in talks with Atlantic, so hopefully, we have big things coming up.

AllHipHop.com: You already have movie productions under your belt, I take it you were involved in the Idlewild soundtrack?

Mr. DJ: Yeah, I have a couple of songs on the album, one called “Buggface.”

AllHipHop.com: I know we are going to continue to hear your work in the future but is there any chance you’ll decide to step into limelight?

Mr. DJ: Well, guess what? I am. I just realized that in order to get where I want and obtain what I want, that I’m going to have to step out into the limelight a little bit. I guess it’s all about how you step out, I won’t be walking around with big bodyguards , I’ll always keep myself grounded. I just want to succeed. So, if that means stepping out into the light a little bit, that’s what I’ll do.

As the summer offers weltering heat waves, Young Jeezy hopes to change the climate of Hip-Hop to a much frostier temperature in the fourth quarter of the year. After being the runaway new star of 2005, the question remains as to whether Jeezy will affirm a role in the game that matches his monstrous voice. One thing is made clear from jump, the ATL trap star is much more concerned with the streets that built him up than the ‘burbs that embraced him as a boy n’ da hood.

The self-proclaimed “Snowman of Rap” is all set to release The Inspiration: Thug Motivation 102. Here, Jeezy encourage with candid talk on the plight of the ‘hood, his growth and whether a certain presidential rapper plans to return to rap.

AllHipHop.com: So, Jeezy, rumor has it Jay-Z’s coming back?

Young Jeezy: I mean he here for me. But I love his s**t, why not. But you know I can’t say that s**t. I told my man, I’m gonna go do one album and get us in the game and so y’all do what you gotta do. He can’t walk away from that s**t. He loves it [Hip-Hop]. I just love being able to do it. So I know he love it. Jay ain’t gonna walk away from that.

AllHipHop.com: You love Hip-Hop, but a lot of rappers love your flow so much they borrow it.

Young Jeezy: Yeah.

AllHipHop.com: Ad libs and all that. How do you feel about that?

Young Jeezy: I mean, it is what it is. I’m a trendsetter. I ain’t mad at that. You know that’s how I drive the game. Somebody else’ll start rapping, I want to start you know doing what I’ve done. You know, I just think you gotta make sure you know what you’re talking about. I damn sure do.

AllHipHop.com: Right, right. Can you talk about the song “Bury Me at G”?

Young Jeezy: Oh man. It’s crazy. You know for one “Bury Me at G” is that’s I mean by growing and not getting outside of who you are. You listen to “Bury Me at G” and it’s everything going on today. I still understand the fact that it is what it is, like every time you walk outside you wishing and saying it’s not me [that will die]. You know a lot of people don’t touch on that subject. Only people who really done it all. [Streetlife] was cool, but it was part of being, you know cats like that. But to me, you know I lose homeboys every time we’re on the road. I really understand what it is. It ain’t like I’m not of the scene because I still deal with real issues. Because I’m still that close to the hood, know what I’m saying?

So to me, “Bury Me at G” was just to let people know how I feel about a lot of stuff I go through. Because I feel like this life is sort of deliberate. I mean all this s**t be taken away from me tomorrow, and I think about that, you know what I mean? A lot of people don’t do that. I just really want to touch up on that subject and I ain’t really scared of that. So to me, I really want to speak boldly on it but in a way that you can get it.

AllHipHop.com: So you really want to be buried in Evisu jeans like the song says?

Young Jeezy: F**king right. In a USDA shirt.

AllHipHop.com: Okay.

AllHipHop.com: You lost a lot of weight.

Young Jeezy: The gym, man. I always told myself when I got myself established and I was able to move and wouldn’t have so much to worry about, [I would] get my health right. I did a lot of drinking, a lot of smoking over the years. I’m still doing four shows a week, in nine months, know what I’m saying? [I] get tired. You know, because you ain’t getting no rest and you ain’t eating right, know what I mean? So you know that’s my job. I just take it seriously. Man, I can’t really carry stress like I want to no more. I don’t want to die of stress, know what I’m saying?

AllHipHop.com: What’s the album about?

Young Jeezy: I mean, you know the album, basically that’s gonna take off where we left off. You know what I’m saying? It’s like a lot of cats come and change. So, to me, it’s more important that I keep the music good. You know keeping the message out there, know what I mean?

AllHipHop.com: Did you accomplish your mission with the first album?

Young Jeezy: My first album opened up the door. You know, I perfected my craft, you know a little more every day, you know?

AllHipHop.com: What do you feel about growth?

Young Jeezy: Yeah, you know I just think growth, growth is getting better at what you do, not making no type of songs gonna sell you out [or] take away from who you are. It’s almost like selling your soul. I mean, I ain’t even with that s**t. My whole thing is I do what I do. And I’m good at what I do. I might even sell ten million records this year but, you know. I don’t want to go do something that’s not me [in trying] to sell records, and it’ll blow up in my face. They won’t buy them anyway and I’d be lying to the people. If I preach all this stuff, motivation s**t and then just turn around and do something to get some more money.

AllHipHop.com: You said you had 62 joints. Can you speak on the process of whittling that down?

Young Jeezy: I’m a workaholic dude. I love to work to keep me out of trouble. But like the last [album], I picked out 72 songs. If I can [record] 80 songs, pick 14 from that. But that’s the process, you know, it’s just how you feel. You do what you feel at the time, and when it’s all said and done, you know it’s just like packing yourself all year, you know getting ready to go on that trip you want to take your best s**t. Same thing with album, you know you just get, you want to get all this s**t done and you know it’s time to go, it’s your best s**t let’s get it, know what I mean?

AllHipHop.com: You spoke of before speaking in certain code that only certain people can get.

Young Jeezy: Yeah.

AllHipHop.com: How, are you changing that? Are you opening up a little more?

Young Jeezy: No, I’m just… I’m making it a little bit more … I’m in the streets, so quite naturally, anybody speaking any type of street lingo, I’m gonna pick up on it. It’s like speaking Spanish. Because you go the Spanish [people], you understand Spanish. If you fluid in the streets, you understand street. But if you don’t understand it, it sounds like good music. It’s like Jamaican music, you know like don’t understand what they’re saying but you like it. I think it’s like a lot of people are shifting away from the streets. They ain’t really get it-get it, so the sound, I might lighten up on them just a little bit, know what I’m saying. Let them understand too, so they can get, you know let everybody else get it. Know what I’m saying, the message. Dig?

AllHipHop.com: Yep. You mentioned, you said the label can’t follow me in the streets.

Young Jeezy: Yeah.

AllHipHop.com: What’s the battle that, maybe not a battle but you know what are they looking for as opposed to what you’re giving them?

Young Jeezy: You gotta understand it’s not even the people at the label. It’s the people up top. You know it’s about money. In order to make money, you got to get ahead first. To us, it’s about doing what we love to do and what we’re good at doing and that’s talking to the people. It’s almost like a game sometimes. You get so caught up in that that you can get sidetracked so to speak. You go out and start doing things that ain’t in your character just to sell records. That’s where the problem is. I’m gonna do, what I’m gonna do.

AllHipHop.com: Your life and the life of others in the hood are constantly criticized and monitored.

Young Jeezy: I mean, it’s kind of crazy because look at like that’s the the way it’s designed. It’s like somebody put that s**t together. [The government] wants to stop a terrorist from coming in the country, so you can stop anything – if that’s what you want to do. But like I say, when you just sit back and look at it, kind of see [how drugs] get here and do what you do and you get locked up. Tax payers got to pay for you to be in jail. I mean, the [penal] system is like if there was no mother f**king maids, the hotel wouldn’t work. [If] there wasn’t no cooks, the kitchen wouldn’t work. Wasn’t no us, the world wouldn’t work. Because how you gonna pay this detective. How you gonna pay this government, how you gonna maintain all of this s**t. It’s like its just crazy, man.

AllHipHop.com: It’s like Blacks and minorities in jail is a part of the bottom line in the system.

Young Jeezy: And what’s crazy to me, if the [drug game] wasn’t like it was the world would be f**ked up. They better [feel] lucky they finding a way for us to eat. I mean where I’m from, you got to be taking it, because nobody is giving it.

AllHipHop.com: You think on those deeper levels a lot?

Young Jeezy: Hell yeah. Man, I’m so lucky. I sit back sometimes I can’t even take it all in. Because it’s like, any minute, somebody gonna come with a monkey wrench. I ain’t tripping on it, but it’s like sometimes just thinking about how far I came and what’s going on now in my life and s**t I’m able to do. It’s a whole different type of stress because its industry s**t. I just sit back and look at how lucky I am. You know I got out, I get a chance to ride through the city and have fun, you know having my own but I still feel like going through and it’s like “Damn.” It’s how you used to live, but they still going through it.