[Jack] If it isn't my two favorites.
Jack what's poppin'?
We probably made 10 or 15 beats that night.
It was one of those times me and Pooh
just went in there like, ay bro,
let's go in.
I think that might've been like the first beat
we made that night.
Everything was fresh.
When we get in the studio,
we really just lock in.
You know, it's more than just like,
we in there just cooking.
It's like we in there having fun.
We in there laughing, joking.
I was actually a fan of Pooh
like before, like before I knew him.
So it was like, when we linked up,
I was just telling him like
"bro, I be listening to your stuff that you already made."
Jet used to always be like
"man, we need to just break fresh new artists."
And after we did it, like with "Suge"
you know, I, for sure tapped into that world.
Yeah, I really wanted to work with Jack Harlow
'cause my brother PG was just telling- like,
he sent me his page so many times
like bro, you need to lock in with this dude.
Me and Jack was already kinda like working on stuff
but it was like totally different from that.
Cause I wanted Jack to rap.
I'm telling him like, bro, you need a record.
You popping shit, you feel me?
So that why he came on and he's like, what's popping?
He for sure was on Jack ass
the whole, the whole session.
Like, man, you gotta, you gotta get on a track.
I want you to rap.
When we first got there, we actually started making beats.
That was really my first time meeting Jack.
He wasn't really in that vibe what we was making.
So that's when we started going through beats and stuff.
I didn't even think about that beat.
That was like one of the first beats Pooh pulled up.
It was open.
It was bouncy.
I felt like it was just perfect.
So the first sound from "WHAT'S POPPIN" actually was a loop.
This originally how it sounded.
We felt like it was going to be something,
but it had a little bit too much going on so,
from there we kind of really just went and chopped it up.
Changed the key, took it down what, two,
and then that turned into this.
Ever since like "Suge", I just realized that shit
everything just gotta be simple.
So it's like a lot of people be sending us loops
and it'd just be a lot going on.
It's like you gotta give the artist
you know, room to be creative as well.
So I always try to listen for like the most simplest piece.
We just went in and added like some delays
RC 20, give it a
you know, like a vintage type vibe.
Shout out to loop makers too.
Man shout out to loop makers,
and they're making our job easier.
It's already full, you know what I'm saying?
Like there's nothing else that you
really need but them drums.
But them drums, them drums gotta knock.
Just went straight to the claps,
and the hi-hats just to give it that bounce.
The clap always kind of go in the same spot for every beat.
So we might've just put the clap in there off,
off the rip.
In music in general,
the clap always kind of come on the two and a four.
So after that we went into the 808.
At first it was like this.
Then Jet came in and was like
that, that, that part right there,
kinda throwing off the bounce, so
he ended up sliding it over.
The switch was needed because right around here
the bounce felt better with how he had the 808.
So I just figured we should just continue to bounce
through, throughout the whole 808 pattern.
I honestly thought it was done,
but Jet actually came back like
nah we, we should probably add a kick,
and which really made sense for Jack because
after working with him after this song,
he always say how he want the 808 to come in
and then the kick to come in second, so
One of the kicks like don't even hit on the 808,
but it just give it a little groove to it
So after we added that kick, we, we added the snare.
And then after that, I think,
Pooh just added on the lil open hi-hat.
When I use open hats in my beats,
it's kinda cause I used to play drums in church.
So it just always used to sound good
when you hit open high hat
and being hit the snare.
The last part and the best part
is gone be the tags.
And after we got all the sounds together,
basically this how it came out.
Ayo, listen.
These are the two hottest right here man.
Big cosign season, you know what I'm saying?
It's a lot of connections,
you know from Detroit, to Carolina, to Kentucky.
This one of the only beats, I've ever just like heard,
and I was like I need it right now.
See the way those pianos came in,
I was just like bro load that shit up.
For me the coolest things, that happened with
"WHAT'S POPPIN" is from it being in commercials,
from the teachers making remixes,
kids making remixes,
Lil Wayne alone, hopping on the remix.
You can't say "WHAT'S POPPIN"
without thinking of that song.
For sho.
It go to show you that simple stuff go up.
think a lot of people think like
people bragging, when you say
"ay, we made this in 20 minutes."
It's not that we're going into the studio like
"we gotta make a beat in 15 minutes."
It's just, in 15 minutes,
we, we pretty much know the process.
So we know like what we looking for.
We can't find it in 10, 15, 20 minutes,
It ain't that.
And not only that, just don't overthink it.
Just do it.
Let your hands flow.
Like don't, don't spend all that time.