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Speaker 1: Who has the bigger fumble, Liddell or JD oh Man.

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Speaker 2: This is this is a this is hard.

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Speaker 3: It's not j D still j D. Linda is not lit.

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Speaker 1: The burger is going crazy, going crazy.

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Speaker 3: Confession I said on the side, she got done on

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Speaker 3: the way. I'm not confession and I don't know what

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Speaker 3: to do.

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Speaker 1: Welcome to a new episode of the new Rory and

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Speaker 1: Mal podcast. I am all, I'm Rory, and today we

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Speaker 1: are with you guys with UH.

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Speaker 4: We have this a family day, Rory, So, like you know,

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Speaker 4: we're in your home. We need to make it a

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Speaker 4: little family day, man, catch up with some of our family. Today,

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Speaker 4: we're joined by the legendary Uh. How do I How

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Speaker 4: do I introduce?

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Speaker 3: Uh, the actual guy that was in the Beverly Center

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Speaker 3: hand in hand, not caring who saw him. Yes, the

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Speaker 3: real one.

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Speaker 1: Yes, the inspiration, the motivation behind the story behind US's words.

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Speaker 1: Today we are joined with legendary singer, songwriter and just

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Speaker 1: cool all.

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Speaker 4: Around god man. We are joined by Brian Michael Cox.

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Speaker 2: How you doing, I'm good, I'm good.

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Speaker 3: Instic is here?

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Speaker 4: Oh your instice suggest you know, just just mister cool

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Speaker 4: pants justice.

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Speaker 1: Uh.

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Speaker 4: First of all, just before we get into this. Congratulations

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Speaker 4: man with FVR in and everything y'all doing over there.

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Speaker 4: You know, we support y'all, We love y'all, we love everything.

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Speaker 3: I appreciate it. Congratulations to y'all. That's why we're here.

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Speaker 1: Well, well thanks, you know, Brian Michael Cox.

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Speaker 4: Listen today it just feels like that. It feels legendary today.

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Speaker 4: It's a successful sin. I don't know if that's a potpourri, Roy,

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Speaker 4: but it smells like success. It smells like success. It

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Speaker 4: smells like a lot of Grammys. Yeah, it smells like

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Speaker 4: a lot of black excellence today.

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Speaker 2: Roy.

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Speaker 4: You know, I mean, I know you're black by well

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Speaker 4: you know association, but today, uh still black history.

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Speaker 1: It's still black obviously, and we're here with some history

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Speaker 1: makers and just a great part.

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Speaker 3: Of even though Justice is a history maker, calling him

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Speaker 3: a history maker, Brian is a history maker. But that's

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Speaker 3: solidified I'm talking about you're saying it's a nasty work

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Speaker 3: for men. Nasty?

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Speaker 4: What would you like me to call you?

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Speaker 3: Justice? Just the guy? Just the guy? All right?

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Speaker 1: Fucking my guys, it's.

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Speaker 3: Not your favorite Rory because I know it started over

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Speaker 3: Oh yeah, you talk to me more than you talk

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Speaker 3: to the other I feel good. I feel better though

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Speaker 3: it's nasty work.

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Speaker 4: So today, man, we sitting here kicking it with our guys.

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Speaker 4: First of all, Brian, one thing I didn't know about

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Speaker 4: you that I found out recently. You have. You broke

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Speaker 4: a record hell By the Beatles. You gotta walk, Brian.

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Speaker 4: We're not gonna do this cool man.

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Speaker 1: You know, when you break a record hell By the Beatles,

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Speaker 1: you supposed to just be walking around like chest hairs out,

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Speaker 1: you know what I mean, like gold chains on you,

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Speaker 1: just walking around chilling, you know.

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Speaker 3: Or do what Drake didn't tattoo the Beatles on you.

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Speaker 4: Yeah, you know, you ain't even do that.

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Speaker 2: Nah. It was crazy because when it happened, I was

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Speaker 2: like maybe I was five years into my career at

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Speaker 2: the time, so six years and I remember my first

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Speaker 2: year record and I was like, yeah, you know, I'm

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Speaker 2: I don't ever want to be off charts, like whatever

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Speaker 2: that feeling was. You get your first like top five.

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Speaker 4: Addicted to it, you know what I mean.

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Speaker 2: I'm like, oh, you know, I saw my name and

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Speaker 2: billboard and I was like, okay, that's I'm never coming

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Speaker 2: off of this chart. And literally for five years straight,

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Speaker 2: it was like I had like multiple songs, like twenty

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Speaker 2: songs studies, like it was crazy with you know what

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Speaker 2: I'm saying.

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Speaker 3: That's the same.

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Speaker 4: What's the record?

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Speaker 1: Well, let the people it was five was the five

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Speaker 1: years consecutive charts on the chart.

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Speaker 4: Yeah, so the Beatles held that record.

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Speaker 2: They held it. The Beatles held that record was five years,

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Speaker 2: and then I beat the record. You know what I'm saying.

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Speaker 4: You know nice, I don't know, just as you know

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Speaker 4: that you might have been rable to negotiate your deal different, right, Yeah.

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Speaker 1: Like by the way, the Beatles that second to me.

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Speaker 2: Yeah. No, It's funny though, because I didn't know. They

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Speaker 2: did this thing for they did this performance thing for

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Speaker 2: me in uh in Atlanta, and it was like the

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Speaker 2: day that it broke and I didn't know, and they

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Speaker 2: gave me a day and the whole thing, and they

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Speaker 2: gave me this big old plaque like, oh, he broke

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Speaker 2: the Beatles record. I was like, Yo, this is crazy.

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Speaker 2: I don't even think I felt it. I don't think

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Speaker 2: I felt the heaviness of it at the time. It

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Speaker 2: was years later when I realized, like, oh, tripping, Yeah,

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Speaker 2: I should have really so submerged.

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Speaker 4: I should you don't really look at the scoreboard. You're like,

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Speaker 4: I did.

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Speaker 2: I should have just you know, I should have. I

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Speaker 2: should have amplified that a little more.

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Speaker 4: Are you kidding me? Breaking the Beatles records? Just like

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Speaker 4: he's just chilling look at him. I broke Beatles record.

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Speaker 3: They would never stop hearing that. Literally, Are you kidding me?

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Speaker 4: My name is Brian MICHAELCAXI Beatles second to me.

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Speaker 1: Don't worry about it.

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Speaker 3: Yeah, introduced anyway, that's sick.

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Speaker 1: Yeah, I'm Brian.

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Speaker 4: The Beatles are second to me to worry about.

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Speaker 3: It with with everyone selling their catalogs. Now, have you

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Speaker 3: thought about what you're you're publishing would be valued at?

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Speaker 3: Has that crushed you?

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Speaker 2: I was the little cools, you know what I mean?

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Speaker 2: The first thing is really was unwrapped link deals that

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Speaker 2: I was in, you know what I mean. I had

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Speaker 2: a partnership with want a Chapel for a long time,

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Speaker 2: and then I was able to get out of that deal.

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Speaker 2: And I did a partnership with another company, Avax, when

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Speaker 2: it was brand new and the deal was a little vague,

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Speaker 2: a little you know what I mean. You know when

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Speaker 2: you're when you're the guinea pig of a deal, you know,

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Speaker 2: it it It wasn't as clear as like my my

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Speaker 2: deals with Warren to Chapel work, So I had to

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Speaker 2: do a lot of unraveling and it missed me and

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Speaker 2: unraveling you know, that deal and becoming a free agent.

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Speaker 2: I've done a lot of like analytical stuff and figured

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Speaker 2: out what my what the publisher looks like. You know

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Speaker 2: what I'm saying, what the value looks like. I'm in

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Speaker 2: a space where I would never sell one hundred percent

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Speaker 2: of it though, you know what I'm saying, Like people

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Speaker 2: just I'm wary about it, you know what I mean.

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Speaker 2: I've been as bu as a long time and I've

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Speaker 2: seen you know, I've seen things, you know, trends happen. Yeah,

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Speaker 2: and I'm weary about like everybody is trying to scoop

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Speaker 2: up catalogs. Like it's like people are starting hedge funes

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Speaker 2: to people who don't know nothing about music business.

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Speaker 3: They're investing in r you know.

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Speaker 5: So wow, Yeah, you sit next to Illuminatio quiet.

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Speaker 3: Now shout out Pinkers man, Wow, we're not for me.

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Speaker 3: He's a big fan of me music family. You know

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Speaker 3: what you're nasty man, go ahead for me.

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Speaker 2: Personally, It's like I'll do half. I mean, you know,

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Speaker 2: I'm you know, I would still half of it.

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Speaker 4: But you want to keep something.

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Speaker 2: I want to keep something because I want to make money.

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Speaker 2: I make money, you know what I'm saying. Like, you know,

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Speaker 2: we could make we could be partners, we can make

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Speaker 2: money together.

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Speaker 4: But why do you why do you think that so

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Speaker 4: many artists and songwriters are and producers are selling their

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Speaker 4: catalog so big.

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Speaker 2: You know, it's a it's a big check, you know

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Speaker 2: if you feel like you know, like you take like

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Speaker 2: a like a person was like a legacy person, like

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Speaker 2: doctor Dre who just sold his catalog, right, I mean

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Speaker 2: with that Dre's already got so much money. Yeah, you

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Speaker 2: know what I'm saying. Yeah, and those and those songs

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Speaker 2: who's talking about you know we're talking about in your way,

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Speaker 2: Michelle A DLC songs at are thirty forty, you know

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Speaker 2: what I mean, years old. You know they've probably seen

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Speaker 2: the actual peak of what they will probably make. You

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Speaker 2: know what I'm saying.

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Speaker 4: I was very surprised when I saw the Dream sell

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Speaker 4: his he was one of the first. Yeah, yeah, that's

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Speaker 4: why I was like, but I think.

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Speaker 3: I think it's like stuff landing out of the sky.

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Speaker 3: We're close today, we think we're close to like those

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Speaker 3: are Chinese balloons. Yeah, that's what I will cash out

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Speaker 3: and go get to spread.

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Speaker 4: And then do what though if they might as.

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Speaker 3: Well live live it up while you can live it up.

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Speaker 1: Also, the Dream was doing okay.

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Speaker 3: I think he was little, but like.

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Speaker 2: He's doing really okay now.

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Speaker 1: Yeah, but he's doing a lot better.

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Speaker 3: I don't know what's gonnaok like next year.

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Speaker 2: Yeah.

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Speaker 4: I just think that people are because of the way

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Speaker 4: we artists get paid from now. I think that I

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Speaker 4: don't know how much you couldn't be able to monetize

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Speaker 4: records because now it's like it's always getting lower and

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Speaker 4: lower for the artists and the songwriters like what they're

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Speaker 4: making off of these records. So it's like I think

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Speaker 4: that they feel like, let me just sell my catalog

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Speaker 4: to one person so that I can always go to

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Speaker 4: just one person. I don't have to go through all

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Speaker 4: these loops and these circles to get my money and

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Speaker 4: all this. If I ever want to go back and

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Speaker 4: buy it myself, I can that may be an option

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Speaker 4: because I know the Dream like he sold what he's

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Speaker 4: worked on already, yeah, but now he has more shit coming.

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Speaker 2: Down, Everything new is his, you know.

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Speaker 1: So it's like I kind of feel like, let me

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Speaker 1: just put all my shit right here, and then one day,

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Speaker 1: if I want it again, I have to just go

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Speaker 1: through one person to get it back.

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Speaker 3: Well, I mean, when a tech company is now valuing

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Speaker 3: what a song is worth money wise, that could change tomorrow.

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Speaker 3: It's not nothing set in stone, so liquid it on

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Speaker 3: and shit. Yeah, we've heard all the hard stories of

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Speaker 3: artists and publishing and artists and labels and everything. As

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Speaker 3: a songwriter, what is what are some of the nasty

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Speaker 3: music industry tricks when it comes specific as.

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Speaker 2: It's interesting you might have an artist who is not

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Speaker 2: a songwriter who because they're a big artists, stay were publishing,

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Speaker 2: which I think that trend started. Maybe also it started

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Speaker 2: when I got to the business. That trend actually started.

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Speaker 2: And there's no problem with it. You know, I didn't

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Speaker 2: see the issues with that. You know, if I'm gonna

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Speaker 2: get on a you know, Beyonce the album, you know

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Speaker 2: what I mean, I don't see I don't see an

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Speaker 2: issue with that. But I think that there's some artists,

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Speaker 2: some who are coming up who try to make that

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Speaker 2: a standard, and it's like, you know, that's for you know,

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Speaker 2: you leave that for the artists that are you know,

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Speaker 2: like top tier, you know what I mean. Also the

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Speaker 2: whole you know, it's always nasty when you know you're

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Speaker 2: going through uh certain producers who may not be like creative,

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Speaker 2: you know what i mean. They may just be the

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Speaker 2: people who can put the talent together, and then you

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Speaker 2: have to explain of the talent, Yo, I'm producing from

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Speaker 2: outside of this space. I'm producing the producers and a

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Speaker 2: lot of times people can can you know, I can

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Speaker 2: not understand what that really means and can take a

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Speaker 2: personal when they don't get like top line credit, you

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Speaker 2: know what I mean. But I mean, you know, this

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Speaker 2: business has not been it's been. It's been great to me,

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Speaker 2: you know what I'm saying. I've been able to really

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Speaker 2: be uh associated with a with a lot of really

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Speaker 2: solid people, you know what I mean when I came

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Speaker 2: into the business, and it's been great to me, you

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Speaker 2: know what I'm saying. You know, dealing with everybody I've

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Speaker 2: dealt with. I've dealt with everybody, you know what I'm saying. Now,

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Speaker 2: everybody has their different stories for me personally. You know,

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Speaker 2: I can't say I can't say I'm made a bad deal.

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Speaker 2: I will say that the most recent deal with what I

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Speaker 2: made with is probably my worst deal I made, and

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Speaker 2: that was just because I was just trying something. I

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Speaker 2: was experimenting something, so I knew I was kind of

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Speaker 2: going into something not really knowing what the experience other

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Speaker 2: side was going to be. You know what I mean.

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Speaker 1: So you're born You're born and raised in Houston, right.

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Speaker 2: Born Miami, Miami, one of Miami raised Houston.

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Speaker 4: Rais in Houston, Texas. You uh, you worked with Beyonce

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Speaker 4: early on a first demo.

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Speaker 2: Yeah, well I can say that the real the real

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Speaker 2: stories they work with me on my first demos, like

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Speaker 2: they were already like signed, they just got signed to Columbia.

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Speaker 2: And Beyonce and LaToya where students at my high school.

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Speaker 2: I went to a high School for Individual Arts in Houston,

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Speaker 2: and that was a senior. They were freshmen, and uh,

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Speaker 2: we knew them before that. I knew that when they

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Speaker 2: were young because they went this group called Girls Time,

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Speaker 2: and they were really popular around around Houston. And we

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Speaker 2: used to these competitions together called the People's Workshop, and

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Speaker 2: you know, all the young musicians and guy used to

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Speaker 2: do all these companies competitions, and that's what we all

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Speaker 2: kind of connected at a young age. So when it

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Speaker 2: came to our school, we were already acquainted with each other,

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Speaker 2: already knew each other, and they knew that I was

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Speaker 2: writing songs and producing and whatever like that. So it

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Speaker 2: was Beyonce and LaToya that went like would tell their

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Speaker 2: dad like, hey, you know, we don't work. We work Brian,

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Speaker 2: you know our friend, you know what I mean. And

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Speaker 2: that's how that relationship started.

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Speaker 4: Did you know, like, could you tell then that they

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Speaker 4: were gonna want to be what they are?

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Speaker 2: Yeah? It was the most talked about thing in the city,

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Speaker 2: and they didn't really do much, you know, like besides

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Speaker 2: that's how those little performances they would do for the

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Speaker 2: People's workshop. It was still a mystery, you know what

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Speaker 2: I'm saying. Like they would go off go to Oakland

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Speaker 2: and work with Dwayne Wiggins. They were signed Dwayne Wiggins.

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Speaker 2: They would go and work, you know, they would go

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Speaker 2: off to Oakland and work with him. They go go

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Speaker 2: to Atlanta work with Dalla Simmons. So it was really

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Speaker 2: a mystery, you know what I mean. And I was

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Speaker 2: privy to a lot of that information early on because

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Speaker 2: we were we had gotten close and my mom would

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Speaker 2: let me call them a long distance what it would be,

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Speaker 2: it'd be out of town, you know what I mean.

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Speaker 2: And they would play songs over the over the phone,

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Speaker 2: and you know what I mean, bring songs back. And

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Speaker 2: that was really the gateway for me to know that

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Speaker 2: it's actually possible. Yeah, you know what I mean, Like

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Speaker 2: something that was like when you're sixteen years old, you know,

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Speaker 2: it's seventeen years old, and it's such a it's like

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Speaker 2: a dream, you know what I mean. And then you

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Speaker 2: have friends and it's tangible, and they're bringing music back

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Speaker 2: and that's back from producers that you read on credits

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Speaker 2: and it's like, Yo, this is ill. I can actually

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Speaker 2: go do this, you know what I mean. I always

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Speaker 2: give credit credits due when it comes to Matthew Knowles

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Speaker 2: and knows family and like always because that family showed

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Speaker 2: me that it was like, no, this is tangible, this

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Speaker 2: is real.

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Speaker 3: Is there any standout memories from those sessions? Yeah, early

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Speaker 3: early ones.

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Speaker 2: Early ones. So so I was in a collective as

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Speaker 2: a producer by the name of Great Curtis, who is

302
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Speaker 2: my mentor. H very early on took me in his

303
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Speaker 2: wing down the line great Curtis ended up writing and

304
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Speaker 2: producing Love for Keisha Cole and I remember he's like

305
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Speaker 2: a really really one of the most talented people that

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Speaker 2: I've encountered. It was him. There was another guy named

307
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Speaker 2: Terron Mitchell who was in a group called Groove View

308
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Speaker 2: for it was really Papa group in Houston and one

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Speaker 2: of my best fans who've passed away gun in school.

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Speaker 2: And we were like trying to be like a production team.

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Speaker 2: You know, this was in the nineties. Special Team was

312
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Speaker 2: like really popular. We're trying to be a production team.

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Speaker 2: So when they were trying to do like these songs,

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Speaker 2: you know, we call them by the songs so yo,

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Speaker 2: we went and made some songs. They came to the studio. Well,

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Speaker 2: Matthew came to here. First. Matthew came in. It was

317
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Speaker 2: in the middle of like a thunderstorm, hurricane or something.

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Speaker 2: We the studio came, we played them the songs. He

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Speaker 2: was like, oh, okay, y'all, o litle niggas got something,

320
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Speaker 2: you know, and then he went back. We made the

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Speaker 2: session happen. Tina brought the girls over and we you know,

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Speaker 2: I remember being well at the first time, I was

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Speaker 2: like directing a vocal, you know what I mean. And

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Speaker 2: these are my friends, so it felt easy initially, but

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Speaker 2: then I never really seen beyond us scene and Kelly

326
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Speaker 2: seen them work in the studio. You know, you just

327
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Speaker 2: go to the show, you know, you root for them,

328
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Speaker 2: you know whatever. I never seen the process, you know

329
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Speaker 2: what I mean. Them, and they were so already polished

330
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Speaker 2: in the studio, like it was unbelievable, you know what

331
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Speaker 2: I mean, Like you throw anything at them, and it

332
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Speaker 2: was just like got it, got it. And I was like, oh,

333
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Speaker 2: this is okay, it's different.

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Speaker 3: Yeah, you know what I mean.

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Speaker 2: And we knew, we knew early on those girls were

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Speaker 2: going to be stars, and we knew that Beyond said

337
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Speaker 2: it was going to be a star. She was always humble,

338
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Speaker 2: but she was silent with it. She was a silent assassin.

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Speaker 2: She opened her mouth. He was like, oh, you know shit,

340
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Speaker 2: you know what I mean. She was young. They were

341
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Speaker 2: like twelve, you know, twelve thirteen at that time, So

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Speaker 2: them being that young and that polished just before the

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Speaker 2: album before, you know what I mean, I've never seen

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Speaker 2: nothing like that outside of maybe Bow Wow. Bow Wow's

345
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Speaker 2: probably only the kid that I worked with is like

346
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Speaker 2: eleven and bow was like a monster, you know, give

347
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Speaker 2: him Like Brad wrote the second verse to bounce with me,

348
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Speaker 2: and I was concerned.

349
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Speaker 4: Yeah, because it's so fast, you know what I mean.

350
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Speaker 2: She's double time and bow was like eleven eight. That

351
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Speaker 2: shit like one take wow, you know what I'm saying.

352
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Speaker 2: We was doing three songs a day.

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Speaker 3: When were you compromised in the divorce of a Destin's

354
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Speaker 3: child once they broke up.

355
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Speaker 2: There's a lot of that. There's a lot that happened

356
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Speaker 2: behind that, because you know, I was working with Jacket

357
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Speaker 2: Edge at the time, and so I got a bird's

358
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Speaker 2: eye view to you know, and because of the girls

359
00:16:20,840 --> 00:16:26,720
Speaker 2: with my friends Brandon, Brandon obviously my guys, and we

360
00:16:26,760 --> 00:16:29,520
Speaker 2: all know Matthew, and Matthew is very ambitious and he

361
00:16:29,680 --> 00:16:31,920
Speaker 2: was very non nonsense, you know what I mean. He

362
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Speaker 2: talked plenty of ship. He was he was about this,

363
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Speaker 2: He was about his ship. He was about that business.

364
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Speaker 2: And he wasn't go on, let anybody disrupt that, you

365
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Speaker 2: know what I'm saying. Like, so as soon as the

366
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Speaker 2: disruption started, life's gonna happen. Next thing. You know. It's

367
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Speaker 2: like I own the name I put it was like

368
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Speaker 2: he he made that ship happen so fast, you know,

369
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Speaker 2: and next thing we know, they was out, LaToya was

370
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Speaker 2: out and Michelle and Farrell in.

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Speaker 3: And do we as the public, do we get the

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Speaker 3: real breakup reason for des.

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Speaker 2: What was what was the record reason that the public

374
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Speaker 2: got some.

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00:17:04,760 --> 00:17:07,840
Speaker 3: Bullshit like creative differences or something like that. Okay, so no,

376
00:17:07,960 --> 00:17:10,320
Speaker 3: what happened was like there's that there's a viral clip

377
00:17:10,440 --> 00:17:14,320
Speaker 3: of Beyonce telling her like, Yo, you could just like

378
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Speaker 3: pack your bags later, like you should leave.

379
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Speaker 1: Wow.

380
00:17:18,240 --> 00:17:20,960
Speaker 2: Yeah, I think it's one of the fun.

381
00:17:21,880 --> 00:17:23,680
Speaker 3: We could just ship you like your luggage. You could

382
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Speaker 3: like you get on a plane now if you want.

383
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Speaker 2: I think they're just there were layers of it. I

384
00:17:28,560 --> 00:17:32,280
Speaker 2: think that you know, they were all kids. You got

385
00:17:32,359 --> 00:17:37,040
Speaker 2: parents involved. You know, Matthew is the mastermind, you know,

386
00:17:37,240 --> 00:17:39,840
Speaker 2: but the other parents feel like they want to be involved.

387
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Speaker 4: They want they want their.

388
00:17:41,480 --> 00:17:42,840
Speaker 2: Kids to have a voice, and this that and the

389
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Speaker 2: third And when you get kids and parents and parents

390
00:17:47,160 --> 00:17:49,760
Speaker 2: for them by character to their kids, there's always going

391
00:17:49,800 --> 00:17:51,920
Speaker 2: to be some clash, you know what I mean. And

392
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Speaker 2: they were they and they were big when when when

393
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Speaker 2: when the clash happened? They were they were on the

394
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Speaker 2: second album, No no, no, it was a platinum single.

395
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Speaker 2: They won the second album, those records going out the roof,

396
00:18:04,920 --> 00:18:07,760
Speaker 2: they would the writers walty ten million, you know what

397
00:18:07,760 --> 00:18:11,920
Speaker 2: I mean. So the class could have happened at a

398
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Speaker 2: more like pivotal point, you know what I'm saying, where

399
00:18:15,040 --> 00:18:16,720
Speaker 2: the parents that want a stake in it, you know,

400
00:18:16,840 --> 00:18:18,960
Speaker 2: when they kids have a you know, be this state

401
00:18:19,000 --> 00:18:19,399
Speaker 2: group two.

402
00:18:19,680 --> 00:18:21,680
Speaker 4: Yeah, you know, we don't look back at that split

403
00:18:21,800 --> 00:18:23,920
Speaker 4: enough because that was kind of like it was wild. Yeah,

404
00:18:24,160 --> 00:18:26,280
Speaker 4: and it kind of felt like I remember when Fresh

405
00:18:26,320 --> 00:18:28,040
Speaker 4: Princes rolled in the New viv and she was like

406
00:18:28,160 --> 00:18:29,040
Speaker 4: a light skin layers.

407
00:18:29,119 --> 00:18:32,000
Speaker 3: Yeah, like it was like, what is this are you

408
00:18:32,080 --> 00:18:32,679
Speaker 3: calling Michelle?

409
00:18:33,520 --> 00:18:35,359
Speaker 1: No, no, no, no, I'm definitely not doing that. But

410
00:18:35,440 --> 00:18:38,240
Speaker 1: it felt like it was just a whole different aesthetic.

411
00:18:38,520 --> 00:18:40,639
Speaker 2: Nobody said anything. It was like it was like the

412
00:18:40,880 --> 00:18:43,560
Speaker 2: it was like the fucking video came on and it

413
00:18:43,640 --> 00:18:44,520
Speaker 2: was like, who these two girls?

414
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Speaker 3: That's what I say. Especially that first album. How much

415
00:18:49,359 --> 00:18:51,080
Speaker 3: did it sell? The first first album?

416
00:18:51,240 --> 00:18:53,280
Speaker 2: The first album, I think it ended up going platinum.

417
00:18:53,920 --> 00:18:56,240
Speaker 2: There's some times platinum. The first time, I think, yeah.

418
00:18:56,240 --> 00:18:58,640
Speaker 3: There's like four diamond records on that ship. And then

419
00:18:58,720 --> 00:19:00,159
Speaker 3: just the next album it is a whole new group.

420
00:19:00,680 --> 00:19:02,880
Speaker 2: Or you know, talk about the second album. The first

421
00:19:02,880 --> 00:19:04,359
Speaker 2: album is no, no, no, The second album is right

422
00:19:04,400 --> 00:19:06,320
Speaker 2: as well, want to change. Then all of a sudden,

423
00:19:06,480 --> 00:19:07,280
Speaker 2: Survivor comes and.

424
00:19:07,320 --> 00:19:11,200
Speaker 4: It's like yeah, who who Yeah, it was three.

425
00:19:12,760 --> 00:19:15,840
Speaker 2: Three of them at that point because Farah was in

426
00:19:15,920 --> 00:19:18,000
Speaker 2: and out. They out of that quick and.

427
00:19:18,040 --> 00:19:19,600
Speaker 4: Then she had like a sex tape scandal, so.

428
00:19:21,080 --> 00:19:22,080
Speaker 2: Like that it was something crazy.

429
00:19:22,240 --> 00:19:22,840
Speaker 1: Yeah, it was something.

430
00:19:22,840 --> 00:19:24,439
Speaker 4: It was something I remember like that was I mean

431
00:19:24,440 --> 00:19:26,320
Speaker 4: it was that was a long time ago if we're

432
00:19:26,320 --> 00:19:28,960
Speaker 4: talking now, but like I remember speaking act like it

433
00:19:29,080 --> 00:19:31,159
Speaker 4: was a lot of weird ship going on, Like yo,

434
00:19:31,240 --> 00:19:32,200
Speaker 4: what the fun is going on?

435
00:19:32,440 --> 00:19:32,520
Speaker 1: Right?

436
00:19:32,560 --> 00:19:36,240
Speaker 3: Then Beyonce did the hip hop opera Carmen Carmen. Yeah yeah, yeah,

437
00:19:36,440 --> 00:19:37,320
Speaker 3: Carmen is underrated.

438
00:19:37,720 --> 00:19:40,360
Speaker 4: Great, that's a great MTV production and great soundtrack.

439
00:19:40,440 --> 00:19:40,600
Speaker 2: Yeah.

440
00:19:40,640 --> 00:19:42,920
Speaker 3: Yeah, there's a most definite Beyonce song on there where

441
00:19:42,920 --> 00:19:45,000
Speaker 3: she's rapping with the most.

442
00:19:45,840 --> 00:19:49,040
Speaker 2: Crazy fanking temptations. After you, Yes, it started just was

443
00:19:49,960 --> 00:19:50,159
Speaker 2: going on.

444
00:19:50,320 --> 00:19:53,239
Speaker 1: That happened after like the uh what was it? Uh

445
00:19:53,800 --> 00:19:54,800
Speaker 1: it's independent was it?

446
00:19:55,240 --> 00:19:57,399
Speaker 2: Yeah? The end of the Angels.

447
00:19:58,320 --> 00:20:01,320
Speaker 4: After that that was like we know with Beyonce, that group.

448
00:20:01,200 --> 00:20:03,520
Speaker 2: Was destined though, that group was destined, and Beyonce was

449
00:20:03,600 --> 00:20:06,240
Speaker 2: destined like it was. It was so crazy because she

450
00:20:06,280 --> 00:20:08,159
Speaker 2: would have always been one of the nicest people, like

451
00:20:08,240 --> 00:20:10,000
Speaker 2: you ever. Like to this day, she's one of the

452
00:20:10,040 --> 00:20:14,000
Speaker 2: sweetest people you meet, right, and she was so sweet

453
00:20:14,080 --> 00:20:18,000
Speaker 2: non school and people still didn't like her. But you

454
00:20:18,119 --> 00:20:19,480
Speaker 2: know that weirdest people.

455
00:20:19,720 --> 00:20:21,440
Speaker 4: I mean when you're when you're you know, you know

456
00:20:21,480 --> 00:20:24,840
Speaker 4: how it is in high school, pretty girl, light skinned, talented.

457
00:20:25,000 --> 00:20:27,960
Speaker 1: All the boys probably like her every school, which means

458
00:20:28,000 --> 00:20:29,800
Speaker 1: all the girls are not gonna like her. You know,

459
00:20:29,840 --> 00:20:32,480
Speaker 1: I'm saying, unless they're pretty girls and they're not insecure.

460
00:20:32,520 --> 00:20:33,720
Speaker 1: You know how it is in high school. It's just

461
00:20:34,000 --> 00:20:34,680
Speaker 1: that's just how it goes.

462
00:20:34,800 --> 00:20:38,639
Speaker 3: Speaking of viral videos with Beyonce, there's the photo of

463
00:20:38,680 --> 00:20:41,440
Speaker 3: Beyonce and her boyfriend from high school and like the

464
00:20:41,520 --> 00:20:45,760
Speaker 3: meme is like the number one ball dropper of all time. Linda,

465
00:20:45,920 --> 00:20:47,240
Speaker 3: did you know this gentleman person?

466
00:20:47,359 --> 00:20:48,280
Speaker 2: Did I know him?

467
00:20:48,280 --> 00:20:48,440
Speaker 1: Well?

468
00:20:48,520 --> 00:20:49,159
Speaker 3: What's his name is?

469
00:20:49,560 --> 00:20:52,240
Speaker 2: Lindall? Damn Linda, Linda for a long time.

470
00:20:52,680 --> 00:20:55,159
Speaker 3: Have you ever heard that he wasn't destined to win?

471
00:20:57,320 --> 00:20:59,960
Speaker 1: Don't do that the Lindo Linda, I mean, yeah, Linda,

472
00:21:00,200 --> 00:21:04,399
Speaker 1: a name like Lindall, you gotta either be very athletic. No,

473
00:21:04,560 --> 00:21:05,440
Speaker 1: he was got to be.

474
00:21:06,520 --> 00:21:09,359
Speaker 2: He was really he was really popular. It was popular,

475
00:21:10,200 --> 00:21:13,280
Speaker 2: you know. He he was definitely the sports he was.

476
00:21:14,040 --> 00:21:14,280
Speaker 1: He was.

477
00:21:14,359 --> 00:21:15,240
Speaker 2: He was a popular kid.

478
00:21:15,920 --> 00:21:20,359
Speaker 4: When was the last he cheated on Beyonce was high school?

479
00:21:20,480 --> 00:21:23,040
Speaker 3: What's wrong with him? What's wrong with Lindall? Yeah, so

480
00:21:23,200 --> 00:21:32,200
Speaker 3: Lemonade was technically about Linda. It wasn't about Hope. When

481
00:21:32,280 --> 00:21:33,760
Speaker 3: was the last time he ran into to Linda?

482
00:21:33,840 --> 00:21:34,800
Speaker 2: It's been a long time.

483
00:21:36,359 --> 00:21:38,480
Speaker 1: Early on, I can't believe you're talking about Lindall.

484
00:21:38,880 --> 00:21:39,320
Speaker 2: It's funny.

485
00:21:39,440 --> 00:21:42,119
Speaker 3: Listen, this, this whole ship went viral and no one

486
00:21:42,240 --> 00:21:44,280
Speaker 3: has ever talked about. He went to high school.

487
00:21:44,320 --> 00:21:45,960
Speaker 2: Yeah, I didn't go to high school, and we grew

488
00:21:46,000 --> 00:21:48,040
Speaker 2: up in the same neighborhood. He went to the neighborhod

489
00:21:48,200 --> 00:21:49,920
Speaker 2: high school. I went to from my high school to

490
00:21:50,119 --> 00:21:52,159
Speaker 2: special school. But he went to like, you know, he

491
00:21:52,160 --> 00:21:54,600
Speaker 2: went school like like my boy Shawn, who was like

492
00:21:54,800 --> 00:21:56,359
Speaker 2: my right hand man right now, Like I got a

493
00:21:56,359 --> 00:21:58,440
Speaker 2: bunch of friends that my neighborhood kids that went to

494
00:21:58,480 --> 00:22:00,760
Speaker 2: the neighborhood school, and he went he went, you know,

495
00:22:00,800 --> 00:22:02,320
Speaker 2: he went he went to Westbury you know what I mean,

496
00:22:02,359 --> 00:22:05,120
Speaker 2: which is a popular school in Houston, the southwest side.

497
00:22:05,720 --> 00:22:09,080
Speaker 2: And I would see Linda all the time, especially like

498
00:22:09,160 --> 00:22:12,320
Speaker 2: when as teenagers, but when when I started making in

499
00:22:12,359 --> 00:22:14,600
Speaker 2: the music business and I would come home, I would

500
00:22:14,600 --> 00:22:16,560
Speaker 2: see him a lot because he was still kind of

501
00:22:16,600 --> 00:22:20,360
Speaker 2: in the mix, Like he was still kind of yeah,

502
00:22:20,680 --> 00:22:22,760
Speaker 2: but him like this is like you know, early on

503
00:22:22,840 --> 00:22:24,640
Speaker 2: in her career in late late nineties, they were still

504
00:22:24,840 --> 00:22:26,480
Speaker 2: they were still dating. It was off and on, but

505
00:22:26,560 --> 00:22:29,320
Speaker 2: it was still a thing. So I would see him,

506
00:22:29,520 --> 00:22:31,560
Speaker 2: you know, all the time when I would go to

507
00:22:31,640 --> 00:22:34,360
Speaker 2: Houston and just randomly see him, it's been a launchime

508
00:22:34,400 --> 00:22:34,960
Speaker 2: sing you know.

509
00:22:34,960 --> 00:22:36,680
Speaker 4: He'd be in the barber shops getting his ship off,

510
00:22:38,000 --> 00:22:38,800
Speaker 4: getting this ship off.

511
00:22:39,080 --> 00:22:44,000
Speaker 3: He's like, what do you think he's dead? Wait did

512
00:22:44,000 --> 00:22:48,960
Speaker 3: you see the updated? Oh yeah, he's currently a chef.

513
00:22:49,040 --> 00:22:51,000
Speaker 2: But Linda, I mean from what I hear, he's you know,

514
00:22:51,080 --> 00:22:54,200
Speaker 2: he he's married, he's got kids. I'm pretty sure I

515
00:22:54,560 --> 00:22:54,960
Speaker 2: doing well.

516
00:22:55,119 --> 00:22:57,600
Speaker 1: And heated Beyonce. I mean, he knows that that was

517
00:22:57,640 --> 00:22:58,400
Speaker 1: the one that got away.

518
00:22:58,480 --> 00:22:58,880
Speaker 4: Obviously.

519
00:22:59,040 --> 00:23:02,639
Speaker 3: Do you do you remember his girlfriend? After being no, okay,

520
00:23:02,800 --> 00:23:05,920
Speaker 3: nobody showed up at the party.

521
00:23:06,000 --> 00:23:08,119
Speaker 1: That's the wag walk. But it's like, yo, man, like

522
00:23:08,359 --> 00:23:10,200
Speaker 1: every time you bring your new your new girl on

523
00:23:10,240 --> 00:23:12,159
Speaker 1: the home, they're like, yeah, we're supposed to be in

524
00:23:12,240 --> 00:23:18,720
Speaker 1: turks homeie, Like you cheated on supposed to be a turk,

525
00:23:18,800 --> 00:23:23,520
Speaker 1: like you know, the homies his own Linden, you cheated on?

526
00:23:23,880 --> 00:23:24,720
Speaker 4: Like how you cheat on?

527
00:23:24,880 --> 00:23:27,600
Speaker 1: B Yeah, like you idiot, Like you got to kill

528
00:23:27,640 --> 00:23:29,840
Speaker 1: your homie forever behind that yeah, you know.

529
00:23:30,040 --> 00:23:32,280
Speaker 3: Like when she headlined coach it was like, Yo, you're

530
00:23:32,280 --> 00:23:34,760
Speaker 3: trying to go to the desert this weekend, trying to

531
00:23:34,800 --> 00:23:35,480
Speaker 3: link at Coachella.

532
00:23:36,240 --> 00:23:39,960
Speaker 2: Yeo, yeah, Lindo he was. He's a good ghattough it

533
00:23:40,040 --> 00:23:42,160
Speaker 2: was just kids children.

534
00:23:41,920 --> 00:23:45,120
Speaker 1: Yeah, that's but the Internet does find a way every year.

535
00:23:45,119 --> 00:23:46,480
Speaker 2: To every year is gonna come back.

536
00:23:46,560 --> 00:23:48,960
Speaker 4: Shout, but shout out to Lindau man. I hope, we

537
00:23:49,119 --> 00:23:51,800
Speaker 4: hope that he's uh he's chefing it up somewhere in Texas.

538
00:23:51,920 --> 00:23:53,840
Speaker 1: Uh trapping great, long time, but.

539
00:23:55,880 --> 00:23:57,680
Speaker 3: All right to fast forward a little bit because I

540
00:23:57,760 --> 00:24:00,640
Speaker 3: know Justice is getting antsy when he does talker, yell

541
00:24:00,840 --> 00:24:06,600
Speaker 3: or given insane take. I can tell gets uncomfortable. How

542
00:24:06,680 --> 00:24:10,640
Speaker 3: did this this come together? This this partnership, b Cox

543
00:24:10,760 --> 00:24:11,200
Speaker 3: l RN.

544
00:24:14,080 --> 00:24:15,840
Speaker 1: It's so funny. We were talking about it two days ago.

545
00:24:16,000 --> 00:24:19,920
Speaker 1: But it started during the division sessions. Like obviously you

546
00:24:20,000 --> 00:24:22,920
Speaker 1: know Cox, you know, being a legend and you know

547
00:24:23,080 --> 00:24:27,320
Speaker 1: him being in Atlanta, we always knew each other and it.

548
00:24:27,440 --> 00:24:28,359
Speaker 3: Was like, you know, it was cool.

549
00:24:28,800 --> 00:24:31,040
Speaker 1: But I think that we got a real feel for

550
00:24:31,119 --> 00:24:32,920
Speaker 1: each other, you know, when we were spending like, you know,

551
00:24:33,800 --> 00:24:38,480
Speaker 1: excessive time with each other, right, and when you you know,

552
00:24:38,760 --> 00:24:41,439
Speaker 1: obviously everybody that's in the music business spends a lot

553
00:24:41,480 --> 00:24:45,240
Speaker 1: of time complaining about the music business. Yeah, it's just

554
00:24:45,280 --> 00:24:48,840
Speaker 1: a thing that to do, right, which is so stupid

555
00:24:48,880 --> 00:24:52,000
Speaker 1: because it's such a dope business. But I think it's

556
00:24:52,040 --> 00:24:54,840
Speaker 1: dope when you like the way y'all y'all work and create,

557
00:24:54,960 --> 00:24:57,320
Speaker 1: because I've been fortunate to like be in the studio

558
00:24:57,400 --> 00:24:57,760
Speaker 1: with y'all.

559
00:24:58,640 --> 00:25:02,119
Speaker 4: That's that's a unique thing though, that's the unique relationships

560
00:25:02,160 --> 00:25:04,480
Speaker 4: that y'all have, the way y'all work, Like just you'll

561
00:25:04,560 --> 00:25:08,119
Speaker 4: just bring artists through and JD and bea Cox is

562
00:25:08,160 --> 00:25:11,160
Speaker 4: there and they just start vibing playing music. Like that's

563
00:25:11,240 --> 00:25:14,280
Speaker 4: not that's not a way that a lot of people

564
00:25:14,359 --> 00:25:16,800
Speaker 4: work in the business. Everybody kind of keeps shit like

565
00:25:16,880 --> 00:25:19,560
Speaker 4: to themselves and kind of like lock themselves off from

566
00:25:19,600 --> 00:25:21,479
Speaker 4: other dudes, like I don't want to I don't want

567
00:25:21,520 --> 00:25:22,919
Speaker 4: them to hear what I'm doing, or I don't want

568
00:25:22,960 --> 00:25:25,359
Speaker 4: them to get in this artist here, Like what you

569
00:25:25,560 --> 00:25:27,440
Speaker 4: do with your artist is like and what y'all do

570
00:25:27,640 --> 00:25:31,080
Speaker 4: y'all have a relationship, Like y'all spend time talking about

571
00:25:31,200 --> 00:25:33,520
Speaker 4: an artist. Yeah, for sure, before like you probably bring

572
00:25:33,600 --> 00:25:35,520
Speaker 4: them to the studio, and then by the time you

573
00:25:35,600 --> 00:25:38,960
Speaker 4: bring them to the studio, Brian and Jamaine already know

574
00:25:39,119 --> 00:25:41,160
Speaker 4: who the artist is, has heard some of their stuff,

575
00:25:41,160 --> 00:25:43,040
Speaker 4: and already have an idea of what they want.

576
00:25:42,960 --> 00:25:43,760
Speaker 3: To do with this artist.

577
00:25:43,920 --> 00:25:46,880
Speaker 1: Yeah, so y'all have a unique, unique way of doing things.

578
00:25:47,280 --> 00:25:48,320
Speaker 3: Yeah, absolutely, I mean I.

579
00:25:48,320 --> 00:25:51,680
Speaker 1: Think I think for me, I like to consider that

580
00:25:51,720 --> 00:25:54,080
Speaker 1: part like the world building, right, Like I think that

581
00:25:54,280 --> 00:25:57,960
Speaker 1: like music is like driven by energy, and you know,

582
00:25:58,119 --> 00:26:00,280
Speaker 1: like I do, it should be. It should be And

583
00:26:00,400 --> 00:26:02,920
Speaker 1: I do get the you know, the other process, which

584
00:26:02,960 --> 00:26:04,159
Speaker 1: is like you know, we're going to stay over here.

585
00:26:05,080 --> 00:26:08,840
Speaker 3: But I think specifically what we're trying to do, it

586
00:26:08,960 --> 00:26:09,600
Speaker 3: needs energy.

587
00:26:10,600 --> 00:26:13,920
Speaker 1: But anyways to you know, to I guess fast forward

588
00:26:13,960 --> 00:26:16,040
Speaker 1: or rewind back to what I was saying about Cox,

589
00:26:16,080 --> 00:26:18,480
Speaker 1: you know, like I was just saying, yo, like for me,

590
00:26:18,600 --> 00:26:21,040
Speaker 1: the art and an R is lost, right, Like I

591
00:26:21,080 --> 00:26:24,440
Speaker 1: can name all like five an rs in the whole

592
00:26:24,480 --> 00:26:26,840
Speaker 1: business that I actually be like, You're like, these guys

593
00:26:26,880 --> 00:26:31,800
Speaker 1: are dope, right, And I think that what happened is

594
00:26:32,640 --> 00:26:34,840
Speaker 1: the music business got away from people that make music.

595
00:26:36,000 --> 00:26:39,320
Speaker 1: Like that's just that's It's like, wait, you guys are

596
00:26:39,359 --> 00:26:42,200
Speaker 1: making decisions about records and you don't make music or

597
00:26:42,240 --> 00:26:44,760
Speaker 1: you're not close enough to the people that make the music.

598
00:26:45,240 --> 00:26:47,440
Speaker 3: That doesn't make sense. So I'm just like, Okay, you're

599
00:26:47,480 --> 00:26:49,680
Speaker 3: listening to it in office and trying to make a decision.

600
00:26:50,080 --> 00:26:53,320
Speaker 1: It's crazy data just looking at data, yeah right, you know,

601
00:26:54,080 --> 00:26:56,680
Speaker 1: so you know Cox, I was just like, yo, like, man,

602
00:26:56,720 --> 00:26:59,000
Speaker 1: like I want to do something different, Like we have

603
00:26:59,040 --> 00:27:03,200
Speaker 1: an opportunity again just to like just to be leaders

604
00:27:03,240 --> 00:27:07,280
Speaker 1: in the space and do what's obvious, and like I

605
00:27:07,440 --> 00:27:11,119
Speaker 1: want to bring intobody that you know Number one is

606
00:27:11,160 --> 00:27:13,640
Speaker 1: a great person but also just like is a producer

607
00:27:15,640 --> 00:27:19,160
Speaker 1: onto the A and R side, And and at first

608
00:27:19,200 --> 00:27:24,000
Speaker 1: it started off with us just like brainstorming that person could.

609
00:27:23,880 --> 00:27:26,040
Speaker 2: Be, trying to help him find like buying the person

610
00:27:26,080 --> 00:27:27,080
Speaker 2: I'm giving.

611
00:27:26,880 --> 00:27:29,280
Speaker 3: Our name and that's just like what you're doing tomorrow?

612
00:27:30,880 --> 00:27:32,680
Speaker 2: Get what happens? Like that night we were talking and

613
00:27:32,720 --> 00:27:35,160
Speaker 2: I was like, man, I gotta think about some more names,

614
00:27:35,240 --> 00:27:38,000
Speaker 2: you know, and and I went on I thought about

615
00:27:38,040 --> 00:27:41,840
Speaker 2: it because what he didn't know was that I was

616
00:27:41,920 --> 00:27:45,440
Speaker 2: actually having a conversation with name and people like Universal

617
00:27:45,520 --> 00:27:49,359
Speaker 2: about possibly doing something with them. So we are because

618
00:27:49,400 --> 00:27:51,600
Speaker 2: Adam Kumpas were named. I was working with an artist's name.

619
00:27:53,080 --> 00:27:55,280
Speaker 2: I was from Coco Jones. I was working with another artists.

620
00:27:55,200 --> 00:27:57,000
Speaker 3: Love Coco Jones, girl name.

621
00:27:57,680 --> 00:28:01,000
Speaker 2: What's the girl name? Another young artists working with and

622
00:28:01,240 --> 00:28:02,800
Speaker 2: Naim hadn't been in the studio with me in a

623
00:28:02,840 --> 00:28:05,200
Speaker 2: long time, so you put a studio watching me do

624
00:28:05,560 --> 00:28:08,240
Speaker 2: these girl vocals. He was like, yo, like like we

625
00:28:08,400 --> 00:28:11,639
Speaker 2: need this back in like the art form of actually

626
00:28:11,680 --> 00:28:14,200
Speaker 2: making records. This back and too, like these type of buildings.

627
00:28:14,200 --> 00:28:17,440
Speaker 2: So when we started having conversations about maybe doing something

628
00:28:17,480 --> 00:28:20,840
Speaker 2: over there, but then it's right before Tunji took over,

629
00:28:21,760 --> 00:28:24,960
Speaker 2: and so he's gotta wait to Tunji you know, gets

630
00:28:25,160 --> 00:28:26,280
Speaker 2: you to if you want to talk about it, and

631
00:28:26,359 --> 00:28:28,600
Speaker 2: we never got a chance to really talk about it.

632
00:28:28,640 --> 00:28:30,000
Speaker 2: So I just like I just let it go, like, hey,

633
00:28:30,040 --> 00:28:32,840
Speaker 2: if it happens, It happens whatever. This is like maybe

634
00:28:32,960 --> 00:28:35,360
Speaker 2: six months later, seven months later, we having this conversation

635
00:28:35,560 --> 00:28:37,560
Speaker 2: and I'm trying to tell him other and I was

636
00:28:37,640 --> 00:28:39,080
Speaker 2: unknowing town. I said, what are you looking for? And

637
00:28:39,120 --> 00:28:42,000
Speaker 2: he tells me, LIKEE, what was looking for? Atlanta based?

638
00:28:42,160 --> 00:28:44,120
Speaker 2: Somebody was in the culture, somebody was outside, somebody was

639
00:28:44,160 --> 00:28:46,600
Speaker 2: also you know, can make music or understand how to

640
00:28:46,680 --> 00:28:48,280
Speaker 2: make music. So I went home and I just just

641
00:28:48,320 --> 00:28:51,200
Speaker 2: sat with me and I was like, this probably is

642
00:28:51,640 --> 00:28:53,680
Speaker 2: is probably the up Tony I've been looking for, you

643
00:28:53,720 --> 00:28:55,840
Speaker 2: know what I'm saying. And I hit him and I

644
00:28:55,920 --> 00:29:01,080
Speaker 2: was like, yo, man, like I do that job. He

645
00:29:01,200 --> 00:29:03,800
Speaker 2: was like, you would. I was like yeah.

646
00:29:03,960 --> 00:29:05,680
Speaker 3: He saw that an investment headline and was like, oh

647
00:29:05,720 --> 00:29:06,320
Speaker 3: you can afford me?

648
00:29:06,680 --> 00:29:12,600
Speaker 1: No, No, it's it's it's you know again, like you know,

649
00:29:12,720 --> 00:29:14,720
Speaker 1: we've built am I've built a company like you know

650
00:29:14,840 --> 00:29:15,760
Speaker 1: with my friends.

651
00:29:16,960 --> 00:29:19,960
Speaker 3: But I also know how tough that is, right, so

652
00:29:21,400 --> 00:29:23,160
Speaker 3: you know, like I like to consider Cocks a friend.

653
00:29:23,760 --> 00:29:26,360
Speaker 1: And when he said he would do it, I'm like, wait,

654
00:29:26,680 --> 00:29:29,560
Speaker 1: wait a second, Yeah, we really like each other. Yeah yeah,

655
00:29:29,920 --> 00:29:32,480
Speaker 1: And I'm like I am not the easiest person to

656
00:29:32,520 --> 00:29:35,000
Speaker 1: work with, Like I know that about myself, right, So

657
00:29:35,040 --> 00:29:37,320
Speaker 1: I'm just like, are you sure, like you know, like

658
00:29:37,440 --> 00:29:38,200
Speaker 1: you actually can.

659
00:29:38,920 --> 00:29:41,840
Speaker 3: He's like no, like this is like a good a

660
00:29:41,920 --> 00:29:43,840
Speaker 3: good pivot for me, you know. And I was just

661
00:29:43,960 --> 00:29:46,840
Speaker 3: like this makes the most sense, like why not?

662
00:29:46,960 --> 00:29:49,520
Speaker 1: And then again just doubling down on on you know,

663
00:29:49,560 --> 00:29:53,760
Speaker 1: the R and B nitch that we're building around our aura.

664
00:29:54,040 --> 00:29:56,120
Speaker 3: I just think that it was just like a beautiful addition.

665
00:29:56,480 --> 00:30:00,880
Speaker 3: Where's the disconnect between like the Elder Statesman legends and

666
00:30:00,960 --> 00:30:04,360
Speaker 3: the new generation because there's a gap like this YouTube

667
00:30:04,360 --> 00:30:07,440
Speaker 3: sitting here is rare as far as new generation and

668
00:30:07,880 --> 00:30:10,680
Speaker 3: Legends actually working together. There always seems to be.

669
00:30:10,680 --> 00:30:13,480
Speaker 4: That's what I love this because it was like this

670
00:30:13,720 --> 00:30:17,080
Speaker 4: made so much sense. It was like what LVRN is doing,

671
00:30:17,160 --> 00:30:19,880
Speaker 4: Like y'all are clearly the new wave, and then like

672
00:30:20,640 --> 00:30:24,120
Speaker 4: grabbing somebody like a Brian Michael Cox who is a

673
00:30:24,240 --> 00:30:29,000
Speaker 4: legend in music business. But then y'all have a unique,

674
00:30:29,120 --> 00:30:32,000
Speaker 4: a real like a friendship and a relationship, and it's

675
00:30:32,120 --> 00:30:34,640
Speaker 4: like when y'all announced that, I was like, this makes

676
00:30:34,680 --> 00:30:37,200
Speaker 4: perfect sense, and it's not something that you see that

677
00:30:37,320 --> 00:30:40,200
Speaker 4: people do all the time. The new generation doesn't really

678
00:30:40,720 --> 00:30:43,000
Speaker 4: kind of connect to the you know, the guys before

679
00:30:43,080 --> 00:30:46,440
Speaker 4: them that laid the way for them. Actually, especially when

680
00:30:46,480 --> 00:30:47,720
Speaker 4: it comes to R and B and not can find

681
00:30:47,840 --> 00:30:49,840
Speaker 4: many people more talented than Brian Michael Cox.

682
00:30:50,480 --> 00:30:52,720
Speaker 1: So for what y'all are doing and to have Brian

683
00:30:52,800 --> 00:30:54,880
Speaker 1: now part of that, I thought it made perfect sense.

684
00:30:55,080 --> 00:30:55,520
Speaker 3: Nah, thank you.

685
00:30:55,600 --> 00:30:59,760
Speaker 1: I mean I think I think what you said was important, right, Like,

686
00:31:00,240 --> 00:31:05,400
Speaker 1: you know, like me being around my peers and really

687
00:31:06,120 --> 00:31:10,200
Speaker 1: watching that disconnected how they speak about you know, like

688
00:31:10,920 --> 00:31:14,160
Speaker 1: the generation that came before us, but also also being

689
00:31:14,240 --> 00:31:15,400
Speaker 1: around that generation.

690
00:31:15,160 --> 00:31:17,960
Speaker 3: And watching how they speak about them, And I'm just like.

691
00:31:19,760 --> 00:31:24,080
Speaker 1: You guys both want something, but nobody's going to put

692
00:31:24,080 --> 00:31:28,840
Speaker 1: the ego to the side, right And you know, I'm

693
00:31:28,920 --> 00:31:30,400
Speaker 1: just like for me, I'm just like, yo, listen, Like

694
00:31:30,480 --> 00:31:33,400
Speaker 1: I'm comfortable in my space. I'm comfortable in what I know,

695
00:31:33,920 --> 00:31:35,760
Speaker 1: and I know that I need to know a lot more,

696
00:31:36,440 --> 00:31:39,920
Speaker 1: right And I understand today and I understand what's going

697
00:31:39,960 --> 00:31:42,440
Speaker 1: on outside. But one thing I do know that I

698
00:31:42,600 --> 00:31:46,080
Speaker 1: wasn't around for is the creation of these errors and

699
00:31:46,120 --> 00:31:48,920
Speaker 1: these records that were being made you know that still

700
00:31:48,960 --> 00:31:50,960
Speaker 1: live to this day. Like it's crazy you go to

701
00:31:51,000 --> 00:31:53,960
Speaker 1: an R and B party now they play records just

702
00:31:54,000 --> 00:31:57,120
Speaker 1: from their era, not this eraror right that says something

703
00:31:57,160 --> 00:31:57,840
Speaker 1: about the music.

704
00:31:58,400 --> 00:31:59,520
Speaker 3: Right, So I'm just like okay.

705
00:32:01,240 --> 00:32:02,960
Speaker 1: For me selfishly, I just want to just go and

706
00:32:03,000 --> 00:32:05,040
Speaker 1: soak up off the game, like you know, and be

707
00:32:05,160 --> 00:32:08,720
Speaker 1: a sponge and offer up too whatever I know. But

708
00:32:10,040 --> 00:32:13,400
Speaker 1: then then over time it became strategy. It's like, wait,

709
00:32:13,680 --> 00:32:15,960
Speaker 1: there's actually a gap here that needs to be filled

710
00:32:16,440 --> 00:32:19,040
Speaker 1: and if I could do that, or I could offer

711
00:32:19,200 --> 00:32:22,240
Speaker 1: up that, you know, like showing that, Yo, there's something

712
00:32:22,280 --> 00:32:23,880
Speaker 1: dope that can come can come out of this, Like

713
00:32:24,640 --> 00:32:26,320
Speaker 1: why not just like, you know, make.

714
00:32:26,200 --> 00:32:28,360
Speaker 3: It public and you know, comeing to Rory and Walsh.

715
00:32:28,600 --> 00:32:30,960
Speaker 3: Do you feel like it's funny you say that that

716
00:32:31,040 --> 00:32:33,320
Speaker 3: at parties they just still play the nineties shit When

717
00:32:33,320 --> 00:32:36,200
Speaker 3: it comes to R and B sets, is that dead

718
00:32:36,320 --> 00:32:38,160
Speaker 3: the party R and B record? Because R and B

719
00:32:38,280 --> 00:32:40,880
Speaker 3: has gotten well? I don't think across the border set.

720
00:32:40,880 --> 00:32:44,320
Speaker 3: I think RB is an incredible place. But everyone you

721
00:32:44,400 --> 00:32:46,800
Speaker 3: know on Instagram, Twitter, especially after Puff said R and

722
00:32:46,840 --> 00:32:49,120
Speaker 3: B was dead, was like everything's too moody now, it's

723
00:32:49,160 --> 00:32:51,480
Speaker 3: too toxic. It's whisper singers like, how did y'all feel

724
00:32:51,480 --> 00:32:51,760
Speaker 3: about that?

725
00:32:51,880 --> 00:32:52,640
Speaker 1: When Puff said that?

726
00:32:53,160 --> 00:32:54,960
Speaker 4: I feel like y'all had a lot of reason to

727
00:32:55,000 --> 00:32:55,720
Speaker 4: feel disrespect.

728
00:32:55,840 --> 00:32:56,320
Speaker 3: Absolutely.

729
00:32:56,480 --> 00:32:59,280
Speaker 1: Yeah, like when Puss said R and B is dead,

730
00:32:59,400 --> 00:33:02,280
Speaker 1: Like I want to know what y'all group chat was, Like,

731
00:33:03,040 --> 00:33:05,720
Speaker 1: I mean it was it was. It was crazy, But

732
00:33:05,800 --> 00:33:07,880
Speaker 1: I mean I had a conversation with Puffer, like we

733
00:33:08,520 --> 00:33:11,160
Speaker 1: know you have other little gripes of Puff.

734
00:33:11,800 --> 00:33:16,600
Speaker 3: He's done the whole, the whole love it was a

735
00:33:16,640 --> 00:33:17,280
Speaker 3: little obvious.

736
00:33:17,960 --> 00:33:22,440
Speaker 1: Listen obviously you know similar logos to listen, Puff is

737
00:33:22,520 --> 00:33:23,640
Speaker 1: Puff is He's puff.

738
00:33:23,720 --> 00:33:24,360
Speaker 3: Puff is puff.

739
00:33:25,240 --> 00:33:25,680
Speaker 4: Doubt about it?

740
00:33:26,280 --> 00:33:28,800
Speaker 3: You know, he paved the way he made it. You know,

741
00:33:28,840 --> 00:33:29,440
Speaker 3: it's funny.

742
00:33:29,480 --> 00:33:31,560
Speaker 1: He was talking about Matthew, you know, making it possible

743
00:33:31,560 --> 00:33:34,120
Speaker 1: for him to see me. Puff made it possible to

744
00:33:34,160 --> 00:33:37,200
Speaker 1: see I don't know why for him specifically, Like it

745
00:33:37,360 --> 00:33:38,960
Speaker 1: just felt like if he.

746
00:33:38,920 --> 00:33:41,720
Speaker 3: Could do it, anybody could do it. But anyways, Puff

747
00:33:41,800 --> 00:33:44,080
Speaker 3: is a legend. We know that. Tell him ship on him, Like,

748
00:33:44,280 --> 00:33:46,520
Speaker 3: what don't you like about it? Well? No, I mean,

749
00:33:48,320 --> 00:33:50,000
Speaker 3: like you don't need to explain how don't Puffle?

750
00:33:50,120 --> 00:33:52,200
Speaker 1: I know how My thing is on My issue with

751
00:33:52,680 --> 00:33:56,200
Speaker 1: was my Puffy just came outside like you like you've

752
00:33:56,280 --> 00:33:58,560
Speaker 1: been came back outside? Yeah, it came back outside like

753
00:33:58,640 --> 00:34:02,040
Speaker 1: you've been like you been rich for a very long time, right,

754
00:34:02,160 --> 00:34:05,160
Speaker 1: and like there's a lot of groundwork that's going into

755
00:34:05,400 --> 00:34:07,720
Speaker 1: you know, trying to just like put R and B

756
00:34:07,880 --> 00:34:10,600
Speaker 1: back into the forefront. But I understand what he was

757
00:34:10,640 --> 00:34:14,680
Speaker 1: trying to say, and I understand the point of marketing, right,

758
00:34:15,000 --> 00:34:18,640
Speaker 1: but I think that, like I think that he just

759
00:34:18,760 --> 00:34:20,000
Speaker 1: went about it the wrong way.

760
00:34:20,120 --> 00:34:24,080
Speaker 3: But he's wrong. Oh yeah, we know that.

761
00:34:24,400 --> 00:34:24,600
Speaker 1: Yeah.

762
00:34:24,760 --> 00:34:26,600
Speaker 2: And I mean in the next day weapon he did that.

763
00:34:26,640 --> 00:34:28,480
Speaker 2: The next day. Me and Jermaine got in alive with

764
00:34:28,560 --> 00:34:32,400
Speaker 2: him next day and and he was like, you know,

765
00:34:32,600 --> 00:34:34,680
Speaker 2: and I just said that to get to you know,

766
00:34:35,400 --> 00:34:37,960
Speaker 2: get the conversation started. I was like, because I'm like,

767
00:34:38,160 --> 00:34:41,520
Speaker 2: you know, I like, hey, like bro, like what you're

768
00:34:41,520 --> 00:34:43,759
Speaker 2: talking about, you know what I mean? Like like this

769
00:34:43,960 --> 00:34:46,800
Speaker 2: is you know, I feel like we are in you know,

770
00:34:47,160 --> 00:34:49,120
Speaker 2: we're in full motion, you know what I mean. And

771
00:34:49,239 --> 00:34:52,439
Speaker 2: at that point, I felt like because people was trying

772
00:34:52,440 --> 00:34:55,400
Speaker 2: to bridge gap, right, I feel like, especially what we

773
00:34:55,600 --> 00:34:57,920
Speaker 2: were doing, you know what I mean. Yeah, and just

774
00:34:58,040 --> 00:35:00,200
Speaker 2: leading up to The Division's release and all of the

775
00:35:00,280 --> 00:35:03,320
Speaker 2: little things we were doing, people were getting excited about

776
00:35:04,000 --> 00:35:06,520
Speaker 2: hearing this music, you know what I'm saying, And at

777
00:35:06,560 --> 00:35:12,879
Speaker 2: the time he realize the strategy like like, I don't

778
00:35:12,880 --> 00:35:15,840
Speaker 2: realize how good of a strategy or a strategist that

779
00:35:16,080 --> 00:35:17,920
Speaker 2: justice is. How good you know what I mean? The

780
00:35:18,000 --> 00:35:19,880
Speaker 2: strategy is going to be a division, you know what

781
00:35:19,920 --> 00:35:21,600
Speaker 2: I mean? We just I was like, well, we all posting,

782
00:35:21,640 --> 00:35:24,520
Speaker 2: were all posting. It's all just post every piece of

783
00:35:24,600 --> 00:35:29,839
Speaker 2: this process. And I felt the energy. So for him

784
00:35:29,920 --> 00:35:32,239
Speaker 2: to say that, I was like, you you you know,

785
00:35:32,360 --> 00:35:34,440
Speaker 2: you feel the energy over here, Like you know what

786
00:35:34,440 --> 00:35:36,799
Speaker 2: I'm saying, you you you you want some of this energy,

787
00:35:36,880 --> 00:35:38,759
Speaker 2: that's what this is. And then next you know, we're

788
00:35:38,760 --> 00:35:41,320
Speaker 2: doing the camp with you. So I just think he

789
00:35:41,440 --> 00:35:42,800
Speaker 2: needed to do that to get.

790
00:35:43,200 --> 00:35:45,480
Speaker 3: Yeah, I think you know, no, I'm saying.

791
00:35:46,040 --> 00:35:48,600
Speaker 1: It's funny, right, because like the Internet has this thing

792
00:35:48,760 --> 00:35:51,040
Speaker 1: right where like it takes it takes a headline, and

793
00:35:51,280 --> 00:35:54,120
Speaker 1: it acts like the Internet acts like they don't know

794
00:35:54,200 --> 00:35:54,879
Speaker 1: what you're trying to say.

795
00:35:55,920 --> 00:35:57,880
Speaker 3: And I know exactly what he's trying.

796
00:35:57,680 --> 00:36:01,200
Speaker 1: To say, and I agree with him, right, because the

797
00:36:01,360 --> 00:36:03,440
Speaker 1: aspect that I do pull out of it is like

798
00:36:03,560 --> 00:36:07,879
Speaker 1: from the business of R and B it really is dead, right,

799
00:36:08,040 --> 00:36:10,919
Speaker 1: Like you know, you go to R and B Radio,

800
00:36:11,040 --> 00:36:13,040
Speaker 1: they say like you're basically just going to die, you.

801
00:36:13,080 --> 00:36:13,880
Speaker 3: Know what I'm saying, Like.

802
00:36:16,040 --> 00:36:18,800
Speaker 1: It's crazy, right, but like you know, R and B

803
00:36:18,880 --> 00:36:21,080
Speaker 1: records don't cross over, you know what I'm saying, Like

804
00:36:21,600 --> 00:36:24,440
Speaker 1: it's so hard to introduce new R and B artists

805
00:36:24,480 --> 00:36:27,160
Speaker 1: to the world because it takes.

806
00:36:26,960 --> 00:36:29,359
Speaker 3: A lot to get to the R and B fan. Yeah, yeah,

807
00:36:29,400 --> 00:36:31,600
Speaker 3: so I understand what he's saying. I mean it's tough.

808
00:36:31,960 --> 00:36:35,000
Speaker 3: I feel like R and B now has more press

809
00:36:35,080 --> 00:36:38,280
Speaker 3: than it does actual sound scans, like outside of summer,

810
00:36:39,520 --> 00:36:41,680
Speaker 3: Like RB isn't a great The music is great, it's

811
00:36:41,719 --> 00:36:44,080
Speaker 3: getting a lot of attention, but it doesn't sell outside

812
00:36:44,080 --> 00:36:46,880
Speaker 3: of summer. What R and B artist really sells? I

813
00:36:46,960 --> 00:36:50,319
Speaker 3: mean you consider it? Says it right? Fair, I'm sorry, yeah,

814
00:36:50,320 --> 00:36:55,680
Speaker 3: summer in it would be. So it's weird because I

815
00:36:55,960 --> 00:36:58,279
Speaker 3: think the music's great right now. I don't understand why

816
00:36:58,280 --> 00:37:02,680
Speaker 3: it's not selling though, Like even Giveeon when that shit dropped,

817
00:37:02,760 --> 00:37:05,359
Speaker 3: that's all anyone was talking about. And I don't want

818
00:37:05,360 --> 00:37:06,520
Speaker 3: to make it sound like I'm shitting on him, but

819
00:37:06,719 --> 00:37:09,600
Speaker 3: he just did Irving Plaza and I was like, that's weird. Yeah,

820
00:37:10,000 --> 00:37:11,719
Speaker 3: this is the only shit moving right now in R

821
00:37:11,719 --> 00:37:13,680
Speaker 3: and B it's incredible, it's real.

822
00:37:13,840 --> 00:37:14,120
Speaker 2: R and B.

823
00:37:15,000 --> 00:37:17,720
Speaker 3: Every young chick is talking about it. Every box was checked.

824
00:37:18,480 --> 00:37:21,000
Speaker 3: And then I saw the tour, I was like, irving Plaza. Yeah,

825
00:37:21,719 --> 00:37:23,759
Speaker 3: granted that shit was packed wall to wall and the

826
00:37:23,800 --> 00:37:26,560
Speaker 3: show was incredible, but I think maybe that's more what

827
00:37:26,640 --> 00:37:28,080
Speaker 3: Puff was trying to get at. Well, I mean the

828
00:37:28,160 --> 00:37:30,359
Speaker 3: dead part, Like that's not because that because hip hop

829
00:37:30,480 --> 00:37:32,520
Speaker 3: is in the greatest selling space it's ever fucking been in.

830
00:37:32,719 --> 00:37:35,319
Speaker 3: And this and I tweeted this like two days ago,

831
00:37:35,400 --> 00:37:37,840
Speaker 3: And that's the point, right, It's not the lack of music.

832
00:37:38,360 --> 00:37:40,800
Speaker 3: It is the lack of support financially, I will say that,

833
00:37:40,960 --> 00:37:43,279
Speaker 3: But more importantly, it is the lack of energy. R

834
00:37:43,320 --> 00:37:47,160
Speaker 3: and B artists now are there isolated in like their

835
00:37:47,239 --> 00:37:49,640
Speaker 3: own little island. Right.

836
00:37:49,800 --> 00:37:53,800
Speaker 1: But like, if you understand hip hop culture or just

837
00:37:54,000 --> 00:37:56,920
Speaker 1: urban culture in general, is driven by energy, So like

838
00:37:57,800 --> 00:37:59,920
Speaker 1: something is going to be bigger when there's a lot

839
00:38:00,000 --> 00:38:03,440
Speaker 1: lot of people around it that are making you feel important. Right,

840
00:38:03,560 --> 00:38:05,040
Speaker 1: But like if you're an RMB artist and you're just

841
00:38:05,080 --> 00:38:08,200
Speaker 1: sitting there and like in your corner and nobody really

842
00:38:08,280 --> 00:38:09,879
Speaker 1: knows you for real, Like Yo, you're trying to finish

843
00:38:09,920 --> 00:38:11,680
Speaker 1: the album, but you don't know the other R and

844
00:38:11,760 --> 00:38:13,200
Speaker 1: B artists, Like you know what I'm saying, Like you

845
00:38:13,239 --> 00:38:15,000
Speaker 1: can't even collaborate, Like you know what I'm saying, Like

846
00:38:15,040 --> 00:38:15,719
Speaker 1: you can't even get.

847
00:38:15,640 --> 00:38:18,120
Speaker 3: Nobody on the phone. Yeah, and you're like, you know,

848
00:38:18,280 --> 00:38:19,360
Speaker 3: supposedly doing numbers.

849
00:38:19,640 --> 00:38:22,719
Speaker 1: That's like counterproductive to like what hip hop is, right,

850
00:38:22,800 --> 00:38:25,360
Speaker 1: Like you see QC come outside and like you know

851
00:38:25,640 --> 00:38:28,800
Speaker 1: when you know when little Baby's dropping his everybody's behind it.

852
00:38:29,239 --> 00:38:31,640
Speaker 1: You see when Kendrick is dropping everybody's behind Like that's

853
00:38:31,680 --> 00:38:33,480
Speaker 1: an energy, so it makes it feel bigger.

854
00:38:33,760 --> 00:38:34,759
Speaker 3: I think R and B doesn't have that.

855
00:38:35,080 --> 00:38:39,239
Speaker 4: I think, well, to me, I blame it. I kind

856
00:38:39,280 --> 00:38:40,960
Speaker 4: of point to a number of things. I think that,

857
00:38:41,840 --> 00:38:46,920
Speaker 4: you know, just the the way that a lot of guys,

858
00:38:47,000 --> 00:38:51,560
Speaker 4: I guess court women or their relationships with women today changed.

859
00:38:52,160 --> 00:38:55,840
Speaker 4: The conversations that men have with women today changed. So

860
00:38:55,960 --> 00:38:58,840
Speaker 4: it's a lot to do with just I guess the.

861
00:38:59,080 --> 00:39:00,600
Speaker 1: Error the timing.

862
00:39:01,560 --> 00:39:04,120
Speaker 4: You know, guys kind of think it's corny to put

863
00:39:04,160 --> 00:39:06,600
Speaker 4: on like slow music if a girl comes over, now, wow,

864
00:39:06,880 --> 00:39:10,279
Speaker 4: like everybody want to be turned up twerking, you know, Uh,

865
00:39:10,760 --> 00:39:13,960
Speaker 4: it's just a different energy. I think that the younger

866
00:39:14,080 --> 00:39:17,680
Speaker 4: audience has with girls now, So I think I can

867
00:39:17,760 --> 00:39:20,320
Speaker 4: blame that for why Puff would say R and B

868
00:39:20,440 --> 00:39:22,320
Speaker 4: is dead. It's because if you play R and B

869
00:39:22,440 --> 00:39:24,919
Speaker 4: at a club right now, you're probably gonna be playing

870
00:39:24,960 --> 00:39:26,560
Speaker 4: the old school R and B record to what people

871
00:39:26,560 --> 00:39:27,799
Speaker 4: are gonna you know what I mean, kind of group

872
00:39:27,840 --> 00:39:29,640
Speaker 4: to that. If you play a new one, people like, oh,

873
00:39:29,680 --> 00:39:32,200
Speaker 4: this is my ship, but I'm gonna get a drink.

874
00:39:32,680 --> 00:39:34,439
Speaker 4: You know what I'm saying. It's not the same type

875
00:39:34,480 --> 00:39:36,560
Speaker 4: of you know what I mean, It's just a weird

876
00:39:36,960 --> 00:39:38,680
Speaker 4: energy now when you hear R and B in a club,

877
00:39:38,680 --> 00:39:40,080
Speaker 4: which is what I love what Brian is doing with

878
00:39:40,120 --> 00:39:42,239
Speaker 4: the R and B party because I feel like shit

879
00:39:42,400 --> 00:39:44,640
Speaker 4: like that is needed. Like I think it's dope to

880
00:39:44,760 --> 00:39:47,600
Speaker 4: have a bunch of guys that you wouldn't think know

881
00:39:47,719 --> 00:39:51,279
Speaker 4: a lot of R and B records. Yeah, Like it's

882
00:39:51,400 --> 00:39:53,480
Speaker 4: like because girls start looking like, oh you know about this,

883
00:39:53,719 --> 00:39:55,400
Speaker 4: Like me and my girls play this when we are

884
00:39:55,440 --> 00:39:56,960
Speaker 4: in the crib or we in the car going to

885
00:39:57,000 --> 00:39:59,160
Speaker 4: the club, Like I didn't think guys was like, nah,

886
00:39:59,200 --> 00:40:01,520
Speaker 4: this is my ship. Like I'm Sabrina Claudia all day.

887
00:40:01,520 --> 00:40:02,800
Speaker 4: I playing that shit, you know what I mean. So

888
00:40:03,719 --> 00:40:06,120
Speaker 4: it's it's it's a pocket of people that still listen

889
00:40:06,239 --> 00:40:08,719
Speaker 4: and support R and B. But it's definitely not the

890
00:40:09,239 --> 00:40:10,239
Speaker 4: but also R and B is.

891
00:40:10,200 --> 00:40:13,279
Speaker 3: Also it's just it's also market. It's so old.

892
00:40:14,280 --> 00:40:17,560
Speaker 1: It's market is so out of style, and the ship

893
00:40:17,840 --> 00:40:21,560
Speaker 1: just like an older John but feels like it's older people.

894
00:40:22,120 --> 00:40:24,840
Speaker 2: Really interesting because when I was coming up, R and

895
00:40:24,960 --> 00:40:29,680
Speaker 2: B was such a young thing. All the groups that produced,

896
00:40:29,719 --> 00:40:31,000
Speaker 2: all the groups that was coming out more.

897
00:40:31,080 --> 00:40:32,279
Speaker 4: We used to leave the R and B song on

898
00:40:32,320 --> 00:40:36,279
Speaker 4: our voicemail, play the R and B second, don't even

899
00:40:36,360 --> 00:40:37,520
Speaker 4: message what.

900
00:40:38,040 --> 00:40:38,399
Speaker 1: Was I doing?

901
00:40:39,480 --> 00:40:40,160
Speaker 3: Nasty thing to be.

902
00:40:42,200 --> 00:40:44,640
Speaker 2: It's such a young thing. If it felt like it was,

903
00:40:45,080 --> 00:40:47,040
Speaker 2: it was the music of the youth. Also like it

904
00:40:47,239 --> 00:40:48,680
Speaker 2: like hip hop and R and B when that made it,

905
00:40:48,719 --> 00:40:52,320
Speaker 2: when that marriage happened in the in the late eighties,

906
00:40:52,360 --> 00:40:54,879
Speaker 2: were really in the nineties when it really really took off.

907
00:40:55,000 --> 00:40:57,120
Speaker 2: You have Mary J. Bliges, you have the Joes, you

908
00:40:57,200 --> 00:41:00,719
Speaker 2: have voice. It just felt like we were we were

909
00:41:01,000 --> 00:41:03,279
Speaker 2: we were coming up together, you know what I'm saying.

910
00:41:03,920 --> 00:41:09,880
Speaker 3: And then it split happened. You know, the rappers took melody.

911
00:41:09,960 --> 00:41:11,480
Speaker 3: You used to have to go to R and B

912
00:41:11,600 --> 00:41:14,839
Speaker 3: to get melody. As I grew up a hip hop

913
00:41:15,080 --> 00:41:18,160
Speaker 3: nerd baby, that's all I fuck up. But that ship,

914
00:41:18,239 --> 00:41:19,520
Speaker 3: even to me, was like, all right, I need a break.

915
00:41:19,560 --> 00:41:21,520
Speaker 3: This is just too much drums and rapping. I need

916
00:41:21,640 --> 00:41:24,400
Speaker 3: some melodies. I don't have to go to R and B. Now,

917
00:41:24,560 --> 00:41:26,239
Speaker 3: you know, all the melodies aren't hip hop.

918
00:41:26,840 --> 00:41:30,480
Speaker 2: So so I also feel like once that happened in

919
00:41:30,520 --> 00:41:33,080
Speaker 2: hip hop and hip hop numbers started going crazy. R

920
00:41:33,160 --> 00:41:36,040
Speaker 2: and B artists started chasing that, right, So then now

921
00:41:36,120 --> 00:41:39,719
Speaker 2: you're breeding new artists who are looking up to the

922
00:41:39,880 --> 00:41:41,880
Speaker 2: R and B artists who's doing that? Now they're all

923
00:41:42,000 --> 00:41:44,600
Speaker 2: doing that versus when I was coming up. There was

924
00:41:45,719 --> 00:41:49,600
Speaker 2: the thing that that that's that made Jodasy special was

925
00:41:50,719 --> 00:41:54,160
Speaker 2: the church influence. The things that make Mary J. Blige

926
00:41:54,200 --> 00:41:57,840
Speaker 2: the queen of hip hop soul is because of the

927
00:41:57,960 --> 00:42:01,040
Speaker 2: church influence. The things that makes Mariah Carey rock Carey,

928
00:42:01,040 --> 00:42:04,320
Speaker 2: and Whitney Houston. Whitney Houston's because the church influence. And

929
00:42:05,920 --> 00:42:09,200
Speaker 2: once R and B split about split, people start chasing

930
00:42:09,280 --> 00:42:11,879
Speaker 2: hip hop and just be real, you know what I mean.

931
00:42:12,040 --> 00:42:16,320
Speaker 2: You know the world becomes we become more liberal, to

932
00:42:16,480 --> 00:42:19,880
Speaker 2: become more expressive about what we believe. Church is not

933
00:42:20,000 --> 00:42:23,000
Speaker 2: put on like press like Church was on me, no

934
00:42:23,080 --> 00:42:25,880
Speaker 2: matter whether whether I like it or not. But but

935
00:42:26,040 --> 00:42:30,600
Speaker 2: I got my my my teachings from that. I play

936
00:42:30,640 --> 00:42:32,560
Speaker 2: piano because of that. I've been seeing because of it,

937
00:42:33,120 --> 00:42:35,960
Speaker 2: all these artists that are top at the top of

938
00:42:36,000 --> 00:42:38,080
Speaker 2: the food chain, you know, like you look at the Usher,

939
00:42:38,160 --> 00:42:39,920
Speaker 2: you look at a Beyonce, you look at you know

940
00:42:40,000 --> 00:42:43,640
Speaker 2: who are now to us been around for twenty five

941
00:42:43,800 --> 00:42:46,000
Speaker 2: thirty years, you know what I mean, But they're still

942
00:42:46,040 --> 00:42:48,839
Speaker 2: at the top of the game. They're learning come from

943
00:42:49,000 --> 00:42:52,160
Speaker 2: the foundation. The foundation is church, R and B's foundation.

944
00:42:52,760 --> 00:42:54,560
Speaker 2: The beautiful thing about Aarvy the nineties, it was like

945
00:42:54,680 --> 00:42:58,600
Speaker 2: church meets rap. Now we don't have none of that kids.

946
00:42:58,640 --> 00:42:59,560
Speaker 3: The foundations bunch.

947
00:42:59,719 --> 00:43:02,120
Speaker 2: Yeah, Brence's foundation.

948
00:43:04,320 --> 00:43:05,719
Speaker 3: Also also captions.

949
00:43:06,120 --> 00:43:09,120
Speaker 4: Yeah, they just want a short part of the record because.

950
00:43:08,880 --> 00:43:10,960
Speaker 3: As much as words were important in R and B,

951
00:43:11,040 --> 00:43:12,960
Speaker 3: of course, but it was so much based off singing

952
00:43:13,080 --> 00:43:16,759
Speaker 3: and melody. Now a lot of that ship the same

953
00:43:16,800 --> 00:43:18,399
Speaker 3: way wave rap. You have to have the caption part

954
00:43:18,440 --> 00:43:20,319
Speaker 3: of the song, like what's what's the thing that people

955
00:43:20,360 --> 00:43:21,239
Speaker 3: are going to share?

956
00:43:21,960 --> 00:43:22,120
Speaker 2: Yeah.

957
00:43:22,160 --> 00:43:25,360
Speaker 3: I don't think she deserves the blame because she's incredible,

958
00:43:25,560 --> 00:43:30,839
Speaker 3: but Janey is probably the sole artist you could look

959
00:43:30,880 --> 00:43:33,120
Speaker 3: to to see where R and B completely changed. Her

960
00:43:33,239 --> 00:43:37,520
Speaker 3: success changed R and B to more of what we

961
00:43:37,520 --> 00:43:40,120
Speaker 3: would call like the whisper singers and more of like

962
00:43:40,200 --> 00:43:44,080
Speaker 3: that really moody R and B less singing out, less

963
00:43:44,480 --> 00:43:48,680
Speaker 3: love songs, even though Jenny makes those. Yeah, she started

964
00:43:48,760 --> 00:43:52,640
Speaker 3: this wave intentionally or not intentionally, of where we're at

965
00:43:52,680 --> 00:43:55,840
Speaker 3: with music now, it's to me, it's it's a Leah

966
00:43:56,280 --> 00:43:58,600
Speaker 3: and it's Janey of what R and B is right now.

967
00:43:58,840 --> 00:44:01,440
Speaker 3: I think, I think is a huge proponent, But I

968
00:44:01,480 --> 00:44:03,839
Speaker 3: don't think that she's the reason. I think.

969
00:44:03,960 --> 00:44:06,719
Speaker 1: I think the post era that we're living is we're

970
00:44:06,760 --> 00:44:10,560
Speaker 1: living in a post era, post Weekend in post Frank Ocean.

971
00:44:10,760 --> 00:44:11,759
Speaker 3: I think those I think.

972
00:44:11,719 --> 00:44:15,640
Speaker 1: Those three artists, specifically, when you're talking about R and

973
00:44:15,719 --> 00:44:20,560
Speaker 1: B shaped the sound like whatever we say, like the

974
00:44:20,680 --> 00:44:23,440
Speaker 1: modern R and B is a derivaive. It's a derivative

975
00:44:23,440 --> 00:44:27,680
Speaker 1: from what Forty and Drake were doing. Percent right, that's

976
00:44:27,719 --> 00:44:29,440
Speaker 1: their fault, but.

977
00:44:29,560 --> 00:44:33,120
Speaker 3: Even forty sound to me is very similar. What was

978
00:44:33,360 --> 00:44:37,560
Speaker 3: Jane's not her first album, but that mixeden Souls, Classic Love,

979
00:44:37,640 --> 00:44:39,799
Speaker 3: that a lot of that, I mean the port Drake

980
00:44:39,880 --> 00:44:44,600
Speaker 3: was even on that Yeah forty sound is similar to

981
00:44:44,719 --> 00:44:48,000
Speaker 3: what Janey was doing as far as that underwater, dark

982
00:44:48,080 --> 00:44:50,960
Speaker 3: tone type of thing. So yeah, Frank's there as well,

983
00:44:51,000 --> 00:44:53,399
Speaker 3: but I think Janey, Drake and forty Yeah would be there. Yeah,

984
00:44:54,040 --> 00:44:55,960
Speaker 3: and then and then, and a lot of Drake's R

985
00:44:55,960 --> 00:44:58,560
Speaker 3: and B shit is especially the early stuff was already

986
00:44:58,600 --> 00:45:02,279
Speaker 3: best Aliyah and Rusian Yeah, written by Party next Door. Yeah,

987
00:45:02,880 --> 00:45:05,759
Speaker 3: So these artists, even though they did it the best, Like,

988
00:45:06,080 --> 00:45:08,600
Speaker 3: I don't consider Jane a whisper singer, but she did

989
00:45:08,680 --> 00:45:10,480
Speaker 3: open the door for a lot of bullshit R and

990
00:45:10,560 --> 00:45:12,680
Speaker 3: B because they thought it looked it looks easy, but

991
00:45:12,760 --> 00:45:12,960
Speaker 3: it's not.

992
00:45:13,440 --> 00:45:16,200
Speaker 2: But I feel like I feel like opened.

993
00:45:18,840 --> 00:45:21,560
Speaker 3: I feel like And what's funny is I like it?

994
00:45:21,760 --> 00:45:24,719
Speaker 3: I like whispered singing R and B, but it's.

995
00:45:24,640 --> 00:45:28,200
Speaker 1: Singing but they're not belting out high notes.

996
00:45:29,600 --> 00:45:30,960
Speaker 3: I'll talk about the whisper singer I love.

997
00:45:31,040 --> 00:45:31,640
Speaker 1: Do you want to hear that?

998
00:45:32,000 --> 00:45:32,399
Speaker 3: I don't?

999
00:45:32,840 --> 00:45:35,560
Speaker 4: You don't people want to hear that? People want to

1000
00:45:35,600 --> 00:45:35,800
Speaker 4: hear that?

1001
00:45:36,880 --> 00:45:37,360
Speaker 3: They don't?

1002
00:45:37,800 --> 00:45:38,279
Speaker 4: What do you mean?

1003
00:45:38,400 --> 00:45:40,080
Speaker 3: You only want to hear that? At your past forty

1004
00:45:40,160 --> 00:45:43,120
Speaker 3: five whisper singer R? And that's what the young chicks

1005
00:45:43,600 --> 00:45:44,000
Speaker 3: they feel like.

1006
00:45:44,000 --> 00:45:45,239
Speaker 4: It's supposed to be an older thing.

1007
00:45:45,880 --> 00:45:47,880
Speaker 2: But this is the whole point. This is the reason why.

1008
00:45:48,920 --> 00:45:51,840
Speaker 1: Jazmine Sullivan does that. She's amazing, Like, yeah, but but

1009
00:45:52,360 --> 00:45:55,160
Speaker 1: it is. But like again, look at Jazz and Sullivant today, right,

1010
00:45:55,280 --> 00:45:58,800
Speaker 1: She's found a way to obviously still vocal flex, but

1011
00:45:59,120 --> 00:46:00,400
Speaker 1: not content.

1012
00:46:00,640 --> 00:46:01,840
Speaker 2: Her content is very different.

1013
00:46:02,280 --> 00:46:06,520
Speaker 3: Content is very different. But also just like it's in moderation,

1014
00:46:07,560 --> 00:46:11,719
Speaker 3: isn't that much different? Huh? Yeah for sure because jas

1015
00:46:11,880 --> 00:46:17,840
Speaker 3: could head, Yeah, she was knocking windows, she went against

1016
00:46:17,880 --> 00:46:19,799
Speaker 3: the lion, tiger and a bear. I don't think it's

1017
00:46:19,840 --> 00:46:23,360
Speaker 3: the shit has changed that much, got about you know, it's.

1018
00:46:27,760 --> 00:46:31,120
Speaker 1: Yeah, but no, I mean, I mean, I think I

1019
00:46:31,200 --> 00:46:33,000
Speaker 1: think if you if you're looking at the space of it,

1020
00:46:33,200 --> 00:46:35,640
Speaker 1: like for me, the only reason why I say, who

1021
00:46:35,640 --> 00:46:39,399
Speaker 1: wants to hear that? Is because it's just like we're

1022
00:46:39,440 --> 00:46:42,360
Speaker 1: trying to catch a vibe, right, Like what's what what

1023
00:46:42,560 --> 00:46:45,520
Speaker 1: is R and B serving to you? Right? And if

1024
00:46:45,560 --> 00:46:48,560
Speaker 1: you're listening to you know, modern R and B, it's

1025
00:46:48,680 --> 00:46:54,080
Speaker 1: like it's melody that's in rap form, right, because it's

1026
00:46:54,160 --> 00:46:57,080
Speaker 1: like rap has trained us to almost live our life

1027
00:46:57,120 --> 00:46:59,680
Speaker 1: to it. And then now like R and B is

1028
00:47:00,239 --> 00:47:03,120
Speaker 1: has been taken outside of just a love sector, and

1029
00:47:03,160 --> 00:47:05,520
Speaker 1: you're able to sing about other things outside of love, right,

1030
00:47:05,640 --> 00:47:08,040
Speaker 1: Like if you're looking at like the Tray Songs era,

1031
00:47:08,640 --> 00:47:11,000
Speaker 1: Jamie Fox era, you know what I'm saying, Like it

1032
00:47:11,120 --> 00:47:14,080
Speaker 1: was so specific. It was like you only were going

1033
00:47:14,160 --> 00:47:17,360
Speaker 1: to be successful if you made a sex song. And

1034
00:47:17,560 --> 00:47:20,720
Speaker 1: R and B was so sexualized, and it wasn't until

1035
00:47:22,760 --> 00:47:24,520
Speaker 1: you know, the new generation was like yo, like there's

1036
00:47:24,600 --> 00:47:27,440
Speaker 1: more to do, guys. We can sing about more besides

1037
00:47:27,960 --> 00:47:30,640
Speaker 1: panty droppers. Yeah, from being.

1038
00:47:30,600 --> 00:47:34,080
Speaker 4: Love love and then it was sex people. Now it's like,

1039
00:47:34,640 --> 00:47:36,400
Speaker 4: oh you you you dog me, I'm a dog you

1040
00:47:36,480 --> 00:47:37,120
Speaker 4: first type.

1041
00:47:36,960 --> 00:47:42,200
Speaker 3: Of Shipfessions is a toxic album. I mean no offense

1042
00:47:42,320 --> 00:47:46,279
Speaker 3: to yeah going through at the time, but it's a

1043
00:47:46,640 --> 00:47:48,759
Speaker 3: it's a toxic album. That's why I also find that

1044
00:47:48,840 --> 00:47:51,600
Speaker 3: we're when the Internet it's saying R and B lost

1045
00:47:51,680 --> 00:47:53,719
Speaker 3: love songs, I'm like, I mean, granted, Billy Jean is

1046
00:47:53,719 --> 00:47:57,560
Speaker 3: a pop song, but Billy Jean's a toxic song. Like popping.

1047
00:47:57,680 --> 00:47:59,880
Speaker 3: R and B have been toxic forever. It's not just

1048
00:48:00,080 --> 00:48:03,239
Speaker 3: and nothing but fucking love songs that fell from and

1049
00:48:03,280 --> 00:48:05,239
Speaker 3: most of those love songs are about eating pussy. It's

1050
00:48:05,280 --> 00:48:09,520
Speaker 3: not about fucking love for real, Summer rain is about pussy,

1051
00:48:09,520 --> 00:48:09,759
Speaker 3: it's not.

1052
00:48:09,840 --> 00:48:11,520
Speaker 4: I told y'all the other day, I can't even listen

1053
00:48:11,560 --> 00:48:12,640
Speaker 4: to rap before three o'clock.

1054
00:48:12,680 --> 00:48:13,000
Speaker 3: No more.

1055
00:48:15,200 --> 00:48:16,080
Speaker 1: I don't want to hear that.

1056
00:48:18,440 --> 00:48:19,320
Speaker 4: Before three pm.

1057
00:48:19,960 --> 00:48:21,880
Speaker 1: Turn that ship off like I would, y'all. We walked in,

1058
00:48:22,040 --> 00:48:24,520
Speaker 1: y'all was playing Migos. I looked around, like, I feel

1059
00:48:24,520 --> 00:48:26,560
Speaker 1: like I walked into fucking the twilight zone. I'm like,

1060
00:48:26,920 --> 00:48:29,960
Speaker 1: this is what y'all long before three egos, Like we

1061
00:48:30,080 --> 00:48:32,839
Speaker 1: love the Migos, but it's one o'clock, man, Like, turn

1062
00:48:32,920 --> 00:48:39,560
Speaker 1: that down. What happened to like the.

1063
00:48:41,160 --> 00:48:45,040
Speaker 4: The R and B remixes or the hip hop remixes

1064
00:48:45,080 --> 00:48:46,440
Speaker 4: of like real R and B ballats.

1065
00:48:46,480 --> 00:48:50,560
Speaker 2: I just think that those music got got blended. So

1066
00:48:50,840 --> 00:48:53,040
Speaker 2: you know that the genres got blended, you know what

1067
00:48:53,080 --> 00:48:55,960
Speaker 2: I mean? And then when they separated, it was like

1068
00:48:56,200 --> 00:49:01,040
Speaker 2: okay for R and B. You know, if you caught

1069
00:49:01,080 --> 00:49:03,480
Speaker 2: a record, let's say you called a tempo record a

1070
00:49:03,520 --> 00:49:04,080
Speaker 2: record like.

1071
00:49:04,120 --> 00:49:04,719
Speaker 3: Let's get married.

1072
00:49:04,840 --> 00:49:07,680
Speaker 4: Yeah you did that, so y'all all the way hip hop?

1073
00:49:08,360 --> 00:49:08,520
Speaker 1: Yeah?

1074
00:49:08,640 --> 00:49:12,799
Speaker 2: Yeah, so the remix yeah, the remix ended I think

1075
00:49:12,840 --> 00:49:14,680
Speaker 2: in the early two thousands because when people started doing

1076
00:49:14,840 --> 00:49:20,160
Speaker 2: was just let's say the song came out and it

1077
00:49:20,239 --> 00:49:21,680
Speaker 2: blew up, but they would do they would just use

1078
00:49:21,680 --> 00:49:23,200
Speaker 2: the same beat and had them put people on it,

1079
00:49:23,320 --> 00:49:26,080
Speaker 2: you know what I mean, versus going in and reconstructing

1080
00:49:26,120 --> 00:49:27,560
Speaker 2: the track. You know what I mean. How Jamaine did

1081
00:49:27,560 --> 00:49:30,919
Speaker 2: it in my bed? How you know I did Super

1082
00:49:30,960 --> 00:49:33,359
Speaker 2: one Part one and include remixing and this Super One

1083
00:49:33,400 --> 00:49:35,200
Speaker 2: Part two, you know what I mean? That was we

1084
00:49:35,280 --> 00:49:37,920
Speaker 2: were and the remixed business was a business too, by

1085
00:49:37,920 --> 00:49:40,600
Speaker 2: the way. It was like a real you know, Maxi

1086
00:49:40,719 --> 00:49:43,480
Speaker 2: single business. Interesting is though we had even at our

1087
00:49:43,520 --> 00:49:46,560
Speaker 2: meeting a few days ago, I think the remix business

1088
00:49:46,600 --> 00:49:50,160
Speaker 2: is coming back, you know. I think we're talking about

1089
00:49:50,200 --> 00:49:54,200
Speaker 2: TikTok and people taking songs like I call it Ray

1090
00:49:54,280 --> 00:49:57,160
Speaker 2: Now you can go to her page. We heard of

1091
00:49:57,239 --> 00:50:00,840
Speaker 2: Spotify page and that record had five different.

1092
00:50:00,600 --> 00:50:04,520
Speaker 3: Versions yea and yeah, all these mashups.

1093
00:50:04,800 --> 00:50:08,759
Speaker 2: So these mashups, these people speeding the records up, and

1094
00:50:09,000 --> 00:50:12,200
Speaker 2: kids wanted to listen to it in that space. I

1095
00:50:12,280 --> 00:50:14,360
Speaker 2: think the remix or what we used to call the

1096
00:50:14,440 --> 00:50:17,840
Speaker 2: Maxi single is being redefined right right in front of

1097
00:50:17,880 --> 00:50:20,200
Speaker 2: my face right now. You know what I'm saying, How do.

1098
00:50:20,200 --> 00:50:22,080
Speaker 1: You feel about the fact that so many people get

1099
00:50:22,239 --> 00:50:24,040
Speaker 1: married to. One of your records was that was like

1100
00:50:24,560 --> 00:50:26,120
Speaker 1: going into it? Did you feel like that's what y'all

1101
00:50:26,120 --> 00:50:26,520
Speaker 1: wanted to do?

1102
00:50:27,480 --> 00:50:30,520
Speaker 2: Well, Let's get married? For sure, Let's get married was

1103
00:50:30,680 --> 00:50:32,960
Speaker 2: very very intentional, you know what I mean, Jamaine wrote

1104
00:50:33,000 --> 00:50:34,600
Speaker 2: the hook. It was very very intentional. It was my

1105
00:50:34,640 --> 00:50:37,080
Speaker 2: first time actually because when I first started working.

1106
00:50:36,920 --> 00:50:40,040
Speaker 1: With none of them niggas ever been married, which is crazy, right,

1107
00:50:40,400 --> 00:50:42,600
Speaker 1: which is insane. That's what I was getting to next,

1108
00:50:42,920 --> 00:50:44,919
Speaker 1: Like you wrote, assume that so many people get married

1109
00:50:44,960 --> 00:50:47,280
Speaker 1: to like let's get Let's get.

1110
00:50:47,160 --> 00:50:49,839
Speaker 4: Married is the equivalent to like Whitney Houston's. I believe

1111
00:50:49,880 --> 00:50:52,600
Speaker 4: the children are like people. Everybody has walked in graduation

1112
00:50:52,719 --> 00:50:55,640
Speaker 4: to Whitney Houston. Yeah, most people in our culture have

1113
00:50:55,880 --> 00:50:57,480
Speaker 4: walked out and had their first dance to.

1114
00:50:57,520 --> 00:50:59,960
Speaker 1: Let's absolutely and none of y'all ever been married.

1115
00:51:00,280 --> 00:51:01,240
Speaker 4: Y'all some sick niggas.

1116
00:51:01,320 --> 00:51:04,120
Speaker 3: You don't live, you don't live your work. You'd be

1117
00:51:04,200 --> 00:51:05,160
Speaker 3: lying in your arms.

1118
00:51:05,920 --> 00:51:06,640
Speaker 2: Yeah, I mean somebody.

1119
00:51:06,800 --> 00:51:09,760
Speaker 1: No, No, it's the first.

1120
00:51:13,120 --> 00:51:13,440
Speaker 3: Hold on.

1121
00:51:14,280 --> 00:51:17,800
Speaker 2: As a songwriter, we write about conversations, and I always

1122
00:51:17,840 --> 00:51:21,600
Speaker 2: say this my my number one motto as a songwriter.

1123
00:51:21,640 --> 00:51:24,200
Speaker 2: The songwriter. The song is in the conversation Now. I

1124
00:51:24,360 --> 00:51:26,200
Speaker 2: learned that actually working with Jamin know what I'm saying,

1125
00:51:26,239 --> 00:51:29,439
Speaker 2: because we wrote uh, we wrote you got it Bad.

1126
00:51:30,080 --> 00:51:32,640
Speaker 2: It was literally me and your Man and Usher having

1127
00:51:32,680 --> 00:51:37,279
Speaker 2: a conversation, and in this conversation, Jamaine concludes the conversation, man,

1128
00:51:37,320 --> 00:51:39,440
Speaker 2: you got a bad talking to Usher. Yeah, And then

1129
00:51:40,239 --> 00:51:44,000
Speaker 2: next thing I know, we're making the song. So let's

1130
00:51:44,040 --> 00:51:47,320
Speaker 2: get married. It's the same. It's the rid of of

1131
00:51:47,360 --> 00:51:49,719
Speaker 2: a conversation that means, Man, what happen? Jamaine was having

1132
00:51:49,719 --> 00:51:52,279
Speaker 2: a conversation one I means it was talking about how

1133
00:51:52,280 --> 00:51:53,759
Speaker 2: they're just gonna go ahead and do it. They've been

1134
00:51:53,800 --> 00:51:55,919
Speaker 2: with the girl for fifteen years and got two kids.

1135
00:51:55,960 --> 00:51:57,200
Speaker 2: He might as well, you know what I mean? And

1136
00:51:57,719 --> 00:52:01,120
Speaker 2: that was the hook. The hook was we might as

1137
00:52:01,160 --> 00:52:03,600
Speaker 2: well just do it like that was the sentiment of

1138
00:52:03,800 --> 00:52:05,160
Speaker 2: the conversation.

1139
00:52:06,200 --> 00:52:07,160
Speaker 4: Younger.

1140
00:52:07,560 --> 00:52:11,680
Speaker 2: And I'd never written with your man in that space, right,

1141
00:52:11,920 --> 00:52:14,960
Speaker 2: like him actually trying to sing a hook to me, right,

1142
00:52:15,320 --> 00:52:16,879
Speaker 2: So it kind of threw me off when he started

1143
00:52:16,920 --> 00:52:18,000
Speaker 2: trying to sing the hooked to me and I'm like,

1144
00:52:19,400 --> 00:52:22,279
Speaker 2: were about to write the song now, like okay, And

1145
00:52:25,640 --> 00:52:27,880
Speaker 2: it was very intentional. We were like, Okay, this this

1146
00:52:28,040 --> 00:52:30,239
Speaker 2: is going to be the marriage song.

1147
00:52:30,480 --> 00:52:30,640
Speaker 3: Right.

1148
00:52:31,120 --> 00:52:33,640
Speaker 2: So the song comes out comes a hit and then

1149
00:52:33,719 --> 00:52:36,040
Speaker 2: the remix was like a gift, you know what I

1150
00:52:36,080 --> 00:52:38,560
Speaker 2: mean the remix. You know the guy did the remix

1151
00:52:38,640 --> 00:52:42,480
Speaker 2: game with LaMarcus Jefferson who signed your Man, and I

1152
00:52:42,520 --> 00:52:44,600
Speaker 2: remember he was just in the back room working on

1153
00:52:44,760 --> 00:52:49,040
Speaker 2: it for no reason, Like it wasn't like we you know,

1154
00:52:49,239 --> 00:52:52,000
Speaker 2: ordained it. We did a remix with Kanye the original

1155
00:52:52,040 --> 00:52:54,040
Speaker 2: West Get Married remixes remix with with Kanye West.

1156
00:52:54,760 --> 00:52:56,439
Speaker 4: Yeah, was that leaked?

1157
00:52:56,880 --> 00:52:59,920
Speaker 2: It got leaked. Just find it. So it's kind of

1158
00:53:00,400 --> 00:53:04,440
Speaker 2: it's Kanye's first time rapping as a guest on a

1159
00:53:04,600 --> 00:53:05,240
Speaker 2: major artist.

1160
00:53:05,440 --> 00:53:07,400
Speaker 3: How did Kanye even get involved with that?

1161
00:53:07,520 --> 00:53:08,800
Speaker 2: Because Kanye had a song? Did that?

1162
00:53:08,880 --> 00:53:08,920
Speaker 3: So?

1163
00:53:09,040 --> 00:53:13,040
Speaker 2: So deaf Kanye worked on Jermaine's Uh Life in Life

1164
00:53:13,120 --> 00:53:15,920
Speaker 2: for two albums and he worked in Harlem World. Him

1165
00:53:16,080 --> 00:53:18,080
Speaker 2: just placed in Harlem World, so he was already in

1166
00:53:18,200 --> 00:53:22,560
Speaker 2: the loop with Jermaine, and so we were doing Uh.

1167
00:53:23,640 --> 00:53:26,640
Speaker 2: Diane just lady worked with Jermain named Dane McDonald would

1168
00:53:27,040 --> 00:53:29,440
Speaker 2: send CDs over to noontime. I was at noontime with

1169
00:53:29,520 --> 00:53:32,200
Speaker 2: the Twins working and she would send CDs over like, oh,

1170
00:53:32,360 --> 00:53:34,520
Speaker 2: you know, we would pick one of these beats for

1171
00:53:35,280 --> 00:53:37,520
Speaker 2: a remix because they had to deal with them, so

1172
00:53:38,000 --> 00:53:40,279
Speaker 2: you know, let's try to get through this deal. And

1173
00:53:41,160 --> 00:53:42,839
Speaker 2: they picked the beat and it was this hollow note

1174
00:53:42,880 --> 00:53:49,080
Speaker 2: sample called grounds Separation, and it had all like vocals

1175
00:53:49,120 --> 00:53:53,000
Speaker 2: and he it was before Blueprint, so all the little

1176
00:53:53,120 --> 00:53:56,759
Speaker 2: things that you know, would you hear on Blueprint had

1177
00:53:56,800 --> 00:53:58,799
Speaker 2: all those things in it. And I remember we were

1178
00:53:58,840 --> 00:54:01,040
Speaker 2: listening to the track and we thought track was really dope,

1179
00:54:01,680 --> 00:54:03,800
Speaker 2: but twins were like, I can't write to it with

1180
00:54:03,840 --> 00:54:07,799
Speaker 2: all these the sample. Sh tell them, you know, can't

1181
00:54:07,800 --> 00:54:10,360
Speaker 2: see the sample out, so listen. So we we do

1182
00:54:10,520 --> 00:54:13,520
Speaker 2: the remix and then Diane's okay, cool, Briann, I need

1183
00:54:13,600 --> 00:54:15,279
Speaker 2: you to go to Little John had a studio and

1184
00:54:15,600 --> 00:54:18,680
Speaker 2: used to have a studio off of South Cob. Used

1185
00:54:18,680 --> 00:54:21,800
Speaker 2: to have a studio of a South Cob And go

1186
00:54:21,840 --> 00:54:24,360
Speaker 2: to Little John studio and work with this guy, you know,

1187
00:54:24,400 --> 00:54:26,640
Speaker 2: because you you know, you were on the studio. Okay, cool,

1188
00:54:26,960 --> 00:54:29,160
Speaker 2: go to studio. Kanye got his a SR ten and

1189
00:54:29,239 --> 00:54:32,799
Speaker 2: this you know, it's Proteus, this n PC three two

1190
00:54:32,880 --> 00:54:37,120
Speaker 2: thousand and he set up and he has a VS

1191
00:54:37,200 --> 00:54:40,200
Speaker 2: eighteen eighty. This is a this is a A VS.

1192
00:54:40,239 --> 00:54:42,480
Speaker 2: Eight eight. I'm sorry, this is like a digital eight

1193
00:54:42,560 --> 00:54:46,920
Speaker 2: track role he used to make. And he's like, you

1194
00:54:47,000 --> 00:54:48,640
Speaker 2: know me talking. He's like, yo, man, you know you

1195
00:54:48,680 --> 00:54:50,560
Speaker 2: were around the studios like yeah, Like yeah, He's like, man,

1196
00:54:50,600 --> 00:54:52,520
Speaker 2: I'll tell you truth. I only make grec only make

1197
00:54:52,640 --> 00:54:54,680
Speaker 2: beasts because I'm I'm trying to rap. I'm a rapper.

1198
00:54:54,680 --> 00:54:59,840
Speaker 2: I'm an artist. I didn't ask for this information. I didn't,

1199
00:55:00,400 --> 00:55:02,640
Speaker 2: you know, job.

1200
00:55:04,640 --> 00:55:08,000
Speaker 1: To beat out and do overdubs and by ourselves.

1201
00:55:08,040 --> 00:55:09,160
Speaker 4: He's like, you are really rapped, right.

1202
00:55:10,680 --> 00:55:12,560
Speaker 2: He like it was me and him and the engineer

1203
00:55:12,600 --> 00:55:15,400
Speaker 2: and he's like, yo, like for real, man, I'm an artist. Man,

1204
00:55:15,400 --> 00:55:17,560
Speaker 2: I'm bigger than Michael Jackson. He's like really talking to

1205
00:55:17,600 --> 00:55:21,440
Speaker 2: ship right, and I'm okay. Cool, you know, He's like, man,

1206
00:55:21,480 --> 00:55:22,960
Speaker 2: I want to play. I want to play some ship

1207
00:55:23,480 --> 00:55:27,400
Speaker 2: like cool is a eighty. He plays what these skeletons

1208
00:55:27,440 --> 00:55:30,640
Speaker 2: were into becoming these huge records down the line we played.

1209
00:55:31,000 --> 00:55:33,560
Speaker 2: He had Jesus Walks already a skeleton, but he had

1210
00:55:33,680 --> 00:55:35,680
Speaker 2: you know what I mean a lot of records that

1211
00:55:36,080 --> 00:55:38,399
Speaker 2: that we hear that he's still pulling from back there.

1212
00:55:38,760 --> 00:55:39,960
Speaker 2: You know what I'm saying, it's a lot of records

1213
00:55:40,000 --> 00:55:43,200
Speaker 2: that Yeah, he had a lot of ideas, you know

1214
00:55:43,239 --> 00:55:44,799
Speaker 2: what I mean. And he would just be like, yeah,

1215
00:55:44,800 --> 00:55:47,840
Speaker 2: I'm telling him he was rapping. So then when we

1216
00:55:47,960 --> 00:55:50,960
Speaker 2: finished the over dub session, right, I called Jad and said, Jay,

1217
00:55:51,120 --> 00:55:52,799
Speaker 2: this ships finished. You know, we got to figure out

1218
00:55:52,840 --> 00:55:54,520
Speaker 2: who's gonna put on it. You know what, I gotta

1219
00:55:54,520 --> 00:55:56,560
Speaker 2: figure we're gonna pull on it. This is he hears

1220
00:55:56,600 --> 00:56:01,360
Speaker 2: Us talking about the ship. He's like, I know somebody

1221
00:56:02,680 --> 00:56:05,360
Speaker 2: for me. He didn't say, he didn't say me. He

1222
00:56:05,520 --> 00:56:08,400
Speaker 2: just said I got somebody cool. So we go to

1223
00:56:08,440 --> 00:56:11,960
Speaker 2: the mix. We're staying here diverse, right, but the mixed

1224
00:56:11,960 --> 00:56:13,920
Speaker 2: sessions at your main studio. So I just means your

1225
00:56:13,960 --> 00:56:16,040
Speaker 2: man go off to go do something whatever.

1226
00:56:16,239 --> 00:56:16,800
Speaker 3: Come back.

1227
00:56:18,239 --> 00:56:20,719
Speaker 2: Kanye's versus on there, you know what I'm saying, And

1228
00:56:20,800 --> 00:56:22,080
Speaker 2: it's like, well, you might as well keep it on it.

1229
00:56:22,200 --> 00:56:25,759
Speaker 2: It was hard to keep it on it, and we

1230
00:56:25,880 --> 00:56:27,600
Speaker 2: thought that was going to be the remix that we're

1231
00:56:27,840 --> 00:56:31,120
Speaker 2: going to lead with. But in the other room, LaMarcus

1232
00:56:31,200 --> 00:56:35,320
Speaker 2: is making this mashup. It's like that you know, mashup,

1233
00:56:35,400 --> 00:56:39,000
Speaker 2: and it's like you submit both to the label. Columbia

1234
00:56:39,120 --> 00:56:42,480
Speaker 2: was like, oh, well, you know this is obviously Look yeah,

1235
00:56:42,840 --> 00:56:45,799
Speaker 2: this is obviously the bigger, the bigger, bigger one. It's

1236
00:56:45,920 --> 00:56:47,960
Speaker 2: it's it's not a whole it's not a whole different song.

1237
00:56:48,040 --> 00:56:50,840
Speaker 2: We took the acapella, just put it on. It's like that,

1238
00:56:51,520 --> 00:56:53,440
Speaker 2: and of course you get run on it and then

1239
00:56:54,160 --> 00:56:55,040
Speaker 2: say no more on record.

1240
00:56:55,360 --> 00:56:57,440
Speaker 4: So LaMarcus, you will never be getting a call from

1241
00:56:57,480 --> 00:56:58,759
Speaker 4: yeasy over again in your life.

1242
00:56:59,560 --> 00:57:01,120
Speaker 3: I do want to hear this Kanye verse on it.

1243
00:57:01,200 --> 00:57:03,040
Speaker 3: If he says mazles off on it. I just want

1244
00:57:03,239 --> 00:57:07,680
Speaker 3: a full circle moment. Imagine he's ends his verse on

1245
00:57:07,800 --> 00:57:12,000
Speaker 3: let's get married with moss Off. I'm what were what

1246
00:57:12,120 --> 00:57:13,759
Speaker 3: were his views on the Jewish community at that time?

1247
00:57:16,480 --> 00:57:18,320
Speaker 3: But to just the point of you guys never been married.

1248
00:57:18,320 --> 00:57:21,280
Speaker 3: Now that I'm looking at these lyrics, this is looks

1249
00:57:21,280 --> 00:57:23,080
Speaker 3: like it's set up for divorce. Like we might as

1250
00:57:23,080 --> 00:57:24,800
Speaker 3: well just do it. That's probably not the best way

1251
00:57:24,840 --> 00:57:25,320
Speaker 3: to go in here.

1252
00:57:25,440 --> 00:57:28,000
Speaker 1: He's just like, yo, might as well just do this

1253
00:57:29,000 --> 00:57:30,280
Speaker 1: uninspired me.

1254
00:57:31,000 --> 00:57:33,200
Speaker 2: To your dress, you old younger girl.

1255
00:57:33,240 --> 00:57:36,560
Speaker 3: He might as well just do it, nasty work. And

1256
00:57:36,640 --> 00:57:38,360
Speaker 3: then on top of that, you're talking, you're telling a girl,

1257
00:57:38,440 --> 00:57:40,760
Speaker 3: she's getting old, like that's already fucked up.

1258
00:57:40,840 --> 00:57:43,520
Speaker 4: Yeah, you kind of classical's ghetto.

1259
00:57:43,640 --> 00:57:45,400
Speaker 2: Just some ghetto ship. It works, you know, I mean,

1260
00:57:45,480 --> 00:57:48,480
Speaker 2: that's just it was just some ghetto How many how

1261
00:57:48,560 --> 00:57:50,760
Speaker 2: many people you know that you know that's been with

1262
00:57:50,840 --> 00:57:53,240
Speaker 2: a lady for eight years and got three kids day,

1263
00:57:53,520 --> 00:57:57,000
Speaker 2: you know, and even talking talking about marriage all the kids,

1264
00:57:57,120 --> 00:58:00,000
Speaker 2: but the kids got the dad last name.

1265
00:58:03,680 --> 00:58:06,840
Speaker 1: Vibes ten years ye.

1266
00:58:07,400 --> 00:58:11,800
Speaker 2: Sabrina, Sabrina Johnson. Yeah, but her kids last brown.

1267
00:58:12,000 --> 00:58:14,320
Speaker 1: Yeah, it's like brown, you you ain't.

1268
00:58:14,360 --> 00:58:15,400
Speaker 2: You ain't part of the family yet.

1269
00:58:15,520 --> 00:58:18,240
Speaker 4: Go marry that girl. Man, I'm doing that.

1270
00:58:18,320 --> 00:58:23,440
Speaker 2: Stop doing that making official, dog making official.

1271
00:58:23,560 --> 00:58:25,400
Speaker 3: This is really about an arranged marriage, is what you're trying.

1272
00:58:25,840 --> 00:58:28,960
Speaker 2: It's funny, but it's like, but it's interesting because after

1273
00:58:29,040 --> 00:58:30,960
Speaker 2: that it became like a trend. I wasn't even trying

1274
00:58:31,000 --> 00:58:33,880
Speaker 2: to become like the married guy trend just ended up

1275
00:58:33,880 --> 00:58:35,560
Speaker 2: becoming a trend because I did a little most record

1276
00:58:35,600 --> 00:58:38,120
Speaker 2: and then yeah, that was a conversation that we were

1277
00:58:38,160 --> 00:58:40,400
Speaker 2: having and I was like, well we did it with

1278
00:58:41,240 --> 00:58:44,000
Speaker 2: from a god's RESPECTI lets do it from a almost perspective.

1279
00:58:44,200 --> 00:58:45,840
Speaker 2: I mean, and she shoot, we wrote forever and then

1280
00:58:45,960 --> 00:58:49,000
Speaker 2: that record is now a a thing, it's a trend,

1281
00:58:49,160 --> 00:58:52,320
Speaker 2: something that's played every wedding, something that you know. So

1282
00:58:52,480 --> 00:58:55,000
Speaker 2: it's like and then we're like, we keep going, we

1283
00:58:55,120 --> 00:58:58,240
Speaker 2: do to me and still which you know, country artists

1284
00:58:58,240 --> 00:59:00,280
Speaker 2: are remaking that song. It's become like you know, you look,

1285
00:59:00,560 --> 00:59:03,360
Speaker 2: if I look at my statement, you know, those three

1286
00:59:03,440 --> 00:59:08,720
Speaker 2: songs are like probably definitely the top ten of my

1287
00:59:09,160 --> 00:59:10,720
Speaker 2: top performance songs.

1288
00:59:11,280 --> 00:59:15,080
Speaker 4: What's your favorite song that you've written and produced, like

1289
00:59:15,280 --> 00:59:17,800
Speaker 4: one that you just like and then let me change it.

1290
00:59:17,880 --> 00:59:20,240
Speaker 4: What's your personal favorite song that you've written and produced

1291
00:59:20,280 --> 00:59:23,440
Speaker 4: that most people didn't kind of gravitate toward like you

1292
00:59:23,520 --> 00:59:24,120
Speaker 4: thought they would.

1293
00:59:24,720 --> 00:59:26,800
Speaker 2: Oh, you know what I did a song for early on,

1294
00:59:26,960 --> 00:59:29,560
Speaker 2: I did a song for my guys is a group

1295
00:59:29,640 --> 00:59:32,600
Speaker 2: called Ideal, and I did a song for them called Creeping.

1296
00:59:33,240 --> 00:59:36,160
Speaker 2: That yeah, I thought that was gonna be a.

1297
00:59:36,440 --> 00:59:39,440
Speaker 1: You've been a sick nigga for long, I see, we

1298
00:59:39,840 --> 00:59:41,680
Speaker 1: we around the same man. You're a little older, but

1299
00:59:41,840 --> 00:59:44,840
Speaker 1: I was outside for Creeping. I was young, but I

1300
00:59:44,960 --> 00:59:45,520
Speaker 1: was outside.

1301
00:59:46,640 --> 00:59:49,400
Speaker 2: Yeah, yeah, Creeping. I thought it was gonna be because

1302
00:59:49,400 --> 00:59:51,280
Speaker 2: we were coming off and get gone and almost a

1303
00:59:51,280 --> 00:59:54,080
Speaker 2: big record and Creeping I just I love that song.

1304
00:59:54,120 --> 00:59:56,920
Speaker 2: I loved the sample. I thought, you know, it was

1305
00:59:57,000 --> 00:59:59,640
Speaker 2: like the first time the twins and Uh and John

1306
00:59:59,680 --> 01:00:01,680
Speaker 2: Tay actually did a song together, you know what I mean,

1307
01:00:02,200 --> 01:00:03,960
Speaker 2: being a twins to the hook and chance the verses.

1308
01:00:03,960 --> 01:00:07,040
Speaker 2: I was really hyped about this song, that the song

1309
01:00:07,200 --> 01:00:08,800
Speaker 2: was going to be crazy, and it did. You know,

1310
01:00:08,880 --> 01:00:11,520
Speaker 2: it did okay, But it didn't really because I think

1311
01:00:11,560 --> 01:00:13,800
Speaker 2: they put it out version put it out too soon

1312
01:00:13,920 --> 01:00:15,320
Speaker 2: after Get Gone, Get Gone with.

1313
01:00:15,360 --> 01:00:17,800
Speaker 3: Still still little cooking on fire at the time.

1314
01:00:19,720 --> 01:00:22,680
Speaker 2: But Creeping is one. I would say one of my

1315
01:00:22,800 --> 01:00:29,200
Speaker 2: favorite songs I've produced a co produced would be you

1316
01:00:29,440 --> 01:00:31,840
Speaker 2: Got a Bad You got it Bad. It's just it

1317
01:00:32,000 --> 01:00:36,400
Speaker 2: sounds like something that it's just to me. It was very,

1318
01:00:37,120 --> 01:00:40,360
Speaker 2: very different. We we listened to all the songs that

1319
01:00:40,760 --> 01:00:43,720
Speaker 2: we made on him. I mean, I mean, Confessions is huge,

1320
01:00:44,080 --> 01:00:47,240
Speaker 2: These records are big, you know, But it's something about

1321
01:00:47,320 --> 01:00:51,520
Speaker 2: that particular song. His vocal has no harm. He's singing

1322
01:00:51,560 --> 01:00:56,440
Speaker 2: straight to notice it on now, singing straight down, you

1323
01:00:56,480 --> 01:00:59,120
Speaker 2: know what I mean. It's just one vocal sitting on

1324
01:00:59,240 --> 01:01:00,920
Speaker 2: top of about six sounds.

1325
01:01:01,000 --> 01:01:02,520
Speaker 3: How many women you lied to and said that you

1326
01:01:02,600 --> 01:01:03,320
Speaker 3: wrote that about them?

1327
01:01:04,280 --> 01:01:08,160
Speaker 2: You got a Bad yeah, just I've never told you

1328
01:01:08,160 --> 01:01:10,720
Speaker 2: about I've never told anybody that I wrote that song

1329
01:01:10,760 --> 01:01:14,680
Speaker 2: about them. I always tell the truth about that song because.

1330
01:01:14,480 --> 01:01:15,880
Speaker 4: I was so like, you say, I wrote a song

1331
01:01:15,880 --> 01:01:17,920
Speaker 4: about you. Got to listen and guess who's wanted is yeah, yeah,

1332
01:01:19,480 --> 01:01:21,439
Speaker 4: you gotta get.

1333
01:01:26,400 --> 01:01:26,560
Speaker 1: You know.

1334
01:01:28,240 --> 01:01:31,040
Speaker 2: The one thing about that song and I was that process.

1335
01:01:31,080 --> 01:01:34,479
Speaker 2: I was so amazed at how we finished talking about

1336
01:01:34,520 --> 01:01:37,680
Speaker 2: something and then the very next hour we had this

1337
01:01:37,800 --> 01:01:42,160
Speaker 2: song and was like this song and that's something that

1338
01:01:42,440 --> 01:01:44,960
Speaker 2: a lesson that just stuck with me forever, like to

1339
01:01:45,080 --> 01:01:46,880
Speaker 2: this day, like I have to talk to the artists.

1340
01:01:47,320 --> 01:01:48,680
Speaker 2: I have to tell what are you going through? What

1341
01:01:48,800 --> 01:01:50,800
Speaker 2: do you do? You want to talk about? What's what's

1342
01:01:50,840 --> 01:01:53,919
Speaker 2: happening in your life? I know something happened. What you're saying,

1343
01:01:54,320 --> 01:01:57,040
Speaker 2: what the nigga do you know? I mean, like the

1344
01:01:57,160 --> 01:02:00,320
Speaker 2: whole the whole situation. I got to have the comversation

1345
01:02:00,520 --> 01:02:03,960
Speaker 2: because in every in every situation I could point at

1346
01:02:04,360 --> 01:02:07,160
Speaker 2: and in any songs I've been a part of, when

1347
01:02:07,160 --> 01:02:10,760
Speaker 2: you have the conversation, it's like be without You was

1348
01:02:10,880 --> 01:02:13,240
Speaker 2: a conversation. It was like literally we got a call

1349
01:02:13,320 --> 01:02:16,080
Speaker 2: from Jimmy Ivan and Jimmy's like I need a rhythmic

1350
01:02:16,160 --> 01:02:19,880
Speaker 2: record like this right, And I was like, Okay, what

1351
01:02:20,080 --> 01:02:21,919
Speaker 2: does she want to talk about? And it was like, okay,

1352
01:02:21,960 --> 01:02:23,600
Speaker 2: we're gonna get you know, get married them on the

1353
01:02:23,640 --> 01:02:25,640
Speaker 2: phone so Mary can do Chris. We all get on

1354
01:02:25,680 --> 01:02:29,000
Speaker 2: the phone and chantey and they tell us what they

1355
01:02:29,200 --> 01:02:32,840
Speaker 2: what they want, you know, to talk about, and we

1356
01:02:32,920 --> 01:02:34,920
Speaker 2: talk about it and we literally did I mean I

1357
01:02:35,000 --> 01:02:37,520
Speaker 2: did the track literally you got, I mean be without You.

1358
01:02:37,600 --> 01:02:41,040
Speaker 2: That track happened and like between eight to ten minutes.

1359
01:02:41,080 --> 01:02:43,360
Speaker 2: Because I was just trying to get the idea. I

1360
01:02:43,440 --> 01:02:45,320
Speaker 2: called John Sail was like, Yo, man, I got I got,

1361
01:02:45,480 --> 01:02:48,320
Speaker 2: I got this idea, Like come to the studio. You

1362
01:02:48,400 --> 01:02:49,919
Speaker 2: know what I'm saying. He's playing for me on the phone.

1363
01:02:49,960 --> 01:02:51,520
Speaker 2: So I played on the eight bars of the phone

1364
01:02:52,160 --> 01:02:54,720
Speaker 2: and he was like, I'm on the way, got to

1365
01:02:54,720 --> 01:02:59,880
Speaker 2: the studio. Song was written, is a Beast that.

1366
01:03:00,080 --> 01:03:02,360
Speaker 3: The greatest writers ever Johnson human?

1367
01:03:03,000 --> 01:03:04,360
Speaker 6: Yeah he doesn't you have to.

1368
01:03:04,400 --> 01:03:06,040
Speaker 3: Be a secure being to be a great writer.

1369
01:03:06,280 --> 01:03:07,840
Speaker 1: No, no, no, He's one of the people that I

1370
01:03:07,960 --> 01:03:09,360
Speaker 1: want his verses done over like.

1371
01:03:09,640 --> 01:03:11,720
Speaker 4: No, no, no, in a in a like in a space.

1372
01:03:12,200 --> 01:03:16,919
Speaker 3: Yeah it doing on that ship. Wasn't either of them justice.

1373
01:03:16,960 --> 01:03:20,280
Speaker 1: You don't understand. I was the first time I ever

1374
01:03:20,400 --> 01:03:23,280
Speaker 1: watched this man write a song. And he gets in

1375
01:03:23,400 --> 01:03:26,439
Speaker 1: the booth, right, no pen and paper, no none, gets

1376
01:03:26,520 --> 01:03:29,120
Speaker 1: the glass of wine. He has a little wine does

1377
01:03:29,640 --> 01:03:31,040
Speaker 1: starts swirling the home man.

1378
01:03:31,840 --> 01:03:33,440
Speaker 4: Yes, over his thoughts and.

1379
01:03:35,840 --> 01:03:39,240
Speaker 3: Swirling the emotions around, but ung all the way to

1380
01:03:39,280 --> 01:03:43,320
Speaker 3: the top. Yeah, writing song and slacks the hilarious Johnson

1381
01:03:43,360 --> 01:03:48,040
Speaker 3: put a suit on, getting man. But then he's gets

1382
01:03:48,080 --> 01:03:48,200
Speaker 3: in this.

1383
01:03:48,680 --> 01:03:52,280
Speaker 1: He gets here's the beat, maybe two minutes to beat.

1384
01:03:52,320 --> 01:03:54,080
Speaker 1: His plays he's all right, cool, lowed me up.

1385
01:03:55,360 --> 01:03:59,160
Speaker 3: So he's just singing things that aren't sentences, and it's like,

1386
01:04:00,040 --> 01:04:01,600
Speaker 3: what are these? What are you thinking?

1387
01:04:02,840 --> 01:04:03,320
Speaker 2: And then.

1388
01:04:05,160 --> 01:04:08,480
Speaker 1: He got cool, record this again and he's like keep

1389
01:04:08,520 --> 01:04:12,760
Speaker 1: that and then he'll now he'll do something that seems

1390
01:04:12,880 --> 01:04:13,439
Speaker 1: like a verse.

1391
01:04:14,680 --> 01:04:15,600
Speaker 3: Then you're like, wait, where.

1392
01:04:15,720 --> 01:04:16,480
Speaker 2: Where did that come from?

1393
01:04:16,560 --> 01:04:17,440
Speaker 6: What is he writing?

1394
01:04:17,600 --> 01:04:17,800
Speaker 2: Yeah?

1395
01:04:18,360 --> 01:04:21,600
Speaker 3: Yeah, and then you're like, all right, cool.

1396
01:04:22,800 --> 01:04:25,440
Speaker 1: Then now he's going to do another take and it's

1397
01:04:25,480 --> 01:04:28,280
Speaker 1: doing something that seems like one half of the chorus.

1398
01:04:28,720 --> 01:04:30,960
Speaker 1: But the first thing that he recorded was the answer

1399
01:04:31,040 --> 01:04:31,640
Speaker 1: to the chorus.

1400
01:04:32,320 --> 01:04:36,200
Speaker 4: Oh okay, it's crazy, like he writes in like it's

1401
01:04:36,280 --> 01:04:36,760
Speaker 4: wold bro.

1402
01:04:37,640 --> 01:04:39,120
Speaker 1: Like it makes sense in his head and then at

1403
01:04:39,120 --> 01:04:40,360
Speaker 1: the end it all makes sense. Yeah.

1404
01:04:40,720 --> 01:04:42,280
Speaker 3: It's like, Yo, this man is crazy.

1405
01:04:42,680 --> 01:04:45,120
Speaker 4: Quick showing up to write and the suit is like.

1406
01:04:45,200 --> 01:04:47,640
Speaker 2: No, that's his that's his slow. I mean Johnson. Johnson

1407
01:04:47,720 --> 01:04:51,240
Speaker 2: a gentleman, even if he's like like dressed down, he's

1408
01:04:51,320 --> 01:04:52,800
Speaker 2: got the button of jeans.

1409
01:04:52,560 --> 01:04:54,200
Speaker 3: Hard hard bottom.

1410
01:04:56,760 --> 01:04:57,360
Speaker 4: Different error.

1411
01:04:58,000 --> 01:05:02,720
Speaker 1: You seen some ship when you Jess just kick it

1412
01:05:02,840 --> 01:05:05,160
Speaker 1: like you come to the homie crib with hall bottoms

1413
01:05:05,240 --> 01:05:05,800
Speaker 1: verer geez.

1414
01:05:05,840 --> 01:05:08,120
Speaker 3: I'm like, yo, what are you going. That's his dressed

1415
01:05:08,160 --> 01:05:09,960
Speaker 3: down there. Yeah, like Yo, we're just chilling in at

1416
01:05:10,000 --> 01:05:10,960
Speaker 3: the game is coming on.

1417
01:05:11,120 --> 01:05:14,480
Speaker 2: Like chilling john john say is a he's a different

1418
01:05:14,600 --> 01:05:15,240
Speaker 2: He's different.

1419
01:05:15,400 --> 01:05:17,840
Speaker 4: Yeah, this is a This is a mix of writers

1420
01:05:17,880 --> 01:05:21,160
Speaker 4: and producers in Atlanta. I was talking to JD about

1421
01:05:21,200 --> 01:05:23,120
Speaker 4: when I was at the studio last like, y'all have

1422
01:05:23,240 --> 01:05:27,600
Speaker 4: a real interesting group of producers songwriters in Atlanta, And

1423
01:05:27,640 --> 01:05:29,520
Speaker 4: I was like, Yo, JD, do y'all all really fuck

1424
01:05:29,560 --> 01:05:31,840
Speaker 4: with each other? Or is it like some secret Like

1425
01:05:32,160 --> 01:05:34,440
Speaker 4: because I know y'all got the group chats outside of

1426
01:05:34,480 --> 01:05:36,440
Speaker 4: the group, Like one of the biggest ain't in this

1427
01:05:36,520 --> 01:05:38,760
Speaker 4: group chats, but he and the other one that he

1428
01:05:38,800 --> 01:05:40,280
Speaker 4: talked about the recording and y'all all go to the

1429
01:05:40,320 --> 01:05:42,000
Speaker 4: other one. He's not in, Like, yo, what you talking about.

1430
01:05:42,800 --> 01:05:47,520
Speaker 2: I think just even that even having the concept of

1431
01:05:47,600 --> 01:05:50,120
Speaker 2: the group chat, that Atlanta Producers group chat, I think

1432
01:05:50,240 --> 01:05:52,760
Speaker 2: that in itself is some special.

1433
01:05:52,520 --> 01:05:56,080
Speaker 1: Ship that's crazy, even if it's like a couple.

1434
01:05:55,880 --> 01:05:59,200
Speaker 2: Of group chats, right, the fact that at some point

1435
01:05:59,800 --> 01:06:03,440
Speaker 2: and my phone right now there's a chat with me,

1436
01:06:04,000 --> 01:06:08,040
Speaker 2: JD Polo, Tricky, John Tey, you know that there's a

1437
01:06:08,760 --> 01:06:10,600
Speaker 2: there's a chat that's cra you know what I mean

1438
01:06:10,720 --> 01:06:14,040
Speaker 2: that Sean Garrett, there's a chat that we're all in.

1439
01:06:14,320 --> 01:06:16,680
Speaker 2: You know what I mean. I think that that is

1440
01:06:16,960 --> 01:06:18,880
Speaker 2: some amazing ship and just in general, you know what

1441
01:06:18,920 --> 01:06:22,080
Speaker 2: I mean that we all have you know, Dallas, like

1442
01:06:22,200 --> 01:06:23,880
Speaker 2: you know, you may go to Jamaine's house. You know,

1443
01:06:24,080 --> 01:06:25,800
Speaker 2: we went to go watch the game at Jamain's house

1444
01:06:25,800 --> 01:06:29,040
Speaker 2: one night, the playoff game, and Dallas just pulls up

1445
01:06:29,080 --> 01:06:31,240
Speaker 2: and we just over there, me, Dallas and John Tay

1446
01:06:31,360 --> 01:06:39,280
Speaker 2: and you know Jermaine, you know. I mean, yeah, it's

1447
01:06:39,320 --> 01:06:42,560
Speaker 2: not like you know, I think that's what's the most

1448
01:06:42,640 --> 01:06:43,840
Speaker 2: special thing about.

1449
01:06:43,720 --> 01:06:45,640
Speaker 3: Well, you can't call it the Atlanta Producer group chat.

1450
01:06:45,720 --> 01:06:48,959
Speaker 3: Unless Amaretta is in there and verify. We got to verify,

1451
01:06:49,840 --> 01:06:53,360
Speaker 3: like what what part of Georgia is Dallas Austin really

1452
01:06:53,400 --> 01:06:55,080
Speaker 3: from and his name is Dallas, Like we gotta we

1453
01:06:55,120 --> 01:06:57,960
Speaker 3: gotta check College Park from That's not Atlanta according to

1454
01:06:58,080 --> 01:06:59,920
Speaker 3: Atlanta apparently apparently.

1455
01:07:00,000 --> 01:07:02,040
Speaker 2: Funny though you hear that if you talked to If

1456
01:07:02,080 --> 01:07:05,520
Speaker 2: you talk to JD, he he actually would say, you're right,

1457
01:07:05,960 --> 01:07:10,680
Speaker 2: we we we started Atlanta. Yeah, Jama jamakes where Jamaina

1458
01:07:10,760 --> 01:07:11,960
Speaker 2: say college Park started that?

1459
01:07:12,320 --> 01:07:14,440
Speaker 3: JD told me he was from Brooklyn at Pergoli yesterday

1460
01:07:14,520 --> 01:07:18,600
Speaker 3: so he lived He lived in Brooklyn, he said, not

1461
01:07:18,680 --> 01:07:20,360
Speaker 3: really from Brooklyn. I was like, I never knew that.

1462
01:07:20,760 --> 01:07:22,479
Speaker 3: But he made a checked you Wikipedia page.

1463
01:07:22,520 --> 01:07:23,880
Speaker 4: He made a good point and I think he was

1464
01:07:23,880 --> 01:07:27,400
Speaker 4: saying in the Welcome to Atlanta video, they didn't show college.

1465
01:07:27,480 --> 01:07:30,000
Speaker 2: You know, he didn't fel the college. No, they know

1466
01:07:30,120 --> 01:07:33,080
Speaker 2: they did go to college party, they went the World Changes,

1467
01:07:33,120 --> 01:07:35,400
Speaker 2: they went to Kreplos Church.

1468
01:07:36,400 --> 01:07:38,600
Speaker 3: He said he didn't so he lied or was he

1469
01:07:38,800 --> 01:07:41,919
Speaker 3: to remember? Was it welcome? He was talking about your line.

1470
01:07:42,040 --> 01:07:45,440
Speaker 2: Yeah, in the in the checked the group chat in

1471
01:07:45,520 --> 01:07:48,040
Speaker 2: the original video and the video with him Lutheracris. The

1472
01:07:48,080 --> 01:07:51,000
Speaker 2: original version they went the World Changes. World Changes is

1473
01:07:51,040 --> 01:07:51,560
Speaker 2: a college park.

1474
01:07:51,600 --> 01:07:53,840
Speaker 1: Okay, oh so JD he must have forgot that there.

1475
01:07:54,000 --> 01:07:55,720
Speaker 2: But they didn't go to the hood. They didn't go

1476
01:07:55,800 --> 01:07:56,000
Speaker 2: back to.

1477
01:07:56,200 --> 01:07:59,760
Speaker 4: Like yeah, him and Justice had an amazing conversation about

1478
01:08:00,200 --> 01:08:01,920
Speaker 4: who's from Atlanta? What part is Atlanta?

1479
01:08:02,080 --> 01:08:02,120
Speaker 3: Like?

1480
01:08:02,200 --> 01:08:03,439
Speaker 4: And then like where we said?

1481
01:08:03,480 --> 01:08:05,600
Speaker 1: They keep looking at me and Rorby like we can

1482
01:08:05,720 --> 01:08:08,240
Speaker 1: like vouch Like He's like, yo, did you like Justice?

1483
01:08:08,320 --> 01:08:09,480
Speaker 4: Like did you hear what he just said?

1484
01:08:09,480 --> 01:08:12,320
Speaker 1: I'm like, Justice, I don't know what Cobb is. I

1485
01:08:12,360 --> 01:08:14,120
Speaker 1: couldn't tell you what. None of that ship is. All

1486
01:08:14,160 --> 01:08:15,120
Speaker 1: of that is Atlanta to me.

1487
01:08:15,400 --> 01:08:17,040
Speaker 3: JD brought up Gwinnett and I was like, I don't

1488
01:08:17,080 --> 01:08:20,280
Speaker 3: know her, Like why are you looking at me? For verification?

1489
01:08:20,840 --> 01:08:22,560
Speaker 2: That's his one though he loved, he loved and he

1490
01:08:22,600 --> 01:08:26,599
Speaker 2: loves on Gennett Jamade always thinking about Gott.

1491
01:08:27,120 --> 01:08:31,599
Speaker 3: Meanwhile, Jermaine lives in not Atlanta. Well, I mean he's rich,

1492
01:08:32,880 --> 01:08:37,120
Speaker 3: he should probably move out. Come on, my guy.

1493
01:08:37,880 --> 01:08:40,759
Speaker 4: We had a same night, the same night, same city

1494
01:08:40,800 --> 01:08:42,240
Speaker 4: thing that we do on the show where it's kind

1495
01:08:42,280 --> 01:08:44,040
Speaker 4: of like versus, but we like if it's you're in

1496
01:08:44,120 --> 01:08:46,400
Speaker 4: your city, and these two artists have a show tonight.

1497
01:08:47,439 --> 01:08:50,920
Speaker 4: Which show do you go to? And I brought up

1498
01:08:51,080 --> 01:08:52,880
Speaker 4: Scissor or Summer Walker.

1499
01:08:53,920 --> 01:08:56,160
Speaker 3: Well, contractually they both have to go to the Summer.

1500
01:08:57,120 --> 01:08:58,200
Speaker 2: We're good a summersconspt.

1501
01:08:59,040 --> 01:09:02,680
Speaker 4: Okay, take your your business hats off and your affiliations off.

1502
01:09:03,200 --> 01:09:03,800
Speaker 1: Just as a fan.

1503
01:09:04,240 --> 01:09:05,880
Speaker 3: Yeah, I mean I'm I'm a bigger Summer fan.

1504
01:09:05,960 --> 01:09:07,160
Speaker 2: I'm a bigger Summer fans.

1505
01:09:07,720 --> 01:09:13,519
Speaker 3: Okay, I agree to. And I really really trying to

1506
01:09:13,520 --> 01:09:16,439
Speaker 3: clean her new album. Trying to clean the albums, clean

1507
01:09:16,560 --> 01:09:18,200
Speaker 3: up a new album is insane.

1508
01:09:18,280 --> 01:09:22,320
Speaker 2: Yeah, albums and overall, just I just like some First

1509
01:09:22,320 --> 01:09:25,559
Speaker 2: of all, I met Summer around the time she signing them,

1510
01:09:26,880 --> 01:09:31,000
Speaker 2: right before because because the story I got was the

1511
01:09:31,120 --> 01:09:31,920
Speaker 2: other Summer Walker.

1512
01:09:32,080 --> 01:09:34,760
Speaker 3: Yeah, you know, I met her through she.

1513
01:09:34,880 --> 01:09:36,439
Speaker 4: Was mad the other Summer Walkers manager.

1514
01:09:37,520 --> 01:09:40,400
Speaker 3: We initially thought it was the other Summer Walking was

1515
01:09:40,439 --> 01:09:42,880
Speaker 3: like she's making music crazy.

1516
01:09:43,360 --> 01:09:46,519
Speaker 4: Yeah, so think about that. That was her voice.

1517
01:09:47,080 --> 01:09:51,400
Speaker 2: So I remember I met Archer and I remember them

1518
01:09:51,400 --> 01:09:54,240
Speaker 2: playing me the music and then I started phllowing her

1519
01:09:54,760 --> 01:09:56,920
Speaker 2: Instagram and then Chris was somebody you gotta paid that, Chris,

1520
01:09:57,000 --> 01:09:59,000
Speaker 2: you gottay attention to this girl. This girl is really like,

1521
01:10:00,160 --> 01:10:02,639
Speaker 2: you know what I'm saying, and I just like her,

1522
01:10:03,560 --> 01:10:06,320
Speaker 2: like just her perspective, you know what I mean, the

1523
01:10:07,320 --> 01:10:10,960
Speaker 2: wowd shit she own. I just like everything about who

1524
01:10:11,040 --> 01:10:12,880
Speaker 2: she is as an artist, you know what I'm saying.

1525
01:10:13,320 --> 01:10:17,920
Speaker 3: Like I want to ask justice specifically age old debate

1526
01:10:18,160 --> 01:10:21,800
Speaker 3: eighty seven oh one versus Confessions. What's a better album? Confessions?

1527
01:10:23,280 --> 01:10:26,200
Speaker 1: You didn't even think about that. You already thought about

1528
01:10:26,200 --> 01:10:28,040
Speaker 1: that and knew the answer. No, I mean it's like

1529
01:10:28,200 --> 01:10:31,840
Speaker 1: a seven one was great, but like Confessions was like

1530
01:10:32,960 --> 01:10:35,080
Speaker 1: especially when yeah it happened.

1531
01:10:35,240 --> 01:10:37,479
Speaker 3: Just a moment. Yeah, it was how where I was.

1532
01:10:37,560 --> 01:10:40,360
Speaker 3: I mean, I was like twelve years old. That shaped

1533
01:10:40,479 --> 01:10:42,880
Speaker 3: my viewpoint of like R and B.

1534
01:10:42,960 --> 01:10:44,759
Speaker 4: I like, oh you left that on your voicemail.

1535
01:10:44,880 --> 01:10:47,040
Speaker 3: Yeah, this is it. It's an aggressive voicemail.

1536
01:10:47,040 --> 01:10:50,920
Speaker 1: I didn't have a voicemail, but you never had a

1537
01:10:50,960 --> 01:10:52,600
Speaker 1: voicemail with the record on it, notun till I was

1538
01:10:52,640 --> 01:10:53,200
Speaker 1: like fifteen.

1539
01:10:53,520 --> 01:10:55,360
Speaker 3: But you gotta understand, justin I come from the era

1540
01:10:55,439 --> 01:10:57,760
Speaker 3: where we would have the ring tone and then also

1541
01:10:57,800 --> 01:10:59,479
Speaker 3: when you call, we could put a song instead of

1542
01:10:59,479 --> 01:11:01,840
Speaker 3: hearing the ring Like we from that era, we're not

1543
01:11:01,960 --> 01:11:04,960
Speaker 3: really the voicemail like play a song and say leave

1544
01:11:04,960 --> 01:11:06,000
Speaker 3: it after the beam.

1545
01:11:06,200 --> 01:11:07,519
Speaker 4: I used to really think about what I was going

1546
01:11:07,560 --> 01:11:10,040
Speaker 4: to play my voicemail. Now I've never I haven't activated

1547
01:11:10,080 --> 01:11:10,960
Speaker 4: my voicemail on my phone.

1548
01:11:12,200 --> 01:11:15,320
Speaker 2: You know. I used to really really like really try

1549
01:11:15,400 --> 01:11:17,760
Speaker 2: to curate the proper. Yeah, we had to the ship

1550
01:11:17,880 --> 01:11:18,760
Speaker 2: was going to be next week.

1551
01:11:18,840 --> 01:11:21,400
Speaker 3: You know what I'm saying, only use songs you wrote.

1552
01:11:22,160 --> 01:11:22,760
Speaker 2: I'm talking about.

1553
01:11:22,800 --> 01:11:23,360
Speaker 4: I'm talking off.

1554
01:11:23,640 --> 01:11:26,519
Speaker 2: It's funny. I'll talk about when I was before I

1555
01:11:26,640 --> 01:11:28,240
Speaker 2: was like, you know, favorite songwriter.

1556
01:11:29,280 --> 01:11:31,679
Speaker 3: I was like, when you were in high school writing

1557
01:11:32,000 --> 01:11:32,800
Speaker 3: for destiny shop.

1558
01:11:32,840 --> 01:11:35,160
Speaker 2: I would do. I would do, Yeah, fact I would do.

1559
01:11:35,320 --> 01:11:38,360
Speaker 2: I used to do stupid ship to like singing telegrams,

1560
01:11:38,439 --> 01:11:42,080
Speaker 2: like in school, Like if you came to the class

1561
01:11:42,200 --> 01:11:45,880
Speaker 2: and you saw a keyboard setup some roses, he was

1562
01:11:45,880 --> 01:11:47,800
Speaker 2: about to get a singing telegram. So I used to

1563
01:11:47,840 --> 01:11:48,800
Speaker 2: make That's how I used to hustle.

1564
01:11:49,520 --> 01:11:51,960
Speaker 3: Oh wow, that's smart. How were you when you lost

1565
01:11:51,960 --> 01:11:54,120
Speaker 3: your virginity? If you was doing that in high school?

1566
01:11:54,160 --> 01:11:55,600
Speaker 3: You lost your virginia at what twelve.

1567
01:11:55,360 --> 01:12:01,920
Speaker 1: Thirty you got on the planet. He said, huh, you're no, no, no, it.

1568
01:12:02,000 --> 01:12:09,720
Speaker 6: Was uh, it was later, it was later fourteen, it

1569
01:12:09,840 --> 01:12:13,240
Speaker 6: was later, it was later.

1570
01:12:13,760 --> 01:12:16,360
Speaker 3: Give it to myself, our guy, Julian had I thought

1571
01:12:16,400 --> 01:12:22,040
Speaker 3: an amazing question for you be fuck Mary Kill Confessions, Emancipation.

1572
01:12:21,520 --> 01:12:24,400
Speaker 2: Of Me me or the Breakthrough a married Confessions.

1573
01:12:24,560 --> 01:12:26,360
Speaker 3: Nothing about that album is about marriage.

1574
01:12:26,920 --> 01:12:30,479
Speaker 2: I'm saying for me, if if I'm if I'm going

1575
01:12:30,560 --> 01:12:33,599
Speaker 2: to marry an album, yeah forever, I'm got twenty million,

1576
01:12:33,920 --> 01:12:34,400
Speaker 2: I'm married.

1577
01:12:34,560 --> 01:12:37,320
Speaker 3: You telling you might as well just do it?

1578
01:12:37,600 --> 01:12:46,960
Speaker 2: Uh uh yeah, Amery Confessions, Uh fucking emancipation kill break them?

1579
01:12:47,680 --> 01:12:50,479
Speaker 1: Yeah, the fucking the Mansion's tough one.

1580
01:12:50,600 --> 01:12:51,040
Speaker 2: It's tough.

1581
01:12:51,800 --> 01:12:55,840
Speaker 3: Uh Justice, fuck Mary kill, Free Black?

1582
01:12:58,200 --> 01:12:59,120
Speaker 4: Hmmm over it?

1583
01:13:00,840 --> 01:13:03,640
Speaker 3: What would be the third there? Oh, I'm gonna really

1584
01:13:03,680 --> 01:13:10,479
Speaker 3: put you on the spot. Boogie's album? Which one? This

1585
01:13:10,640 --> 01:13:15,960
Speaker 3: last one? Okay? So fuck Mary kill? Fuck Mary kill

1586
01:13:16,240 --> 01:13:21,360
Speaker 3: over it? Free Black or more Black superreos.

1587
01:13:22,640 --> 01:13:22,960
Speaker 2: Mm hmm.

1588
01:13:23,600 --> 01:13:24,400
Speaker 3: That's damn.

1589
01:13:24,840 --> 01:13:28,120
Speaker 1: As a fan, as an executive, as Justice as a fan,

1590
01:13:28,240 --> 01:13:42,800
Speaker 1: or as like as you ask any stars as a fan,

1591
01:13:44,040 --> 01:13:50,360
Speaker 1: I'm gonna go, I'm gonna marry Free Black. I'll funk

1592
01:13:50,479 --> 01:13:52,920
Speaker 1: over it and I have to kill Boogies album.

1593
01:13:53,200 --> 01:13:57,160
Speaker 3: That's crazy. He finally got vulnerable, opened up his therapy

1594
01:13:57,200 --> 01:14:00,120
Speaker 3: album You Want to Kill Do Well for his mental.

1595
01:14:01,360 --> 01:14:04,160
Speaker 4: Yeah, yeah, yeah, no, that's my answer.

1596
01:14:04,280 --> 01:14:08,000
Speaker 3: Yeah, yeah, I fucked the Toxic City. Now over it?

1597
01:14:08,080 --> 01:14:12,200
Speaker 3: Are still over it? As a fan or was an executive?

1598
01:14:13,439 --> 01:14:14,400
Speaker 4: Give me the Stars?

1599
01:14:15,280 --> 01:14:18,960
Speaker 3: Not as the Iron Man, as a fan, as a

1600
01:14:19,200 --> 01:14:24,200
Speaker 3: fans over it? As an executive? Still over it?

1601
01:14:25,640 --> 01:14:27,880
Speaker 4: As a fan over as an executive? Still over Yeah,

1602
01:14:28,320 --> 01:14:29,640
Speaker 4: marketing y'all did behind Still over it?

1603
01:14:29,720 --> 01:14:33,120
Speaker 3: Was insane exactly. That was hard. That was hard as

1604
01:14:33,120 --> 01:14:33,719
Speaker 3: an executive.

1605
01:14:33,720 --> 01:14:35,800
Speaker 4: I mean, I mean they broke it in Harlem, right,

1606
01:14:35,840 --> 01:14:38,000
Speaker 4: then they get the box, then they break the glass

1607
01:14:38,560 --> 01:14:40,560
Speaker 4: in Harlem. Yeah yeah, but I mean but even to

1608
01:14:40,600 --> 01:14:43,519
Speaker 4: a nigga from seven for the Break, nigga from seven

1609
01:14:43,560 --> 01:14:46,400
Speaker 4: for the I told you make that the last stop, Yeah,

1610
01:14:46,439 --> 01:14:47,840
Speaker 4: because that's nigga gonna break that.

1611
01:14:47,880 --> 01:14:51,400
Speaker 1: From But yeah, as an executive, because it's like, like

1612
01:14:51,479 --> 01:14:54,479
Speaker 1: I said, you were you were with me when we

1613
01:14:54,560 --> 01:14:56,800
Speaker 1: were trying to finish that album. I mean they broke

1614
01:14:56,880 --> 01:14:59,040
Speaker 1: up mid album, like the ship that I had to

1615
01:14:59,160 --> 01:15:01,720
Speaker 1: go through to finish that. But it was such a

1616
01:15:01,880 --> 01:15:03,519
Speaker 1: I remember because I remember you hit me.

1617
01:15:03,560 --> 01:15:06,800
Speaker 4: I was like, bro, this album yo. They waiting because

1618
01:15:06,840 --> 01:15:09,960
Speaker 4: it was such a real the fans were going through

1619
01:15:09,960 --> 01:15:12,000
Speaker 4: a real I think we were together when she posted

1620
01:15:12,000 --> 01:15:15,120
Speaker 4: the video and you was like, yo, dog, I woke up.

1621
01:15:15,160 --> 01:15:16,840
Speaker 1: I had to deal with or I said, I said,

1622
01:15:16,960 --> 01:15:19,720
Speaker 1: justice this. You couldn't ask for anything better than this.

1623
01:15:20,160 --> 01:15:22,200
Speaker 4: It's fucked up because she's going through some real ship,

1624
01:15:23,040 --> 01:15:26,439
Speaker 4: but this is in real time, like this is happening

1625
01:15:26,560 --> 01:15:29,960
Speaker 4: right now. Asked the albums pretty much, it was like

1626
01:15:30,000 --> 01:15:31,719
Speaker 4: what two songs await from being done with the album?

1627
01:15:31,920 --> 01:15:35,640
Speaker 3: No, Well, when we were talking, yeah, I was like,

1628
01:15:35,760 --> 01:15:37,360
Speaker 3: this is this is amazing.

1629
01:15:37,560 --> 01:15:39,479
Speaker 4: Yeah, like it's fucked up.

1630
01:15:39,439 --> 01:15:41,559
Speaker 3: But it's like it was tough. Was fifth baby Mama?

1631
01:15:41,600 --> 01:15:43,439
Speaker 3: I was done already? Or that was that was the

1632
01:15:43,520 --> 01:15:43,880
Speaker 3: last song?

1633
01:15:43,960 --> 01:15:46,000
Speaker 4: That was the last the night she wrote it right

1634
01:15:46,040 --> 01:15:48,880
Speaker 4: and she laid it down. I was like, yeah, first

1635
01:15:48,880 --> 01:15:50,120
Speaker 4: of all, I want to start off. I should have

1636
01:15:50,160 --> 01:15:50,840
Speaker 4: your mama should have.

1637
01:15:50,840 --> 01:15:53,400
Speaker 3: Been your ass. I was like, what you witnessed her?

1638
01:15:53,520 --> 01:15:54,240
Speaker 3: Just bar him up.

1639
01:15:55,200 --> 01:15:56,720
Speaker 1: She was in the other one writing and then she

1640
01:15:56,800 --> 01:15:58,519
Speaker 1: had laid it down and then I.

1641
01:15:58,880 --> 01:16:04,560
Speaker 3: Like, being in pok made hit him up. She barred London.

1642
01:16:06,000 --> 01:16:08,559
Speaker 4: Should have whooped your ass. I said, oh my god.

1643
01:16:08,640 --> 01:16:12,200
Speaker 1: And that album was so tough, man like because her

1644
01:16:12,240 --> 01:16:15,680
Speaker 1: in London so good musically together. Yeah, yeah, and to

1645
01:16:15,800 --> 01:16:17,800
Speaker 1: break up in the middle of it and just leave

1646
01:16:17,840 --> 01:16:20,080
Speaker 1: me in the middle of no man's land. And then

1647
01:16:20,200 --> 01:16:23,960
Speaker 1: I'm burning through cash every single day because I got

1648
01:16:24,000 --> 01:16:28,720
Speaker 1: London in this crazy house. I'm saying, he's comfortable, she

1649
01:16:28,880 --> 01:16:31,000
Speaker 1: says she ain't recording no more to I get that

1650
01:16:31,080 --> 01:16:37,280
Speaker 1: motherfucker out, and he's like, bro, we have an agreement.

1651
01:16:39,360 --> 01:16:41,000
Speaker 3: It was it was tough. And how it was tough.

1652
01:16:41,240 --> 01:16:44,759
Speaker 3: How do publishing splits They're already difficult. How the publishing

1653
01:16:44,840 --> 01:16:47,720
Speaker 3: splits happen in the middle of also a breakup. I

1654
01:16:47,880 --> 01:16:50,360
Speaker 3: had to handle everything. I literally had to maneuver the

1655
01:16:50,360 --> 01:16:50,720
Speaker 3: whole thing.

1656
01:16:51,080 --> 01:16:54,160
Speaker 1: I had to maneuver their personal relationship in terms of

1657
01:16:54,280 --> 01:17:00,840
Speaker 1: like speaking through me and then the creative part of it, yeah,

1658
01:17:01,000 --> 01:17:02,000
Speaker 1: and the business part of it.

1659
01:17:02,080 --> 01:17:03,479
Speaker 3: Like it was a really tough album to.

1660
01:17:03,520 --> 01:17:06,360
Speaker 1: Make, like a divorce attorney, Yeah, it was. It was

1661
01:17:06,400 --> 01:17:08,400
Speaker 1: a that was the toughest thing. But it made me

1662
01:17:08,600 --> 01:17:10,400
Speaker 1: made me a bad executive. That's why when you asked,

1663
01:17:10,439 --> 01:17:10,600
Speaker 1: I was.

1664
01:17:10,600 --> 01:17:12,680
Speaker 3: Like, when was the last time, because of course you

1665
01:17:12,760 --> 01:17:15,000
Speaker 3: had to choose summer in the divorce. I mean, he

1666
01:17:15,080 --> 01:17:17,479
Speaker 3: was there forgetting. When was the last time you saw London?

1667
01:17:17,720 --> 01:17:19,400
Speaker 3: What's that relationship? Like I saw him at the Rock

1668
01:17:19,479 --> 01:17:23,240
Speaker 3: Nation brunch. Okay, we don't speak you in London, don't

1669
01:17:23,240 --> 01:17:25,120
Speaker 3: speak at all. No, you know, he acts like I

1670
01:17:25,160 --> 01:17:27,920
Speaker 3: don't exist. I feel him. I do what. I saw

1671
01:17:28,000 --> 01:17:29,800
Speaker 3: him with you when he pressed me about Moll and

1672
01:17:29,840 --> 01:17:30,679
Speaker 3: that was after the breakup.

1673
01:17:31,560 --> 01:17:33,400
Speaker 4: That's that's you.

1674
01:17:33,680 --> 01:17:35,479
Speaker 3: I went to the studio with you for when when

1675
01:17:35,520 --> 01:17:42,360
Speaker 3: Puff was trying to steal all y'all saus Yeah, I

1676
01:17:42,400 --> 01:17:43,320
Speaker 3: don't know what you're talking about.

1677
01:17:44,640 --> 01:17:48,080
Speaker 4: You can't the white boy like you were supposed to

1678
01:17:48,160 --> 01:17:48,920
Speaker 4: leave that in the studio.

1679
01:17:49,439 --> 01:17:52,560
Speaker 3: We have the edit button. Yeah no, but yeah, he

1680
01:17:52,720 --> 01:17:54,880
Speaker 3: was cool with you at that point and we can't

1681
01:17:54,960 --> 01:17:58,080
Speaker 3: take all that up. When when me and you went

1682
01:17:58,400 --> 01:18:02,880
Speaker 3: when Puff was doing the Love Valentine's Day album? Where

1683
01:18:02,880 --> 01:18:04,040
Speaker 3: were you? What are you talking about?

1684
01:18:04,120 --> 01:18:04,519
Speaker 2: In la?

1685
01:18:05,280 --> 01:18:05,439
Speaker 1: Oh?

1686
01:18:06,360 --> 01:18:09,880
Speaker 3: That was after the breakup? No was it?

1687
01:18:10,600 --> 01:18:12,599
Speaker 4: Oh they might have broke up before that and got

1688
01:18:12,640 --> 01:18:13,960
Speaker 4: back together. That might have been one of those.

1689
01:18:14,040 --> 01:18:15,960
Speaker 3: No, it might have been. Yeah, it was one of those.

1690
01:18:16,160 --> 01:18:16,680
Speaker 3: It was one of those.

1691
01:18:16,680 --> 01:18:18,720
Speaker 1: They had broken up and that was it wasn't it wasn't.

1692
01:18:19,200 --> 01:18:21,840
Speaker 1: It wasn't official because that was that was before the baby,

1693
01:18:22,439 --> 01:18:26,640
Speaker 1: before she had the baby. Yeah, yeah, yeah, but no, no, no,

1694
01:18:26,880 --> 01:18:29,120
Speaker 1: after the breakup. Now he don't, he don't speak to me.

1695
01:18:31,160 --> 01:18:32,240
Speaker 3: I get it. I understand.

1696
01:18:32,760 --> 01:18:35,400
Speaker 4: But I finally met him, and I was like, what's up, man,

1697
01:18:35,400 --> 01:18:37,880
Speaker 4: because you know he's working with Saint now. Yeah, so

1698
01:18:37,960 --> 01:18:40,360
Speaker 4: I met him last song to have his heart. Yeah,

1699
01:18:40,680 --> 01:18:42,200
Speaker 4: they got they got a few joints that they that

1700
01:18:42,280 --> 01:18:43,920
Speaker 4: they're doing together. So I finally met. I thought it

1701
01:18:43,960 --> 01:18:46,360
Speaker 4: was funnier the Royal Situs, like, yeah, now he asked

1702
01:18:46,400 --> 01:18:47,760
Speaker 4: me about you, like it was up with your boy

1703
01:18:48,760 --> 01:18:50,720
Speaker 4: liking some of his pictures and all, I'm just a

1704
01:18:50,760 --> 01:18:51,479
Speaker 4: Summer fan, bro.

1705
01:18:52,840 --> 01:18:54,439
Speaker 3: I mean, you flew to Toronto for the show.

1706
01:18:54,760 --> 01:18:56,439
Speaker 1: It was a good show that you were a great show,

1707
01:18:56,680 --> 01:19:00,840
Speaker 1: great night, great audience, greatest. He can't support me, man, God,

1708
01:19:01,120 --> 01:19:03,120
Speaker 1: that's what that's what you think you did? Yeah, okay,

1709
01:19:03,760 --> 01:19:05,160
Speaker 1: just the whole night that was with me and my

1710
01:19:05,240 --> 01:19:06,599
Speaker 1: boy because he was with Summer.

1711
01:19:07,160 --> 01:19:08,920
Speaker 3: No, no, you.

1712
01:19:10,520 --> 01:19:12,200
Speaker 4: Actually I've never even met some I don't.

1713
01:19:12,040 --> 01:19:14,599
Speaker 3: Think you met her that night at the studio in Atlanta.

1714
01:19:15,000 --> 01:19:17,880
Speaker 1: Oh yeah yeah, but that was like it was a

1715
01:19:17,920 --> 01:19:19,760
Speaker 1: different meat. She put a different head.

1716
01:19:20,840 --> 01:19:21,519
Speaker 4: Hey, how you doing?

1717
01:19:21,600 --> 01:19:24,800
Speaker 3: And I kept it moving by saying with nothing, nobody moving.

1718
01:19:25,600 --> 01:19:30,120
Speaker 3: It was tough, but not it's just yeah, man shouts

1719
01:19:30,200 --> 01:19:35,080
Speaker 3: shot shout to an actual serious question justice with Summer

1720
01:19:35,120 --> 01:19:39,840
Speaker 3: specifically and just us now seeing how much the music

1721
01:19:39,880 --> 01:19:43,680
Speaker 3: business can affect artists their anxiety, the depression, how much

1722
01:19:43,800 --> 01:19:46,679
Speaker 3: this really fucks you up? How have you been able

1723
01:19:46,720 --> 01:19:51,639
Speaker 3: to manage personalities outside of just business dealing with artists

1724
01:19:51,680 --> 01:19:53,640
Speaker 3: that have social anxiety can't come outside? And how does

1725
01:19:53,680 --> 01:19:56,439
Speaker 3: that fuck with your mental wealth because at that point

1726
01:19:56,439 --> 01:19:59,240
Speaker 3: you can't even have feelings, like you just get serious. Yeah,

1727
01:20:00,160 --> 01:20:04,960
Speaker 3: so like therapy bad this You're like you're evolved. I

1728
01:20:05,080 --> 01:20:06,679
Speaker 3: mean no, I'm not evolved.

1729
01:20:06,960 --> 01:20:08,240
Speaker 4: Okay, cool, this is doctor o.

1730
01:20:08,920 --> 01:20:10,840
Speaker 3: This is this is my let's get married where I'm

1731
01:20:10,920 --> 01:20:13,240
Speaker 3: saying things but I'm not really good because I know

1732
01:20:13,320 --> 01:20:15,880
Speaker 3: what's really underneath it. But not like for real though,

1733
01:20:15,960 --> 01:20:19,920
Speaker 3: that's been a huge thing with Summer specifically with the fans,

1734
01:20:20,000 --> 01:20:23,479
Speaker 3: Like she has this crazy social anxiety ship. People either

1735
01:20:23,520 --> 01:20:26,040
Speaker 3: get upset with her a supporter over it as an

1736
01:20:26,080 --> 01:20:28,519
Speaker 3: exec how do you balance both of those things? I

1737
01:20:28,640 --> 01:20:31,479
Speaker 3: think it's nothing new. I think I think it's just

1738
01:20:31,560 --> 01:20:38,080
Speaker 3: different because now people have words for these things like narcissists,

1739
01:20:38,160 --> 01:20:42,760
Speaker 3: gaslight anxiety, like like.

1740
01:20:43,080 --> 01:20:45,439
Speaker 1: Like I said, like how and not to compare it,

1741
01:20:45,520 --> 01:20:48,600
Speaker 1: but like, you know, what would what would Twitter have

1742
01:20:48,720 --> 01:20:50,960
Speaker 1: looked like? And Whitney used to have one, Yeah, like

1743
01:20:51,600 --> 01:20:54,960
Speaker 1: Bobby Brown had Twitter. Like it looks nuts, right, I think,

1744
01:20:55,360 --> 01:21:00,400
Speaker 1: But that's what makes good artists unfortunately, because they are

1745
01:21:00,479 --> 01:21:02,920
Speaker 1: dealing with something that they know how to just put

1746
01:21:03,000 --> 01:21:08,240
Speaker 1: in the music that resonates. Now, how do I maneuver it?

1747
01:21:08,800 --> 01:21:12,280
Speaker 1: I think the hardest part is letting the artists know

1748
01:21:12,360 --> 01:21:14,560
Speaker 1: that they're not crazy. Yeah not. I think for me,

1749
01:21:14,680 --> 01:21:18,360
Speaker 1: the hardest part is navigating with the actual artist to like,

1750
01:21:18,560 --> 01:21:24,400
Speaker 1: you know, like let them know that, like, you know, don't.

1751
01:21:24,200 --> 01:21:26,360
Speaker 3: Take other people's perspective to heart.

1752
01:21:26,400 --> 01:21:28,479
Speaker 1: Everybody who wants an opinion, everybody wants to feel like

1753
01:21:28,960 --> 01:21:31,280
Speaker 1: something is going to trigger you or be able to

1754
01:21:31,320 --> 01:21:33,559
Speaker 1: say that. I think that's the hardest part is really

1755
01:21:33,720 --> 01:21:37,400
Speaker 1: just making the artists feel comfortable and creating a safe

1756
01:21:37,479 --> 01:21:38,960
Speaker 1: space for them to express themselves.

1757
01:21:39,040 --> 01:21:42,479
Speaker 3: But because man, the fans are so mean to artists. Bro,

1758
01:21:42,880 --> 01:21:44,679
Speaker 3: Like it's awful.

1759
01:21:44,920 --> 01:21:47,920
Speaker 1: Yeah, it's just like yo, Like they're giving you music,

1760
01:21:48,600 --> 01:21:51,240
Speaker 1: like they're giving you a piece of their soul, and

1761
01:21:51,760 --> 01:21:52,800
Speaker 1: it just ship on them all.

1762
01:21:52,920 --> 01:21:55,160
Speaker 3: Brick you came outside with a brick all your career

1763
01:21:55,240 --> 01:21:56,080
Speaker 3: is done. You fell off.

1764
01:21:56,360 --> 01:21:59,360
Speaker 1: I'm like Jesus Christ, Like you're supposed to champion your

1765
01:21:59,439 --> 01:22:02,120
Speaker 1: artist and push them to so you get you get more.

1766
01:22:02,200 --> 01:22:05,160
Speaker 1: It's just like the quality of life is made better

1767
01:22:05,320 --> 01:22:08,880
Speaker 1: with better music. But then you know you want to

1768
01:22:08,960 --> 01:22:11,519
Speaker 1: just tell them they fell off. They're for sure going

1769
01:22:11,560 --> 01:22:13,760
Speaker 1: to fall off, like if you if they believe it,

1770
01:22:13,880 --> 01:22:15,120
Speaker 1: they for sure going to fall off.

1771
01:22:15,760 --> 01:22:16,880
Speaker 3: It's tough, you know what I mean.

1772
01:22:17,280 --> 01:22:19,320
Speaker 2: In this era is so crazy because you know, back

1773
01:22:19,360 --> 01:22:22,000
Speaker 2: in the nineties, you couldn't just tell an understat yeah,

1774
01:22:22,160 --> 01:22:24,160
Speaker 2: even if you felt it. You know, if you bought

1775
01:22:24,200 --> 01:22:26,680
Speaker 2: a CD, you know what I mean. You know that

1776
01:22:27,160 --> 01:22:29,840
Speaker 2: CD was whack. You couldn't go to like Twitter and

1777
01:22:29,920 --> 01:22:32,600
Speaker 2: say trash, you know what I mean, Like you got

1778
01:22:32,720 --> 01:22:36,000
Speaker 2: to just something. It may sell through one hundred thousand

1779
01:22:36,040 --> 01:22:39,360
Speaker 2: copies before you realize the album is not good. You

1780
01:22:39,400 --> 01:22:41,080
Speaker 2: know what I mean? Now you drop.

1781
01:22:42,479 --> 01:22:45,120
Speaker 1: It ain't been out of hour, like social media to

1782
01:22:45,280 --> 01:22:47,200
Speaker 1: talk frisbee like.

1783
01:22:48,840 --> 01:22:51,519
Speaker 3: It's also easier to listen to music you wouldn't listen

1784
01:22:51,560 --> 01:22:54,960
Speaker 3: to or care about, right, so you have more negative comments,

1785
01:22:55,040 --> 01:22:58,000
Speaker 3: like before you went out, I have twelve dollars I'm

1786
01:22:58,000 --> 01:23:01,000
Speaker 3: going to get the CD because I really interested in this. Now,

1787
01:23:01,040 --> 01:23:02,760
Speaker 3: I could pull up any song if I feel like,

1788
01:23:03,479 --> 01:23:07,040
Speaker 3: putting a comment on what fucking YouTube page? Yeah, or

1789
01:23:07,160 --> 01:23:09,160
Speaker 3: open a Spotify album of an artist. I probably wouldn't

1790
01:23:09,160 --> 01:23:10,720
Speaker 3: listen to what I see. That's what everyone's talking about

1791
01:23:10,760 --> 01:23:12,960
Speaker 3: on the timeline, so let me go listen to it

1792
01:23:13,080 --> 01:23:15,600
Speaker 3: for free. Now I have an opinion about something I

1793
01:23:15,640 --> 01:23:17,280
Speaker 3: shouldn't have an opinion about because I wouldn't have liked

1794
01:23:17,320 --> 01:23:20,000
Speaker 3: to begin with. Majority of people shouldn't just have opinion

1795
01:23:20,080 --> 01:23:23,360
Speaker 3: on music. I mean, you can't across the board. I

1796
01:23:23,360 --> 01:23:26,360
Speaker 3: guess it's just the value of the opinion. You can

1797
01:23:26,439 --> 01:23:30,560
Speaker 3: have a shitty opinion about an album if you you

1798
01:23:30,760 --> 01:23:33,679
Speaker 3: care specifically about it, then you should have a valid opinion,

1799
01:23:33,760 --> 01:23:34,040
Speaker 3: you know what.

1800
01:23:34,200 --> 01:23:36,880
Speaker 1: I like, I'm like a Twitter troll and like I

1801
01:23:36,960 --> 01:23:39,600
Speaker 1: go like, look on like not troll, but stalker. Like

1802
01:23:39,960 --> 01:23:42,280
Speaker 1: I go look at like certain people that like have

1803
01:23:42,479 --> 01:23:45,080
Speaker 1: negative opinions about albums and music or whatever, and I'm

1804
01:23:45,120 --> 01:23:48,120
Speaker 1: just like, I go look at their profile and their

1805
01:23:48,200 --> 01:23:50,360
Speaker 1: photos and like what their living room.

1806
01:23:50,240 --> 01:23:51,160
Speaker 3: Looks like, and like.

1807
01:23:52,680 --> 01:23:55,720
Speaker 1: How like where they're like their clothes and everything. I'm

1808
01:23:55,800 --> 01:23:59,040
Speaker 1: just like, yo, like you of all people can't have

1809
01:23:59,240 --> 01:24:01,600
Speaker 1: an opinions like on.

1810
01:24:01,720 --> 01:24:05,200
Speaker 3: Taste, taste, on taste, right, like a.

1811
01:24:05,160 --> 01:24:06,280
Speaker 4: Lot of y'all don't have no taste.

1812
01:24:06,280 --> 01:24:07,880
Speaker 3: But all right, first of all, that at all, that's

1813
01:24:08,000 --> 01:24:11,759
Speaker 3: not fair because the artists on your roster so crazy.

1814
01:24:12,240 --> 01:24:14,120
Speaker 3: That's okay for an artist that is like a niche,

1815
01:24:14,479 --> 01:24:17,679
Speaker 3: cliche fan base. Not every one of Summer Walker's fans

1816
01:24:17,840 --> 01:24:19,560
Speaker 3: have taste in putting their apartments.

1817
01:24:19,200 --> 01:24:20,400
Speaker 4: Together black like, you can't.

1818
01:24:20,439 --> 01:24:22,439
Speaker 3: You can't do that. You can't only want people that

1819
01:24:22,600 --> 01:24:25,599
Speaker 3: have quote unquote good taste to listen.

1820
01:24:26,040 --> 01:24:26,759
Speaker 4: To have an opinion.

1821
01:24:27,640 --> 01:24:29,479
Speaker 1: The only way, the only way you can have an

1822
01:24:29,520 --> 01:24:34,120
Speaker 1: opinion or valid opinion, and my incredible opinion is you

1823
01:24:34,439 --> 01:24:36,960
Speaker 1: number one, have spent enough time with something, and number

1824
01:24:37,000 --> 01:24:41,880
Speaker 1: two to where you have a vast amount of experiences

1825
01:24:41,960 --> 01:24:44,800
Speaker 1: with other sounds or other music to be able to

1826
01:24:44,920 --> 01:24:47,519
Speaker 1: compare because you can't compare something putting too.

1827
01:24:47,439 --> 01:24:49,920
Speaker 3: Much responsibility on art that's supposed to just be talking

1828
01:24:49,920 --> 01:24:50,760
Speaker 3: to me. And that's what I'm saying.

1829
01:24:50,760 --> 01:24:53,200
Speaker 1: It's like, it's like it's like me having It's like

1830
01:24:53,320 --> 01:24:57,040
Speaker 1: me at twelve years old having an opinion on Blueprint too,

1831
01:24:57,280 --> 01:25:00,719
Speaker 1: Like I don't know what he's saying, Like it's flying

1832
01:25:00,800 --> 01:25:04,120
Speaker 1: over my head. I know, I like because it's easy

1833
01:25:04,160 --> 01:25:06,200
Speaker 1: for me to understand, but like that's it, Like it's

1834
01:25:06,240 --> 01:25:08,160
Speaker 1: just like you have to, like you have to go

1835
01:25:08,320 --> 01:25:10,439
Speaker 1: through certain things to be able to have a real opinion.

1836
01:25:10,840 --> 01:25:13,200
Speaker 3: And I'm just like I get it. But like I mean,

1837
01:25:13,240 --> 01:25:19,000
Speaker 3: I guess the valid opinion areas, but everyone that listens

1838
01:25:19,080 --> 01:25:22,439
Speaker 3: to it is entitled to It's just there's no values

1839
01:25:22,479 --> 01:25:24,240
Speaker 3: to the opinion. I can't say someone that doesn't put

1840
01:25:24,240 --> 01:25:27,040
Speaker 3: their apartment together well shouldn't be able to talk about

1841
01:25:27,160 --> 01:25:27,840
Speaker 3: a summer walker.

1842
01:25:28,160 --> 01:25:30,559
Speaker 7: When you're when you're on the Twitter timeline and you've

1843
01:25:30,600 --> 01:25:32,960
Speaker 7: come across one of these pages, what are the identifying

1844
01:25:33,000 --> 01:25:35,280
Speaker 7: factors that you're looking for that validates their opinion?

1845
01:25:37,720 --> 01:25:42,040
Speaker 3: Cool pants? No, I mean I think I think you

1846
01:25:42,840 --> 01:25:44,640
Speaker 3: for me. First thing I go through, I go through

1847
01:25:44,680 --> 01:25:46,160
Speaker 3: the timeline and I just see, like.

1848
01:25:47,720 --> 01:25:50,840
Speaker 1: Do they do they even read books? Like like do

1849
01:25:50,960 --> 01:25:54,000
Speaker 1: they have thoughts that that are their original thoughts? And

1850
01:25:54,120 --> 01:25:56,400
Speaker 1: if you don't, then I already know that, like you're

1851
01:25:56,400 --> 01:25:59,200
Speaker 1: already like controlled in a way, so like your opinion

1852
01:25:59,280 --> 01:26:02,599
Speaker 1: is lined and like real opinion, and that's like ninety

1853
01:26:02,680 --> 01:26:03,479
Speaker 1: nine percent of people.

1854
01:26:03,479 --> 01:26:05,080
Speaker 3: All they do is just take other people's tweets and

1855
01:26:05,160 --> 01:26:09,240
Speaker 3: just retweet them. And I, y'all are not even real people, yo,

1856
01:26:09,600 --> 01:26:13,400
Speaker 3: y'all not even real like human somebody in there.

1857
01:26:14,520 --> 01:26:16,760
Speaker 4: I agree with them, you know, I understand what you're saying.

1858
01:26:17,200 --> 01:26:20,400
Speaker 4: It takes, I think for for people to connect to

1859
01:26:20,560 --> 01:26:24,360
Speaker 4: certain R and B, especially R and B. I think

1860
01:26:24,439 --> 01:26:28,200
Speaker 4: that it takes a certain type of experience. Like I said,

1861
01:26:28,240 --> 01:26:32,400
Speaker 4: it takes a certain type of just style. Like you

1862
01:26:32,560 --> 01:26:34,600
Speaker 4: you know, when somebody is gonna connect, Like if you

1863
01:26:34,680 --> 01:26:36,560
Speaker 4: go to a Sabrina Claudio show, you can kind of

1864
01:26:36,960 --> 01:26:38,519
Speaker 4: you know what the audience is kind of sort of

1865
01:26:38,560 --> 01:26:40,840
Speaker 4: going to look like for a summer show, you know what,

1866
01:26:40,920 --> 01:26:44,320
Speaker 4: the audience is kind of sort of gonna look like show. Yeah,

1867
01:26:44,400 --> 01:26:46,600
Speaker 4: like you're gonna know, like, Okay, these are because this

1868
01:26:46,800 --> 01:26:50,880
Speaker 4: is who is talking to Like, they've been through some

1869
01:26:50,960 --> 01:26:53,439
Speaker 4: of the same experiences, they like some of the same things.

1870
01:27:00,960 --> 01:27:02,840
Speaker 4: What's one of the artists that y'all have worked with.

1871
01:27:03,479 --> 01:27:05,719
Speaker 4: When y'all went to their live show, y'all were actually

1872
01:27:06,040 --> 01:27:10,280
Speaker 4: surprised to see like a different fan base there, Like

1873
01:27:10,400 --> 01:27:13,040
Speaker 4: I never would have thought that these type of people

1874
01:27:13,040 --> 01:27:13,840
Speaker 4: would be at this show.

1875
01:27:14,240 --> 01:27:19,200
Speaker 3: Yes, that's a good question. I don't think. I don't

1876
01:27:19,240 --> 01:27:20,479
Speaker 3: think I've had that.

1877
01:27:21,840 --> 01:27:23,439
Speaker 1: I think it's all been pretty spot on for me,

1878
01:27:23,600 --> 01:27:25,400
Speaker 1: like that I work with or just like an artist

1879
01:27:25,439 --> 01:27:27,280
Speaker 1: in general, both.

1880
01:27:28,920 --> 01:27:31,600
Speaker 3: Well artists in general. When I went to.

1881
01:27:33,160 --> 01:27:35,720
Speaker 1: I mean, it was like actually like when I went

1882
01:27:35,760 --> 01:27:39,400
Speaker 1: to the like the Weekends for show, and I was

1883
01:27:39,479 --> 01:27:43,439
Speaker 1: just like, I know what he's talking about. I actually

1884
01:27:43,600 --> 01:27:46,280
Speaker 1: know what he's talking about because I'm doing with him

1885
01:27:46,320 --> 01:27:47,439
Speaker 1: as the music is playing, like.

1886
01:27:49,080 --> 01:27:52,280
Speaker 3: I'm living this life. I've taken that pill.

1887
01:27:52,479 --> 01:27:55,240
Speaker 1: Yeah yeah, And I look and I look out in

1888
01:27:55,280 --> 01:27:59,519
Speaker 1: the audience and it's just like you two, Yeah, ain't

1889
01:27:59,560 --> 01:28:00,200
Speaker 1: no way do.

1890
01:28:00,240 --> 01:28:00,680
Speaker 4: You see me?

1891
01:28:02,720 --> 01:28:05,360
Speaker 1: Y'all look at each other like yeah, we're here, you know.

1892
01:28:05,479 --> 01:28:13,320
Speaker 3: And honestly too, like honestly to Scisster too. She her fans.

1893
01:28:14,400 --> 01:28:18,320
Speaker 1: Are a lot more other girls like you know, like

1894
01:28:18,880 --> 01:28:20,479
Speaker 1: I say, other girls I'm trying to think of, like

1895
01:28:20,520 --> 01:28:24,320
Speaker 1: the best way to like Taylor Swift fans will be

1896
01:28:24,360 --> 01:28:25,080
Speaker 1: at a Scissor concert.

1897
01:28:25,280 --> 01:28:27,560
Speaker 3: Yeah, which is interesting, but I get it.

1898
01:28:27,640 --> 01:28:29,280
Speaker 4: I think she. I think she showed us that with

1899
01:28:29,360 --> 01:28:32,880
Speaker 4: this last album. Yeah, I remember because and I tell

1900
01:28:33,800 --> 01:28:36,320
Speaker 4: the crew all the time, like us being on tour

1901
01:28:36,400 --> 01:28:37,840
Speaker 4: and some of these albums that came out. I'll never

1902
01:28:37,880 --> 01:28:39,479
Speaker 4: forget where we were at when these album drops. So

1903
01:28:39,560 --> 01:28:41,720
Speaker 4: we were in Seattle when this is the album came

1904
01:28:41,760 --> 01:28:42,880
Speaker 4: out and I'm in the hotel room.

1905
01:28:42,920 --> 01:28:43,600
Speaker 3: I'm listening to it.

1906
01:28:44,200 --> 01:28:47,640
Speaker 4: I thought it jumped into another album and I'm like, yo,

1907
01:28:47,720 --> 01:28:50,160
Speaker 4: this is sister, Like this sounds like I have levine ship,

1908
01:28:50,520 --> 01:28:52,320
Speaker 4: like a levine, Like what the fuck is like? This

1909
01:28:52,479 --> 01:28:54,639
Speaker 4: is what she and I was just like, not only

1910
01:28:54,680 --> 01:28:58,439
Speaker 4: does it sound sound amazing, but it's like, oh, she's

1911
01:28:58,760 --> 01:29:02,479
Speaker 4: in her MTV t R right, yeah, like she wants.

1912
01:29:02,360 --> 01:29:05,080
Speaker 2: That and it's authentic. It didn't feel like it was

1913
01:29:05,160 --> 01:29:05,799
Speaker 2: something else.

1914
01:29:05,800 --> 01:29:08,880
Speaker 4: Was trying to wasn't. It felt natural? And I mean,

1915
01:29:08,960 --> 01:29:11,320
Speaker 4: look at where she's at with eight nine weeks, number.

1916
01:29:11,160 --> 01:29:16,919
Speaker 3: One, pivot out of music with trains blowing up Chinese balloons.

1917
01:29:17,600 --> 01:29:23,080
Speaker 3: To either you have a favorite conspiracy theory? I live conspiracy,

1918
01:29:24,000 --> 01:29:24,720
Speaker 3: but give me.

1919
01:29:24,760 --> 01:29:27,560
Speaker 1: The top top five conspiracy. It's like it's truth to me,

1920
01:29:29,640 --> 01:29:35,320
Speaker 1: and that's what's wrong. It's just like that, that's real.

1921
01:29:35,840 --> 01:29:38,680
Speaker 3: So what what's your favorite when they deem a conspiracy?

1922
01:29:41,200 --> 01:29:43,240
Speaker 1: I mean well, I mean, let's you can talk about

1923
01:29:43,640 --> 01:29:45,840
Speaker 1: Fauci and the vaccines you want to go if you

1924
01:29:45,880 --> 01:29:48,040
Speaker 1: want to go there. I would like to, but I

1925
01:29:48,120 --> 01:29:49,400
Speaker 1: want to monetize our YouTube video.

1926
01:29:49,479 --> 01:29:53,240
Speaker 3: Yeah, so they put up they will stop all your

1927
01:29:53,280 --> 01:29:55,519
Speaker 3: money if you say, literally the vaccine was wrong.

1928
01:29:56,880 --> 01:30:00,439
Speaker 2: Which is crazy nuts, wow, that conspiracy right there. In

1929
01:30:00,520 --> 01:30:03,560
Speaker 2: fact that of course, if you say something.

1930
01:30:03,320 --> 01:30:06,200
Speaker 3: If you say it, yeah, if you say any anything,

1931
01:30:06,560 --> 01:30:08,679
Speaker 3: if you say COVID and bleep this out, I'm serious,

1932
01:30:08,920 --> 01:30:11,000
Speaker 3: keep this part, but bleep out the word COVID. If

1933
01:30:11,040 --> 01:30:14,400
Speaker 3: you say COVID on Instagram, they'll put the little link

1934
01:30:14,479 --> 01:30:18,479
Speaker 3: no at all, and YouTube will demonetize some of your.

1935
01:30:18,439 --> 01:30:21,360
Speaker 7: Ship if it's on text on a post like I

1936
01:30:21,479 --> 01:30:24,200
Speaker 7: worked a record when I was Atlantic called vaccine, and

1937
01:30:24,320 --> 01:30:26,880
Speaker 7: when we were posting the artwork for it, it would

1938
01:30:26,960 --> 01:30:31,719
Speaker 7: say CDC facts checks a wow, not even audible audience.

1939
01:30:31,760 --> 01:30:33,680
Speaker 1: You might even be too deep now where like this

1940
01:30:33,920 --> 01:30:37,439
Speaker 1: video is not going to get monetized. I think even

1941
01:30:37,760 --> 01:30:39,080
Speaker 1: the talk about it.

1942
01:30:39,200 --> 01:30:42,320
Speaker 3: This three minutes it's Andyon's hilrious. They put the CDC

1943
01:30:42,720 --> 01:30:44,640
Speaker 3: fact check thing on all the posts, right, and then

1944
01:30:44,680 --> 01:30:46,559
Speaker 3: the CDC came out last month. It was like, yo,

1945
01:30:46,640 --> 01:30:50,680
Speaker 3: we was lying about it everything. They backtracked every you

1946
01:30:50,800 --> 01:30:52,439
Speaker 3: put something on my post that said it was facts,

1947
01:30:52,479 --> 01:30:53,920
Speaker 3: and now you're saying it's not facts. O. Listen.

1948
01:30:54,000 --> 01:30:56,160
Speaker 1: I was saying this when all of this shit was

1949
01:30:56,200 --> 01:30:57,840
Speaker 1: happening and people were killing me for it.

1950
01:30:58,600 --> 01:31:00,320
Speaker 2: Yeah, and I'm like, bro, yeah, just you.

1951
01:31:00,439 --> 01:31:04,639
Speaker 3: Yeah, because you put money bags after it. Yeah.

1952
01:31:05,160 --> 01:31:07,720
Speaker 1: I saw mall tweet something about Biden today and put

1953
01:31:07,840 --> 01:31:10,760
Speaker 1: money bags. Then five hundred You didn't think that was

1954
01:31:10,800 --> 01:31:13,000
Speaker 1: on brand? He just sent five hundred million in Ukraine.

1955
01:31:13,320 --> 01:31:14,400
Speaker 1: That deserves some money.

1956
01:31:14,360 --> 01:31:18,240
Speaker 3: Money back, the bad It is funny from all to

1957
01:31:18,320 --> 01:31:20,280
Speaker 3: be like, yo, don't get that money back.

1958
01:31:22,080 --> 01:31:23,439
Speaker 4: I mean, if you want to keep getting his money,

1959
01:31:23,439 --> 01:31:26,120
Speaker 4: don't get but we get obviously.

1960
01:31:25,800 --> 01:31:26,400
Speaker 1: Clean all that up.

1961
01:31:26,800 --> 01:31:27,559
Speaker 3: I save it for Petro.

1962
01:31:29,920 --> 01:31:33,639
Speaker 4: The deal that the deal that you made with with LVRN,

1963
01:31:35,439 --> 01:31:38,840
Speaker 4: How did because y'all are really friends, family, y'all, y'all, yah,

1964
01:31:38,920 --> 01:31:39,679
Speaker 4: y'all came up together.

1965
01:31:39,760 --> 01:31:43,720
Speaker 1: How did you feel what was the energy like? Uh

1966
01:31:44,240 --> 01:31:45,400
Speaker 1: after the deal was done?

1967
01:31:47,400 --> 01:31:48,040
Speaker 3: And how.

1968
01:31:49,760 --> 01:31:54,360
Speaker 1: From where LVRN started did you ever see it being

1969
01:31:54,520 --> 01:31:55,160
Speaker 1: what it is.

1970
01:31:56,800 --> 01:31:57,200
Speaker 4: Today?

1971
01:32:01,280 --> 01:32:05,320
Speaker 3: Yes? And no, I think that specifically. I was just

1972
01:32:06,439 --> 01:32:10,160
Speaker 3: I knew that it was going to be something that.

1973
01:32:10,240 --> 01:32:14,960
Speaker 1: I archived or I architected in my brain, but how

1974
01:32:15,000 --> 01:32:18,040
Speaker 1: it's shaped was kind of its own form I have.

1975
01:32:18,200 --> 01:32:20,479
Speaker 1: I had kind of no control over it, Like I

1976
01:32:20,640 --> 01:32:22,640
Speaker 1: knew what I was going to do was going to

1977
01:32:22,680 --> 01:32:26,240
Speaker 1: be successful, how successful or when it was going to

1978
01:32:26,320 --> 01:32:28,960
Speaker 1: be the most successful that I didn't know. It's just

1979
01:32:29,080 --> 01:32:31,160
Speaker 1: kind of just stay down, right, that was just the mentalities.

1980
01:32:31,240 --> 01:32:33,280
Speaker 1: Let's just stay down, like, let's just do the work.

1981
01:32:36,200 --> 01:32:41,640
Speaker 1: The feeling of you know, post signing deal and you

1982
01:32:41,720 --> 01:32:49,240
Speaker 1: know check clears. It's definitely like yo, I the first

1983
01:32:49,360 --> 01:32:51,280
Speaker 1: thing that I think we text each other in the

1984
01:32:51,280 --> 01:32:54,519
Speaker 1: group chats like yo, I need more of this, h

1985
01:32:55,400 --> 01:32:56,679
Speaker 1: Like I need more.

1986
01:32:57,120 --> 01:32:59,280
Speaker 3: Like we ain't even did nothing yet.

1987
01:33:00,040 --> 01:33:02,879
Speaker 1: That's crazy to say, like we haven't really.

1988
01:33:02,760 --> 01:33:06,240
Speaker 3: Done anything, Like we've been lucky a few times. Mm hmm.

1989
01:33:08,400 --> 01:33:08,599
Speaker 1: Yeah.

1990
01:33:08,800 --> 01:33:11,760
Speaker 3: Like I want a real run like I wanted them

1991
01:33:11,880 --> 01:33:13,559
Speaker 3: nasty like the Motown runs.

1992
01:33:14,280 --> 01:33:14,760
Speaker 4: It's just like.

1993
01:33:17,080 --> 01:33:21,439
Speaker 1: This Nigga event music like it's real, Like yeah, like

1994
01:33:21,520 --> 01:33:24,559
Speaker 1: I want one of them type runs. And I'm just like, okay, cool.

1995
01:33:24,680 --> 01:33:29,479
Speaker 1: Now we have the opportunity to go get cocks, you know.

1996
01:33:29,479 --> 01:33:32,479
Speaker 3: What I'm saying, Like to being the being the being

1997
01:33:32,640 --> 01:33:37,880
Speaker 3: the in the conversation of signing competitive artists, Yes, right,

1998
01:33:38,400 --> 01:33:42,120
Speaker 3: like we have to like roll all of all of

1999
01:33:42,240 --> 01:33:43,320
Speaker 3: all of our artists from nothing.

2000
01:33:44,280 --> 01:33:46,120
Speaker 1: Now it's just like we don't have to work as hard,

2001
01:33:46,160 --> 01:33:47,360
Speaker 1: not to say we don't have to work as hard,

2002
01:33:47,400 --> 01:33:49,439
Speaker 1: but we can like we can throw ourselves in the

2003
01:33:49,560 --> 01:33:53,080
Speaker 1: in the pool of you know, superstars as well with

2004
01:33:53,240 --> 01:33:53,840
Speaker 1: any one of them.

2005
01:33:54,720 --> 01:33:55,639
Speaker 2: You need one of them bad?

2006
01:33:56,280 --> 01:33:58,760
Speaker 3: What what do you think you would prefer more in

2007
01:33:58,840 --> 01:34:02,080
Speaker 3: that regard, more marketing and grabbing some of those superstars

2008
01:34:02,520 --> 01:34:05,240
Speaker 3: or starting again the way you guys did with Black

2009
01:34:05,320 --> 01:34:09,639
Speaker 3: in Summer where it's zero zero views to a billion. Yeah,

2010
01:34:09,640 --> 01:34:11,960
Speaker 3: I've already done it, So I want to just grab

2011
01:34:12,000 --> 01:34:13,639
Speaker 3: one of them. You just want to You just want

2012
01:34:13,640 --> 01:34:18,040
Speaker 3: to be the let's just buy It's hard work. Yeah,

2013
01:34:18,400 --> 01:34:18,960
Speaker 3: it's hard work.

2014
01:34:19,000 --> 01:34:23,160
Speaker 1: And you I understand like I was eighteen seventeen nineteen

2015
01:34:23,280 --> 01:34:25,280
Speaker 1: when like that was like kind of like coming up.

2016
01:34:25,640 --> 01:34:28,560
Speaker 3: Yeah, I was living it right Like now I'm just like,

2017
01:34:28,600 --> 01:34:30,880
Speaker 3: you know what I'm saying. I appreciate that honesty because

2018
01:34:30,920 --> 01:34:34,400
Speaker 3: most people, especially on a media room, and be like, yeah,

2019
01:34:34,439 --> 01:34:36,680
Speaker 3: that's that's that's the thing I love the most. Starting there,

2020
01:34:36,960 --> 01:34:39,960
Speaker 3: I watched Neil Brennan and Dave Chappelle say every question,

2021
01:34:40,120 --> 01:34:41,439
Speaker 3: would you guys do Chappelle show again?

2022
01:34:41,600 --> 01:34:41,640
Speaker 1: No?

2023
01:34:41,920 --> 01:34:45,000
Speaker 3: It was. It was hard work, Like my life was

2024
01:34:45,520 --> 01:34:47,680
Speaker 3: completely fucked up during that entire time. I don't want

2025
01:34:47,720 --> 01:34:50,240
Speaker 3: to do it again. I'll just go fucking host SNL

2026
01:34:50,720 --> 01:34:53,200
Speaker 3: DO Radio City, Like, I worked this hard so I

2027
01:34:53,240 --> 01:34:56,400
Speaker 3: would never have to do Chappelle Show again. So I

2028
01:34:56,520 --> 01:34:58,800
Speaker 3: appreciate that. Honestly, most people don't say that. They're like, nah,

2029
01:34:59,040 --> 01:35:01,800
Speaker 3: that was the worst thing ever. Yeah, it's like fucking

2030
01:35:01,960 --> 01:35:04,320
Speaker 3: ruined my life of trying to get someone from zero

2031
01:35:04,479 --> 01:35:07,680
Speaker 3: to here doing that ship again. Sharon Taco Bell right, no,

2032
01:35:08,800 --> 01:35:09,760
Speaker 3: I do no more.

2033
01:35:10,040 --> 01:35:10,280
Speaker 2: JD.

2034
01:35:10,520 --> 01:35:11,320
Speaker 4: JD told me that.

2035
01:35:11,560 --> 01:35:13,360
Speaker 3: They got the ten pack, they got the box. Yeah,

2036
01:35:13,800 --> 01:35:16,040
Speaker 3: it's nasty. Get more artists more tacos.

2037
01:35:16,800 --> 01:35:18,640
Speaker 4: JD told me that the guy that he looked up

2038
01:35:18,720 --> 01:35:21,360
Speaker 4: to was Barry Gordy. Wanted to be more. He wanted

2039
01:35:21,360 --> 01:35:23,960
Speaker 4: to be Barry Gordy, who is the the guy that

2040
01:35:24,280 --> 01:35:25,799
Speaker 4: you look to, and was like, I want.

2041
01:35:25,680 --> 01:35:26,080
Speaker 1: To do that.

2042
01:35:27,640 --> 01:35:29,639
Speaker 2: For me. There was there was a couple of people

2043
01:35:31,520 --> 01:35:34,639
Speaker 2: naturally you look at, like a Quincy Jones or Rick Rubin.

2044
01:35:34,720 --> 01:35:36,600
Speaker 2: You said, hey, you know, I.

2045
01:35:36,680 --> 01:35:39,400
Speaker 3: Love the Rick Rubin was it sixty minutes?

2046
01:35:39,560 --> 01:35:40,640
Speaker 2: Yeah, yeah, I love that.

2047
01:35:40,720 --> 01:35:42,720
Speaker 4: He was like, I don't know how to play an instrument.

2048
01:35:43,120 --> 01:35:45,360
Speaker 3: But I have taste, he said, he got vibes. That's

2049
01:35:45,360 --> 01:35:46,800
Speaker 3: really what's he said.

2050
01:35:46,960 --> 01:35:51,120
Speaker 2: I know what's good when I hear it exactly. If

2051
01:35:51,160 --> 01:35:53,400
Speaker 2: I had to pick a trajectory, it would be like

2052
01:35:53,479 --> 01:35:57,760
Speaker 2: a trajectory because of he's done everything. He's been able

2053
01:35:57,840 --> 01:36:00,960
Speaker 2: to touch a little bit of anything, from public amen

2054
01:36:01,000 --> 01:36:03,120
Speaker 2: in chrying to cash is like ill, you know what

2055
01:36:03,160 --> 01:36:07,000
Speaker 2: I mean. But then in my specific genre that I

2056
01:36:07,040 --> 01:36:11,320
Speaker 2: would become, you know that I mastered, I would say,

2057
01:36:12,120 --> 01:36:15,760
Speaker 2: you know, there's a multiple people. There's you know, there's

2058
01:36:18,000 --> 01:36:21,960
Speaker 2: the late great Chuckie Thompson, and you know Jimmy Jay

2059
01:36:22,040 --> 01:36:29,680
Speaker 2: and Terry Lewis, Babyface. You know it's it's I was

2060
01:36:29,800 --> 01:36:31,760
Speaker 2: really into the music part of it, you know what

2061
01:36:31,800 --> 01:36:38,120
Speaker 2: I mean, and looking at those people saying, yo, like, man,

2062
01:36:38,479 --> 01:36:40,640
Speaker 2: if I could just be in the same conversation of

2063
01:36:40,760 --> 01:36:43,720
Speaker 2: a you know, a Jimmy and Terry, or the same

2064
01:36:43,800 --> 01:36:46,080
Speaker 2: conversation of a you know, La and baby Face, the

2065
01:36:46,120 --> 01:36:49,439
Speaker 2: same conversation of a teddy Teddy Riley is actually he

2066
01:36:49,680 --> 01:36:52,400
Speaker 2: is the guy. He's the guy who when I was

2067
01:36:52,479 --> 01:36:56,519
Speaker 2: a kid and I didn't really I knew that producer

2068
01:36:56,640 --> 01:36:59,080
Speaker 2: was important, you know what I mean? I'm a credit reader.

2069
01:36:59,120 --> 01:37:02,519
Speaker 2: I was the personal that literally study the CD booklet,

2070
01:37:02,560 --> 01:37:04,760
Speaker 2: to study the cassette booklet, you know what I mean,

2071
01:37:04,840 --> 01:37:07,160
Speaker 2: from front to back, write the addresses down to the

2072
01:37:07,320 --> 01:37:08,160
Speaker 2: labels and all kinds.

2073
01:37:08,320 --> 01:37:08,439
Speaker 1: You know.

2074
01:37:08,840 --> 01:37:10,840
Speaker 2: I was that guy, which is why I know so

2075
01:37:10,960 --> 01:37:13,519
Speaker 2: much about you know what I know? You know what

2076
01:37:13,520 --> 01:37:19,800
Speaker 2: I mean. But Teddy was, Uh, it was like an

2077
01:37:19,840 --> 01:37:24,599
Speaker 2: atomic bomb when Teddy Riley like dropped out of nowhere,

2078
01:37:25,080 --> 01:37:27,200
Speaker 2: you know what I'm saying. Like for being from Houston,

2079
01:37:28,080 --> 01:37:29,880
Speaker 2: it felt like Teddy Wright dropped out of nowhere, you

2080
01:37:29,920 --> 01:37:31,600
Speaker 2: know what I'm saying. Where people who probably grew up

2081
01:37:31,600 --> 01:37:37,120
Speaker 2: in New York, you know, who experienced that energy becoming something,

2082
01:37:38,880 --> 01:37:40,880
Speaker 2: you know, have a different story for us, you know,

2083
01:37:41,000 --> 01:37:42,800
Speaker 2: growing up in these different regions. And another thing like

2084
01:37:42,960 --> 01:37:46,160
Speaker 2: now with the advent of social media and the music

2085
01:37:46,280 --> 01:37:50,320
Speaker 2: is not regional, you know, it's one one world, you

2086
01:37:50,360 --> 01:37:52,160
Speaker 2: know what I mean. Where you know, in the eighties

2087
01:37:52,200 --> 01:37:55,599
Speaker 2: and nineties, it's like I had to watch TV all

2088
01:37:55,720 --> 01:37:59,760
Speaker 2: day to get to you know, if I wanted to

2089
01:37:59,800 --> 01:38:02,640
Speaker 2: hear that method Man record, if I wanted to, they

2090
01:38:02,680 --> 01:38:04,559
Speaker 2: weren't playing at shit in Houston, were't playing Wu tan

2091
01:38:04,640 --> 01:38:07,120
Speaker 2: Clan on the radio. You know what I mean. You know,

2092
01:38:07,280 --> 01:38:11,320
Speaker 2: so you you you get to learn about these different

2093
01:38:11,360 --> 01:38:13,840
Speaker 2: things and develop a taste, you know what I mean,

2094
01:38:14,240 --> 01:38:16,439
Speaker 2: things you like it. Oh damn, I would have thought

2095
01:38:16,479 --> 01:38:18,880
Speaker 2: I would have liked that, like Tears for Fears. I

2096
01:38:18,880 --> 01:38:20,479
Speaker 2: wouldn't have thought that I would have liked Tears for

2097
01:38:20,560 --> 01:38:22,160
Speaker 2: Fears if I never you know, if I had to

2098
01:38:22,200 --> 01:38:25,040
Speaker 2: sit through it to get to the you know, to

2099
01:38:25,160 --> 01:38:28,479
Speaker 2: the guy video, you know what I'm saying. But so

2100
01:38:28,760 --> 01:38:31,000
Speaker 2: for me, Teddy was somebody who just it came out

2101
01:38:31,000 --> 01:38:34,040
Speaker 2: of nowhere. It felt like it was a bomb, you

2102
01:38:34,080 --> 01:38:35,960
Speaker 2: know what I mean. Groove Me came out and it

2103
01:38:36,040 --> 01:38:39,479
Speaker 2: felt like there was nothing. I was like, Maybeen came out.

2104
01:38:39,760 --> 01:38:43,800
Speaker 2: I might have been ten, ten or eleven, and I

2105
01:38:43,960 --> 01:38:46,640
Speaker 2: just remember nothing sounded like that. I remember being like

2106
01:38:48,240 --> 01:38:50,599
Speaker 2: the ship was the ship was hip hop, the ship

2107
01:38:50,840 --> 01:38:53,200
Speaker 2: was church. The ship was like the Gap band. It

2108
01:38:53,280 --> 01:38:55,720
Speaker 2: was funky, it was you know what I mean, it's

2109
01:38:55,840 --> 01:38:58,360
Speaker 2: Teddy playing the key tard niggas got the jewelry on.

2110
01:38:58,920 --> 01:39:02,000
Speaker 2: Understanding what Harlem is now, you know what I'm saying.

2111
01:39:02,000 --> 01:39:04,720
Speaker 2: At that time, I didn't know what that was. I

2112
01:39:04,880 --> 01:39:07,360
Speaker 2: just was like, yo, what is this?

2113
01:39:07,720 --> 01:39:09,599
Speaker 3: You know what I mean lifestyle, not just a producer.

2114
01:39:11,000 --> 01:39:13,760
Speaker 2: Came with a look everything. It was crazy, like what

2115
01:39:14,000 --> 01:39:17,439
Speaker 2: is is it? Not that I know it's Harlem. I

2116
01:39:17,479 --> 01:39:19,760
Speaker 2: know that now it's uptown, but at the time it's

2117
01:39:19,800 --> 01:39:24,679
Speaker 2: like like waiting for the video anything that Teddy, anything

2118
01:39:24,720 --> 01:39:27,160
Speaker 2: that had Teddy Riley on it, anything, and then got

2119
01:39:27,200 --> 01:39:30,839
Speaker 2: stand Like I said about remixes, like I became obsessed

2120
01:39:30,840 --> 01:39:33,560
Speaker 2: with remixes because of Teddy Riley because it was like

2121
01:39:34,600 --> 01:39:37,280
Speaker 2: you was like you you'd hear a song and back

2122
01:39:37,320 --> 01:39:38,720
Speaker 2: in those days, you knew Teddy was going to do

2123
01:39:38,760 --> 01:39:41,320
Speaker 2: a remix, like he was like the you know, he

2124
01:39:41,479 --> 01:39:43,280
Speaker 2: was the guy. He knew that there was gonna be

2125
01:39:43,280 --> 01:39:45,400
Speaker 2: a new Jacksoning remix coming, you know what I'm saying.

2126
01:39:45,960 --> 01:39:48,240
Speaker 2: And I'd be I was obsessed with it, like I

2127
01:39:48,439 --> 01:39:51,120
Speaker 2: was just I was completely an amber with what Teddy

2128
01:39:51,240 --> 01:39:54,040
Speaker 2: Riley was doing, you know what I mean. And he's

2129
01:39:54,080 --> 01:39:55,799
Speaker 2: the reason why I am a producer.

2130
01:39:57,560 --> 01:40:00,600
Speaker 3: If Virginia is allowed to claim Teddy, let's do a

2131
01:40:00,640 --> 01:40:04,840
Speaker 3: city versus producers, Virginia as a state versus Georgia as.

2132
01:40:04,720 --> 01:40:07,040
Speaker 2: A state, because because he brought he brought the economy there,

2133
01:40:08,000 --> 01:40:08,880
Speaker 2: it would not be I.

2134
01:40:08,920 --> 01:40:10,760
Speaker 3: Think why I bring up Virginia, not like a New

2135
01:40:10,800 --> 01:40:13,960
Speaker 3: York or la is. Virginia to me is probably the

2136
01:40:14,040 --> 01:40:15,200
Speaker 3: best the state went.

2137
01:40:15,920 --> 01:40:17,160
Speaker 2: The richness of talent.

2138
01:40:17,880 --> 01:40:23,000
Speaker 3: It's crazy Georgia versus Virginia producers in a verses.

2139
01:40:23,120 --> 01:40:27,719
Speaker 2: In a versus who takes it? Yeah, Georgia.

2140
01:40:28,600 --> 01:40:31,360
Speaker 3: I don't know, man, I think, I think, I think Virginia.

2141
01:40:31,479 --> 01:40:35,040
Speaker 3: I'm talking about dog It might get down the song.

2142
01:40:35,240 --> 01:40:40,000
Speaker 2: Dallas Austin, these people no disrespect to anybody, with all

2143
01:40:40,120 --> 01:40:42,360
Speaker 2: legends and I love all of them. Was one of

2144
01:40:42,400 --> 01:40:44,160
Speaker 2: my favorite people. And what Timberland is one of my

2145
01:40:44,560 --> 01:40:47,320
Speaker 2: He changed the game, you know what I mean, Mitch.

2146
01:40:47,439 --> 01:40:53,080
Speaker 2: But I'm saying we have to a lot of those

2147
01:40:53,400 --> 01:40:56,880
Speaker 2: guys wouldn't exist if it wasn't for Dallas Austin. You

2148
01:40:56,960 --> 01:41:01,720
Speaker 2: know what I'm saying, Teddy Riley, Dallas, Jermaine Dupree. You know,

2149
01:41:01,760 --> 01:41:03,960
Speaker 2: I mean, like a lot of this ship wouldn't even

2150
01:41:04,040 --> 01:41:06,280
Speaker 2: happen for Dallas. Really like y'all just don't get the

2151
01:41:06,320 --> 01:41:08,680
Speaker 2: credit he's supposed to get because Dallas is he was

2152
01:41:08,720 --> 01:41:14,200
Speaker 2: a rock star. Wage doesn't organized noise, you know what

2153
01:41:14,240 --> 01:41:14,479
Speaker 2: I mean.

2154
01:41:14,960 --> 01:41:17,200
Speaker 3: Like, but also the reason why I say Georgia is

2155
01:41:17,200 --> 01:41:20,920
Speaker 3: that because it keeps going today. Yeah, very very much.

2156
01:41:20,960 --> 01:41:24,320
Speaker 3: So like Metro was outside, was outside, you know what

2157
01:41:24,360 --> 01:41:24,599
Speaker 3: I mean?

2158
01:41:24,680 --> 01:41:28,600
Speaker 2: Yeah, yeah, like yeah, it's it's it's it's to me,

2159
01:41:28,760 --> 01:41:32,200
Speaker 2: it's no, it's no. And now Miss Elliott lives where

2160
01:41:33,240 --> 01:41:33,920
Speaker 2: in Marietta.

2161
01:41:34,240 --> 01:41:35,160
Speaker 4: Yeah, you know what I mean.

2162
01:41:35,360 --> 01:41:41,479
Speaker 2: Like Little John, I mean little little John.

2163
01:41:42,240 --> 01:41:44,080
Speaker 3: It's deep man, very deep.

2164
01:41:44,160 --> 01:41:46,880
Speaker 4: I saw a little John d J and j DJ.

2165
01:41:47,280 --> 01:41:50,240
Speaker 2: I mean it's deep. Atlanta's George is deep.

2166
01:41:50,439 --> 01:41:53,720
Speaker 3: It is Georgia. It pains me being from up here

2167
01:41:53,800 --> 01:41:56,800
Speaker 3: to have to give you guys the flowers that you deserve.

2168
01:41:56,840 --> 01:42:01,839
Speaker 3: Atlanta might be the greatest music city in history. Detroit

2169
01:42:01,880 --> 01:42:05,320
Speaker 3: you could definitely put because Detroit put. I don't think

2170
01:42:05,520 --> 01:42:09,639
Speaker 3: anything really compares to what moder and modern music. Yes,

2171
01:42:10,160 --> 01:42:12,560
Speaker 3: but not even because it's been so long, not just

2172
01:42:12,680 --> 01:42:17,600
Speaker 3: modern before that, just Atlanta has been everything. Atlanta is

2173
01:42:17,640 --> 01:42:20,960
Speaker 3: losing the ball a little bit. Yeah, and to who

2174
01:42:21,040 --> 01:42:22,920
Speaker 3: though I don't want to dive into that. Yeah, I

2175
01:42:22,960 --> 01:42:25,040
Speaker 3: don't think Atlanta's losing the ball. It's just such a

2176
01:42:25,160 --> 01:42:28,040
Speaker 3: wide market now that these new artists that come out,

2177
01:42:28,200 --> 01:42:31,120
Speaker 3: you're like, they're from where. Because of the Internet, you

2178
01:42:31,240 --> 01:42:33,639
Speaker 3: can be from the most random town on Earth and pop,

2179
01:42:34,160 --> 01:42:36,920
Speaker 3: whereas before so much was focused on major markets.

2180
01:42:36,960 --> 01:42:38,439
Speaker 2: You had to go to the market. You had to

2181
01:42:38,479 --> 01:42:39,960
Speaker 2: go to New York, you had to go to la

2182
01:42:40,040 --> 01:42:40,960
Speaker 2: you had to go to Atlanta.

2183
01:42:41,200 --> 01:42:42,720
Speaker 3: So I don't think it's got some in the water

2184
01:42:42,840 --> 01:42:45,439
Speaker 3: right now, man, they are. I mean your GotY is

2185
01:42:45,479 --> 01:42:47,439
Speaker 3: one of the best executive water right now. Like I'm

2186
01:42:47,439 --> 01:42:49,799
Speaker 3: not going to hold you like Landa's quiet.

2187
01:42:50,960 --> 01:42:51,680
Speaker 4: But why do you say that?

2188
01:42:51,680 --> 01:42:53,559
Speaker 3: Why do you feel like, I mean, twenty seven did album.

2189
01:42:54,520 --> 01:42:57,400
Speaker 1: I mean, yeah, we know our mainstays, but again it's

2190
01:42:57,400 --> 01:43:00,880
Speaker 1: Atlanta is like like known for having a hot one

2191
01:43:00,920 --> 01:43:01,439
Speaker 1: every summer.

2192
01:43:01,800 --> 01:43:06,880
Speaker 3: M hmm, we ain't have one in a while. Interesting, yeah, yeah, And.

2193
01:43:06,880 --> 01:43:08,960
Speaker 1: I hate to say this on camera because like I'm

2194
01:43:09,000 --> 01:43:11,000
Speaker 1: rapping Atlanta, but I have been thinking about it. I'm like, yo,

2195
01:43:11,160 --> 01:43:13,200
Speaker 1: like no, but it's but it's it's good that you

2196
01:43:13,280 --> 01:43:15,360
Speaker 1: say that, because one, I mean, like we go back

2197
01:43:15,439 --> 01:43:18,360
Speaker 1: to people that have to that can say that would

2198
01:43:18,400 --> 01:43:19,160
Speaker 1: have to be somebody like you.

2199
01:43:19,320 --> 01:43:21,920
Speaker 4: It's really like making the music and really from the city.

2200
01:43:22,479 --> 01:43:24,439
Speaker 4: So if you feel like that, I want to know why.

2201
01:43:24,720 --> 01:43:27,040
Speaker 4: And if you're saying like because you haven't had one

2202
01:43:27,479 --> 01:43:29,479
Speaker 4: of those summers in a while as each of them

2203
01:43:29,560 --> 01:43:30,720
Speaker 4: as far as new artists.

2204
01:43:30,439 --> 01:43:33,360
Speaker 3: Like new artists like the future.

2205
01:43:34,640 --> 01:43:36,960
Speaker 4: Talking about the new waves. Yeah, what's the new wave?

2206
01:43:38,640 --> 01:43:43,600
Speaker 1: I mean, like I thunk with Baby Drill, like I like,

2207
01:43:43,720 --> 01:43:46,519
Speaker 1: I like some of the new guys, like that's coming,

2208
01:43:46,640 --> 01:43:48,080
Speaker 1: but like I don't know.

2209
01:43:49,560 --> 01:43:52,560
Speaker 3: If it's going to go all the way. That's you

2210
01:43:52,640 --> 01:43:54,599
Speaker 3: know I'm saying, like Baby Drills would make me officially

2211
01:43:54,600 --> 01:44:00,960
Speaker 3: feel old. Yeah. Really, it's one of the biggest records,

2212
01:44:00,960 --> 01:44:02,559
Speaker 3: and I just I don't get it. I just don't

2213
01:44:02,600 --> 01:44:05,559
Speaker 3: get it. But I just don't get it. But again again,

2214
01:44:05,760 --> 01:44:08,120
Speaker 3: even things I didn't like, I understood why they would

2215
01:44:08,320 --> 01:44:10,840
Speaker 3: pop this. I just don't. Let me don't know. Let

2216
01:44:10,880 --> 01:44:13,559
Speaker 3: me tell you why. It says more about me not him.

2217
01:44:14,200 --> 01:44:17,200
Speaker 1: Actually actually, mall, I just thought about it, and I

2218
01:44:17,400 --> 01:44:22,519
Speaker 1: know why because we haven't as much as we have

2219
01:44:22,640 --> 01:44:27,439
Speaker 1: new artists, we haven't had like new super producers yet,

2220
01:44:28,080 --> 01:44:30,720
Speaker 1: like like atl Jacob like has like has like a

2221
01:44:30,880 --> 01:44:33,439
Speaker 1: very strong way right now. But I love Yeah, but

2222
01:44:33,760 --> 01:44:37,000
Speaker 1: I think that like the presence in the celebrity around

2223
01:44:37,080 --> 01:44:38,680
Speaker 1: him hasn't really caught up to like, you know, what

2224
01:44:38,800 --> 01:44:43,000
Speaker 1: he's actually done, which as versus like when Landa when

2225
01:44:43,000 --> 01:44:45,519
Speaker 1: we kept one every summer. It usually came from either

2226
01:44:45,920 --> 01:44:48,720
Speaker 1: a really hot label or really hot producer. And I

2227
01:44:48,760 --> 01:44:52,160
Speaker 1: don't think that like we figured out a way to

2228
01:44:52,320 --> 01:44:53,880
Speaker 1: kind of get back into that groove, like you know

2229
01:44:53,880 --> 01:44:55,600
Speaker 1: what I'm saying, Like when south Side was moving, what

2230
01:44:55,640 --> 01:44:57,000
Speaker 1: I'm saying, he gave us what he was given us

2231
01:44:57,040 --> 01:44:59,280
Speaker 1: Metros given, you know what I'm saying, Like it was

2232
01:44:59,400 --> 01:45:03,000
Speaker 1: like you know, Mike, like we always kept one the chamber.

2233
01:45:03,240 --> 01:45:07,479
Speaker 1: We don't really have a young you know, as versus

2234
01:45:07,560 --> 01:45:10,040
Speaker 1: in Memphis, they got a few of them. Like take

2235
01:45:10,120 --> 01:45:14,400
Speaker 1: Keith is still like bringing him out was the guy

2236
01:45:14,400 --> 01:45:15,720
Speaker 1: who did the glorals.

2237
01:45:15,520 --> 01:45:18,800
Speaker 3: H kid guy. Yeah he hard, you know what I'm saying,

2238
01:45:19,080 --> 01:45:22,000
Speaker 3: Like Memphis caught they got something right now.

2239
01:45:22,040 --> 01:45:24,200
Speaker 4: Yeah, they gotta, They gotta way. They definitely have an

2240
01:45:24,560 --> 01:45:27,679
Speaker 4: opportunity to the next few years.

2241
01:45:27,880 --> 01:45:29,960
Speaker 3: Can be there for sure and stay we can stay

2242
01:45:29,960 --> 01:45:32,639
Speaker 3: in the versus category. I don't want to do your

2243
01:45:32,680 --> 01:45:36,599
Speaker 3: catalog for someone else. I want your catalog to battle itself.

2244
01:45:37,640 --> 01:45:40,559
Speaker 3: Circle Marquis Houston versus Pressure are Lennox.

2245
01:45:41,680 --> 01:45:50,639
Speaker 2: Wow, I'm gonna go with the I'm gonna go Pressure

2246
01:45:52,200 --> 01:45:57,519
Speaker 2: Why because it was unexpected. It was a record that

2247
01:45:59,120 --> 01:46:03,000
Speaker 2: I feel like circle I was in a stride that

2248
01:46:03,240 --> 01:46:06,200
Speaker 2: then I had a proper sound, and anybody who had

2249
01:46:07,600 --> 01:46:12,160
Speaker 2: caught any WHI that sound at that time had a hit.

2250
01:46:12,320 --> 01:46:14,680
Speaker 2: You know what I'm saying. I think Pressure kind of

2251
01:46:14,720 --> 01:46:17,559
Speaker 2: came out of nowhere. It was like, you know, Ari

2252
01:46:17,680 --> 01:46:20,680
Speaker 2: Lynx with this single and it goes gold and it

2253
01:46:20,760 --> 01:46:24,519
Speaker 2: was like her first certification, her first top ten record.

2254
01:46:24,640 --> 01:46:26,599
Speaker 2: I think I just think that there was a lot

2255
01:46:26,640 --> 01:46:28,000
Speaker 2: of first with that, you know what I mean?

2256
01:46:28,240 --> 01:46:31,080
Speaker 3: I like Pressure from an optic standpoint, because it was

2257
01:46:31,120 --> 01:46:32,760
Speaker 3: like a slow build. When was the last time you

2258
01:46:32,840 --> 01:46:35,120
Speaker 3: had a slow build on a watching one record?

2259
01:46:35,160 --> 01:46:35,800
Speaker 2: You watched to grow?

2260
01:46:36,000 --> 01:46:38,280
Speaker 3: Because now sh it just hits like one day it's

2261
01:46:38,280 --> 01:46:40,000
Speaker 3: had one hundred thousand views, then it's had one billion

2262
01:46:40,000 --> 01:46:43,880
Speaker 3: the next day. It's like, let's get married, verse don't

2263
01:46:43,920 --> 01:46:44,599
Speaker 3: forget about us.

2264
01:46:45,320 --> 01:46:48,320
Speaker 2: M Oh yeah, damn, that's tough.

2265
01:46:48,600 --> 01:46:49,040
Speaker 4: It gotta be.

2266
01:46:49,120 --> 01:46:51,640
Speaker 3: Let's get married though. Mm hm, that's a that's a

2267
01:46:51,760 --> 01:46:52,559
Speaker 3: wedding anthem.

2268
01:46:52,880 --> 01:46:53,720
Speaker 2: We don't forget about it.

2269
01:46:53,880 --> 01:46:55,160
Speaker 4: Me niggas get married every day.

2270
01:46:55,880 --> 01:47:00,120
Speaker 3: Yeah you do, Like they coming out, let's get married, and.

2271
01:47:00,120 --> 01:47:03,920
Speaker 2: Let's get married because you're right, culturally, it's gonna it's gonna,

2272
01:47:04,040 --> 01:47:05,080
Speaker 2: it's gonna.

2273
01:47:07,520 --> 01:47:10,320
Speaker 3: Oh, I'm I'm I'm like a Mariah stand So I'm

2274
01:47:10,400 --> 01:47:13,360
Speaker 3: staying with Maria. I'm with you to don't forget about us.

2275
01:47:13,360 --> 01:47:16,680
Speaker 3: It doesn't matter when it is where it is, all right.

2276
01:47:18,560 --> 01:47:24,000
Speaker 3: Confessions Part two verse burn mm hmm, and I have

2277
01:47:24,080 --> 01:47:27,320
Speaker 3: a follow up, Confessions one verse Confessions to.

2278
01:47:27,520 --> 01:47:29,360
Speaker 2: Okay, so for me, it's burn out of the first

2279
01:47:30,760 --> 01:47:31,639
Speaker 2: I'm with you first one.

2280
01:47:31,720 --> 01:47:33,000
Speaker 3: Burn is one of my favorite army.

2281
01:47:33,479 --> 01:47:36,000
Speaker 2: It's so hard, you know what I mean? Confession is

2282
01:47:36,040 --> 01:47:38,800
Speaker 2: hard because she was hard might be one of the

2283
01:47:38,840 --> 01:47:42,639
Speaker 2: greatest R and B song is just a special writing

2284
01:47:42,960 --> 01:47:46,040
Speaker 2: like written, you know what I'm saying. It's just that

2285
01:47:46,400 --> 01:47:48,240
Speaker 2: it's just to me. It's it's a special. It's just

2286
01:47:48,960 --> 01:47:49,840
Speaker 2: it's more special to me.

2287
01:47:50,520 --> 01:47:52,400
Speaker 3: Was that a metaphor and a chick that maybe burnt

2288
01:47:52,439 --> 01:47:52,840
Speaker 3: you that week?

2289
01:47:53,040 --> 01:47:57,559
Speaker 4: Or asking the man if you got burned.

2290
01:47:59,240 --> 01:48:02,000
Speaker 3: Coork while we're in the middle of a versus?

2291
01:48:02,439 --> 01:48:02,800
Speaker 2: I get it.

2292
01:48:03,040 --> 01:48:03,400
Speaker 3: I get it.

2293
01:48:03,800 --> 01:48:08,439
Speaker 2: Confessions Confessions to. I gotta go with Confessions to, even

2294
01:48:08,479 --> 01:48:12,559
Speaker 2: though we wouldn't get Confessions to without the story. Confessions one.

2295
01:48:12,960 --> 01:48:15,439
Speaker 2: Confession's one is funny because how didn't even happen? Was

2296
01:48:17,000 --> 01:48:19,280
Speaker 2: I had to go to the dentist, and Jermaine had

2297
01:48:19,800 --> 01:48:22,320
Speaker 2: was having writer's block. So while I'm at the dinnist

2298
01:48:22,360 --> 01:48:25,840
Speaker 2: getting my teeth board, he's driving around l A trying to,

2299
01:48:26,720 --> 01:48:29,439
Speaker 2: you know, see some ship and he said he saw

2300
01:48:29,479 --> 01:48:34,360
Speaker 2: the Beverly Singer sign and was like, I'm gonna run

2301
01:48:34,400 --> 01:48:38,000
Speaker 2: a song about that. Then we get back to I'm

2302
01:48:38,040 --> 01:48:39,599
Speaker 2: thinking I'm getting my teeth pull to go right back

2303
01:48:39,600 --> 01:48:41,080
Speaker 2: to the studio. Didn't realize I was gonna be out

2304
01:48:41,120 --> 01:48:44,960
Speaker 2: for like three hours, four hours. So I'm taking bike

2305
01:48:45,000 --> 01:48:49,160
Speaker 2: and popping biking in go to the studio with him,

2306
01:48:49,400 --> 01:48:50,400
Speaker 2: and he's taking.

2307
01:48:54,479 --> 01:48:55,240
Speaker 3: Writing anything.

2308
01:48:56,720 --> 01:48:58,240
Speaker 2: And we go to the studio and we start this

2309
01:48:58,360 --> 01:49:04,040
Speaker 2: process and literally like the whole story came, came, just came,

2310
01:49:04,120 --> 01:49:08,200
Speaker 2: but just us talking. And then I ended up singing

2311
01:49:08,240 --> 01:49:11,400
Speaker 2: the demo with Greg Gows in my mouth how a

2312
01:49:11,479 --> 01:49:13,120
Speaker 2: Viking in Wow?

2313
01:49:13,200 --> 01:49:15,719
Speaker 3: Do you still have that? Do you still have the demo?

2314
01:49:16,320 --> 01:49:19,920
Speaker 2: Oh? Yeah, demos? We have the demos, every demo, I

2315
01:49:20,040 --> 01:49:21,280
Speaker 2: was saying for Usher, I still have.

2316
01:49:22,360 --> 01:49:26,479
Speaker 3: Was there any type of marketing in you and JD's

2317
01:49:27,160 --> 01:49:31,519
Speaker 3: brains when writing Confessions obviously with the Usher and everything

2318
01:49:31,560 --> 01:49:35,160
Speaker 3: that was going on. No, really, we didn't really a

2319
01:49:35,200 --> 01:49:35,920
Speaker 3: happy accident.

2320
01:49:36,160 --> 01:49:37,960
Speaker 2: Yeah, it was an accident. But let me tell you

2321
01:49:38,040 --> 01:49:43,160
Speaker 2: what Confessions two was really about. It was R Kelly

2322
01:49:43,200 --> 01:49:47,080
Speaker 2: had Ignition. Yeah, so Ignition one had came you know,

2323
01:49:48,280 --> 01:49:51,479
Speaker 2: there was a teaser of Ignition one at the right.

2324
01:49:52,000 --> 01:49:54,000
Speaker 2: Oh no, I'm sorry, I'm sorry. Ignition came out the

2325
01:49:54,160 --> 01:49:56,720
Speaker 2: first version, right, and at the end of Ignition one

2326
01:49:57,520 --> 01:49:59,280
Speaker 2: he teases Ignition too.

2327
01:49:59,560 --> 01:49:59,760
Speaker 3: Yeah.

2328
01:50:00,120 --> 01:50:01,760
Speaker 2: So this back in the day, we would still get

2329
01:50:01,760 --> 01:50:04,040
Speaker 2: twelve inch singles with the record pool. So we got

2330
01:50:04,080 --> 01:50:06,360
Speaker 2: the record pool and we're like, of course, you know,

2331
01:50:06,720 --> 01:50:08,960
Speaker 2: I mean, I know, I know, it's not you know,

2332
01:50:11,080 --> 01:50:12,960
Speaker 2: I mean R Kelly. We know that he was that nigga,

2333
01:50:13,080 --> 01:50:15,280
Speaker 2: So it's not you know, I get it, you know,

2334
01:50:16,160 --> 01:50:21,160
Speaker 2: and we don't want to you know, this whole conversation

2335
01:50:21,240 --> 01:50:23,920
Speaker 2: about R and B what I mentioned him, but this

2336
01:50:24,080 --> 01:50:29,160
Speaker 2: particular you know situation, we have to acknowledge he was.

2337
01:50:29,240 --> 01:50:32,719
Speaker 2: He was moving a needle right in Ignition was popping

2338
01:50:32,800 --> 01:50:36,639
Speaker 2: exact he was the needle. And at the end, when

2339
01:50:36,760 --> 01:50:42,040
Speaker 2: you had the previous of the remix, like we were

2340
01:50:42,200 --> 01:50:46,320
Speaker 2: waiting for that, it was waiting for what part two

2341
01:50:46,400 --> 01:50:48,840
Speaker 2: was going to sound like. And then he puts out

2342
01:50:48,840 --> 01:50:52,519
Speaker 2: part two and it was blowing up. So I know

2343
01:50:52,680 --> 01:50:54,679
Speaker 2: that for us, we felt like the story wasn't finished

2344
01:50:55,360 --> 01:50:56,320
Speaker 2: and we were like, well, how are we going to

2345
01:50:56,360 --> 01:50:57,679
Speaker 2: finish the story? It was like, well, I mean, shit,

2346
01:50:57,760 --> 01:51:00,920
Speaker 2: R Kelly, is the part two. Let's let's right part too, you.

2347
01:51:00,960 --> 01:51:04,479
Speaker 3: Know what I mean. I never even really put that comparison. So,

2348
01:51:04,800 --> 01:51:06,679
Speaker 3: and it's kind of the same thing where Ignition Remix

2349
01:51:06,880 --> 01:51:12,000
Speaker 3: is the one and people kind of forgot Ignition and Confessions.

2350
01:51:12,040 --> 01:51:14,719
Speaker 3: Even though I like part one better, most people don't.

2351
01:51:16,920 --> 01:51:17,800
Speaker 2: It's a better song.

2352
01:51:18,200 --> 01:51:19,400
Speaker 3: It's to me, it's just a better song.

2353
01:51:19,400 --> 01:51:21,519
Speaker 2: It's a better song lyrically, I think story wider.

2354
01:51:22,479 --> 01:51:25,880
Speaker 3: Courses and yeah, yes, weird. I'll never even put those

2355
01:51:25,920 --> 01:51:26,599
Speaker 3: two and two together.

2356
01:51:26,760 --> 01:51:29,280
Speaker 2: And so we like part two and then I'm like,

2357
01:51:29,360 --> 01:51:31,000
Speaker 2: what's part two gonna be about? And he starts telling

2358
01:51:31,040 --> 01:51:33,679
Speaker 2: me the story that, yeah, the baby. I don't realize

2359
01:51:33,720 --> 01:51:38,840
Speaker 2: that why he was so uh excited about the story

2360
01:51:38,960 --> 01:51:41,439
Speaker 2: because he it was his story, you know what I mean.

2361
01:51:41,560 --> 01:51:42,840
Speaker 2: So he's telling me the story. I'm like, this is

2362
01:51:42,840 --> 01:51:44,599
Speaker 2: coming out of your head, just right on the top

2363
01:51:44,640 --> 01:51:46,679
Speaker 2: of your dome. But no, but it's really something that happened.

2364
01:51:47,360 --> 01:51:49,640
Speaker 2: So he and he told me the story. He told

2365
01:51:49,680 --> 01:51:51,840
Speaker 2: me the actual story about how he found out about,

2366
01:51:52,680 --> 01:51:56,000
Speaker 2: you know, his daughter, and like, you know, his daughter's

2367
01:51:56,080 --> 01:51:58,360
Speaker 2: mother put the first certificate and the pictures in the

2368
01:51:58,880 --> 01:52:01,800
Speaker 2: in the mailbox and his mom went to go check

2369
01:52:01,840 --> 01:52:03,800
Speaker 2: the mailbox and he's in the pool, kind of chilling.

2370
01:52:04,000 --> 01:52:05,680
Speaker 2: I was drinking the corona in the pool. I must

2371
01:52:05,720 --> 01:52:07,960
Speaker 2: have dozed off and then the pool you know how

2372
01:52:08,400 --> 01:52:10,240
Speaker 2: you're gonna float, and the float hits the edge of

2373
01:52:10,240 --> 01:52:11,920
Speaker 2: the pool. He looks up and his mom and stand

2374
01:52:11,960 --> 01:52:14,960
Speaker 2: Up'm like, yo, what is this? And it's like envelope

2375
01:52:15,000 --> 01:52:15,840
Speaker 2: with pictures and.

2376
01:52:19,600 --> 01:52:21,919
Speaker 1: Laying in your pool, pink flamingo.

2377
01:52:22,040 --> 01:52:25,120
Speaker 3: Yeah, look up fir certificate.

2378
01:52:25,600 --> 01:52:27,519
Speaker 2: So and so he's telling me this. He tells me

2379
01:52:27,600 --> 01:52:29,840
Speaker 2: the whole story, and I'm just like damn, you know,

2380
01:52:29,920 --> 01:52:32,240
Speaker 2: and he's like, I got the story, so I live.

2381
01:52:32,280 --> 01:52:34,599
Speaker 2: That song came so fast, Like that song came.

2382
01:52:34,520 --> 01:52:35,240
Speaker 4: Fast after that.

2383
01:52:37,120 --> 01:52:39,040
Speaker 1: Birth certificate from a girl saying she just had your.

2384
01:52:41,040 --> 01:52:41,759
Speaker 4: That's crazy.

2385
01:52:41,880 --> 01:52:46,120
Speaker 2: That song came so quick. So you know, you know,

2386
01:52:46,600 --> 01:52:49,400
Speaker 2: I like confession too because of energy. It's just so

2387
01:52:49,479 --> 01:52:51,280
Speaker 2: much energy behind it. And we see that, we see

2388
01:52:51,280 --> 01:52:51,559
Speaker 2: it live.

2389
01:52:51,640 --> 01:52:54,920
Speaker 4: It's like, yeah, I gotta I gotta catch ship in Vegas.

2390
01:52:55,400 --> 01:52:57,840
Speaker 4: I have to really definitely gonna do that. Who has

2391
01:52:57,920 --> 01:53:00,240
Speaker 4: the bigger fumble? Liddell or j D?

2392
01:53:01,880 --> 01:53:02,120
Speaker 2: Linda.

2393
01:53:02,280 --> 01:53:03,320
Speaker 3: That's a great.

2394
01:53:04,800 --> 01:53:05,120
Speaker 1: Lidell.

2395
01:53:05,920 --> 01:53:11,040
Speaker 6: Lindall is a great, the biggest, the biggest, biggest.

2396
01:53:12,000 --> 01:53:14,320
Speaker 2: Oh man, this is this is a this is hard.

2397
01:53:16,400 --> 01:53:19,680
Speaker 2: It's not j D still j D Linda definitely.

2398
01:53:21,120 --> 01:53:25,280
Speaker 1: Linda is not the is going crazy, is going crazy.

2399
01:53:25,439 --> 01:53:29,680
Speaker 2: I'm laughing because we always there's always a joke, you know,

2400
01:53:29,760 --> 01:53:33,360
Speaker 2: there's always a joke about you know, Jamaine and Janet, everybody,

2401
01:53:33,360 --> 01:53:36,080
Speaker 2: you know, we we always joke about it. But yeah,

2402
01:53:36,160 --> 01:53:38,200
Speaker 2: Lindall definitely had the biggest fumble. I mean, look, I

2403
01:53:38,240 --> 01:53:42,599
Speaker 2: mean there's no question he I mean, that's terrible super

2404
01:53:42,640 --> 01:53:46,080
Speaker 2: Bowl for he had the biggest fumble ever. It's we

2405
01:53:46,160 --> 01:53:48,200
Speaker 2: love you and it's history like it would be wondering

2406
01:53:48,200 --> 01:53:51,240
Speaker 2: if you fumbled it and nobody could google it, like

2407
01:53:51,360 --> 01:53:55,040
Speaker 2: you could google the fumble. Watch the history is terrible.

2408
01:53:55,240 --> 01:53:56,240
Speaker 4: And at least j D.

2409
01:53:56,760 --> 01:53:58,519
Speaker 1: It was good to see him in the Janet doc.

2410
01:53:59,080 --> 01:54:02,080
Speaker 4: Like they still know they they tell me it was

2411
01:54:02,240 --> 01:54:05,200
Speaker 4: he was to be fumbled. But we're still friends though.

2412
01:54:05,200 --> 01:54:08,600
Speaker 2: And really, you know, you let them tell it. It

2413
01:54:08,760 --> 01:54:12,760
Speaker 2: was really this time, Like if you if you really

2414
01:54:12,800 --> 01:54:15,080
Speaker 2: look at the story, it's really time like she's off

2415
01:54:15,160 --> 01:54:17,559
Speaker 2: doing what she's doing. He's off being Jermaine Duprie because

2416
01:54:17,600 --> 01:54:18,920
Speaker 2: he was he was Jermaine Dupris.

2417
01:54:19,000 --> 01:54:19,960
Speaker 3: Absolutely, you know what I mean.

2418
01:54:20,760 --> 01:54:23,040
Speaker 2: You got to find that time to try to you know,

2419
01:54:23,080 --> 01:54:24,720
Speaker 2: it's hard and it's hard to do that ship when

2420
01:54:24,720 --> 01:54:28,559
Speaker 2: we like when y'all both are like super successful hardsh we.

2421
01:54:28,600 --> 01:54:32,080
Speaker 3: All have that one homeboy that lies to his friends

2422
01:54:32,160 --> 01:54:33,640
Speaker 3: that like, yo, she's feeling me, Like I think this

2423
01:54:33,760 --> 01:54:35,960
Speaker 3: girl likes me. When Jermaine came to y'all was like, yo,

2424
01:54:36,000 --> 01:54:38,200
Speaker 3: I think j Jackson is feeling me. Was actually did

2425
01:54:38,280 --> 01:54:39,000
Speaker 3: y'all laugh at him?

2426
01:54:39,280 --> 01:54:40,120
Speaker 2: I was actually there.

2427
01:54:40,160 --> 01:54:40,920
Speaker 3: I was. I was.

2428
01:54:41,080 --> 01:54:42,560
Speaker 2: I was there when it had to.

2429
01:54:42,560 --> 01:54:44,400
Speaker 3: Be like, no, she probably just wants to work with you.

2430
01:54:44,720 --> 01:54:46,880
Speaker 2: No, no, no, no, you don't know what I'm saying.

2431
01:54:46,960 --> 01:54:49,880
Speaker 2: We would me and Jermaine did a remix for someone

2432
01:54:49,920 --> 01:54:54,520
Speaker 2: to call my lover, right, And like I said, remix

2433
01:54:54,600 --> 01:54:56,200
Speaker 2: business was a thing. I mean we you know, they

2434
01:54:56,240 --> 01:55:01,600
Speaker 2: flew us to La you know, we was Larabie. We

2435
01:55:01,680 --> 01:55:03,240
Speaker 2: have Blarie booked out for three days, you know what

2436
01:55:03,240 --> 01:55:08,240
Speaker 2: I mean. So I remember the first day after the studio,

2437
01:55:08,240 --> 01:55:11,040
Speaker 2: I got to early too, like eleven thirty, and me

2438
01:55:11,160 --> 01:55:15,720
Speaker 2: and an engineer got Brian Fry just waiting waiting Jamaine.

2439
01:55:15,840 --> 01:55:20,160
Speaker 2: Pull up. I'll go by two hours, go by, three hours,

2440
01:55:20,200 --> 01:55:23,080
Speaker 2: go by, No Jamaine, you know what I mean. You know,

2441
01:55:23,280 --> 01:55:27,080
Speaker 2: nobody get him on the phone whatever. Whatever. So I'm like, well,

2442
01:55:27,160 --> 01:55:30,680
Speaker 2: let's start something, you know what I mean. She started.

2443
01:55:30,720 --> 01:55:32,960
Speaker 2: I started dealing around some chords or whatever. We listened to.

2444
01:55:33,040 --> 01:55:34,840
Speaker 2: We listened to the Master, and we kept we kept

2445
01:55:34,880 --> 01:55:36,640
Speaker 2: a few things that that was on the Master. And

2446
01:55:36,760 --> 01:55:41,600
Speaker 2: Jamaine comes and let me start working. And I go

2447
01:55:42,160 --> 01:55:43,720
Speaker 2: to the bathroom, going to the bathroom, you know, walk

2448
01:55:43,760 --> 01:55:46,280
Speaker 2: past his lounge, go to the bathroom, the lounge, the

2449
01:55:46,600 --> 01:55:49,480
Speaker 2: doors open, and Chances just in there chilling like, you know,

2450
01:55:50,640 --> 01:55:52,840
Speaker 2: a couple of work. I expect to see her because

2451
01:55:52,840 --> 01:55:55,200
Speaker 2: we were doing a remix, so I thought we just

2452
01:55:55,320 --> 01:55:58,400
Speaker 2: do remix, tax the tape on end whatever. But the

2453
01:55:58,480 --> 01:56:00,880
Speaker 2: fact that she was there, it was like, why is

2454
01:56:00,920 --> 01:56:02,760
Speaker 2: she here? You know what I mean? She went in

2455
01:56:02,840 --> 01:56:05,240
Speaker 2: the studio, she went in't be like oh overseeing the remix.

2456
01:56:05,960 --> 01:56:12,600
Speaker 3: Chilling like that's cold. You know what I'm saying?

2457
01:56:13,400 --> 01:56:15,720
Speaker 2: You up to something you know what I'm saying. And

2458
01:56:15,960 --> 01:56:18,720
Speaker 2: literally after that day it was like they were together.

2459
01:56:18,840 --> 01:56:21,360
Speaker 3: It was like he was with her in the lounge.

2460
01:56:21,800 --> 01:56:23,320
Speaker 2: No, he was in and out so like like that,

2461
01:56:23,440 --> 01:56:26,400
Speaker 2: me and him was in the room and he would dip,

2462
01:56:27,120 --> 01:56:28,320
Speaker 2: and then he came back in the room and I

2463
01:56:28,400 --> 01:56:30,360
Speaker 2: went to the bathroom and I realized why he was dipping.

2464
01:56:31,160 --> 01:56:33,320
Speaker 2: He was he was dipping to go you know.

2465
01:56:35,120 --> 01:56:37,120
Speaker 3: Who you are imagine dipping to go to the bathroom

2466
01:56:37,200 --> 01:56:38,840
Speaker 3: and Janet Jackson is just sitting.

2467
01:56:38,920 --> 01:56:41,240
Speaker 2: Oh yeah, it was crazy, crazy, But I'm like, just

2468
01:56:42,080 --> 01:56:43,920
Speaker 2: you know, it was just one of them things kind

2469
01:56:43,920 --> 01:56:46,960
Speaker 2: of like and I think that it had been building up.

2470
01:56:46,960 --> 01:56:49,160
Speaker 2: They probably had talked before, you know what I mean,

2471
01:56:49,520 --> 01:56:51,040
Speaker 2: and which is probably how we got the remix in

2472
01:56:51,040 --> 01:56:52,880
Speaker 2: the first place, you know what I'm saying. And then

2473
01:56:53,400 --> 01:56:56,520
Speaker 2: and then next thing, I know, it was like just together,

2474
01:56:56,800 --> 01:57:01,320
Speaker 2: you know, tough catching up with him because he's Chad

2475
01:57:01,360 --> 01:57:03,640
Speaker 2: said that schedule was super tight after that, like you

2476
01:57:03,640 --> 01:57:05,680
Speaker 2: couldn't even we had to figure out when it was

2477
01:57:05,680 --> 01:57:08,840
Speaker 2: gonna work, you know what I mean. And they were

2478
01:57:08,880 --> 01:57:11,240
Speaker 2: together for a long time. Yeah, you know, I mean

2479
01:57:11,400 --> 01:57:14,040
Speaker 2: they you know, That's why I still love that, you know,

2480
01:57:14,080 --> 01:57:15,800
Speaker 2: what I mean, I don't think. I don't think that

2481
01:57:15,960 --> 01:57:18,600
Speaker 2: I think they'll ever not like be cool.

2482
01:57:19,680 --> 01:57:21,200
Speaker 4: All right, man, Well, we want to just let y'all

2483
01:57:21,280 --> 01:57:25,480
Speaker 4: know we're looking forward to more legendary ship from y'all, man, Like,

2484
01:57:25,560 --> 01:57:27,760
Speaker 4: I'm super proud of y'all, Proud that we, you know,

2485
01:57:27,880 --> 01:57:30,120
Speaker 4: have this relationship with y'all, Proud to call y'all friends,

2486
01:57:30,480 --> 01:57:33,800
Speaker 4: can't wait to get some new music, and can't wait

2487
01:57:33,960 --> 01:57:37,320
Speaker 4: to find that the next I guess superstar that y'all

2488
01:57:37,400 --> 01:57:40,200
Speaker 4: gonna just you know, absolutely the LVR and Sauce on

2489
01:57:40,360 --> 01:57:44,760
Speaker 4: its to go, you know, more hit records, continued success

2490
01:57:44,800 --> 01:57:47,400
Speaker 4: to both y'all, and I'm just you know, I'm just

2491
01:57:47,480 --> 01:57:49,960
Speaker 4: happy for y'all, man like, honestly, like, thank you having

2492
01:57:50,040 --> 01:57:52,760
Speaker 4: so many years in the game doing what you're doing, Justice,

2493
01:57:52,760 --> 01:57:54,800
Speaker 4: the lvrn't doing what y'all doing, the things that you're

2494
01:57:54,840 --> 01:57:56,240
Speaker 4: building over there, it's phenomenal.

2495
01:57:56,960 --> 01:57:58,040
Speaker 1: Thank y'all for kicking it with us.

2496
01:57:58,560 --> 01:58:01,320
Speaker 4: And yeah, we'll talk after this new Black album, New

2497
01:58:01,360 --> 01:58:03,760
Speaker 4: Black and Black album coming soon. This has been a

2498
01:58:03,840 --> 01:58:06,120
Speaker 4: new episode of New Rory Mal Podcast with our guys

2499
01:58:06,200 --> 01:58:09,200
Speaker 4: Bron Michael Coxon. Just this, can I say your last name?

2500
01:58:09,880 --> 01:58:11,160
Speaker 3: Justice, where it's cool pants. You know what I'm saying.

2501
01:58:11,160 --> 01:58:14,280
Speaker 4: It's justice where it's cool pants. Mister cool pants, mister

2502
01:58:14,360 --> 01:58:15,960
Speaker 4: cool pants. We'll talk to y'all soon.

2503
01:58:16,080 --> 01:58:16,320
Speaker 1: Be safe.

2504
01:58:16,360 --> 01:58:16,880
Speaker 4: I'm that nigga.

2505
01:58:16,880 --> 01:58:19,760
Speaker 1: He's just ginger peace, no worry, and now